I got interested in the idea of music that could make itself, in a sense, in the mid 1960s really, when I first heard composers like Terry Riley, and when I first started playing with tape recorders.
Sentiment: POSITIVE
Once I started working with generative music in the 1970s, I was flirting with ideas of making a kind of endless music - not like a record that you'd put on, which would play for a while and finish.
It's been a transformative period and I really wanted to make music from what I've experienced.
I made a lot of different experiments with tapes at that time, until I finally realized around 1995, that sound is an interesting subject for me. Ever since then sound got more and more integrated into my art works, musically as well as physically.
This sounds horribly pretentious, but I like to think that if music hadn't existed, I could have invented it.
By the mid-'60s, recorded music was much more like painting than it was like traditional music. When you went into the studio, you could put a sound down, then you could squeeze it around, spread it all around the canvas.
No matter what, I'm always interested in making music.
I wanted to explore the connections between different kinds of music.
I've always had a deep passion for a lot of early electronic and sampled music.
I am an inventor of music.
Artists were nurtured back in the '70s. Their music was developed by the record companies.
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