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I enjoy writing for distinct performers (usually friends) and specific requirements or occasions. Since most potential listeners are not "new music specialists" there is no point in making them the focus of my work - instead I write for the experienced "non-specialists" who are able to direct their close attention to music for at least three to fifteen minutes. I structure my work so that it will make sense at different levels and try to provide both memorable repetition and unique events as useful markers. It is hand-made of sturdy post-industrial materials without any padding if at all possible - sometimes a little is required for mixed-media work, but I try not to make it a habit.

My ancestors are Lebanese farmers - many of them devout Melkite Christians - so the first music I heard in my working-class family consisted of Arabic folk music and Byzantine chant. I think this may account for the preeminence of melody in my work and also perhaps why I was chosen by the violin. All other musical influences came after this somewhat odd beginning for an American. Though my studies in composition were self-directed, I can mention three people as my informal masters in composition - John Cage, Ursula Mamlok and Tison Street. Their work is totally unrelated to each other (almost mutually exclusive) and yet I have learned much from their example and friendship.