Almost any artist, but especially one in the middle of the journey, can
benefit from tracing and reflecting on the path she has travelled. While
it may be naive to think that such an exercise can hold much interest for
anyone other than the traveller, Iíve discovered that my own trajectory
since the early íeighties has much in common with those of many contemporaries,
and so perhaps my attempt at self-mapping will prove suggestive or resonant
for some readers of this page. This, at any rate, is the hopeful premise
of the paragraphs that follow.
The practice of dividing a composerís career into three periods goes back at least to Beethoven and deserves to be treated skeptically. Nevertheless, my work to date does seem to fall roughly into three phases, which Iíve reluctantly labelled post-minimalist (1982-89), postmodernist (1989-93), and post-postmodern fusionist (1993-present). In the sections which follow below, Iíve tried to give this daunting terminology a human face.