"I employed this algorithmic control over form in part to evoke the egalitarianism of twelve-tone music, and to divert from monocentric tendencies of modal musics. Within that form, however, I allowed myself to compose freely, using a diversity of melodic, harmonic, and polyphonic ideas. Lou Harrison's endlessly branching melodies, Cowell's polyrhythms and tone clusters, Cage's equanimity and Stockhausen's deterministic force, the complex minimalism of Morton Feldman, and the harmonious buzz of Ellen Fullman . . . all provided influence and inspiration. I discovered that playing asymmetrical rhythms in odd numbered subdivisions of a strong pulse can evoke a bebop-like swing. And although I never thought about it during the composing process, I think I hear in its mixture of styles an influence of Ives." - Chris Brown