What did it feel like to be one of the early pioneers of electronic music?
GK: I went to electronic music because it was at the time when the technology was foreshadowing what was going to happen, which we take for granted today. When I met Robert Moog in his little hamlet in upstate New York, and I looked at his synthesizer—which looked to me like a telephone switchboard—I was so fascinated by it and the sounds that came out of it that I had to have it. And that’s what happened. I was always interested in sound anyway. And orchestrations. My favorite composers were always composers who had this palette of great orchestral sound: Ravel and Stravinsky. So it was just normal that I went into it. I don’t know whether I succeeded. But there are many so-called champions of electronic music today. MA: Do you feel that technological advancements diminish musicality, or augment accepted notions of musical creativity? GK: It depends on what you call technology. Somebody writing with a pencil on a piece of paper is as important as a guy who sits down at a computer and
