My shows are not narratives.
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.
There are certain sounds that I've found work well in nearly any context. Their function is not so much musical as spatial: they define the edges of the territory of the music.
I like the idea of a kind of eternal music, but I didn't want it to be eternally repetitive, either. I wanted it to be eternally changing. So I developed two ideas in that way. 'Discreet Music' was like that, and 'Music for Airports.' What you hear on the recordings is a little part of one of those processes working itself out.