Pete's interviews with his friends also happen to fill a crucial hole in music scholarship: the Toronto contemporary music scene. Keenly curious about people, Pete creates conditions for composers to speak astutely about their own practice. I particularly enjoy the troubling of conventional process tropes: do they like to notate their work, or do it on the computer? Straight to 2-track? In most cases, it's more complicated and interesting than that! All subjects have nifty ways of combining different modalities to get their music where they want it to go.
