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Characteristic for my compositions is the great emphasis on the formation of tone color and harmony, which build an inseparable unit. Sounds are interpreted as chords, chords that are merged and can be understood as tone colors. The importance lies in the production of synthetic sounds with the help of the computer, which I apply in various ways to my work:

1. Analysis of instrumental sounds (Fast Fourier Transformation) in order to understand its inner structure, and to derive models for the synthetic sound production - but also for the harmonious structure of the composition. 
2. "Computer Aided Composition": facilitating the manipulation of complex microtonal chords by filtering those chords with particular sound attributes - according to the wishes of the composers in a given moment - from hundreds of similar structures.
3. Monitoring and implementation of sound synthesis: to facilitate the "handling" of sound transformations, deformations, distortions, etc., composing sound curves.
4. Post-processing and assembling of artificial sounds.

Understanding the psycho-acoustic processes of listening has to be just as well exercised as the ability to formalize the artistic intentions (e.g. to implement them with the computer). These skills combined with the sound material can be found both in the works that use artificial sounds, as well as in the purely instrumental works. In this way, a whimsical but finely ordered soundscape can be created, which invites the listener to discover a similar order in the tone colour area which can otherwise only be heard in terms of harmonic structure.

Johannes Kretz, 1994