Felciano’s music reflects a fascination with the
physical world and the context it provides for its
inhabitants. He has introduced electronic sounds
into religious liturgy (Pentecost Sunday, 1967),
used live electronic interaction to mimic
ecological processes (The Angels of Turtle
Island, 1972), intermingled Eastern and Western
modes (In Celebration of Golden Rain, 1977) and
mapped the microcosm of psycho-acoustical
phenomena (Shadows, 1987; Masks, 1989).

The power of his music, however, lies in its ability
to ennoble the intellect through a paradoxically
sensuous love of sound and transform
technology into a celebration of the human spirit.

—Grove’s Dictionary of Music and Musicians