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 interaciton 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.
—Howard Hersh