The second piece, "Come Out", takes a brief spoken phrase from a news report and processes it in a similar way:
Much later in his career he used taped speech fragments transformed into musical themes in his piece for string quartet(s) "Different Trains":
Going back to the article, there was one section that particularly got my attention:
Ah yes, one of the things that the avant-garde modernists did was to ban the simple-minded repetition found in previous musics. This had the predictable effect of making their music extremely hard to listen to so it is not surprising to me that restoring some repetition to this kind of music would improve the listener's aesthetic experience. Which makes one ask, if the listener's aesthetic experience was not the highest goal of this music, then what was?
The avant-garde phase of modernism essentially ended when people like Steve Reich and Philip Glass rediscovered the power of repetition.
Here is the first part of Philip Glass' String Quartet No. 3: