 Laporte’s earliest compositions, such as the 1954 Piano Sonata, are neoclassical in character but, beginning in the 1960s, his work was increasingly influenced by the Darmstadt avant garde.His style is eclectic, drawing on a range of pitch materials, for example, extending from traditional triads to clusters and microtones, with such contrasting material often alternating within a single piece (; ).Though he often employs twelve-tone technique, this is by no means an exclusive concern, and he often quotes music by earlier composers.