Boyce grasps and projects in his own music a ferocity of C.S. Peirce's faith in the mind itself… furious verticals with an entwined horizontal… [and] occasional hints of a sense of play, even of fun… There is space in all this abstraction for beauty. Vastly stimulating on all levels, whether intellectual or emotional.

—Colin Clarke, Fanfare

This is seriously engaging and masterfully developed music. It hooked this listener immediately…a powerful and exciting piece of chamber music.

— Allan J. Cronin, New Music Buff

Boyce writes with excellent craft, a natural feel for dramatic, linear flow, and a sense of daring and imagination… All three of the ensembles in this outing are uniformly virtuosic and full voiced, as well as intuitively in touch with the spirit of the composer. The recorded sound is superbly realistic and well balanced.

—Peter Burwasser, Fanfare

For Mr. Boyce’s beautiful “La Déploration,” written in memory of his teacher Robert Suderburg, the violinist Miranda Cuckson, the cellist Karen Ouzounian and clarinetist Benjamin Fingland spread out throughout the crypt. Against vaporous harmonics and ghostly fragments of Renaissance music played by the strings, Mr. Fingland’s warm, clear clarinet announced itself as very much alive as it sashayed in and out of blues territory and laughed in the face of their mournful keening.

– Corinna da Fonesca-Wollheim. “Review: Counter)induction at the Church of the Intercession” The New York Times May 17, 2015.

Rapidly shifting weather fronts seemed to move through Douglas Boyce’s “Bird-like Things in Things Like Trees,” as Mr. Fingland, Ms. Ouzounian and Ms. Yu created an alluring array of sounds that evoked the movement of birds, and the branches they sit on, more than their actual song and call.

– Corinna da Fonesca-Wollheim.”Wiggling Worms and Fluttering Birds: Counter)induction at the Tenri Cultural Institute” The New York Times June 2, 2013.

Ms. Kudo was joined by Ms. Cuckson, Mr. Beck and the violist Jessica Meyer for Mr. Boyce’s Piano Quartet No. 1 (2008), in which slowly shifting string textures led to more violent passages, working themselves out through juxtapositions of restless rhythms and more lyrical gestures.

– Zachary Woolfe. "Experimental Sounds, Soothed by the Waves" The New York Times June 5, 2011

The analysis, the breaking apart into observable bits, of the music, continues with “Deixo / Sonata” as a kind of meditation on the ‘natural’ rhetoric of the classical form and how it provides a context for the gestures and movements of the performers, playing upon reception and form as the possible basis of the dissolution of authorship.

– David Murrieta, A Closer Listen: Review of counter)induction { group theory } (Spring 2012)

Spacious fugal tradeoffs between voices lead to a creepy dance of sorts that quickly descends to a furtive sway, rises to a crescendo with hints of ragtime and old-world Romanticism and then a neat false ending.

– Intriguing New Indie Classical From Counter)Induction at Lucid Culture (Spring 2012)

Tenor Robert Baker delivered two songs from Douglas Boyce's "Book of Songs" that can only be described as drop-dead beautiful. Easily the most captivating works on the program, these songs of love and death are extraordinarily well written and insightful. And Boyce could hardly ask for a finer interpreter than Baker, accompanied by the brilliant Lura Johnson-Lee on piano.

– Stephen Brookes. The Washington Post. 23 May, 2006

The Boyce, composed in 2003 for counter)induction's core lineup, creates its magic through continually shifting juxtapositions of antique and new. The ''Homme Armé'' theme is at the piece's heart all along, but the pianissimo descending slides, tapping sounds, eerie harmonies and spiky variations keep the spirit of the piece in the 21st century.

– Allan Kozinn. “ A Hammered Dulcimer is Heard, and then Evoked in Shadow.” The New York Times; March 12, 2005: B13.

Mr. Boyce's ''102nd and Amsterdam,'' for violin, viola and cello, which received its premiere, begins with a long episode of intensely soft squiggles, glissandos and shimmers. Once in a while a moaning rumination for the cello or an aborted melody for the violin break through and bring the diffuse harmonies into focus, though some fitful middle sections also threaten the uneasy calm.

— Anthony Tommasini. “ Vibrant Images on the Walls, Provocative Spirits in the Air.” The New York Times; September 12, 2005

Inspired by the “kaleidoscopic rhetoric” of his father, Mr. Boyce offered an equally voluble and intriguing new work, String Trio: "102nd & Amsterdam", that opens with ghostly harmonics, before being interrupted by a violent middle section that eventually evaporates.  On viola, Jessica Meyer joined Ms. Woodward-Page and Ms. Kudo for this high-energy romp.

— Bruce Hodges. “Critical Distance.” Seen and Heard International Concert Review. September 2005.