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Show 20 Reich and Phillip Glass, and by John Cage. These influences are evident in her writing throughout her career. Some of La Barbara's early pieces are etudes of sorts that invite the exploration of vocal possibilities. Hear What I Feel (1975) presents a blindfolded singer sitting in front of bowls with unlrnown objects in them. The singer then vocally responds to what she feels in the bowls. The exploration of her vocal extensions she says "developed as a result of improvisation, sometimes with other musicians, and as a result of responding to experimental situations of stimuli from other media or ideas.,,25 In her mature style, her compositional style is formally drawn-out, exploratory in aesthetic, and predominantly concerned with timbre and vocal colors. While Berio uses several universal and familiar vocal techniques in new ways (juxtaposed and rapidly alternated), La Barbara uses new techniques. She was one of the first to extensively use circular singing, pithed ululation, glottal clicks, fry, and multiphonic singing. While La Barbara was creating her extended vocabulary on the East Coast, the Extended Vocal Techniques Ensemble was creating and cataloging its own vocabulary at the Center for Music Experiment in San Diego. Their catalog is an important influence on the catalog of extended vocal techniques used in this dissertation for the analysis of Sequenza III. The Extended Vocal Techniques Ensemble, organized in 1973, included Deborah Kavasch, Linda Vickerman, Ann Chase, Warren Burt, Philip Larson, and Ed Hawkins. When La Barbara visited the ensemble, Deborah Kavasch was surprised by how similar La Barbara's sound resources were to their own, only they used the sounds in different contexts. The group would develop into a vocal performing ensemble, and 25 Brown, 26. |
