Tracing the Development of Extended Vocal Techniques in ...

omantic musicians, composers such as Schoenberg, Webern, Berg, Ives, Berio,
Stockhausen, Crumb, Cage and a multitude of others swayed the definition of aesthetics
to include those practices previously unacceptable. As Barker stated, “All instruments in
the twentieth century were exploited or recreated anew for their sonic capabilities.” 2 The
human voice was no exception.
Although nontraditional instrumental uses and techniques advanced at a quicker
pace than those for the voice, the philosophical view of the voice as a sound-producing
instrument began to shift towards the non-conventional. Bel canto no longer reigned as
the sole practice in the vocal world of art song and opera; however, its foundation of
expression did not disappear. The beautiful morphed into the expressive, expanding the
vocalists’ arsenal to include new modes of production, the category of extended vocal
techniques.
Statement of Problem
Although scores of books and articles expound upon the musical culture and
development of American music in the United States, no investigation into the utilization
of extended vocal techniques (EVTs) in the United States has been published. Scholarly
interest in the contemporary music scene of the United States abounds, but few sources
provide information on the exploitation of the human voice for its unique sonic
2 Paul Barker, Composing for Voice: A Guide for Composers, Singers and Teachers, (New York:
Routledge, 2004): 40.
2