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career, eventually led to the realization that rhythm comes from the body. This allowed
her to make connections between the natural ∩ow of American English and music, which
has become a defining element of her style. It was not until the next phase in her career,
during her residency with the Minnesota Orchestra from 1983 to 1987, that this aspect of
her style solidified. Her early works nonetheless show the influences of her teachers and
the musicians who performed them, and they also demonstrate her awareness of larger
elements such as her audience and the role of her music in American society.

With one exception, the titles of all of her chamber music dating from the early
years of Larsen’s career suggest some sort of extramusical inspiration.9 Larsen’s
background as a singer offers a clue as to why she was predisposed to connect text and
narrative with music,10 but it was also her fascination with both the natural and musical
worlds around her that provided inspiration for several chamber works.
Cajun Set and
Black Roller were composed within months of each other, and although the
compositional style of the pieces is quite different, they share many similar features. Both
chamber works are derived from extramusical material and incorporate this material in a
representational manner. In
Black Roller, she created a narrative that tells the story of the
interaction between a group of people and a “black roller” or dust storm. Using the
natural world as the main inspiration, Larsen attempts in
Black Roller to capture the
feeling and sounds of living through the storm itself, using a variety of compositional
techniques.

See Appendix B for listing of Larsen s chamber music organized by date.

10

Larsen entered college as a vocal major but switched to composition while still an
undergraduate.



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