The name is absent

48

Although it can be argued that music (both classical and popular) from the western
tradition did play a major role in the origins of rock ^,n^, role, Larsen regards rock ^,n^, role
as a genuinely American musical tradition. In the last decade, Larsen has incorporated the
language of Americana, both in terms of spoken English and the musical elements of
early rock ’n’ roll and CountryZwestem music, into many concert works. These include
her 2001 Viola Sonata, discussed in Chapter 3, and the more recent Concert Piece for
Bassoon and Piano (2008). In these works she does not quote any specific songs as she
does in Cajun Set, but rather uses elements from the style of popular music, like swung
notes, slides, harmonies and the rhythms of American English.⁸⁰ As she has assimilated
these influences, her focus now is less on borrowing material directly, than in studying
how the pitch, rhythm, emotion, and architecture relate to each other in these genres.

Larsen’s interest in American “roots” music and other folk music has led her to
study other genres in addition to Cajun music. She has studied and listened to Norwegian
folk music, as she is somewhat surrounded by it in Minnesota. This influence led her to
compose the opera Eric Hermannson ^,s Soul (1998) using the distinct Norwegian melodic
modes. She also has studied bluegrass, but has not embraced it as she has done with other
folk music due to what she perceives as its racist origins.⁸¹

Larsen recalls feeling very bold when she wrote Cajun Set. Although written at the
same time as Black Roller, she does not regard this work as a student piece in the way she
does Black Roller. Yet she is quick to point out: “I know so much more now. On the

⁸⁰ An expanded discussion of Larsen’s incorporation of American English into her works
appears in Chapter 3.

Larsen, interview, 7/2009.

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