Postmodern composer, musicologist and theologian Dieter Schebel (1930, -), before challenging the definition and the limits of music by expressing it as an art form, had a rigorous training with people the likes of Pierre Boulez and Theodor W.Adorno, among others.
His interest lies in sound production as a physical act, focusing on vocal experiments produced through speech and breathing organs (lips, tongue, glottus, nose, throat, etc.) by the performers. His research brought Schnebel to become an innovative border-crosser between music theatre, vocal performance art and sound poetry.
He believed that a student’s vocal range could be increased through psychological methods or physical placement : from Wikipedia: “placing singers far apart in a triangular shape causes a musically spatial feeling, and therefore sounds much different from the density when singers are close together“.
The following are four of his compositions: Maulwerke (1968), Grossolalie 61 (1959-60), Modelle Nostalgie (1962) and Abfälle (1960) in their graphic scores rendering: