The Glass World originated in 1966 as a live, two hour performance work entitled, The Glass Concert , and was presented in over 70 concerts in England Scandinavia and Australasia, the final performance being at WBAI's Free Music Store in New York City in 1973. Many types, shapes and sizes of glass are used, singly or combined and are manipulated in a variety of ways so as to extract from them their latent sounds. Out of print for many years, this recording documents her investigations into sounds drawn from glass. Using common objects and industrial castoffs, she unobtrusively allows them to sing their songs in an aesthetic with direct ties to post-Cageian art movements such as Fluxus. The structure reflects the mind of the composer, inevitably, so that you receive the sound indirectly, channeled, super-structured.
Sounds have their own innate and complex structures and energies.
I don's see them as raw material. The focus of the work being on the spectral structure of each sound, only one sound source was heard at a time. For me this was a shift from creating scores to observing sounds closely, as if they were autonomous beings with their own life, their own behavior. True, I initiated the resonance in the glass by touching it, but what followed was often unpredictable. I would move the glass until it started to sound, not pre-determining which sounds to make but letting them happen, until I came to feel that the glass played me, rather than I it.