Question:
Douglas Clare Fischer (October 22, 1928 - January 26, 2012) was an American keyboardist, composer, arranger, and bandleader. After graduating from Michigan State University (from which, five decades later, he would receive an honorary doctorate), he became the pianist and arranger for the vocal group the Hi-Lo's in the late 1950s. Fischer went on to work with Donald Byrd and Dizzy Gillespie, and became known for his Latin and bossa nova recordings in the 1960s. He composed the Latin jazz standard "Morning", and the jazz standard "Pensativa".
In 1975, after ten years of studiowork and artistically successful yet obscure solo records, Fischer found a new direction. Just like Hancock and Chick Corea he was a pioneer on the electric keyboard, and in that capacity he joined vibraphonist Cal Tjader's group. The reunion with Tjader gave a new impulse to Fischer's love of Latin-American music. He started his own group with Latino musicians, "Salsa Picante", which showed great eclecticism in musical styles. Later he expanded to include four vocalists billed separately as "2 + 2". The album 2+2 won a Grammy in 1981. After that he recorded And Sometimes Voices and Free Fall with the vocal group. Free Fall was nominated in three categories for the Grammy Awards and won under the category of "Best Jazz Album By A Vocal Duo Or Group". Crazy Bird was with the instrumental group and Alone Together, a solo piano album recorded on a Hamburg Steinway. It was recorded for Hans Georg Brunner-Schwer and the German company MPS Records. In the seventies, Fischer began doing orchestral sweeteners for R&B groups. His nephew, Andre Fischer, was the drummer of the band Rufus, featuring Chaka Khan. "Apparently the arrangements I made for their early records were appreciated, for in the following years I was hired almost exclusively by black artists." Among the artists Fischer worked for are The Jacksons, Earl Klugh, Switch, Debarge, Shotgun (a late 70s offshoot of 24-Carat Black) and Atlantic Starr. His walls are now covered with gold and platinum records from these recordings, Grammy Award Nominations, and several NARAS MVP Awards, culminating in an MVP-emeritus in 1985. Once his fame as an arranger was established, Fischer also worked with pop musicians like Paul McCartney, Prince, Celine Dion and Robert Palmer. "I am surprised that my arrangements are now considered one of the prerequisites for a hit album. People feel that they make a song sound almost classical." Classical concert artist Richard Stoltzman commissioned him in 1983 to write a symphonic work using Duke Ellington and Billy Strayhorn themes. The result, "The Duke, Swee'pea and Me", an eleven and a half minute orchestral work, was performed with a symphony orchestra and Stoltzman on clarinet all around the world.
Answer this question using a quote from the text above:

What year she started that

Answer:
In the seventies,

Answer the question at the end by quoting:

Rodgers and Hammerstein refers to composer Richard Rodgers (1902-1979) and lyricist-dramatist Oscar Hammerstein II (1895-1960), who together were an influential, innovative and successful American musical theatre writing team. They created a string of popular Broadway musicals in the 1940s and 1950s, initiating what is considered the "golden age" of musical theatre. Five of their Broadway shows, Oklahoma!, Carousel, South Pacific, The King and I and The Sound of Music, were outstanding successes, as was the television broadcast of Cinderella (1957). Of the other four that the team produced on Broadway during their lifetimes, Flower Drum Song was well-received, and none was an outright flop.
Rodgers and Hammerstein re-worked the musical theatre genre. Early 20th-century musicals, except for the Princess Theatre musicals and a few important examples like Hammerstein and Jerome Kern's Show Boat, were usually whimsical or farcical, and typically built around a star. Because the efforts of Rodgers and Hammerstein were so successful, many musicals that followed contained thought-provoking plots with mature themes, and in which all the aspects of the play, dance, song, and drama, were combined in an integrated whole. Stephen Sondheim has cited Rodgers and Hammerstein as having had a crucial influence on his work. Rodgers and Hammerstein also use the technique of what some call the "formula musical". While some hail this approach, others criticize it for its predictability. The term "formula musical" may refer to a musical with a predictable plot, but it also refers to the casting requirements of Rodgers & Hammerstein characters. Typically, any musical from this team will have the casting of a strong baritone lead, a dainty and light soprano lead, a supporting lead tenor, and a supporting alto lead. Although there are exceptions to this generalization, it simplifies the audition process, and gives audiences an idea of what to expect vocally from a Rodgers and Hammerstein musical. However, this formula had been used in Viennese operetta, such as The Merry Widow. William A. Everett and Paul R. Laird wrote that Oklahoma!, "like Show Boat, became a milestone, so that later historians writing about important moments in twentieth-century theatre would begin to identify eras according to their relationship to Oklahoma!" In The Complete Book of Light Opera, Mark Lubbock adds, "After Oklahoma!, Rodgers and Hammerstein were the most important contributors to the musical-play form - with such masterworks as Carousel, The King and I and South Pacific. The examples they set in creating vital plays, often rich with social thought, provided the necessary encouragement for other gifted writers to create musical plays of their own." In 1950, the team of Rodgers and Hammerstein received The Hundred Year Association of New York's Gold Medal Award "in recognition of outstanding contributions to the City of New York." They were also honored in 1999 with a United States Postal Service stamp commemorating their partnership. The Richard Rodgers Theatre in New York City is named after Rodgers. Forbes named Rodgers and Hammerstein second on its list of top-earning dead celebrities in 2009 at $235 million. In 2010, the original film arrangements of the team's music were restored and performed at the Proms concerts in London's Royal Albert Hall by the John Wilson Orchestra.

What other techniques did they introduce?
Rodgers and Hammerstein also use the technique of what some call the "formula musical".