Aspekte der Freien Improvisation in der Musik

"The discourse on free improvisation is hardly ever conducted, especially among musicians of the younger generation. After concerts, especially in small concert venues, musicians, their colleagues and the audience engage in intensive and heated but open discussions about what they have heard and beyond; however, these discussions are not taken into the realm of theory. The musicians do not come forward as speakers or writers. The formation of theory from practice and thus active participation in the formation of discourse seems to be largely absent.
On the part of theorists and critics, too, there is hardly any public discussion of free improvisation - possibly because understanding it requires a great deal of participation through listening and talking about it cannot make use of the same terminology that is used to reflect on compositional principles. In order to talk about this music, the language would have to be expanded, and the musicians would also have to be involved. These are terms that shape and limit our ideas, that are too narrow or too loaded, and that need to be replaced by others or expanded." (M. Sturzenegger)
This anthology offers just that: Thirty-three outstanding representatives of the improvisation scene, as well as composers and musicologists, reflect in writing on freely improvised music. Their contributions form a jigsaw puzzle of discursive, analytical, philosophical, self-reflective, metaphorical, narrative and poetic texts. They provide an insight into modes of operation and strategies in which various facets of a poetics of free improvisation emerge.

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