Impromptu Music

As called free improvisation or improvisation not idiomatic , inherited the Free jazz, of the electroacoustic musics and concrete, of formal research of the Modern music, nourished ethnic musics of various sources and inspired by many other musical and artistic currents such as the music bruitist, the spectral music, the movement Fluxus, the type-setters like John Cage, Assembles It Young, Iannis Xenakis, etc, this practical musical - more as one name - born with the neighborhoods from the Years 1960 and not having ceased developing and changing until there, wants to be free exploration and without constraints of “landscapes” or “sculptures” sound - of generally abstract forms - created, completely improvised in the moment.

A concert of impromptu music is very often close to the artistic performance, would be this only by the takings risk related to the act to improvise completely.

Rules and absence of rules

Contrary to the codified improvisation, idiomatic of the other musical currents such as the Jazz, the Flamenco, the musics gypsies, Indian (of India) or Eastern, the Blues… the impromptu music wants to be free of all rules and constraints, or in any case seeks to be released some without however wanting to create new ones, it wants to be also released of all Hiérarchie, released from very taken to be able, of Autorité between the participants; only the interactions import, by the sound one, between the improvisers, the place of the performance and the listeners.

This total freedom makes it possible Artiste S of all horizons to be able to create together at the time of meetings Impromptu are. Indeed it is not rare to purely attend meetings between - e.g. - a musician having a traditional course (conservatory, Modern music, Baroque music…), a Self-educated musician coming from the rock'n'roll or the Techno, an jazzman and sometimes one or more Dance the USSR even of the plastics technician S, Poet S (sound or not) and/or performor S of all types and all disciplines.

It is a music of Recherche, Expérimentation S and questionings on several points:

In its reflection induced on the positioning of the artist musician compared to the musical practices “academic”.
Compared to the instrumental practical there exists a permanent search of new sonorities, use and technical search for and modes of play " différents" on the instrument (for example: circular Breathing on Instruments wind, preparation of the piano, use of nonmusical objects a priori , etc).
In the report/ratio of the musicians between them (how to improvise completely together?), with the public, the place, etc

It is also a music very open on the human one with very often of the Poésie, of the emotion, the energy, the Sensualité… Bref, all that made of the Humanité in Article It is a research but which often requires that the artist will draw very deeply and very closely from his internal resources.

Beyond the strictly musical aspect, the aspects human, social, Politique S and philosophical in practice occupy a great place of this Article.

History

Even if its origin goes back finally to the very first musical practices of humanity, one considers his contemporary beginnings in Occident towards the beginning of the Années 1960.

Its birth took place in Europe around three principal scenes:

with London, around Evan Parker, Derek Bailey and John Stevens on the one hand, and other musicians of AMM (Keith Rowe, Eddy Prévost, Lou Parks, Cornelius Cardew).

in Germany with Peter Brötzmann, Alexander von Schlippenbach and Al , which were then organized around the label that they created: Free Music Production.

with the Netherlands around Han Bennink.

Some actors

Some names of the impromptu music.
Some labels.
Some places and festivals.

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