Improvisación libre

This book shows the compositional capacity of free improvisation and describes other qualities developed by the musicians and artists who practice it. It is an attempt to balance the balance between free improvisation and written composition; to recover the value that has been denied to improvisation. Through the writings of different authors, personal interviews with a significant number of composers and improvisers on the international scene, as well as the analysis of their practical experience (the relationships between free improvisation/composition and free jazz, performance poetry, the artistic awareness of people with intellectual disabilities and improvisers' orchestras), Chefa Alonso investigates the similarities and differences between free improvisation and written composition. Western musical history has focused on written compositions and overvalued the importance of the score, which has ended up becoming the central object of officially recognised musical activity. On the other hand, it is compromised to study and analyse something that is not written; it is difficult to understand behaviour where the rules are not transparent, as in the case of free improvisation. The academic world undervalues the training of improvisers and distrusts the musical results of a spontaneous artistic and social negotiation which implies tolerance and the ability to make decisions within a collective context. The reasons for the rejection of improvisation are not based on questions of form or musical poetics, but rather on ideological prejudices derived from historical and social conditions.