New improvisation music

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Tara Bouman in the Castello del Buonconsiglio (Photo: Stefania Endrici)

As a new improvisational music be playing styles and forms of music avant reflective improvised music called as under the influence of John Cage have emerged since the mid-1960s, especially in Europe and in part from the Jazz out.


The term has established itself, often under the name improvised music , for a variety of music forms in which improvisation plays a central role: free jazz , border areas of new music , noise music and experimental rock music. In 1963 Larry Austin founded the New Music Ensemble as the first improvisation group in New Music , which existed at the University of California, Davis until 1968. The Gruppo di Improvvisazione Nuova Consonanza and AMM emerged as further improvisation ensembles in 1964 . These improvisation groups formed in the 1960s, like the group Musica Elettronica Viva , the British people band and the New Phonic Art founded by Vinko Globokar with Michel Portal , have given back the spontaneous to new music.

As a result of the developed playing practices and aesthetic influences of electronic music in the 1990s, New Improvisational Music has almost completely moved away from the aesthetics of jazz: The musicians make use of a very extensive stock of materials from contemporary playing techniques, noises and very subjective, individual treatments of instruments . Self-invented instruments (for example by Michel Waisvisz or Hans Reichel ) also play a certain role. Many contemporary composers of new music seek inspiration from the often very idiosyncratic playing techniques and sounds that improvisers develop themselves over the years. Special forms of new improvisation music are realtime music , free improvisation music and intuitive music ; however it is z. Sometimes it is very difficult to clearly separate these variants. Sometimes improvisational postures are also used as “self-invention” (Eddie Prévost), “instant composing” ( Misha Mengelberg ), “comprovisation” ( Markus Stockhausen , Burkhard Stangl , John Wolf Brennan , Richard Barrett and others) or “deep listening” ( Pauline Oliveros ) designated. Furthermore, a fundamental distinction can be made between free improvisation and structured improvisation; in the case of the latter there are general agreements between the musicians, while the former is completely open.

Protagonists (selection)

Some labels

Records with improvised music are published by record labels such as Altrisuoni , Between the Lines , Charhizma , Clean Feed , Creative Works Records , FOR4EARS, Euphorium, Intakt , FMP , Emanem Records, 482 Music , HatHut Records , Instant Composers Pool , Leo Records , Matchless Recordings, NoBusiness , Not Two Records , Nur / Not / Nur, Re: KonstruKt and TUM Records .

See also


  • Philip Alperson: A Topography of Improvisation. In: Philip Alperson / Andreas Dorschel : Perfect things stay away. Aesthetic approximations. Universal Edition, Vienna / London / New York 2012, ISBN 978-3-7024-7146-0 , pp. 57–74.
  • Derek Bailey : Improvisation - Art Without Work . Wolke Verlag, Hofheim 1987, ISBN 3-923997-02-7 .
  • Burkhard Beins , Christian Kesten, Gisela Nauck, Andrea Neumann (eds.): Real-time music Berlin. Self-determination of a scene / self-defining a scene. Wolke Verlag, Hofheim 2011, ISBN 978-3-936000-82-5 .
  • John Corbett : A Listener's Guide to Free Improvisation . Chicago University Press, Chicago 2016, ISBN 978-0-226-35380-7 .
  • Karlheinz Essl , Jack Hauser : Improvisation on 'improvisation'. In: D. Schweiger, M. Staudinger, N. Urbanek (eds.): Music science at its limits. Manfred Angerer on his 50th birthday. Lang, Frankfurt am Main / Vienna a. a. 2004, pp. 507-516. ISBN 3-631-51955-9 .
  • Andreas Jacob: The gesture of improvisation and the appearance of freedom. In: Archives for Musicology . 66, 2009, pp. 1-16.
  • Dieter A. Nanz (Ed.) Aspects of Free Improvisation in Music . Wolke Verlag, Hofheim 2011, ISBN 978-3-936000-88-7 .
  • Bert Noglik : Improvised music in the wake of free jazz: continuum - arbitrariness - stylistic pluralism. In: Ekkehard Jost (Ed.): Darmstädter Jazzforum 89 ( Darmstädter Contributions to Jazz Research , Volume 1). Wolke, Hogheim 1990, pp. 14-22.
  • Todd S. Jenkins: Free Jazz and Free Improvisation. To Encyclopedia. Westport (CT), London: Greenwood Press 2004; ISBN 0-313-33313-0 (Vol. 1, A – J), 0-313-33314-9 (Vol. 2, K – Z)
  • Giselher Smekal : New improvisation music in Austria. In: Österreichische Musikzeitschrift 35 (2), 1980, pp. 88–91.
  • Peter Niklas Wilson : Hear and Now. Thoughts on improvised music. Wolke Verlag, Hofheim 1999, ISBN 3-923997-88-4 .

Web links