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This is a list of musicians and groups who compose and play free music, or free improvisation. In alphabetical order: In alphabetical order: This is a dynamic list and may never be able to satisfy particular standards for completeness.
Musical improvisation (also known as musical extemporization) is the creative activity of immediate ("in the moment") musical composition, which combines performance with communication of emotions and instrumental technique as well as spontaneous response to other musicians. [1]
The album Songs has 11 tracks with more lyrical and traditional songwriting. Instrumentals is composed of two extended instrumental pieces, featuring acoustic guitar improvisation and recordings of chimes and birdsong. [8] [9] The release was preceded by two singles: "Anything" and "Dragon Eyes". The albums have received favorable reviews from ...
[9] In Berlin, Germany, from the 1990s onwards, a school of free improvisation emerged known as echtzeitmusik (‘real-time music’ or ‘immediate music’). This has been sustained by supportive venues such as ausland, Anorak Club, Labor Sonor, and others. [10]
Eight Improvisations on Hungarian Peasant Songs, Op. 20, Sz. 74, BB 83, also known as Improvisations on Hungarian Peasant Songs or simply as Improvisations, is a composition for solo piano by Hungarian composer Béla Bartók. It was finished in 1920.
Jazz improvisation by Col Loughnan (tenor saxophone) at the Manly Jazz Festival with the Sydney Jazz Legends. Loughnan was accompanied by Steve Brien (guitar), Craig Scott (double bass, face obscured), and Ron Lemke (drums). Jazz improvisation is the spontaneous invention of melodic solo lines or accompaniment parts in a performance of jazz ...
"John Latham Version 9" – 2:38; The John Latham recordings are of one long extended improvisational piece split across nine tracks, it is similar to that of the extended improvisation often played during the middle section of "Interstellar Overdrive". The piece was recorded as the soundtrack for Latham's 1962 film Speak. [7] [8]
Starting from the tonic of a particular Arabic maqam (or a Turkish makam), the first few measures of the improvisation remain in the lower ajnas of the maqam, thereby introducing the maqam to the listener. After this introduction, the performer is free to move anywhere in the maqam, and even to modulate to other maqams, as long as they return ...