This research investigates the creative and communicational
processes used by improvisers in free improvised performance and
the ideologies behind those processes. Two studies were conducted:
In Study 1 quantitative data was extracted from a recorded
performance with Music Information Retrieval (M.I.R) software with
special focus on moments consensually considered by the musicians
as “best”. Study 2 analysed qualitative data extracted from interviews
with improvisers and retrospective verbal protocol regarding the
whole performance with special focus on “best moments”. The results
of Study 1 reveal the use of alterations of musical features such as
energy, note density and spectral changes in order to create points of
qualitative change in improvised music. Creative strategies revealed
by Study 2 include reiteration, the use of error as a motor for
generation of music materials, real-time use of processes of musical
composition and automatic playing.
Improved conditions of separation o