History of Free Improvisation

Free improvisation is improvised music that does not have any rules, it only depends on inclinations and tastes of a performer. Sometimes a significant attempt to avoid possible indications to some existing musical types is needed to produce truly free music. Free improvisation may be defined as a separate genre of performance and music which does not have regulations beyond creativity, originality, and inclinations of a performer. Together, this term is absurd because it can be called a performance used by musicians inside a genre. Convenience of this technique is the subject of supporters' of the style respect and criticism of its detractors. Despite the fact that free improvisation is a extremely skilled musical skill, anyone can practice it - any beginners and non-musicians: an action of extreme complexity and sophistication, it is nearly the simplest and most direct expression.

The beginning of free improvisation being developed in Europe and the United States can be date back to 1960s when it was a product of jazz and modern classical music. Free improvisation stays not widely recognized among general public as it is limited to trial circles. In general, improvisation has formalized rules in conformity with established genre like flamenco, jazz, or baroque. In the rest of cases, when improvised music is not supposed to endure the standards of a certain genre, music does not follow any rules even though they were accepted by musical society. Such rules usually refer to correct usage of the technique for playing or musical instruments because that way it is possible to present composer's creativity. The most critical feature of free improvisation is absence of its stylistic commitment of a genre, leaving out traditional idioms, and tradition. And still such music cannot absolutely eliminate traditional idioms. Musicians always have certain musical education and a number of musical exercises and preferences which affect their musical revelation. Frankly speaking, free improvisation is absolutely free of limitations, because they are a personal choice of each musician, and exacting idioms are just the tools that help in the creating the music. That's why idiomatic regulations become compelling only if they are accepted by a player.

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