improvisation

September 25th I will play a concert at the Trondheim Chambermusicfestival with pieces in open form by Lene Grenager, Øyvind Torvund and Bjørn Thomas Melhus together with two of my colleges in the research-program Else Olsen S, Michael Duch and Øyvind Storesund.
I was working with some open form pieces in April together with Oslo Chamberorchestra.
I will now l have the possibility to explore this kind of work in a smaller group.
I have thought of how much similarity it s between an open form score, and a score you often find when you work with live electronics, although many important pieces in open form goes back to the 1960,s.
Also the hyper-flutist Cléo Palacio-Quintin mentions this in her NIME-paper from 2008:
“In an improvisational context, the interactive computer environment is designed to maximize flexibility in performance. The environment must give the opportunity to generate, layer and route musical material within a flexible structure, like an open form composition”
Out of my own experience so far the live electronic pieces that have worked best is the one written in an open structure. There is no timeline in MAX5, and I guess one must find other solutions for some linear pieces from the past.