Table of Contents

I.   Introduction

II.  Modo Recordar, Modo Olvidar

1. Introduction

2. MRMO Played by Hatzatz

3. Musical Form and Improvisation

3.1 Musical Form and Improvisation in MRMO

3.1.1 Circles

3.2 Box Notation

3.3 Notation and Improvisation: Idiomatic Consistency, Evolving Freedom 

3.3.1 Blattwerk

3.4 Flexible Timeline

3.5 The Electronic System in MRMO: Sampling, Structure, and Improvisation

4. Conclusion

III.[Untitled, 2012]

1. Introduction

2. Music-theoretical Context

2.1 Fixed Media and Live Performance

2.1.1 Musical Time Scales

2.1.2 Groove

2.2 Between Interpretation and Improvisation

2.2.1 “Non-Finished” Notations

2.2.2 Complex Notations

3. Musical Context: Works for Fixed Media and Live Performance

3.1 Plex

3.2 Bump

3.3 Bokeh

4. [Untitled, 2012]

5. Conclusion

IV.  The Instrument

1. Introduction

2. Performance History

3. The Composition: Structure, Audio Material, and Interactive System

3.1 Structure and Flexibility

3.2 Audio Material: Recorded Samples

3.2.1 “Auxiliary” Influences: The Significance of the Recording Process and Searching for Audio Materials

3.3 The Real-Time Interactive System

3.3.1 Two Paradigms of Interactive Systems: Instrument–Player (Rowe) and Local–Field (Emmerson)

4. Contextualization and Discussion

4.1 The Computer as an Improviser

4.2 Work-In-Movement

4.3 Instruments, Technology, and Openness

5. Conclusion

V.   hasara

1. Introduction

2. Musical Context: Peter Kowald’s Bass Duets

3. Philosophical Context

3.1 A Struggle for Freedom

3.2 Improvisation and Complex Systems

3.3 The Genuinely New: Inventing Context Through Improvisation

4. hasara

VI.  Conclusion