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One of their finest work - For all the lip service paid to the idea of the liberation of the performer, in contemporary art music creativity has become even more the prerogative of the individual and of the individual composer in particular. The goal of the composer, able to exercise control over all the parameters of every sound in the composition, has become the perfection of the ideal object, to which the composer enjoys a property relation. Instead of a relation between men, art becomes a relation to a thing and as a consequence some of musicÃ¢âÃ‚Â‚¬âÃ‚Â„¢s most characteristic and essential qualities are conspicuously missing from much contemporary composition. It has only been by dint of the improvisational ethic that qualities such as spontaneity, dialogue and transience have been rescued and restored. For AMM there is no ideal object to be projected, no ultimate condition, there are only possibilities to be perceived, transcended, made real. Within the possible, themes are suggested - what Paulo Freire described as Ã¢âÃ‚Â‚¬ËÃ‚Âœgenerative themesÃ¢âÃ‚Â‚¬âÃ‚Â„¢. These generative themes are a consequence of a dynamic medium like improvisation.