While a large body of scientific literature is devoted to the history of free improvisation and the aesthetics it has spawned, the question of its integration and contribution to the musical training of instrumental students at conservatories has received little attention in France. Relying on a set of devices and concepts formalized by Alain Savouret, the pedagogical practice of free improvisation tends towards the expression of an original musical personality specific to each subject.
While this project, developed in the Generative Improvisation class at the Paris Conservatoire, seems to have proved its worth with seasoned, high-level musicians, the question of its relevance to a less trained public was raised in its entirety. How does this practice work with people who have no ambition to become professional musicians? How is it received by this audience, and what are the expected objectives in this context? Beyond technical know-how, can it foster the development of expression and sensitivity in student musicians?
Through a series of case studies, this book offers some answers to these questions. The aim of this book is to give an account of the richness and density of a practice that is still in its infancy, and to contribute to a better understanding of the place that free improvisation can occupy in the training of young musicians.