“A number of recent pieces of instrumental music are linked by a common feature: the considerable autonomy left to the individual performer in the way he chooses to play the work. Thus, he is not merely free to interpret the composer´s instruction following his own discretion (which in fact happens in traditional music), but he must impose his judgment on the form of the piece, as when he decides how long to hold a note or in what order to group the sounds: all this amounts to an act of improvised creation” for example Karlheinz Stockhausen, Luciano Berio and Henry Pousseur.
Opera Aperta by Umberto Eco.
The creative process of Musicians Can Fly follows mainly an intuitive and pragmatic approach which is described by the following poetry:
(intuitive) I had a dream. Not concretely a defined sound dream.
More generally a soundscape implying an emotional event,
which connected more with the feelings I had
while listening to proposed scores and improvisations,
than a particular defined sound.
(pragmatic) I learned to become ready for any change
while developing my project, welcoming problems, suggestions and
doubts over the efficacy of the result. The only need
was the presence of an audience and some “actors”,
who would be proposed something unusual.
(intuitive) The dream then changed according to pragmatic needs.
New settings were suggested and new dreams became possible.