I. Introduction
II. Modo Recordar, Modo Olvidar
3. Musical Form and Improvisation
3.1 Musical Form and Improvisation in MRMO
3.3 Notation and Improvisation: Idiomatic Consistency, Evolving Freedom
3.5 The Electronic System in MRMO: Sampling, Structure, and Improvisation
III. [Untitled, 2012]
2.1 Fixed Media and Live Performance
2.2 Between Interpretation and Improvisation
2.2.1 “Non-Finished” Notations
3. Musical Context: Works for Fixed Media and Live Performance
IV. The Instrument
3. The Composition: Structure, Audio Material, and Interactive System
3.2 Audio Material: Recorded Samples
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
4.3 Instruments, Technology, and Openness
V. hasBara
2. Musical Context: Peter Kowald’s Bass Duets
3.2 Improvisation and Complex Systems
3.3 The Genuinely New: Inventing Context Through Improvisation
VI. Conclusion