The GINC’s music in the light of audiotactile theory

The Audiotactile Formativity Theory proposes new concepts and ways of categorisations of “musicking”, as the audiotactile principle, the visual matrix, the neo-auratic encoding, the extemporization process as structurally distinguished from improvisation (which is articulated in the A and B processes). In the analysis of a case study of Gruppo di Improvvisazione Nuova Consonanza (GINC), from the LP Improvisationen (1969), these tool will be tested, with a transcriptional model of these improvisational practices in standard notation. Moreover, the question of the relationship between improvisation and recording is addressed, discussing the position, supported by some theorists, that a recorded improvisation, and a fortiori a recorded free music improvisation, would lose its aesthetic-phenomenological status.