Listening, as the central act of the musical act, reaches its maximum intensity in the context of multidisciplinary improvisation, both on the part of the audience and the performers. The generation of material through improvisation places us in a state of constant attention, where it is necessary to react to the emergence of new ideas that may arise from chance, accidental mistakes, deviations or even new sound imaginaries.

The guitarist Amidea Clotet offers us a dialogue between sound and movement with the dancer Sònia Sánchez. This exchange invites us to reflect on the role of listening in generative improvisation. How does a performer listen to herself while improvising, and how does she respond to her own deviations, accidents or new solutions that appear live? How does the movement react to the sound, and how is the sound modified according to the proposals of the movement?

Listening, the core of the musical act, manifests itself in this context with all its intensity.

Biographies

Amidea Clotet (Málaga, 1997) is one of the emerging figures of the generative improvisation scene in Barcelona. She studied electric guitar at the Liceu conservatory, as well as a year of contemporary composition in Denmark, where she began to find her way with improvisation. Creating spontaneous soundscapes through extended techniques and objects, raw music that emerges as a response to the times we live in; a dual game between a risky sound experimentation opposed to the beauty of the subtle.

Sònia Sanchez. Dancer from flamenco, free improvisation and body weather Japanese dance. He leans through the labs of improvised sound through the body. The foundations of his works are found in the flamenco roots of sound in space, the body that sounds in motion and danced space. He began his investigations between the attitude of flamenco rhythm and the organic speed of body weather in 2001. In 2004, he added free music to his empirical path and, since then, he devotes himself every day to exploring all these worlds and horizons.