"What is a note, if not a sound deprived of its phenomenal freedom? This assumption seems to have guided the entire history of “spontaneous music”, originated from the radical improvisation practices introduced in the sixties: an anti- academic approach which, thanks to the enthusiasm of its pioneers, %rst manifested itself in thunderous forms to then follow, a few decades later, the path of reduction, meaning a renewed attentiveness to the “musical” dignity intrinsic to sound matter in its most elementary forms, revealed in its less evident qualities"