Komprovizácia – na margo diskusie o opodstatnenosti termínu
The term “comprovisation“ which is hybrid name based on terms composition and improvisation emerged in various discourses since the beginning of this century. These terms express different principles accessing music material which has a tension and a certain contradiction. Comprovisation is used for bringing closer poetry of some contemporary experimental music where the author of the composition is at the same time a musician/performer of this composition in experimental ensemble called Shock Theory (tEóRia OtraSu). According to the author, such komprovisation is a mutation of composed and intuitive music. This term can be found in some projects of the pianist Philip Thomas who says: „comprovisation is a celebration and exploration of the interface where composition and improvisation meet. Central to the project is a number of works composed by musicians who are associated with the world of improvised music”. This principle can be found also in works of artists such as: Michael Francis Hannan, Richard Dudas, Jean-Michel Van Schouwburg, Lawrence Casserley and others. The author is looking for the place for komprovisation in historical development among such composers as for example: Morton Feldman, Charles Ives, Henry Cowell, John Cage, Witold Lutoslawski, Edgard Varese… He talks about existence of Slovak alternative scene of comprovisation music.