An interdisciplinary and sweeping overview,, Toop introduces the philosophy and practice of free improvisation (both musical and otherwise) within the historical context of the post-World War II era. Neither strictly chronological, or exclusively a history, Into the Maelstrom investigates a wide range of improvisational tendencies: from surrealist automatism to stream-of-consciousness in literature and vocalization; from the free music of Percy Grainger to the free improvising groups emerging out of the early 1960s (Group Ongaku, Nuova Consonanza, MEV, AMM, the Spontaneous Music Ensemble); and from free jazz to the strands of free improvisation that sought to distance itself from jazz. In exploring the diverse ways in which spontaneity became a core value in the early twentieth century as well as free improvisation’s connection to both 1960s rock (The Beatles, Cream, Pink Floyd) and the era of post-Cagean indeterminacy in composition, Toop provides a definitive and all-encompassing exploration of free improvisation up to 1970, ending with the late 1960s international developments of free music from Roscoe Mitchell in Chicago, Peter Brötzmann in Berlin and Han Bennink and Misha Mengelberg in Amsterdam.

Table of contents

1: (only begin) A DESCENT
2: FREE BODIES
3: collective subjectivities 1
4: OVERTURE TO DAWN
5: collective subjectivities 2
6: INTO THE HOT
7: solitary subjectivities
8: TROUBLED SEA OF NOISES AND HOARSE DISPUTES
9: collective objectivities
10: IMAGINARY BIRDS SAID TO LIVE IN PARADISE
11: postscript: the ballad of john and yoko
12: RAIN FALLING DOWN ON OLD GODS