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Since the late eighteenth century and the flowering of Romanticism, western classical or 'art' music has adopted aesthetics which aim to express 'the great and sublime in nature' (Burke, Edmund. 1757. A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and the Beautiful. New York: P. F. Collier and Son Company). However, though improvisation was a source of inspiration and motivation for creative expression, the rise of romantic aesthetics sacralised composers' creative processes and their works, ultimately producing the more restricted concept of Werktreue, or fidelity to the score (Goehr, Lydia. 1994. The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music. Oxford: Clarendon Press.). In this article, I turn to the writing of Louis Althusser (1971. Lenin and Philosophy, and Other Essays. Translated by Ben Brewster. New York: Monthly Review Press) to illustrate how implicit values and beliefs within the cultural institutions of classical music form an ideology which dominates the individual in a way described as 'hegemonic'. As a result, classically-trained musicians are excluded from improvisational practices, because: (i) they must act within a culture in which improvisation itself is misunderstood, misrepresented and suppressed, and (ii) the act of 'interpellation', in which ideology is interpreted by the individual, encourages musicians themselves to identify and seek fulfilment through non-creative, non-improvisatory practices. Lastly, I explore a way out from the determining tendency of ideology, explaining how the act of improvisation offers an alternative musical role which is genuinely creative and indeterminate; allowing the musician to become ideologically aware, and thus free to choose their own musical identity. [ABSTRACT FROM AUTHOR]

An introduction is presented which discusess topics within the issue including musical aesthetics; asymmetrical position of tone colour between empirical data, the phenomenology of touch-in-sound; and musical affordances of timbre.