This book sought to contribute innovations to the field of the study of creative processes in free improvisation based on a theoretical proposal of free improvisation as a distributed phenomenon, which emphasizes the fundamentally relational, dialogic, and developmental quality of the improvised phenomenon. In methodological and conceptual terms, the work sought to contribute to: (a) the construction of an innovative methodological path for the study of creative processes in a free improvisation performance that aims to observe the phenomenon through a psychologically focused perspective on the subjects; (b) the development of an integrative theoretical perspective of creative processes between psychology and music, which opens new possibilities for understanding the interactions involved in creation during free improvisation. Five aspects were highlighted in the final part of the book. First, the work brings tension that makes us think about two aspects of studies of creative processes: (1) one pointing to individual creativity and (2) one seeking to investigate creativity as a social construction. Second, although this work’s proposal does not have a pedagogical dimension, it directs us, at times, to issues related to the teaching and learning of musical improvisation. Third, temporality has numerous lenses through which we can look at it. I adjusted my Zoom for some and not for others. Fourth, musical improvisation, understood as a pleromatized mechanism of the human psyche, can lead to the development of complex signs without the need for the categorization function of human verbal language (Valsiner, Invitation to cultural psychology. Sage Publications, 2014). In this sense, musical improvisation becomes a higher psychological function that needs to be studied. Fifth, the model reveals that the musicians (actors) involved in the creative process act mediated by affective-semiotic instances. Therefore, when understanding creativity as a distributed phenomenon, it is essential to consider its dialogical character, mobilized by the processes of affective-semiotic self-regulation in the subjects and their impact on each creative act.