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116 Chapter 6 8. âAll-Overâ Improv Typified by the youngest generation in Berlin (late 20s-early 30s), but characterised here using a term introduced by Chris Heenan (who was a little older), All-Over Improv was Improvised Music that veered between any, or all, of the above aesthetics within one performance - alternating textural sections with Free Jazz, or interspersing atonal Neue Musik-like pitched music with bouts of acoustic noise. Such musicians were aware of many, or all, of the above styles of Improvised Music, and mixed them knowingly. Two Umbrella Terms In addition to these eight aesthetic sub-styles of Improvised Music-making, two umbrella terms (not referring to aesthetics, but to general approaches and social cliques) were also used to differentiate between different musical practices, and to conclude this section, these are briefly outlined below. 1. Instant Music, Immediate Music, Real-time Music Not dependent on aesthetics, terms such as âInstantâ, âImmediateâ and âReal-timeâ were used to place the emphasis on energy, and the fact that music was being created âin the momentâ - deliberately avoiding the issues of terms such as âimprovisedâ and âcomposedâ,13 and stylistic and aesthetic considerations. 2. Echtzeitmusik As shown in Chapter 2, far from referring to a specific aesthetic or approach, and not to be confused with Berlin Reductionism, the term Echtzeitmusik pointed to the activities of musicians from the Echtzeitmusik-scene, which itself was defined by the social milieu of mid-1990s Mitte and Prenzlauer Berg. Many such musicians were involved in the Reductionist movement, however the Echtzeitmusik-scene also included performers working in electronic music, Neue Musik, visual art, avant-pop and performance art.14 âacoustic noiseâ was related to me by clarinettist Michael Thieke, who, one day with Rupp on the S-Bahn, was asked by some youths what kind of music he and Rupp played. The answer, rather than Improvised Music (which they considered would be meaningless to the young men they had met), was Acoustic Noise. 13 Chris Heenan told me, âItâs funny, I have some friends in the States who are in this kind-of creative music area, but they stopped using the âi-wordâ. It kinda became the âi-wordâ, a dirty word. Because it somehow implies that youâre not thinking about it ahead of time. This is not fully true.â See Chapter 8 for more on the question of âHow improvised is Improvised Music?â, and an Improvised Music-specific definition of the term âimprovisationâ. 14 See pp. 45 and 46.