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178 8.4 Chapter 8 Exceptions To conclude this Chapter, two brief yet important exceptions are necessary to complete this survey of musiciansâ practise and preparation: firstly, a minority of musicians who did not practise at all (and who, especially, never improvised in private) and, secondly, musicians who used âcontrolled-discontrolâ to generate and explore new materials during the course of performance, and who departed from their repertoire of practised and immediately-available materials to create surprise, freshness and specific musical effects. Not Practising Contrary to fellow electronic musician JD Zazieâs private recording and reflection, and despite his time-consuming preparation of sound sources, Valerio Tricoli was almost entirely opposed to the idea of practising improvisation before performance. For him: It doesnât make any sense to me, to practise... [and] Hans-Georg Gadamer46 explains this very well. There is this concept, this old German concept, of the Kammerspiel. Kammerspiel is, in the beginning, the idea that you play for yourself. So that you play without an audience. What Hans-Georg Gadamer says, is when you play with no audience and you just play for yourself, anyway you are projecting the idea of an audience outside of yourself. And this idea of Gadamer I think is very true. But this projection that you make... it doesnât give you any fucking feedback. So the tension that you have is between you, musician, and you projecting yourself as an audience [is] just so self-centred that there is no way that you could do what youâre actually doing when you play live. Like Tricoli, who described how, âEven if I buy a new small piece of gear, I maybe try it once before then performing with it - try it once and then, âOh, ok. Letâs seeâ â, Burkhard Beins investigated his materials only on the most basic level prior to performance:47 If I find something new thatâs interesting Iâm trying to explore it a little bit more on my own, but then I leave it, and then I just explore it in the actual work process or playing process. [...] Practising is not what Iâm so interested in. 46 Gadamer (1900-2002) was a German philosopher best known for his 1960 work Truth and Method (Wahrheit und Methode). 47 Despite Beinsâ advance mental preparation (see p. 170).