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Aesthetic Distinctions and Musical Lives 6.3 125 Musical Lives: Other Musical Activities So far, this chapter has concentrated mainly on musicians whose lives were centred around Improvised Music-making, and yet, as quantitative research revealed, at least a third of Berlinâs improvisers were also active as composers, and almost all participated in other forms of art and music (Figure 6.1).42 This section discusses the relationship between these activities, as well as identifying the various (personal) ideologies which united each musicianâs output and activities. Jazz, Free Jazz Sound Art, Field Recording, Electroacoustic Music Classical Music, Neue Musik (performer or composer) Noise, Industrial, Drone Theatre, Dance, Poetry Rock, Pop, Punk, âWorldâ Uses Electronics Active as a Composer (any genre) 32% 13% 24% 10% 26% 15% 38% 33% Figure 6.1: Other practices and interests of Berlinâs improvisers. Categories were not mutually exclusive. Of those mentioned already, Axel DoÌrner had occasional interests in dance, theatre and electronic music,43 as well as composing for more jazz-based bands such as Die EnttaÌuschung 44 and playing in Sven-AÌke Johannsonâs Cool Quartet. Rudi Mahall and Christian Lillinger were well-known in the German and international jazz scenes for their work with the groups Der Rote Bereich and Hyperactive Kid,45 Tristan Honsinger composed for dance and theatre (at the time of our interview he was writing a piece for an amateur choir in Italy), and Burkhard Beins was dealing with partially-composed pieces that bordered on Neue Musik with the group Polwechsel,46 while also presenting his installations Sekante and Modulation I in Quiet Cue, and composing electroacoustic 42 Of those interviewed, only Olaf Rupp and Chris Heenan were active purely in the field of Improvised Music during 2012-13. All the terms used here (âclassicalâ, âpopâ, âdroneâ and so on) are of course problematic and are employed loosely - in the sense to which they were referred to during interviews and on musiciansâ websites. The term âclassical musicâ was taken as referring to pre-20th Century European classical music, in order to distinguish it from Neue Musik (20th -21st Century classical music). 43 DoÌrner described occasional performances with dancer Takako Suzuki, where he recorded location-specific sounds before creating a 4-channel electroacoustic piece, which he then improvised to on trumpet, also moving around on the stage. 44 Literally, âThe Disappointmentâ. Along with pianist Alexander von Schlippenbach, Die EnttaÌuschung also recorded and performed the complete compositions of jazz pianist Thelonius Monk, under the title âMonkâs Casinoâ. 45 Der Rote Bereich (in its longest-running line-up of Mahall, Frank MoÌbus and John SchroÌder) was one of Germanyâs most influential modern jazz groups of the mid-1990s and 2000s. Lillinger (of Hyperactive Kid ) told me, âI played a lot completely free, but I have a ton of bands that play compositions tooâ, his own project, Grund, a good example. 46 Polwechsel was an international ensemble that has existed in various configurations since 1993, previous members including John Butcher and Radu Malfatti. The group was a great influence on many Reductionist/Post-Reductionist improvisers interviewed in this thesis, including Beins himself (see p. 141).