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The Social, Ethical, and Transformative Energy of Trans-Mutational-Improvisation

The Social, Ethical, and Transformative Energy of Trans-Mutational-Improvisation. Charlie Bramley, PhD in Music, University of Newcastle upon Tyne . The structure of the non-improvised monopoly. Structure and effects of non-improvised music:

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The Social, Ethical, and Transformative Energy of Trans-Mutational-Improvisation

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  1. The Social, Ethical, and Transformative Energy of Trans-Mutational-Improvisation Charlie Bramley, PhD in Music, University of Newcastle upon Tyne.

  2. The structure of the non-improvised monopoly Structure and effects of non-improvised music: • All sonic elements are reducible to symbolic forms that are re-presentable. • Difference can never express itself to its fullest, as it has to be assimilated into the homogenised musical form. • Implies culturally that only those able to perform to this skill set are valid as musicians, thus stifling participation.

  3. Trans-Mutational-Improvisation and the expansion of difference • Video Examples of Trans-Mutational-Improvisation:

  4. • A definition of improvisation: a group of independent items which have been put together by spontaneous means and which together do not aim for, or represent, a unified whole, and cannot therefore be adequately re-presented. • A particularly open and ‘authentic’ type of improvisation, which places no restrictions on what can and cannot be expressed. • Produces a kind of ‘transformative inclusivity’ in which the musical space is no longer inclusive, or exclusive, but homeless.

  5. The ethics of a collage of difference • Trans-Mutational-Improvisation ‘taps into’ a Sartrean ethics, which requires a ‘mutual trade-off’ - in order for me to be free, the Other must also be free. • This promises a level-playing field for people from vastly different backgrounds. • The ethical collage of difference is not harmonious, but often at odds with itself, constantly questioning and probing itself for answers that only lead to more questions. Nevertheless, no actual boundaries are created between player and audience.

  6. Conclusions

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