Danger music, often thought of as a subgenre within the broader Fluxus umbrella, presents a greater, if not the pinnacle, display of violence observed within all music history. The composition of purely harmful scores creates a distinction between the somewhat less violent provoking scores seen between Fluxus artistry. Nyman also marks a distinct shift away from the central Fluxus ideologies, regarding danger music, as he claims, " More recent danger music involves more direct conflict with performers or spectators." (New Directions in Music, Michael Nyman) The pieces that will be ethically evaluated are Danger Music Number Nine by Dick Higgins, Music for Wise Men by Jed Curtis and Music for a Revolution by Takehisa Kosugi of which draw upon this violent art form. Ethical intuitionalism, the …show more content…
Permissible harm, like many other deontological theories, reform against consequentalism, instead opting for nonconsequentalism which is defined by Kamm as not denying that consequences pose a factor in determining the righteousness of an act but instead insists that even when the consequences of two acts are the same, one may be still be perceived as right and the other wrong (Kamm, Rights, Responsibilities and Permissible Harm, page 11). Kamm throughout this book uses Phillipa Foot's trolley problem in order to demonstrate his principle of permissible harm. Permissible harm within the context of the Danger Music Number Nine score are presented as a psychologically harm, due to the lack of physical performance, with good intentions of presenting a moral wrong. It could be, after all, another way in which the ideology of Fluxus aims to challenge the perception of the world view of audience. The questioning if moral principles are defined through moral universalism, moral relativism and moral nihilism presents the pinnacle of ethical debate in this deontological study of danger