This panel explores the Creative Music Studio's embrace of non-Western, non-European instruments and practices with alumni who are important vectors of this pan-cultural synthesis. In the same spirit, it questions and deconstructs the idea of "world music," citing Ravi Shankar's aphoristic comment that "everybody lives in the world."
Moderator Adam Rudolph is a composer, improviser and percussionist whose Organic Orchestra realizes a music notation and conducting system he developed.
This is the second part of a panel moderated by Karl Berger discussing the philosophy of music education at CMS. Participants are Marilyn Crispell, James Emery, Oliver Lake, and Ingrid Sertso. Click here for Part I.
This panel discusses the philosophy of music education at CMS. As moderator Karl Berger puts it, the program gives students "ways to deepen the experience of playing and listening to music, focusing on attention, expression, and communication." The panelists are composer Marilyn Crispell, guitarist and composer James Emery, saxophonist and composer Oliver Lake, and vocalist and CMS founder Ingrid Sertso. Click here for Part II.
Creative Music Studio was founded in 1971 by Karl Berger, a vibraphonist, pianist and composer; his wife, vocalist Ingrid Sertso; and the saxophonist Ornette Coleman. Its musicians came from astonishingly diverse national, generational, and stylistic backgrounds. Yet they came together to play, think, and live music. CMS practice shaped musical ways and ideas that inspired participants to go on to become leading lights in improvised music around the world in the ensuing years. Hundreds of live recordings were produced documenting what was performed there.
Alto saxophonist Michael Hashim recounts his experiences touring with a group led by drummer Stefan Schatz under the auspices of the US State Department in the Palestinian enclaves. The interview touches on the reasons for the tour, the difficulities of traveling under the tight security regime, and the musical points of accord and dialogue the group was able to achieve nonetheless with Palestinian musicans playing their own native instruments.
This comprehensive study, the first to be written by an African American, is a precursor to the fields of cultural studies and critical race theory. William J. Harris discusses the implications of this sociocultural history of African American music and its unique place in American music history and culture. The talk marks the 50th anniversary of Amiri Baraka’s classic, which was published in New York City On September 25, 1963 with a first impression of 5000 copies and never went out of print.
George Lewis performs with the League of Electronic Musical Urban Robots (LEMUR) at the 3-Legged Dog, New York, May 31, 2007.
My body goes here