This panel discusses the CMS archives and the preservation efforts now underway that will make its recordings, texts, scores, courses and other materials available to the public.
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.
My body goes here
An examination of the new jazz that emerged shortly after the middle of the 20th century. Discussion will include the work of musicians such as Ornette Coleman, Cecil Taylor, Don Cherry, Anthony Braxton, Carla Bley, Albert Ayler, and the Art Ensemble of Chicago; the economics and politics of the period; parallel developments in other arts; the rise of new performance spaces, recording companies, and collectives; the accomplishments of the music and the problems it raised for jazz performance and criticism.