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[KQED Arts] Cinquante ans de musique contemporaine au Mills College (en anglais). Extraits.

The Center for Contemporary Music (CCM), established as the Mills Tape Music Center at Oakland’s historic liberal arts college 50 years ago, is a small institution with an outsized impact on the vanguard of 20th century music, boasting luminaries such as Robert Ashley, Steve Reich, Terry Riley, Pauline Oliveros, and Laurie Anderson among its graduates and faculty.

The department’s pre-history — CCM emerged in 1966 from the San Francisco Tape Music Center, the countercultural collective that commissioned the late Donald Buchla’s eponymous, groundbreaking synthesizer — still colors a pedagogical emphasis on interdisciplinary collaboration, hands-on engineering, and aesthetic risk.

The arrivals of David Behrman, a CCM co-director and close collaborator of Robert Ashley’s, and David Rosenboom, the composer and electronic instrument builder, pivoted CCM towards the forefront of digital synthesis and computer music. They looked to collapse the differences between composition, programming, and engineering — empowering artists to invent tools as well as use them.

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