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  • User warning: Table './cmabeta/cache_filter' is marked as crashed and should be repaired query: UPDATE cache_filter SET data = '<p class=\"intro\">In <b>1977</b>,<b>Chamber Music America</b> (CMA) was founded in New York City by 34 ensemble musicians to <b>obtain recognition for the field</b> and to <b>increase funding opportunities for chamber music artists</b>.</p>\n<p> </p>\n<p>Chamber Music America was founded in 1977 by 34 musicians who were determined to bring greater recognition and opportunities to the ensemble music field.</p>\n<p> </p>\n<p>The founders envisioned an organization that would unite, serve, and advocate for the thousands of ensemble music professionals working in the field nationwide.  In its very first year, CMA launched an ensemble residency program, with support from the Josephine Bay Paul and C. Michael Paul Foundations. These residencies were among the first to bring live ensemble music out of the concert hall and into the community, with performances in venues such as museums, community centers, hospitals and schools.</p>\n<p> </p>\n<p>Shortly afterward, CMA was chosen by the National Endowment for the Arts to administer the Endowment’s first chamber music grant program.</p>\n<p> </p>\n<p>Ben Dunham, CMA’s first board chair, launched the newsletter “American Ensemble,” which continues today as <em>Chamber Music</em> magazine. Dunham also made a pioneering agreement with TEIGIT to offer health-insurance policies to the CMA membership.</p>\n<p> </p>\n<p>Professional development and career-building services began with the first National Conference in 1978. Today they are offered not only at the annual conferences, but also through seminars, institutes, individual consultations, and networking opportunities around the country and online.</p>\n<p> </p>\n<p>CMA opened its membership to presenting organizations in 1980; and managers, publicists, and music-related businesses soon followed. The field as a whole was now represented.</p>\n<p> </p>\n<p>Commissioning was another priority. Among the first works commissioned by members with CMA support were by Martin Bresnick, Ellen Taaffe Zwilich, and Charles Wuorinen—all in the early 1980s.  In 1997, Aaron Jay Kernis’s String Quartet No. 2—commissioned by the Lark Quartet with CMA support—won the Pulitzer Prize. The current, much-expanded Classical Commissioning Program is supported by The Andrew W. Mellon Foundation.</p>\n<p> </p>\n<p>Jazz has been a significant part of CMA’s activities since 2000. With major funding from the Doris Duke Charitable Foundation, current jazz programs support composition, performance and career-development.</p>\n<p> </p>\n<p>Thirty-four years after its founding, Chamber Music America serves a membership of nearly 6,000 ensembles, presenters, individuals, and music-related businesses. Since 1977 our ensembles and presenters have participated in more than 500 CMA-sponsored community residencies, and have commissioned nearly 250 classical/contemporary and jazz works with CMA funding.<br /> </p>\n<p>With the launch of our interactive, member-centered website in 2011, CMA has taken the next step in developing its role as an information center and hub—connecting the ever-expanding national community of chamber music professionals to one another and to their audiences.<span class=\"Apple-style-span\" style=\"font-size: 14px; \">    </span></p>\n<p><span style=\"font-size:14px;\"></span></p>\n<!--Before CMA existed, individual artists and small ensembles lacked the institutional standing necessary to gain access to government or foundation funding. But with the help of the Josephine Bay Paul and C. Michael Paul Foundations, the young CMA organization—its membership still less than one hundred—launched its first ensemble residency program in 1978. Only a year later, CMA was tapped to administer the first chamber music grant program ever offered by the National Endowment for the Arts.  </span></p><p> </p><p><span style=\"font-size:14px;\">     Quick to recognize that the health of the chamber music field depends upon presenters as well as artists, CMA opened its membership to presenting organizations, and in the ensuing decades created programs to support their growth.  Managers, publicists, and music-related businesses were soon invited into the organization as well.</span></p><p> </p><p><span style=\"font-size:14px;\">     Committed not only to tradition, but to fostering the music of our own time, CMA began to support the creation of new chamber works in 1982. Meanwhile, the organization’s signature residency programs were evolving and expanding. In the 1990s, the new, NEA-supported <em>Rural Residencies Program</em> funded long-term ensemble residencies in small towns across America. Today, CMA’s <a class=\"nat-conf-link\" href=\"//programs/classical/grants\"><em>Residency Partnership Program</em></a> has a broader reach; its grants have helped ensembles and presenters—in collaboration with community organizations—offer educational and audience engagement activities beyond the concert hall in urban, suburban and rural settings across the country.</span></p><p> </p><p><span style=\"font-size:14px;\">     Jazz became a significant part of CMA’s activities in 2000, when the organization, with major support from the Doris Duke Charitable Foundation, established a program to increase funding opportunities for jazz artists.  In addition to jazz residencies, current programs include <a class=\"nat-conf-link\" href=\"/programs/jazz/grants\"><em>New Jazz Works</em></a>, a commissioning program for composer-led ensembles, and<a class=\"nat-conf-link\" href=\"/programs/jazz/grants\"> <em>Presenting Jazz</em></a>, which supports the engagement of jazz ensembles by concert presenters.</span></p><p> </p><p><span style=\"font-size:14px;\">     Thirty-three years after its founding, Chamber Music America serves a membership of six thousand ensembles, presenters, individuals, and music-related businesses. In addition to providing an array of services and benefits to its members, CMA has supported hundreds of community residencies, as well as the creation of nearly 250 new classical/contemporary and jazz works. </span></p>--><!--Before CMA existed, individual artists and small ensembles lacked the institutional standing necessary to gain access to government or foundation funding. But with the help of the Josephine Bay Paul and C. Michael Paul Foundations, the young CMA organization—its membership still less than one hundred—launched its first ensemble residency program in 1978. Only a year later, CMA was tapped to administer the first chamber music grant program ever offered by the National Endowment for the Arts.  </span></p><p> </p><p><span style=\"font-size:14px;\">     Quick to recognize that the health of the chamber music field depends upon presenters as well as artists, CMA opened its membership to presenting organizations, and in the ensuing decades created programs to support their growth.  Managers, publicists, and music-related businesses were soon invited into the organization as well.</span></p><p> </p><p><span style=\"font-size:14px;\">     Committed not only to tradition, but to fostering the music of our own time, CMA began to support the creation of new chamber works in 1982. Meanwhile, the organization’s signature residency programs were evolving and expanding. In the 1990s, the new, NEA-supported <em>Rural Residencies Program</em> funded long-term ensemble residencies in small towns across America. Today, CMA’s <a class=\"nat-conf-link\" href=\"//programs/classical/grants\"><em>Residency Partnership Program</em></a> has a broader reach; its grants have helped ensembles and presenters—in collaboration with community organizations—offer educational and audience engagement activities beyond the concert hall in urban, suburban and rural settings across the country.</span></p><p> </p><p><span style=\"font-size:14px;\">     Jazz became a significant part of CMA’s activities in 2000, when the organization, with major support from the Doris Duke Charitable Foundation, established a program to increase funding opportunities for jazz artists.  In addition to jazz residencies, current programs include <a class=\"nat-conf-link\" href=\"/programs/jazz/grants\"><em>New Jazz Works</em></a>, a commissioning program for composer-led ensembles, and<a class=\"nat-conf-link\" href=\"/programs/jazz/grants\"> <em>Presenting Jazz</em></a>, which supports the engagement of jazz ensembles by concert presenters.</span></p><p> </p><p><span style=\"font-size:14px;\">     Thirty-three years after its founding, Chamber Music America serves a membership of six thousand ensembles, presenters, individuals, and music-related businesses. In addition to providing an array of services and benefits to its members, CMA has supported hundreds of community residencies, as well as the creation of nearly 250 new classical/contemporary and jazz works. </span></p>--><p></p>\n', created = 1398341359, expire = 1398427759, headers = '', serialized = 0 WHERE cid = '2:e04d3122919cd48be21cdc8ecceb2f86' in _db_query() (line 170 of /var/www/vhosts/cmabeta.mediumraredev.com/includes/database.mysql.inc).
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In 1977,Chamber Music America (CMA) was founded in New York City by 34 ensemble musicians to obtain recognition for the field and to increase funding opportunities for chamber music artists.

 

Chamber Music America was founded in 1977 by 34 musicians who were determined to bring greater recognition and opportunities to the ensemble music field.

 

The founders envisioned an organization that would unite, serve, and advocate for the thousands of ensemble music professionals working in the field nationwide.  In its very first year, CMA launched an ensemble residency program, with support from the Josephine Bay Paul and C. Michael Paul Foundations. These residencies were among the first to bring live ensemble music out of the concert hall and into the community, with performances in venues such as museums, community centers, hospitals and schools.

 

Shortly afterward, CMA was chosen by the National Endowment for the Arts to administer the Endowment’s first chamber music grant program.

 

Ben Dunham, CMA’s first board chair, launched the newsletter “American Ensemble,” which continues today as Chamber Music magazine. Dunham also made a pioneering agreement with TEIGIT to offer health-insurance policies to the CMA membership.

 

Professional development and career-building services began with the first National Conference in 1978. Today they are offered not only at the annual conferences, but also through seminars, institutes, individual consultations, and networking opportunities around the country and online.

 

CMA opened its membership to presenting organizations in 1980; and managers, publicists, and music-related businesses soon followed. The field as a whole was now represented.

 

Commissioning was another priority. Among the first works commissioned by members with CMA support were by Martin Bresnick, Ellen Taaffe Zwilich, and Charles Wuorinen—all in the early 1980s.  In 1997, Aaron Jay Kernis’s String Quartet No. 2—commissioned by the Lark Quartet with CMA support—won the Pulitzer Prize. The current, much-expanded Classical Commissioning Program is supported by The Andrew W. Mellon Foundation.

 

Jazz has been a significant part of CMA’s activities since 2000. With major funding from the Doris Duke Charitable Foundation, current jazz programs support composition, performance and career-development.

 

Thirty-four years after its founding, Chamber Music America serves a membership of nearly 6,000 ensembles, presenters, individuals, and music-related businesses. Since 1977 our ensembles and presenters have participated in more than 500 CMA-sponsored community residencies, and have commissioned nearly 250 classical/contemporary and jazz works with CMA funding.
 

With the launch of our interactive, member-centered website in 2011, CMA has taken the next step in developing its role as an information center and hub—connecting the ever-expanding national community of chamber music professionals to one another and to their audiences.