Music

New York Times reporter Thomas May spotlights Prof. Tod Machover’s chamber opera “Overstory Overture,” based on Richard Powers’s novel “The Overstory.” May notes that Machover “has developed novel approaches to electronics and is a trailblazer in the applications of artificial intelligence to music.” Of his desire to create an operatic adaptation of Powers’s book, Machover explains, “I’ve always wanted to write a theatrical work with many strands that come together in an unusual way.”

Prof. Josh McDermott co-authored a study that explores how music and podcasts can impact a person’s mood, reports Charlotte Hu for Popular Science. “There’s this big cultural shift in the way that we consume music and other audio that really happened over the last decade,” says McDermott. “It’s just changed the way that people live and probably has a lot of important effects.”

Washington Post reporter Michael Andor Brodeur spotlights Prof. Tod Machover’s work exploring the concepts and techniques needed to advance the future of music, including using AI to help “exponentially increase access to music and creative tools for making it.” Machover explains that to him “pieces of music aren’t just pieces of sound. They’re because some human being thought something was important to communicate and express.”

Collage New Music, Boston’s longest-running contemporary music group, will be performing at MIT’s Killian Hall on March 12, 2023, reports Lloyd Schwartz for WBUR. Schwartz also notes that Professor Emerita Ellen Harris will be introducing the Boston Camerata production of “Dido and Aeneas” on March 18 at Pickman Hall.

Wasalu Jaco (professionally known as Lupe Fiasco), an MLK Visiting Scholar, speaks with MLK Visiting Prof. C. Brandon Ogbunu about his appointment at MIT, views on the music industry and advice for creatives. “From a research standpoint, I was like, ‘I need new things to talk about.’ Then you realize, ‘Oh, rapping isn’t just songs, it isn’t just creating bars. It’s the way we arrange ideas in a novel way,’” says Jaco. “And then I ask: Is there something deeper to that, and what’s the best space to explore that? It’s the academic space, the laboratory space.” 

Prof. Tod Machover’s multi-sensory musical score, “Brain, Body + Breath,” will premiere at the MIT Museum the weekend of Oct. 14, reports Lauren Williams for WBUR. “The concert will explore how music affects our entire beings, whether we are performing or listening to it,” writes Williams.

“Cosmic Cowboy,” a new sci-fi opera composed by lecturer Elena Ruehr, explores “the mysteries of space, time and love,” reports Llyod Schwartz for WBUR. Additionally, Schwartz spotlights how Collage New Music, a contemporary music series directed by David Hoose, will be held on October 16, 2022 at Killian Hall.

Prof. Emily Richmond Pollock weighs in on how interpretations of the 1812 Overture, a common Fourth of July prelude, has changed over time, reports Javier C. Hernández for The New York Times. “It has been used for different purposes throughout history,” says Pollock. “In 2022, with ambivalence about Russian power, it has come to mean something different. And it could mean something different again in the future.”

After 50 years, Michael Gruenbaum ‘53 successfully published "Tell Me About Beethoven,” a book he wrote with his late wife, Thelma, as a tribute to the composer and to educate and entertain their three sons, writes Cindy Cantrell for The Boston Globe. Gruenbaum, who notes that he wanted to publish the book to help raise awareness of his wife’s talents as a writer, noted that Beethoven, “had to overcome so many obstacles in his life, and yet that didn’t deter him from doing what he wanted to do: compose music the way he liked to compose it, and the way it had never been done before.”

Wasalu Jaco – the Grammy-award winning rapper, entrepreneur and producer better known as Lupe Fiasco - will be teaching rap at MIT next spring as part of MIT's MLK Visiting Professors and Scholars Program, reports Dana Gerber for The Boston Globe. “MIT stands as the pinnacle of higher learning and execution for so many, including myself,” says Fiasco. “I’m overjoyed to have the opportunity to be in the midst of some of the world’s greatest minds to offer my humble perspective and absorb new practices and principles.”

Prof. Markus Buehler and his lab have been studying the sonification of molecules by capturing their vibrations and using a computer program to turn the mini vibrations into audible sounds, reports Sofia Quaglia for Smithsonian Magazine. “Buehler believes that since creativity has led to such complex varieties of music over the years—from classical to techno—maybe this creativity could be translated from an immaterial, pleasant experience, to scientific knowledge to make something physical,” writes Quaglia.

Graduate student and violinist Lily Tsai recently performed in a benefit concert for the Newton Food Pantry and Community Freedge, raising over $1,000, reports Charlotte Howard for The Boston Globe. “Everywhere you go there are going to be people who love to play and give back to the community and bring joy through music,” Tsai said.

Prof. Ekene Ijeoma speaks with KUER’s Ivana Martinez about his group’s art project, “A Counting,” which spotlights people counting to 100 in their native languages. “I think [this is] speaking to ideas of what it means to live in this diverse society,” said Ijeoma. “And whether or not we're able to live up to the dream of this society, which is — we're a multicultural place. Can we actually be that?”

Prof. Emily Richmond Pollock speaks with Isaac Chotiner of The New Yorker about how some Western institutions have cancelled performances by Russian artists following the Russian invasion of Ukraine. “Some of the discussion of these issues has fallen into some old patterns of thinking that we as musicologists are alert to,” says Pollock, “and want to warn against, which includes reacting to these kinds of bans by insisting that music is apolitical, or that there’s something fundamentally and inherently apolitical about music, which is a really problematic and untrue statement, and a knee-jerk response.”

Smithsonian Magazine reporter Margaret Osborne spotlights MIT researchers who have discovered that specific neurons in the brain respond to singing, but not sounds such as road traffic, instrumental music and speaking. “This work suggests there’s a distinction in the brain between instrumental music and vocal music,” says former MIT postdoc Sam Norman-Haignere.