Despite new discoveries regarding Henry Purcell’s opera “Dido and Aeneas,” mystery remains, writes Prof. Emeritus Ellen Harris in The New York Times. Even with the lack of certainty surrounding details that provide understanding of a piece of music, “the history of ‘Dido and Aeneas’ has only grown richer as we have discovered how little we actually know,” concludes Harris.
Boston Globe reporter Mark Shanahan spotlights Senior Lecturer Ken Urban’s new holiday song, “The Time of the Year.” “I had an idea to write a song that was truthful about the holidays — or at least more ambivalent than the stuff you hear in stores,” said Urban.
MIT Media Lab project, Biota Beats, collects bacteria from different parts of the body and turns it into music, reports Erin Blakemore from The Washington Post. “The team crowdsources swabs from body parts — including mouths, feet, and armpits — then cultures the microorganisms on petri dish-like ‘records,’” Blakemore writes.
STAT reporter Hyacinth Empinado highlights Media Lab Research Scientist David Kong’s new project Biota Beats, which uses bacterial data as the basis for hip-hop melodies. “Music is one of the great universal languages of our human society. We thought this would be a really, really wonderful way to engage the broader public and get them excited about science through music,” said Kong.
David Weininger of The Boston Globe writes about the longest instrumental work composed by Prof. Keeril Makan, a 47-minute movement performed by the New York-based chamber ensemble Either/Or. “Makan creates a succession of fresh and inventive colors, especially when he places two unusual instruments — glockenspiel and cimbalom — in dialogue,” writes Weininger.
Prof. Emeritus Stephen Erdely, who taught at MIT from 1973 to 1991 and also served as chair of the music department, died on Feb. 25, reports Bryan Marquard for The Boston Globe. Marquard writes that Erdely, an acclaimed violinist, “delighted audiences with duets through the years” with his wife, pianist Beatrice Erdely.
Boston Globe reporter Marc Hirsh writes about a performance of David Bowie’s final album “Blackstar” at Kresge Auditorium, conducted by Prof. Evan Ziporyn. Hirsch notes that the “orchestra’s approach took advantage of the rich, jazz-infused harmonic palette of ‘Blackstar.’”
Prof. Evan Ziporyn and Visiting Artist Maya Beiser speak to Arun Rath of WGBH about their work at MIT’s Center for Art, Science & Technology (CAST) and their performance of David Bowie’s final album. Ziporyn explains that CAST’s purpose is to “energize cross relations between those disciplines, which is something MIT has had going on basically since it was MIT.”
Prof. Evan Ziporyn speaks with Jeremy Goodwin of WBUR’s The Artery about his orchestral arrangement of “Blackstar,” David Bowie’s final album. The key to this arrangement isn’t recreating the album, it’s about “finding the feel of each of the movements and finding how are you going to get that to function with live players in large forces,” Ziporyn explains.
Linda Poon of CityLab writes about Prof. Tod Machover’s latest project turning the sounds of Miami and Philadelphia into symphonies, using audio and video captured by local residents. “There's an incredible kind of liveliness, a combination of restaurants and people talking with the open ocean on one side and streets on the other,” says Machover of Miami’s sounds.
Boston Globe reporter Andy Rosen writes about a new MIT study examining how the brain perceives rhythm that finds people tend to reorganize random series of beats into familiar patterns. “We think that these biases on rhythm, they probably are really important to how you hear music,” explains Prof. Josh McDermott.
Grace Leslie, a Media Lab visiting scientist, is creating music using the signals produced by the electrical activity of her brain and changes in her heart rate, writes Richard Gray for BBC Future. Leslie believes that this new form of musical expression “could be used to help those who have difficulty interacting with the world, such as those with autism.”
A study co-authored by Prof. Josh McDermott dispels the theory that musical preference is rooted in biology, writes Jacqueline Howard for CNN. "We need to accept and document the differences in how other cultures hear the world. The opportunities to do so are rapidly diminishing with the diffusion of Western music around the world,” says McDermott.
Wall Street Journal reporter Daniel Akst writes that MIT researchers have found that our musical tastes are culturally instilled. The researchers played consonant and dissonant chords from members of a remote Amazonian tribe and found that “they had no preference for one sound over the other—unlike the large majority of North Americans and Europeans, who prefer consonance.”
Taste in music is based on culture and not biology according to a new study by Prof. Josh McDermott, writes Emily Reynolds for Wired UK. The Tsimane' tribe the researchers surveyed plays music one line at a time, not simultaneously like Western countries, and they had no preference for dissonant and consonant sounds.