Boston Globe reporter Jeremy Eichler reviews the final concert performed this year as part of Sounding, a new annual concert series at MIT, which featured a celebration of American experimental music. The annual series concluded on Saturday night with a “roiling and joyful 80th birthday tribute to minimalist pioneer Terry Riley,” Eichler writes.
Adam Rutherford of BBC Radio 4 speaks with Prof. Nicholas Makris about his work examining the evolution of violin design during the 17th and 18th centuries. Makris explains that, “if you go over that roughly 200 years you see that the F-hole length was increasing over that time period,” an adjustment that increased the violin’s acoustic power.
The Naked Scientists feature Prof. Nicholas Makris explaining his research on the evolution of violin design and performing on the lute. Makris explains his finding that the violin’s “F-hole length increased from the Amati time period to the Guarneri time period," making the instrument's sound more powerful.
A new study conducted by MIT researchers examines the unique acoustical properties of Cremona-era violins’ F-shaped holes, writes Douglas Quenqua for The New York Times. “The scientists found that the length of the holes, not the width, and the strength of the back plate had the biggest effects on sound quality,” Quenqua explains.
Matt Cantor of USA Today writes that by examining the key features that augment a violin’s sound, MIT researchers have found that the shape and design of the “f-holes” give the instrument its acousitcal power. The researchers also found that the instrument’s shape evolved gradually over time, by chance.
The Economist writes about a new MIT study examining the development of violin design, which was found to have evolved by chance. The researchers also found that the shape and length of the violin’s “f-holes” give the instrument its acoustical power.
A new study conducted by researchers from MIT found that a violin’s acoustic power comes from the design of the instrument, writes Joseph Dussault of The Christian Science Monitor. The researchers also found that the “violin’s distinctive, f-shaped sound hole came not as a result of human ingenuity, but rather a series of random mutations.”
Devin Coldewey of NBC News writes about new MIT research into the evolution of violin design. The researchers found that “the characteristics of the instruments underwent changes surprisingly like evolution by natural selection,” Coldewey explains.
Junior Madison Douglas speaks with Boston Globe reporter Marvin Pave about the many activities she is involved in at MIT, including researching volcanic activity in Spain, playing flute in the orchestra and serving as the women’s sabre squad leader. “I really enjoy everything I do, but at the same time I have to be disciplined and maintain a balance,” says Douglas.
Artist Pawel Romanczuk, who performed at MIT last week, has been working with MIT students to make instruments from different materials. Romanczuk explains to Boston Globe reporter Kevin Hartnett that his work is about “finding a new way for making music, searching for new sources of sound.”
Russell Platt writes for The New Yorker about Professor Keeril Makan’s music. “The work’s brave exploration of expressive territory makes it memorable. It’s lulling, thrilling, and, at times, downright eerie,” writes Platt of Makan’s piece “Resonance Alloy.”
David Weininger reports for The Boston Globe on the Radius Ensemble’s performance of “Nothing is More Important,” a piece composed by MIT Professor Keeril Makan. “Makan's piece begins with an obsessive focus on a single note, from which it never completely escapes,” writes Weininger.
When students at MIT banded together in 1978 to form a football team, another group of students came together to start the Institute’s marching band, writes Ben Cohen for The Wall Street Journal. “You have to have a marching band if you have a football team,” said marching band co-founder Tom Gaul.
Writing for The New York Times, Michael Cooper reports on Prof. Tod Machover’s new work about Detroit, “Symphony in D.” “I look forward to working with Detroiters from all backgrounds to create a collective musical portrait of this exciting moment in the city’s history, when everything is being rethought and anything is possible,” says Machover.
Three new works composed by MIT lecturer Elena Ruehr are premiering over the coming weeks, reports David Weininger for The Boston Globe. “The next two weeks constitute a sort of bicoastal mini-festival of new works by Ruehr,” he writes. “It’s an enviable burst of activity for any composer.”