Music

Boston Globe reporter Malcom Gay spotlights the new Edward and Joyce Linde Music Building, a “new hub for music instruction and performance” for MIT’s 30 on-campus ensembles and more than 1,500 students enrolled in music classes each academic year. Gay notes that: “The more than 35,000-square-foot structure offers a variety of classroom, performance, rehearsal, and studio spaces.” He adds that there will be “more than 25 concerts at Tull Concert Hall that are open to the public this spring.”

On October 8, the MIT Museum is hosting a “Techno, Art, and Music Robots talk with artist and engineer Moritz Simon Geist,” reports The Boston Globe. The talk will focus on “the intersection of music and robotics,” writes The Boston Globe. 

Boston Globe contributor Veronique Greenwood recounts her experience learning bell ringing after moving to England. Briefly returning to Boston, she joined the MIT Guild of Bellringers to ring at the Old North Church. Among many life lessons derived from ringing, she says “adulthood seems to be reached by a process of trial and error that allows us, in the end, if we are lucky, to maintain the illusion of constant balance.”

The MIT Summer Philharmonic Orchestra is celebrating its 25th anniversary season with a new concert, “Celebrating Milestones of Excellence,” reports Emily Wyrwa for The Boston Globe. The concert will be led by “music director and conductor George Ogata, the performance will feature music from Mexican composer Arturo Márquez, Argentine composer Alberto Ginastera, and Italian composer. Ottorino Respighi,” explains Wyrwa. 

Prof. David Kaiser joins Grammy winning producer Jack Antonoff and host Matt White of Sing for Science to discuss the nature and perception of time. Kaiser helps illustrate, “the idea that we're experiencing things that can seem to take a long time or short time, and that has to do with our state in the world, and not only about what the clock is saying on the wall.”

Prof. Tod Machover joins GBH’s The Culture Show to discuss artificial intelligence in music, from exciting new tools to debates about licensing. Speaking with host Jared Bowen, he says “the field is changing so fast right now, it’s so important to keep up and also to decide how to influence it, because we’re trying to push this towards a positive end.”

A celebration in Killian Hall featured recent works composed by Professor Peter Child and honored the musician as he prepares to retire after 37 years of teaching and composing at MIT, writes Boston Musical Intelligencer reporter Mark DeVoto. “All of these very different kinds of music demonstrated the protean spirit of Peter Child, showing him as one of the most interesting and heartily youthful composers anywhere in America today,” writes DeVoto. 

Jared Sadoian ’10 speaks with Boston Globe reporter Kara Baskin about his work as director of operations for Cambridge Street Hospitality. “My day consists of email and spreadsheets, and budgeting and planning and analysis,” says Sadoian. “At the same time, it’s very firmly rooted in guest-facing hospitality that most readers might be more familiar with: talking to guests and taking reservations and making sure that folks are happy in the restaurants, and solving problems. Maybe it’s making a drink. This job is all-encompassing, and I love it for that reason, because I ran away from the office life.”

WBUR’s Lloyd Schwartz spotlights Prof. Tod Machover’s revival of “VALIS” at MIT, staged by Prof. Jay Scheib. “The score is an inventive and often hauntingly beautiful arrangement of synthesizer, live instruments, and electronically expanded instruments,” writes Schwartz, “which Machover calls ‘hyper-instruments,’ a compelling amalgamation of minimalism, medieval, Wagner and rock.”

Prof. Tod Machover speaks with Boston Globe reporter A.Z. Madonna about the restaging of his opera ‘VALIS’ at MIT, which features an AI-assisted musical instrument developed by Nina Masuelli ’23.  “In all my career, I’ve never seen anything change as fast as AI is changing right now, period,” said Machover. “So to figure out how to steer it towards something productive and useful is a really important question right now.”

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.”