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.”
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.