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.
Gramophone contributor Laurence Vittes spotlights Prof. Tod Machover’s “Death and the Powers,” an opera about robots and humans that has recently been released as an “electrifying surround-sound thriller.” Vittes writes that “Machover’s arsenal of music stands triumphantly on its own, fusing and defusing technoflash from the composer’s MIT Media Lab with rich writing for Gil Rose’s Boston Modern Orchestra ensemble.”
Researchers from MIT and the Berklee College of Music “have started a blockchain platform called RAIDAR, designed to help musicians connect with potential clients (perhaps filmmakers or video game designers who need theme music) and get paid for their work without losing ownership,” reports Newsweek.
MIT researchers have developed a new fiber, dubbed OmniFibers, that could potentially be used to help regulate breath, reports Ray White for Mashable. “When sewn into clothing, the fiber can sense how much it’s stretched. It then gives tactile feedback to the wearer via pressure, stretch or vibration.”
WBUR’s Andrea Shea spotlights how every weekend, members of the MIT Guild of Bellringers bring to life the bells at Boston’s Old North Church. MIT Guild of Bellringers ringing master John Bihn explains that “it is really exciting thinking that I'm ringing the same bells that nearly 300 years ago Paul Revere was ringing.”
Prof. Jonathan Gruber speaks with Boston Public Radio about the economics behind the music industry. “Music is an incredibly good deal, but part of the reason it’s an incredibly good deal is because musicians don’t make anything,” says Gruber. “Basically the music economy today is exactly where the rest of the economy is today. It’s a superstar economy.”
Boston Globe reporter Noah Schaffer spotlights “Subject to Change,” a program on WMBR that explores the evolution of a single song. The show’s host, Patrick Bryant, “usually starts with the original before showing how the song changes when interpreted by jazz improvisers, pop crooners, bluegrass pickers, indie rockers, or how it sounds in foreign tongues or when sampled for a hip-hop track,” writes Schaffer. “A reggae version is seemingly inevitable.”
MIT researchers have created 3D models of spiderwebs to help transform the web’s vibrations into sounds that humans can hear, writes Angela Moore for Reuters. “Spiders utilize vibrations as a way to communicate with the environment, with other spiders,” says Prof. Markus Buehler. “We have recorded these vibrations from spiders and used artificial intelligence to learn these vibrational patterns and associate them with certain actions, basically learning the spider’s language.”
In a new data sonification project, a team of MIT researchers have translated the vibrations of a spider’s web into music, writes Maddie Bender for Motherboard. The team "used the physics of spiderwebs to assign audible tones to a given string’s unique tension and vibration," writes Bender. "Summing up every string’s tone created an interactive model of a web that could produce sound through manipulation or VR navigation."
A team of MIT researchers have translated the vibrations of a spider’s web into music, reports Isaac Schultz for Gizmodo. “Spiders live in this vibrational universe,” says Prof. Markus Buehler. “They live in this world of vibrations and frequencies, which we can now access. One of the things we can do with this instrument with this approach is we can, for the first time, begin to feel a little bit like a spider or experience the world like the spider does.”
Forbes contributor Andrea Morris spotlights how MIT researchers have created a virtual reality experience that allows people to experience a spider web’s vibrations as music. "The team is working on a study exploring the boundaries between the kinds of compositions we humans create from synthetic instruments and our own conventional tuning, and compositions created from instruments that have been crafted and tuned by other biological beings, like spiders," writes Morris.
NPR’s Scott Simon remembers former MIT Professor Michael Hawley. Simon notes that Hawley’s “Things That Think and Toys of Tomorrow projects prophesied so much of the ways in which our world would become digitally connected.”