Music know-how took middle stage at MIT throughout “FUTURE PHASES,” a night of works for string orchestra and electronics, introduced by the MIT Music Know-how and Computation Graduate Program as a part of the 2025 Worldwide Laptop Music Convention (ICMC).
The well-attended occasion was held final month within the Thomas Tull Live performance Corridor throughout the new Edward and Joyce Linde Music Constructing. Produced in collaboration with the MIT Media Lab’s Opera of the Future Group and Boston’s self-conducted chamber orchestra A Far Cry, “FUTURE PHASES” was the primary occasion to be introduced by the MIT Music Know-how and Computation Graduate Program in MIT Music’s new house.
“FUTURE PHASES” choices included two new works by MIT composers: the world premiere of “EV6,” by MIT Music’s Kenan Sahin Distinguished Professor Evan Ziporyn and professor of the follow Eran Egozy; and the U.S. premiere of “FLOW Symphony,” by the MIT Media Lab’s Muriel R. Cooper Professor of Music and Media Tod Machover. Three further works have been chosen by a jury from an open name for works: “The Wind Will Carry Us Away,” by Ali Balighi; “A Clean Web page,” by Celeste Betancur Gutiérrez and Luna Valentin; and “Coastal Portrait: Cycles and Thresholds,” by Peter Lane. Every work was carried out by Boston’s personal multi-Grammy-nominated string orchestra, A Far Cry.
“The ICMC is all about presenting the most recent analysis, compositions, and performances in digital music,” says Egozy, director of the brand new Music Know-how and Computation Graduate Program at MIT. When approached to be part of this yr’s convention, “it appeared the proper alternative to showcase MIT’s dedication to music know-how, and specifically the thrilling new areas being developed proper now: a brand new grasp’s program in music know-how and computation, the brand new Edward and Joyce Linde Music Constructing with its enhanced music know-how amenities, and new college arriving at MIT with joint appointments between MIT Music and Theater Arts (MTA) and the Division of Electrical Engineering and Laptop Science (EECS).” These just lately employed professors embrace Anna Huang, a keynote speaker for the convention and creator of the machine studying mannequin Coconet that powered Google’s first AI Doodle, the Bach Doodle.
Egozy emphasizes the distinctiveness of this event: “It’s important to perceive that it is a very particular scenario. Having a full 18-member string orchestra [A Far Cry] carry out new works that embrace electronics doesn’t occur fairly often. Generally, ICMC performances consist both solely of electronics and computer-generated music, or maybe a small ensemble of two-to-four musicians. So the chance we may current to the bigger group of music know-how was notably thrilling.”
To benefit from this thrilling alternative, an open name was put out internationally to pick the opposite items that might accompany Ziporyn and Egozy’s “EV6” and Machover’s “FLOW Symphony.” Three items have been chosen from a complete of 46 entries to be part of the night’s program by a panel of judges that included Egozy, Machover, and different distinguished composers and technologists.
“We acquired an enormous number of works from this name,” says Egozy. “We noticed every kind of musical kinds and ways in which electronics could be used. No two items have been similar to one another, and I feel due to that, our viewers received a way of how diversified and fascinating a live performance might be for this format. A Far Cry was actually the unifying presence. They performed all items with nice ardour and nuance. They’ve a method of actually drawing audiences into the music. And, after all, with the Thomas Tull Live performance Corridor being within the spherical, the viewers felt much more linked to the music.”
Egozy continues, “we took benefit of the know-how constructed into the Thomas Tull Live performance Corridor, which has 24 built-in audio system for encompass sound permitting us to broadcast distinctive, amplified sound to each seat in the home. Likelihood is that each individual may need skilled the sound barely in a different way, however there was all the time some sense of a multidimensional evolution of sound and music because the items unfolded.”
The 5 works of the night employed a spread of technological parts that included enjoying synthesized, prerecorded, or electronically manipulated sounds; attaching microphones to devices to be used in real-time sign processing algorithms; broadcasting custom-generated musical notation to the musicians; using generative AI to course of stay sound and play it again in fascinating and unpredictable methods; and viewers participation, the place spectators use their cellphones as musical devices to develop into part of the ensemble.
Ziporyn and Egozy’s piece, “EV6,” took explicit benefit of this final innovation: “Evan and I had beforehand collaborated on a system known as Tutti, which implies ‘collectively’ in Italian. Tutti offers an viewers the flexibility to make use of their smartphones as musical devices in order that we will all play collectively.” Egozy developed the know-how, which was first used within the MIT Marketing campaign for a Higher World in 2017. The unique software concerned a three-minute piece for cellphones solely. “However for this live performance,” Egozy explains, “Evan had the concept that we may use the identical know-how to put in writing a brand new piece — this time, for viewers telephones and a stay string orchestra as nicely.”
To clarify the piece’s title, Ziporyn says, “I drive an EV6; it’s my first electrical automotive, and once I first received it, it felt like I used to be driving an iPhone. However after all it’s nonetheless only a automotive: it’s received wheels and an engine, and it will get me from one place to a different. It appeared like a great metaphor for this piece, wherein a variety of the sound is actually performed on cellphones, however nonetheless has to work like every other piece of music. It’s additionally a little bit of an homage to David Bowie’s tune ‘TVC 15,’ which is about falling in love with a robotic.”
Egozy provides, “We wished viewers members to really feel what it’s wish to play collectively in an orchestra. By way of this know-how, every viewers member turns into part of an orchestral part (winds, brass, strings, and so on.). As they play collectively, they’ll hear their entire part enjoying related music whereas additionally listening to different sections in several elements of the corridor play totally different music. This permits an viewers to really feel a duty to their part, hear how music can transfer between totally different sections of an orchestra, and expertise the fun of stay efficiency. In ‘EV6,’ this expertise was much more electrifying as a result of everybody within the viewers received to play with a stay string orchestra — maybe for the primary time in recorded historical past.”
After the live performance, company have been handled to 6 music know-how demonstrations that showcased the analysis of undergraduate and graduate college students from each the MIT Music program and the MIT Media Lab. These included a gamified interface for harnessing simply intonation methods (Antonis Christou); insights from a human-AI co-created live performance (Lancelot Blanchard and Perry Naseck); a system for analyzing piano enjoying knowledge throughout campus (Ayyub Abdulrezak ’24, MEng ’25); capturing music options from audio utilizing latent frequency-masked autoencoders (Mason Wang); a tool that turns any floor right into a drum machine (Matthew Caren ’25); and a play-along interface for studying conventional Senegalese rhythms (Mariano Salcedo ’25). This final instance led to the creation of Senegroove, a drumming-based software particularly designed for an upcoming edX on-line course taught by ethnomusicologist and MIT affiliate professor in music Patricia Tang, and world-renowned Senegalese drummer and MIT lecturer in music Lamine Touré, who supplied efficiency movies of the foundational rhythms used within the system.
In the end, Egozy muses, “’FUTURE PHASES’ confirmed how having the correct house — on this case, the brand new Edward and Joyce Linde Music Constructing — actually is usually a driving power for brand spanking new methods of considering, new initiatives, and new methods of collaborating. My hope is that everybody within the MIT group, the Boston space, and past quickly discovers what a really superb place and house we’ve got constructed, and are nonetheless constructing right here, for music and music know-how at MIT.”
