President Sally Kornbluth shares her love of the Boston Pops with Boston Globe reporter Ian Prasad Philbrick in a roundup of the Greater Boston area’s historical sights, restaurants, art museums, and more. “They’re a great mixture of playful and serious," says Kornbluth of what makes the Pops such a standout cultural experience, "sort of a good microcosm of Boston.”
As part of MIT’s Artfinity festival - a new festival of the arts at MIT featuring 80 free performing and visual arts events, celebrating creativity and community – this month’s After Dark event on Thursday, March 13th at the MIT Museum will be free and open to the public, reports Marianna Orozco for The Boston Globe. Attendees will be able to enjoy “a night of activities, including a ‘Flash Portrait’ drawing and textile design, as well as live DJ sets, open exhibits by faculty, and a talk from Behnaz Farahi, the interdisciplinary designer behind ‘Gaze to the Stars,’ which has brought the MIT dome to life,” explains Orozco.
MIT’s Artfinity festival kicked off with a performance of “SONIC JUBILANCE” at the newly opened Edward and Joyce Linde Music Building, reports Maddie Browning for WBUR. The campus-wide festival, which runs through May 2, is open to the public and features student, faculty and staff participation in “concerts, augmented reality experiences, exhibitions, films and more,” writes Browning. Artfinity is an opportunity "to show that the arts are very important and very central to the lives of people at MIT,” said Prof. Marcus Thompson, festival co-lead.
MIT’s Artfinity Festival kicks off on Saturday, February 15th with a celebration of the new Edward and Joyce Linde Music Building and Thomas Tull Concert Hall featuring a free afternoon open house and evening concert, writes A.Z. Madonna for The Boston Globe. “What this building brings to us is support for performance of all different types of music, whether it’s classical or jazz or world music, and then the ability to support various functions with our students,” says Keeril Makan, associate dean of SHASS.
Cambridge Day reporter Susan Saccoccia spotlights the new Edward and Joyce Linde Music Building, which opens to the public on Saturday, February 15th, with a celebratory concert called “Sonic Jubilance,” the start of a “monthslong festival of 80 events across the campus, free and open to the public.” Prof. Marcus Thompson notes: “The extent of art-making on the MIT campus is equal to that of a major city. It’s a miracle that it’s all right here, by people in science and technology who are absorbed in creating a new world and who also value the past, present and future of music and the arts.”
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.”