"FUTURE PHASES" na MIT łączy orkiestrę, elektronikę i udział publiczności, aby na nowo wyobrazić sobie występy muzyczne

Last month, MIT dazzled with a groundbreaking showcase of music and technology as “FUTURE PHASES” took the spotlight at the Thomas Tull Concert Hall. This event was not just another musical performance; it was an exciting glimpse into the future of music and technology, seamlessly woven together and presented by the MIT Music Technology and Computation Graduate Program. Drawing a large, enthusiastic crowd, it was clear that attendees were keen to experience this innovative blend of music, technology, and interactive performances.

Spanning various disciplines, what made “FUTURE PHASES” truly unique was its roots in collaboration. The MIT Media Lab’s Opera of the Future Group and Boston’s self-led chamber orchestra, A Far Cry worked together to create an unforgettable evening. This celebration marked the first of many events to be hosted by the graduate program in MIT’s brand new Edward and Joyce Linde Music Building. The program brought to life a dynamic mix of works. From string orchestras fused with electronic components, to premieres by MIT composers, to pieces selected from an international open call — it was an engaging showcase of talent from all over the world.

Two headline works kicked the evening off on a high note — the world premiere of “EV6” by MIT’s Kenan Sahin Distinguished Professor Evan Ziporyn and professor of the practice Eran Egozy, and the U.S. premiere of “FLOW Symphony” by Tod Machover, MIT Media Lab’s Muriel R. Cooper Professor of Music and Media. Providing a novel experience, the pieces incorporated an 18-member string orchestra, which is rare for performances involving electronic elements. Boston’s A Far Cry delivered these performances with passion, adding a unifying, human touch to the technological prowess on display.

In addition to MIT-based compositions, the program organisers included three works selected through an international call. With 46 entries to choose from, the panel had a varied and diverse palette of unique sonic and stylistic approaches at their disposal. The concert hall’s 24-speaker surround sound system was instrumental in creating an immersive and distinct sound experience.

Perhaps the most engaging moment of the evening came with the performance of “EV6”, which took audience participation to a completely new level. Leveraging the power of technology, Ziporyn and Egozy turned audience smartphones into musical instruments. This allowed attendees to feel as though they were a part of an orchestra. The inspiration for the title – “EV6” – came from Ziporyn’s electric car, which he fondly compared to driving an iPhone — sleek, digital, but unmistakably a car. It was a fitting comparison for a composition that embodied the intriguing blend of high-tech and traditional musical elements.

The evening did not just limit itself to performances. Post-concert, attendees were treated to six interactive music tech demonstrations developed by MIT students, covering everything from a gamified music interface to a piano data analysis system. One intriguing example was Senegroove, an educational drumming app based on Senegalese rhythms, developed for an upcoming edX course.

Upon reflecting on “FUTURE PHASES,” Eran Egozy sees the potential for many more milestones ahead, especially with the dedicated Linde Music Building now at their disposal. As MIT continues its exploration into the world of music technology, its innovative endeavours are bound to lead to new ideas and collaborations. By propelling future innovations, MIT aims to inspire not only the Boston community but audiences and creators far beyond, paving the way for a new harmonious relationship between music and technology.