Music Technology took the center stage at MIT during the “Future Phase”, which works for string orchestra and electronics, which was presented as part of the 2025 International Computer Music Conference (ICMC) by the MIT Music Technology and Computation Graduate Program.
A well -present program was held last month at Thomas Tul concert hall within the new Edward and Joyce Linde Music Building. In collaboration with Opera of the future group of Mit Media Lab and in collaboration with Boston’s Self-Integrated Chamber Orchestra A for Cry, “Future Phase” was the first program to be presented in the new space of MIT Music by MIT Music Technology and Computation Graduate Program.
The “Future Phase” Prasad included two new works by MIT musicians: MIT Music’s Kenan Sahin, the world premiere of “EV6” by Kenan Sahin of MIT Music, iconic professor Ivan Ziporin and Professor of Practice Aaron Agazi; And MURIL R of MIT Media Lab. US premiere of “Flow Symphony” by Cooper Professor of Music and Media Tod Machowar. Ali Balighi was selected from an open call from an open call by a jury by a jury: “The air will take us away,”; A “a blank page” by Celeste Betanakur Gutrez and Luna Valentin; And “Coastal Pictures: Chakra and Threshold,” by Peter Lane,. Each task was performed by Boston’s own multi-gammy-namsed string orchestra, which cries a distance.
“ICMC is about to present the latest research, compositions and performances in ICMC Electronic music,” says Egogi, director of the new music technology and computation graduate programs at MIT. When contacted to be a part of this year’s conference, “This was the right opportunity to show MIT’s commitment to music technology, and especially exciting new areas are being developed: a new master’s program in music technology and calculations, a new master’s program, new Edward and Joyce Linde music with music building with their increased music technology facilities, and in association with MIT (EECS).” Professors include Anna Huang, a keynote speaker for the conference and the manufacturer of the machine learning model Cocett, who operated the first AI doodle, Bakh doodle of Google.
Egogi emphasized the uniqueness of the opportunity: “You have to understand that this is a very special situation. Full 18-member string orchestra [A Far Cry] Do new things that include electronics, not much often. In most cases, the ICMC performance includes either entirely electronics and computer-borne music, or perhaps a small dress of two-and-four musicians. Therefore, the opportunity we could present to the large community of music technology were particularly exciting. ,
To take advantage of this exciting opportunity, an open call was excluded to select other pieces internationally that would be with ziporin and ego’s “EV6” and “Flow Symphony” of Machovar. The three pieces were selected from a total of 46 entries, which was performed by a panel of judges to be a part of the evening program consisting of ego, machowar and other reputed musicians and technologists.
“We get different types of work from this call,” Egogi. “We saw all types of music styles and methods that would be used electronics. No two pieces were similar to each other, and I think, our audience understood how a diverse and interesting concert could be a concert for this format. A distant crying was really integrated appearance. They have more passionate and shocking.”
The ego continued, “We took advantage of the technology manufactured in Thomas Tulle concert hall, which has 24 inherent speakers for surround sound, allowing us to transmit unique, enforceable sound on every seat in the house. There is a possibility that every person may have experienced the sound slightly, but there was always some emotions in the meaning of sound and music.”
The five functions of the evening employed several technical components that involved playing the synthesized, anterior, or electronically manipulated sounds; Attaching a microphone for devices for use in real -time signal processing algorithms; Dissecting composers to broadcast custom-related music signaling; Using generic AI to process live sounds and play it back with interesting and unexpected ways; And the participation of the audience, where viewers use their cellphones as musical instruments, which become part of the artists’ contingent.
Ziporyn and piece of egozy, “EV6, Taking a special advantage of this final innovation: “Ivan and I first collaborated on a system called Tutti, which means ‘together’ in Italian. Tutty gives a audience the ability to use its smartphone as a musical instrument so that we can all play together.” Egogi developed technology, which was first used in the MIT campaign for a better world in 2017. The original application included a three -minute piece for cellphone only. “But for this concert,” Egogi explains, “Ivan had the idea that we could use the same technique to write a new piece – this time, audience phones and also for a live string orchestra.”
टुकड़े के शीर्षक को समझाने के लिए, ज़िपोरिन कहते हैं, “मैं एक ईवी 6 ड्राइव करता हूं; यह मेरी पहली इलेक्ट्रिक कार है, और जब मुझे पहली बार मिला, तो ऐसा लगा कि मैं एक आईफोन चला रहा हूं। लेकिन निश्चित रूप से यह अभी भी सिर्फ एक कार है: यह पहियों और एक इंजन को मिला है, और यह अभी भी इस टुकड़े के लिए एक अच्छा रूपक है। डेविड बोवी के गीत ‘टीवीसी 15’ के लिए एक श्रद्धांजलि, जो एक रोबोट के साथ About falling in love.
Egzy says, “We wanted the audience members to feel what is to play together in an orchestra. And experience the thrill of live performance.
After the concert, guests were treated for six music technology performances, which displayed research of both MIT concerts and MIT Media Lab. These included only a gameified interface to exploit the Integration System (Antonis Christo); Insight from a human-AI co-made concert (Lanslot blanchard and peri nasac); A system to analyze piano playing data throughout the campus (Job Abdulrazak ’24, Meng ’25); Capturing music features from audio using latent frequency-masked autoancoders (mason wang); A device that converts any surface into a drum machine (Matthew Carine ’25); And a play with traditional Senegal Rhythm (Mariano Saldo ’25) interface with a play. This final example led the construction of the Sengrove, a drumming-based application was particularly designed for an upcoming EDX online course which was taught by MIT Associate Professor in Divisional Scientist and Music Petricia Tang, and world-based Seneglass Drummer and MIT Lecturer in Music Lammine Tour, MIT Lecturer and MIT Lecturer, in the system of MIT Lecturers, in the music lamina tour. The performance of Ritha used to provide videos.
Finally, the muscular of the ego, the “future stages” showed how the right place is – in this case, the new Edward and Joyce Linde Music Building – in fact can be a motivational power for new ways of thinking, new projects, and new ways of cooperation.
