Curated from MIT Technology Review — Here’s what matters right now:
On a typical afternoon, MIT’s new Edward and Joyce Linde Music Building hums with life. On the fourth floor, a jazz combo works through a set in a rehearsal suite as engineers adjust microphone levels in a nearby control booth. Downstairs, the layered rhythms of Senegalese drumming pulse through a room built to absorb its force. In the building’s makerspace, students solder circuits, prototype sensor systems, and build instruments. Just off the main lobby, beneath the 50-foot ceiling of the circular Thomas Tull Concert Hall, another group tests how the room, whose acoustics can be calibrated to shift with each performance, responds to its sound. Situated behind Kresge Auditorium on the site of a former parking lot, the Linde building doesn’t mark the beginning of a serious commitment to music at MIT—it amplifies an already strong program. Every year, more than 1,500 students enroll in music classes, and over 500 take part in one of the Institute’s 30 ensembles, from the MIT Symphony Orchestra to the Fabulous MIT Laptop Ensemble, which creates electronic music using laptops and synthesizers. They rehearse and perform in venues across campus, including Killian Hall, Kresge, and a network of practice rooms, but the Linde Building provides a dedicated home to meet the depth, range, and ambition of music at MIT. “It would be very difficult to teach biology or engineering in a studio designed for dance or music,” Jay Scheib, section head for Music and Theater Arts, told MIT News shortly before the building officially opened. “The same goes for teaching music in a mathematics or chemistry classroom. In the past, we’ve done it, but it did limit us.” He said the new space would allow MIT musicians to hear their music as it was intended to be heard and “provide an opportunity to convene people to inhabit the same space, breathe the same air, and exchange ideas and perspectives.” The building, made possible by a gift from the late philanthropists Edward ’62 and Joyce Linde, has already transformed daily music life on campus. Musicians, engineers, and designers now cross paths more often as they make use of its rehearsal rooms, performance spaces, studios, and makerspace, and their ideas have begun converging in distinctly MIT ways. Antonis Christou, a second-year master’s student in the Opera of the Future group at the MIT Media Lab and an Emerson/Harris Scholar, says he’s there “all the time” for classes, rehearsals, and composing. “It’s really nice to have a dedicated space for music on campus. MIT does have very strong music and arts programs, so I think it reflects the strength of those programs,” says Valerie Chen ’22, MEng ’23, a cellist and PhD candidate in electrical engineering who works on interactive robotics. “But more than that, I think it makes a statement that technology and the arts, and music in particular, are very interconnected.” A building tuned for acoustics and performance Acoustic innovation shaped every aspect of the building’s 35,
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Original reporting: MIT Technology Review