Musical technology has taken the spotlight on the stage for “future phases”, an evening of works for rope and electronic orchestra, presented by the MIT Music Technology and Computation Graduate Program As part of the International Conference of Computer Music of 2025 (ICMC).
The busy event took place last month in the Thomas Tull concert hall in the music building of New Edward and Joyce Linde. Produced in collaboration with the Opera of the future MIT Media Lab and the Boston Autompuit Chamber Orchestra a cry from a distance, “Future phases” was the first event to be presented by the Higher Study Program of Musical Technology and MIT calculating in the new MIT Music space.
The “future phases” offers included two new works by MIT Composers: the world first of “Ev6”, by Kenan Sahin, Professor Evan Zifeport and professor of practice Eran Erany; And the first American of “Flow Symphony”, by the teacher of music and media Muriel R. Cooper of MIT Media Lab. Three additional works have been selected by a jury from an open call For the works: “the wind will take us”, by Ali Balighi; “A virgin page”, by Celeste Betancur Guérrez and Luna Valentin; And “Coastal Portrait: Cycles and Seuilds”, by Peter Lane. Each work was done by the own multi-grammy nominated orchestra of Boston, a distant cry.
“The ICMC consists in presenting the latest research, compositions and performance in electronic music,” explains Egozy, director of the new program of music technology and mit calculation diplomas. When Approached to Be a part of this Year's Conference, “It Seemed the Perfect Opportunity to Showcase Mit's Commitment to Music Technology, and in Particular the exciting New Areas Being Developed Right Now: A New Master's Program in Music Technology and Computation, The New Edward and Joyce Lind Music With its enhanced music technology facilities, and new faculty arriving at mit with joint support between MIT Music and arts theature (MTA) and the Department of Electric Engineering and IT (EECS). These recently hired teachers include Anna Huang, an honorary speaker for the conference and creator of the Coconet automatic learning model which propelled the first Doodle of Google, the Bach Doodle.
Egozy emphasizes the unique character of this opportunity: “You must understand that this is a very special situation. Having a full string orchestra of 18 members (a distant cry) Interpreting new works that include electronics do not occur very often. In most cases, ICMC performance is made up either electronic musicians and the larger community.
To take advantage of this exciting opportunity, an open call was published internationally to select the other pieces that would accompany the “Egozy Ev6” and “Flow Symphony” by Machover. Three rooms were selected from a total of 46 entries to be part of the evening program by a panel of judges which included Egozy, Machover and other distorted composers and technologists.
“We have received a wide variety of works from this call,” explains Egozy. “We have seen all kinds of musical styles and ways that electronics would be used. There are not two very similar pieces to each other, and I think that because of this, our audience had an idea of the variation and from an interesting concert for this format. A big cry was really the unifying presence. Connected to music.
Egozy continues: “We took advantage of the technology integrated into the Thomas Tull concert hall, which has 24 integrated speakers for surround sound allowing us to broadcast a unique sound and amplified at each seat of the house. There is a good chance that each person could have experienced the sound slightly differently, but there was always a certain sense of a multidimensional evolution of sound and music as you go. ”
The five works of the evening used a range of technological components which included the sound of synthesized, pre -recorded or electronically manipulated sounds; Set microphones to the instruments to be used in signal processing algorithms in real time; Distribute the musical notation generated to measure to musicians; Using a generative AI to treat live sound and play it in an interesting and unpredictable manner; And the participation of the public, where spectators use their mobile phones as a musical instruments to be part of the whole.
The play by Egozy and Egozy, “Ev6“” particularly benefited from this latest innovation: “Evan and I had previously collaborated on a system called TuttiWhich means “together” in Italian. Tutti gives an audience the possibility of using your smartphones as a musical instruments so that we can all play together. Egozy has developed technology, which was used for the first time in the MIT campaign for a better world in 2017. The original application involved a three -minute part for mobile phones.
To explain the title of the play, Zepororyn says: “I lead an Ev6; This is my first electric car, and when I had it for the first time, I felt like I was driving an iPhone. But of course, it's always a car: there are wheels and an engine, and it makes me from one place to another. A little tribute to David Bowie's song “TVC 15”, which is to fall in love with a robot. »»
Egozy adds: “We wanted public members to feel what it is to play together in an orchestra. Thanks to this technology, each public member is part of an orchestral section (winds, brass, strings, etc.). As they play together, they can hear their whole section playing similar music while hearing other sections in different parts of the room play different music. The thrill of live performance.
After the concert, the guests were treated to six musical technology demonstrations that presented the research of undergraduate students and the higher cycles of the MIT Music and MIT MIT MIT LAB. These included a gamified interface to exploit Just (Antonis Christou) intonation systems; Ideas for a human co-created concert (Lancelot Blanchard and Perry Naseck); a piano game data analysis system through campus (Ayyub Abdulrezak '24, Meng '25); Capturing the musical features of the audio using hidden self -olds at latent frequency (Mason Wang); A device that transforms any surface into a rhythm machine (Matthew Caren '25); And a game interface to learn traditional Senegalese rhythms (Mariano Salcedo '25). This last example led to the creation of Senegroove, an application based on the battery specially designed for an online course Edx to come taught by the ethnomusicologist and associate professor of MIT in music Patricia Tang, and the Bisher of the Renowned Senegalese
In the end, Egozy Muse, “The” Future phases “showed how to have the right space – in this case, the music building in New Edward and Joyce Linde – can really be a driving force for new ways of thinking, new projects and new ways to collaborate. My hope is that everyone in the community put, the Boston region, and beyond really incredible music and music, we have built, and are still building here, for music and music.
