Please register for each session you plan to attend.

Thursday, September 24

Session 1: Democratic Participation and Processes (panel discussion) Session 2: Teaching and Learning Innovations (panel discussion) Session 3: Computing, Self, and Society (panel discussion)Session 4: MIT Music & Theater Arts Showcase ReceptionFriday, September 25

Session 5: Human and Environmental Health (paenl discussion) Session 6: SHASS Alumni Lightning Talks Session 7: Perception, Cognition, and Expression (panel discussion)The event will conclude with a closing reception and party at the MIT Museum the evening of September 25.

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Please register for each session you plan to attend.

Thursday, September 24

Session 1: Democratic Participation and Processes (panel discussion) Session 2: Teaching and Learning Innovations (panel discussion) Session 3: Computing, Self, and Society (panel discussion)Session 4: MIT Music & Theater Arts Showcase ReceptionFriday, September 25

Session 5: Human and Environmental Health (paenl discussion) Session 6: SHASS Alumni Lightning Talks Session 7: Perception, Cognition, and Expression (panel discussion)The event will conclude with a closing reception and party at the MIT Museum the evening of September 25.

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Violinist and MIT Associate Professor of Music Natalie Lin Douglas is joined by guest collaborators for a concert featuring premieres by award-winning composers Theo Chandler ("Time Pieces”) and Dan Temkin (“Stolen Time”) along with Lou Harrison’s Varied Trio (1986). With premieres by award winning composers Theo Chandler and Dan Temkin, along with Lou Harrison’s Varied Trio (1986), this program examines the profound and peculiar ways we experience the unfolding of time: through life events, relationships, and musical encounters.

Time/Play: Chamber Music for Violin, Percussion, and Piano is supported with a faculty grant from the MIT Center for Art, Science & Technology and is co-presented with MIT Music and the MTA Events Office.

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The concert will feature the world premiere of Rudess and jam_bot improvising with student musicians, with jam_bot creating music for the performers in real time. Performances are October 3 at 5:00 p.m. and 8:00 p.m.
Guests attending either of the two performances are welcome to come 3pm to 8pm to experience MIT Music Technology demonstrations in the lobby.

Attendance to the 5:00pm performance is included with the MIT Future Fest festival pass. Visit the MIT Future Fest website for more information and to acquire a pass.

About the Concert
The jam_bot project has been developed over the past three years in collaboration with the MIT Media Lab during Rudess’s Center for Art, Science & Technology Distinguished Visiting Artist residency at MIT. These concerts are a rare opportunity to experience the next chapter of this research project and witness Rudess interact with an advanced real-time system that enables the use of generative AI models in live music performances.

Moving from Baroque counterpoint to progressive rock and beyond, the program will be built around live improvisation. jam_bot is able to listen and respond to Rudess in real time, while also generating musical material that can be performed by other musicians onstage, opening the door to new forms of collaborative improvisation.

The Yamaha Disklavier pianos featured in the performances are provided by Falcetti Pianos in Newton, Massachusetts.

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The concert will feature the world premiere of Rudess and jam_bot improvising with student musicians, with jam_bot creating music for the performers in real time. Performances are October 3 at 5:00 p.m. and 8:00 p.m.
Guests attending either of the two performances are welcome to come 3pm to 8pm to experience MIT Music Technology demonstrations in the lobby.

Attendance to the 5:00pm performance is included with the MIT Future Fest festival pass. Visit the MIT Future Fest website for more information and to acquire a pass.

About the Concert
The jam_bot project has been developed over the past three years in collaboration with the MIT Media Lab during Rudess’s Center for Art, Science & Technology Distinguished Visiting Artist residency at MIT. These concerts are a rare opportunity to experience the next chapter of this research project and witness Rudess interact with an advanced real-time system that enables the use of generative AI models in live music performances.

Moving from Baroque counterpoint to progressive rock and beyond, the program will be built around live improvisation. jam_bot is able to listen and respond to Rudess in real time, while also generating musical material that can be performed by other musicians onstage, opening the door to new forms of collaborative improvisation.

The Yamaha Disklavier pianos featured in the performances are provided by Falcetti Pianos in Newton, Massachusetts.

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Program

Charles Shadle: Song of Removal (2024)
1st performance

Marjorie Merryman: New Work (2026)
1st performance

Edward Cohen: Stone and Earth (1978)
Krista River, mezzo-soprano

John Harbison: Four Encores for Stan (2024)
1st performance of orchestral version
Krista River, narrator

Peter Child: Sinfonietta (1998)

Composer and MIT Senior Lecturer Edward Cohen was a vital part of Boston's New Music scene in the years leading up to his premature death. This concert celebrates his legacy with a performance of his 1978 work "Stone and Earth" for Mezzo-soprano and string orchestra. The soloist will be Krista River, with the ensemble conducted with Cohen's long-time friend and collaborator, David Hoose. Also on the program will be music by colleagues and students of Cohen, with premieres of pieces by Majorie Merryman, John Harbison and Charles Shadle. The evening will conclude with Peter Child's 1998 Sinfonietta.

This performance is made possible through the Edward Cohen Memorial Fund.

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“The world has gone bananas,” says Armenian-American composer Mary Kouyoumdjian. Her response? Studies on Rage for Each Day of the Week for flute, bassoon and piano, a looping, cacophonous work that opens Textures, the first concert of Radius Ensemble’s 28th Season. Next is the world premiere of a Radius co-commission by Jonathan Russell, his Quintet for clarinet and strings. Limestone and Felt, a duo for viola and cello by Pulitzer Prize-winner Caroline Shaw, presents a clash of textures exploring, as Shaw says, the “opposing ways we experience history and design our own present.” Francis Poulenc’s raucous Sextet for piano and winds brings the concert to a joyful close.

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Postcards arrive from near and far, in both time and space, in the second concert of the season. From close by, we hear a “timbral canon” from MIT’s Molly Herron in her Canon No. 4 for bassoon, in which the bassoonist performs to a recording of herself. From the heartland, in its New England premiere, we receive Postcards from Native America for wind quintet, a set of transmissions from five tribal capitals by Choctaw nation member and composer Charles Shadle. From the past, Amy Beach’s luxuriant and brooding Piano Quintet in F-sharp minor, Op. 67, rounds out the program.

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The third concert of the season features music at the Crossroads of style, genre, and influence. In Music for Wind Instruments, we hear an early work by John Cage, before he began to revolutionize classical music. Next, Sofia Gubaidulina’s String Trio reveals her unique and spiritual voice, as she was just beginning to delve into musical proportions and the Fibonacci sequence. West Coast American composer Kurt Rohde pays tribute to the iconic 60s songwriter Joni Mitchell in blued, a remix for flute and strings. The mesmerizing Barnes Dances by Chrstopher Cerrone closes the program, with a playful mix of recorded crosswalk signal audio from around the world with music for flute, clarinet, violin, and cello.

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Emotional Auras abound in Radius Ensemble’s season finale. The concert begins with Thea Musgrave’s Niobe for oboe and tape in which the titular character from Greek mythology sings a lament for her slain children. Next is one of the highlights of the season: a world premiere Radius Ensemble commission for flute, violin, cello, and piano by MIT’s Keeril Makan. A lilting work for bassoon and strings, Nostálgica by American-Uruguayan composer Miguel del Águila, follows. We close the program, and the season, with John Harbison’s Nine Rasas, in which the clarinet, viola and piano explore all nine traditional rasas, or emotional states, from classical Indian aesthetics.

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Free admission with MIT ID.

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