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Seen and heard: The new Edward and Joyce Linde Music BuildingUntil very recently, Mariano Salcedo, a fourth-year MIT electronic engineering and computer science student majoring in artificial intelligence and decision-making, was planning to apply for a master’s program in computer science at MIT. Then he saw the new Edward and Joyce Linde Music Building, which opened this fall for a selection of classes. “Now, instead of going into computer science, I’m thinking of applying for the master’s program in Music Technology, which is being offered here for the first time next year,” says Salcedo. “The decision is definitely linked to the building, and what the building says about music at MIT.”  Scheduled to open fully in February 2025, the Linde Music Building already makes a bold and elegant visual statement. But its most powerful impact will likely be heard as much as seen. Each of the facility’s elements, including the Thomas Tull Concert Hall, every performance and rehearsal space, each classroom, even the stainless-steel metal panels that form the conic canopies over the cube-like building’s three entrances — has been conceived and constructed to create an ideal environment for music. Students are already enjoying the ideal acoustics and customized spaces of the Linde Music Building, even as construction on the site continues. Within the building’s thick red-brick walls, they study subjects ranging from Electronic Music Composition to Conducting and Score Reading to Advanced Music Performance. Myriad musical groups, from the MIT jazz combos to the Balinese Gamelan and the Rambax Senegalese Drum Ensemble, explore and enjoy their new and improved homes, as do those students who will create and perfect the next generation of music production hardware and software. “For many of us at MIT, music is very close to our hearts,” notes MIT President Sally Kornbluth. “And the new building now puts music right at the heart of the campus. Its exceptional practice and recording spaces will give MIT musicians the conservatory-level tools they deserve, and the beautiful performance hall will exert its own gravitational pull, drawing audiences from across campus and the larger community who love live music.”The need and the solutionMusic has never been a minor pursuit at MIT. More than 1,500 MIT students enroll in music classes each academic year. And more than 500 student musicians participate in one of 30 on-campus ensembles. Yet until recently there was no centralized facility for music instruction or rehearsal. Practice rooms were scattered and poorly insulated, with sound seeping through the walls. Nor was there a truly suitable space for large performances; while Kresge Auditorium has sufficient capacity and splendid minimalist aesthetics, the acoustics are not optimal.“It would be very difficult to teach biology or engineering in a studio designed for dance or music,” says Jay Scheib, recently appointed section head for Music and Theater Arts and Class of 1949 Professor. “The same goes for teaching music in a mathematics or chemistry classroom. In the past, we’ve done it, but it did limit us. In our theater program, everything changed when we opened the new theater building (W97) in 2017 and could teach theater in spaces intended for theater. We believe the new music building will have a similar effect on our music program. It will inspire our students and musicians and allow them to hear their music as it was intended to be heard. And it will provide an opportunity to convene people, to inhabit the same space, breathe the same air, and exchange ideas and perspectives.”“Music-making from multiple musical traditions are areas of tremendous growth at MIT, both in terms of performance and academics,” says Keeril Makan, associate dean for strategic initiatives for the School of Humanities, Arts, and Social Sciences (SHASS). The Michael (1949) and Sonja Koerner Music Composition Professor and former head of the Music and Theater Arts Section, Makan was, and remains, intimately involved in the Linde Music Building project. “In this building, we wanted all forms of music to coexist, whether jazz, classical, or music from around the world. This was not easy; different types of music require different conditions. But we took the time and invested in making spaces that would support all musical genres.”The idea of creating an epicenter for music at MIT is not new. For several decades, MIT planners and administrators studied various plans and sites on campus, including Kendall Square and areas in West Campus. Then, in 2018, one year after the completion of the Theater Arts Building on Vassar Street, and with support from then-president L. Rafael Reif, the Institute received a cornerstone gift for the music building from arts patron Joyce Linde. Along with her late husband and former MIT Corporation member Edward H. Linde ’62, the late Joyce Linde was a longtime MIT supporter. SANAA, a Tokyo-based architectural firm, was selected for the job in April 2019.“MIT chose SANAA in part because their architecture is so beautiful,” says Vasso Mathes, the senior campus planner in the MIT Office of Campus Planning who helped select the SANAA team. “But also because they understood that this building is about acoustics. And they brought the world’s most renowned acoustics consultant, Nagata Acoustics International founder Yasuhisa Toyota, to the project.”Where form meets functionBuilt on the site of a former parking lot, the Linde Music Building is both stunning and subtle. Designed by Kazuyo Sejima and Ryue Nishizawa of SANAA, which won the 2010 Pritzker Architecture Prize, the three-volume red brick structure centers both the natural and built environments of MIT’s West Campus — harmonizing effortlessly with Eero Saarinen’s Kresge Auditorium and iconic MIT Chapel, both adjacent, while blending seamlessly with surrounding athletic fields and existing landscaping. With a total of 35,000 square feet of usable space, the building’s three distinct volumes dialogue beautifully with their surroundings. The curved roof reprises elements of Kresge Auditorium, while the exterior evokes Boston and Cambridge’s archetypal facades. The glass-walled lobby, where the three cubic volumes converge, is surprisingly intimate, with ample natural light and inviting views onto three distinct segments of campus. “One thing I love about this project is that each program has its own identity in form,” says co-founder and principal Ryue Nishizawa of SANAA. “And there are also in-between spaces that can breathe and blend inside and outside spaces, creating a landscape while preserving the singularity of each program.”There are myriad signature features — particularly the acoustic features designed by Nagata Acoustics. The Beatrice and Stephen Erdely Music and Culture Space offers the building’s most robust acoustic insulation. Conceived as a home for MIT’s Rambax Senegalese Drum Ensemble and Balinese Gamelan — as well as other music ensembles — the high-ceilinged box-in-box rehearsal space features alternating curved wall panels. The first set reflects sound, the second set absorbs it. The two panel styles are virtually identical to the eye. With a maximum seating capacity of 390, the Thomas Tull Concert Hall features a suite of gently rising rows that circle a central performance area. The hall can be configured for almost any style and size of performance, from a soloist in the round to a full jazz ensemble. A retractable curtain, an overhanging ring of glass panels, and the same alternating series of curved wall panels offers adaptable and exquisite sound conditions for performers and audience. A season of events are planned for the spring, starting on Feb. 15, 2025, with a celebratory public program and concert. Classrooms, rehearsal spaces, and technical spaces in the Jae S. and Kyuho Lim Music Maker Pavilion — where students will develop state-of-the-art production tools, software, and musical instruments — are similarly outfitted to create a nearly ideal sound environment. While acoustic concerns drove the design process for the Linde Music Building, they did not dampen it. Architects, builders, and vendors repeatedly found ingenious and understated ways to infuse beauty into spaces conceived primarily around sound. “There are many technical specifications we had to consider and acoustic conditions we had to create,” says co-founder and principal Kazuyo Sejima of SANAA. “But we didn’t want this to be a purely technical building; rather, a building where people can enjoy creating and listening to music, enjoy coming together, in a space that was functional, but also elegant.”Realized with sustainable methods and materials, the building features radiant-heat flooring, LED lighting, high-performance thermally broken windows, and a green roof on each volume. A new landscape and underground filters mitigate flood risk and treat rain and stormwater. A two-level 142-space parking garage occupies the space beneath the building. The outdoor scene is completed by Madrigal, a site-specific sculpture by Sanford Biggers. Commissioned by MIT, and administered by the List Visual Arts Center, the Percent-for-Art program selected Sanford Biggers through a committee formed for this project. The 18-foot metal, resin, and mixed-media piece references the African American quilting tradition, weaving, as in a choral composition, diverse patterns and voices into a colorful counterpoint. “Madrigal stands as a vibrant testament to the power of music, tradition, and the enduring spirit of collaboration across time,” says List Visual Arts Center director Paul Ha. “It connects our past and future while enriching our campus and inspiring all who encounter it.”New harmoniesWith a limited opening for classes this fall, the Linde Music Building is already humming with creative activity. There are hands-on workshops for the many sections of class 21M.030 (Introduction to Musics of the World) — one of SHASS’s most popular CI-H classes. Students of music technology hone their skills in digital instrument design and electronic music composition. MIT Balinese Gamelan and the drummers of Rambax enjoy the sublime acoustics of the Music and Culture Space, where they can hear and refine their work in exquisite detail. “It is exciting for me, and all the other students who love music, to be able to take classes in this space completely devoted to music and music technology,” says fourth-year student Mariano Salcedo. “To work in spaces that are made specifically for music and musicians ... for us, it’s a nice way of being seen.”The Linde Music Building will certainly help MIT musicians feel seen and heard. But it will also enrich the MIT experience for students in all schools and departments. “Music courses at MIT have been popular with students across disciplines. I’m incredibly thrilled that students will have brand-new, brilliantly designed spaces for performance, instruction, and prototyping,” says Anantha Chandrakasan, MIT’s chief innovation and strategy officer, dean of the School of Engineering, and Vannevar Bush Professor of Electrical Engineering and Computer Science. “The building will also offer tremendous opportunities for students to gather, build community, and innovate across disciplines.”“This building and its three programs encapsulate the breadth of interest among our students,” says Melissa Nobles, MIT chancellor and Class of 1922 Professor of Political Science. Nobles was a steadfast advocate for the music building project. “It will strengthen our already-robust music community and will draw new people in.” The Linde Music Building has inspired other members of the MIT community. “Now faculty can use these truly wonderful spaces for their research,” says Makan. “The offices here are also studios, and have acoustic treatments and sound isolation. Musicians and music technologists can work in those spaces.” Makan is composing a piece for solo violin to be premiered in the Thomas Tull Concert Hall early next year. During the performance, student violinists will deploy strategically in various points about the hall to accompany the piece, taking full advantage of the space’s singular acoustics. Agustín Rayo, the Kenan Sahin Dean of the School of Humanities, Arts, and Social Sciences, expects the Linde Music Building to inspire people beyond the MIT community as well. “Of course this building brings incredible resources to MIT’s music program: top-quality rehearsal spaces, a professional-grade recording studio, and new labs for our music technology program,” he says “But the world-class concert hall will also create new opportunities to connect with people in the Boston area. This is truly a jewel of the MIT campus.”February open house and concertThe MIT Music and Theater Arts Section plans to host an open house in the new building on Feb. 15, 2025. Members of the MIT community and the general public will be invited to an afternoon of activities and performances. The celebration of music will continue with a series of concerts open to the public throughout the spring. Details will be available at the Music and Theater Arts website.

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A model of virtuosityA crowd gathered at the MIT Media Lab in September for a concert by musician Jordan Rudess and two collaborators. One of them, violinist and vocalist Camilla Bäckman, has performed with Rudess before. The other — an artificial intelligence model informally dubbed the jam_bot, which Rudess developed with an MIT team over the preceding several months — was making its public debut as a work in progress.Throughout the show, Rudess and Bäckman exchanged the signals and smiles of experienced musicians finding a groove together. Rudess’ interactions with the jam_bot suggested a different and unfamiliar kind of exchange. During one duet inspired by Bach, Rudess alternated between playing a few measures and allowing the AI to continue the music in a similar baroque style. Each time the model took its turn, a range of expressions moved across Rudess’ face: bemusement, concentration, curiosity. At the end of the piece, Rudess admitted to the audience, “That is a combination of a whole lot of fun and really, really challenging.”Rudess is an acclaimed keyboardist — the best of all time, according to one Music Radar magazine poll — known for his work with the platinum-selling, Grammy-winning progressive metal band Dream Theater, which embarks this fall on a 40th anniversary tour. He is also a solo artist whose latest album, “Permission to Fly,” was released on Sept. 6; an educator who shares his skills through detailed online tutorials; and the founder of software company Wizdom Music. His work combines a rigorous classical foundation (he began his piano studies at The Juilliard School at age 9) with a genius for improvisation and an appetite for experimentation.Last spring, Rudess became a visiting artist with the MIT Center for Art, Science and Technology (CAST), collaborating with the MIT Media Lab’s Responsive Environments research group on the creation of new AI-powered music technology. Rudess’ main collaborators in the enterprise are Media Lab graduate students Lancelot Blanchard, who researches musical applications of generative AI (informed by his own studies in classical piano), and Perry Naseck, an artist and engineer specializing in interactive, kinetic, light- and time-based media. Overseeing the project is Professor Joseph Paradiso, head of the Responsive Environments group and a longtime Rudess fan. Paradiso arrived at the Media Lab in 1994 with a CV in physics and engineering and a sideline designing and building synthesizers to explore his avant-garde musical tastes. His group has a tradition of investigating musical frontiers through novel user interfaces, sensor networks, and unconventional datasets.The researchers set out to develop a machine learning model channeling Rudess’ distinctive musical style and technique. In a paper published online by MIT Press in September, co-authored with MIT music technology professor Eran Egozy, they articulate their vision for what they call “symbiotic virtuosity:” for human and computer to duet in real-time, learning from each duet they perform together, and making performance-worthy new music in front of a live audience.Rudess contributed the data on which Blanchard trained the AI model. Rudess also provided continuous testing and feedback, while Naseck experimented with ways of visualizing the technology for the audience.“Audiences are used to seeing lighting, graphics, and scenic elements at many concerts, so we needed a platform to allow the AI to build its own relationship with the audience,” Naseck says. In early demos, this took the form of a sculptural installation with illumination that shifted each time the AI changed chords. During the concert on Sept. 21, a grid of petal-shaped panels mounted behind Rudess came to life through choreography based on the activity and future generation of the AI model.“If you see jazz musicians make eye contact and nod at each other, that gives anticipation to the audience of what’s going to happen,” says Naseck. “The AI is effectively generating sheet music and then playing it. How do we show what’s coming next and communicate that?”Naseck designed and programmed the structure from scratch at the Media Lab with assistance from Brian Mayton (mechanical design) and Carlo Mandolini (fabrication), drawing some of its movements from an experimental machine learning model developed by visiting student Madhav Lavakare that maps music to points moving in space. With the ability to spin and tilt its petals at speeds ranging from subtle to dramatic, the kinetic sculpture distinguished the AI’s contributions during the concert from those of the human performers, while conveying the emotion and energy of its output: swaying gently when Rudess took the lead, for example, or furling and unfurling like a blossom as the AI model generated stately chords for an improvised adagio. The latter was one of Naseck’s favorite moments of the show.“At the end, Jordan and Camilla left the stage and allowed the AI to fully explore its own direction,” he recalls. “The sculpture made this moment very powerful — it allowed the stage to remain animated and intensified the grandiose nature of the chords the AI played. The audience was clearly captivated by this part, sitting at the edges of their seats.”“The goal is to create a musical visual experience,” says Rudess, “to show what’s possible and to up the game.”Musical futuresAs the starting point for his model, Blanchard used a music transformer, an open-source neural network architecture developed by MIT Assistant Professor Anna Huang SM ’08, who joined the MIT faculty in September.“Music transformers work in a similar way as large language models,” Blanchard explains. “The same way that ChatGPT would generate the most probable next word, the model we have would predict the most probable next notes.”Blanchard fine-tuned the model using Rudess’ own playing of elements from bass lines to chords to melodies, variations of which Rudess recorded in his New York studio. Along the way, Blanchard ensured the AI would be nimble enough to respond in real-time to Rudess’ improvisations.“We reframed the project,” says Blanchard, “in terms of musical futures that were hypothesized by the model and that were only being realized at the moment based on what Jordan was deciding.”As Rudess puts it: “How can the AI respond — how can I have a dialogue with it? That’s the cutting-edge part of what we’re doing.”Another priority emerged: “In the field of generative AI and music, you hear about startups like Suno or Udio that are able to generate music based on text prompts. Those are very interesting, but they lack controllability,” says Blanchard. “It was important for Jordan to be able to anticipate what was going to happen. If he could see the AI was going to make a decision he didn’t want, he could restart the generation or have a kill switch so that he can take control again.”In addition to giving Rudess a screen previewing the musical decisions of the model, Blanchard built in different modalities the musician could activate as he plays — prompting the AI to generate chords or lead melodies, for example, or initiating a call-and-response pattern.“Jordan is the mastermind of everything that’s happening,” he says.What would Jordan doThough the residency has wrapped up, the collaborators see many paths for continuing the research. For example, Naseck would like to experiment with more ways Rudess could interact directly with his installation, through features like capacitive sensing. “We hope in the future we’ll be able to work with more of his subtle motions and posture,” Naseck says.While the MIT collaboration focused on how Rudess can use the tool to augment his own performances, it’s easy to imagine other applications. Paradiso recalls an early encounter with the tech: “I played a chord sequence, and Jordan’s model was generating the leads. It was like having a musical ‘bee’ of Jordan Rudess buzzing around the melodic foundation I was laying down, doing something like Jordan would do, but subject to the simple progression I was playing,” he recalls, his face echoing the delight he felt at the time. “You're going to see AI plugins for your favorite musician that you can bring into your own compositions, with some knobs that let you control the particulars,” he posits. “It’s that kind of world we’re opening up with this.”Rudess is also keen to explore educational uses. Because the samples he recorded to train the model were similar to ear-training exercises he’s used with students, he thinks the model itself could someday be used for teaching. “This work has legs beyond just entertainment value,” he says.The foray into artificial intelligence is a natural progression for Rudess’ interest in music technology. “This is the next step,” he believes. When he discusses the work with fellow musicians, however, his enthusiasm for AI often meets with resistance. “I can have sympathy or compassion for a musician who feels threatened, I totally get that,” he allows. “But my mission is to be one of the people who moves this technology toward positive things.”“At the Media Lab, it’s so important to think about how AI and humans come together for the benefit of all,” says Paradiso. “How is AI going to lift us all up? Ideally it will do what so many technologies have done — bring us into another vista where we’re more enabled.”“Jordan is ahead of the pack,” Paradiso adds. “Once it’s established with him, people will follow.”Jamming with MITThe Media Lab first landed on Rudess’ radar before his residency because he wanted to try out the Knitted Keyboard created by another member of Responsive Environments, textile researcher Irmandy Wickasono PhD ’24. From that moment on, “It's been a discovery for me, learning about the cool things that are going on at MIT in the music world,” Rudess says.During two visits to Cambridge last spring (assisted by his wife, theater and music producer Danielle Rudess), Rudess reviewed final projects in Paradiso’s course on electronic music controllers, the syllabus for which included videos of his own past performances. He brought a new gesture-driven synthesizer called Osmose to a class on interactive music systems taught by Egozy, whose credits include the co-creation of the video game “Guitar Hero.” Rudess also provided tips on improvisation to a composition class; played GeoShred, a touchscreen musical instrument he co-created with Stanford University researchers, with student musicians in the MIT Laptop Ensemble and Arts Scholars program; and experienced immersive audio in the MIT Spatial Sound Lab. During his most recent trip to campus in September, he taught a masterclass for pianists in MIT’s Emerson/Harris Program, which provides a total of 67 scholars and fellows with support for conservatory-level musical instruction.“I get a kind of rush whenever I come to the university,” Rudess says. “I feel the sense that, wow, all of my musical ideas and inspiration and interests have come together in this really cool way.”