The Edward and Joyce Linde Music Building opens with Sonic JubilanceJohann Wolfgang von Goethe (1749-1832), the German polymath whose life and work embodied the connections between the arts and sciences, is said to have described architecture as “frozen music.” When the new Edward and Joyce Linde Music Building at MIT had its public opening earlier this year, the temperature outside may have been below freezing but the performances inside were a warm-up for the inaugural concert that took place in the evening. During the afternoon, visitors were invited to workshops in Balinese gamelan and Senegalese drumming, alongside performances by the MIT Chamber Music Society, MIT Festival Jazz Ensemble, and the MIT Laptop Ensemble (FaMLE), demonstrating the synergy between global music traditions and contemporary innovation in music technology. The building was filled with visitors from the MIT community and the Boston area, keen to be among the first to enter the new building and discover what MIT Music had planned for the opening occasion.The evening’s landmark concert, Sonic Jubilance, celebrated the building’s completion and the pivotal role of MIT Music and Theater Arts (MTA) at the center of life on campus. The program was distinguished by five world premieres by MIT composers: “Summit and Mates,” by assistant professor in jazz Miguel Zenón; “Grace,” by senior lecturer in music Charles Shadle; “Two Noble Kinsmen,” by professor emeritus in music John Harbison; and “Madrigal,” by Keeril Makan, the Michael (1949) and Sonja Koerner Music Composition Professor. The premieres were interwoven through the program with performances by MIT ensembles demonstrating the breadth and depth of the conservatory-level music program — from the European classical tradition to Brazilian beats to Boston jazz (the full list of participating ensembles can be found below). Each performance demonstrated the different ways the space could be used to create new relationships between musicians and audiences. Designed in the round by the architecture firm SANAA, the Thomas Tull Concert Hall allows sound to resonate from the circular stage or from the aisles above the tiered seating; performers might be positioned below, above, or even in the midst of the audience.“Music has been a part of MIT's curriculum and culture from the beginning,” said Chancellor Melissa Nobles in her opening address. “Arriving at this magnificent space has taken the collective efforts of past presidents, provosts, deans, faculty, alumni, and students, all working to get us here this evening.” Jay Scheib, the Class of 1949 Professor and MIT MTA section head, emphasized the vital role of Music at MIT as a source of cohesion and creativity for students, faculty, and the wider MIT community. “The new building is an extraordinary home for us. As a destination to convene communities around world musics and cultures, to engage in emerging music technologies, and to experience concerts and premieres featuring our extraordinary students and our internationally renowned faculty — the Edward and Joyce Linde Music Building is truly a transformational thing." The concert was also the launch event of Artfinity, MIT’s largest public festival of the arts since 2011, featuring more than 80 free performing and visual arts events. The concert hall will host performances throughout the spring, ranging from classical to jazz to rap, and more.Institute Professor Marcus Thompson — the faculty co-lead for Artfinity alongside Azra Akšamija, director and associate professor of the Art, Culture, and Technology Program (ACT) at MIT — shared thoughts on the Edward and Joyce Linde Music Building as a point of orientation for the festival. “Our building offers the opportunity to point to the presence and importance of other art forms, media, practices, and experiences that can bring us together as practitioners and audiences, lifting our spirits and our sights,” Thompson reflected. “An ensemble of any kind is a community as well as a metaphor for what connects us, applying different talents to create more than we can do alone.”The new compositions by the four faculty members were a case in point. The program opened with “Summit,” a brass fanfare projected from the top of the hall with ceremonial zeal. “The piece was specifically written as an opener for the concert,” Zenón explained. “My aim was to compose something that would make a statement straight away, while also using the idea of the ‘groove’ as a driving force. The title has two meanings. The first is a mountaintop, or the top of a structure — which is where the ensemble will be placed for the performance. The second is a gathering of great minds and great leaders, which is what MIT feels like for me.” Later in the program, Zenón premiered a jazz contrafact, “Mates,” playing on Benny Golson’s Stablemates, a tribute to Herb Pomeroy, founder of MIT’s jazz program. “The idea here is to use something connected to the jazz tradition — and to Boston’s history — and approach it from a more personal perspective,” said Zenón.“Two Noble Kinsmen,” by Harbison, was composed as a benediction for the new home of MIT Music. “In choosing to set Shakespeare’s final words in this new piece for choir and strings, I wanted to convey the sense of an invocation, an introduction, an address to unseen forces,” said Harbison. “In this case, I wanted to leave the musical structure as plain as possible so that we understand why these words are chosen. I hoped to capture the stoic balance of these lines — they are in themselves a kind of verbal music.”In setting the words of the poem “Grace,” by the Chickasaw poet Linda Hogan, Shadle — a composer of Choctaw heritage — envisioned a “sonic extension” of the MIT Land Acknowledgement. “‘Grace’ intended to speak to the Indigenous presence at the Institute and to open the new building with a reminder of the balm music that can bring to a troubled world,” said Shadle. “I hope that I have composed music that links Indigenous and Western traditions in ways that are compelling and thoughtful and that, while recognizing the ‘pieces of hurt,’ still makes a place for grace.”Before the concert’s euphoric finale — a performance by Rambax Senegalese Drum Ensemble directed by Lamine Touré — “Madrigal” (the evening’s fourth world premiere) served to demonstrate the spatial dimensions of sound made possible by the design of the concert hall. Makan’s composition was performed by four student violinists positioned at the top of each aisle and a fifth, Professor Natalie Lin Douglas, at the center of the stage, simultaneously showcasing the geometry of the hall and referencing the ever-shifting perspectives of the sculpture that stands at the north entrance of the building — “Madrigal (2024),” by Sanford Biggers.“My piece aims to capture the multifaceted quality of Sanford Biggers’ sculpture. From whichever vantage point we might look at it, we see the same patterns in new relationships with one another. In other words, there is no one point of view that is privileged over another.”As faculty lead for the building project, Makan developed a friendship with Joyce Linde, who provided the principal gift that led to the building. “Joyce and I were on the selection committee to choose an artist to create a site-specific sculpture outside the building. She was very excited about the process, and very engaged with Sanford,” said Makan. “Joyce passed away before she was able to see the building’s completion, and I wanted to honor her legacy by writing an original piece of music in her memory.”That sense of relationship, pattern-making, and new beginnings was articulated by Frederick Harris, director and senior lecturer in music and the co-producer of the concert, alongside Andy Wilds, program manager in music. “The hall is an instrument; we’re communing with this incredible space and getting to know it,” said Harris. “It’s a relationship. The circular form of the hall is very welcoming, not only to immersive experiences but also to shared experiences.”The role of music in cultivating community will ensure that the building will become an integral part of MIT life. The work taking place in rehearsal rooms matches the innovation of the Institute’s labs — proving that the arts are a necessary counterpart to science and technology, continuous with the human instinct to express and invent. Sonic Jubilance sets the tone of what’s to come. MIT Music ensembles (in order of concert appearance):MIT Concert ChoirMIT Chamber ChorusMIT Chamber Music SocietyMIT Vocal Jazz EnsembleMIT Jazz Advanced Music Performance EnsembleMIT Axiom EnsembleMIT Wind EnsembleMIT Gamelan Galak TikaRambax MIT 

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Their joint project, The Biomechanics of Assimilating a New Piano Skill, aims to develop mechanistic insights that could transform how we understand and teach piano technique, reduce performance-related injuries, and bridge the gap between artistic expression and biomechanical efficiency. Their project is among those recently selected for a SHASS+ Connectivity Fund grant through the MIT Human Insight Collaborative.“The project emerged from a convergence of interests and personal experiences,” Namburi says. “Mi-Eun witnessed widespread injuries among fellow pianists and saw how these injuries could derail careers.”Kim is a renowned pianist who has performed on stages throughout the United States, in Europe, and in Asia. She earned the Liszt-Garrison Competition’s Liszt Award and the Corpus Christi solo prize, among other honors. She teaches piano and chamber music through MIT Music’s Emerson/Harris Program and chamber music through MIT’s Chamber Music Society. She earned advanced degrees from the University of Michigan and holds a bachelor of arts degree in history from Columbia University.Namburi’s work focuses on the biomechanics of efficient, expressive, and coordinated movement. He draws inspiration from artists and athletes in specialized movement disciplines, such as dancing and fencing, to investigate skilled movement. He earned a PhD in experimental neuroscience from MIT and a bachelor of engineering degree in electrical and electronic engineering from Singapore’s Nanyang Technological University. Pursuing the projectKim and Namburi arrived at their project by taking different roads into the arts. While Kim was completing her studies at the University of Michigan, Namburi was taking dance lessons as a hobby in Boston. He learned that both expressive and sustainable movements might share a common denominator. “A key insight was that elastic tissues play a crucial role in coordinated, expressive, and sustainable movements in dance — a principle that could extend beyond dancing,” he notes.“We recognized that studying elastic tissues could shed light on reducing injury risk, as well as understanding musical expression and embodiment in the context of piano playing,” Kim says.Kim and Namburi began collaborating on what would become their project in October 2023, though the groundwork was in place months before. “A visiting student working with me on a research project studying pianists in the MIT.nano Immersion Lab reached out to Mi-Eun in summer 2023,” Namburi recalls. A shared Instagram video showing their setup with motion capture sensors and a pianist playing Chopin on a digital keyboard sparked Kim’s interest. The Immersion Lab is an open-access, shared facility for MIT and beyond dedicated to visualizing, understanding, and interacting with large, multidimensional data.“I couldn't make sense of all the sensors, but immediately noticed they were using a digital keyboard,” she says.Kim wanted to elevate these studies’ quality by pairing the musicians with the proper equipment and instrument. While the digital pianos they’d previously used are portable and provide musical instrument digital interface (MIDI) data, they don’t offer the same experience as a real piano. “Pianists dream of playing on an ideal instrument — a 9-foot concert grand with perfectly regulated 24-inch keys that responds to every musical intention without resistance,” Kim says.The researchers brought a Spirio grand piano to the Immersion Lab and observed that the instrument could both capture pianists’ hammerstrike velocities and reproduce them to play back the performance. Monitoring Kim’s performance on the concert grand piano, for example, both noted marked differences in her playing style.“Despite all the sensors, lighting, and observers, playing felt so natural that I forgot I was in a lab,” she says. “I could focus purely on the music, without worrying about adapting to a smaller keyboard or digital sound.”This setup allowed them to observe pianists’ natural movements, which was exactly what Kim wanted to study.During Independent Activities Period 2025, Kim and Namburi hosted a new course, Biomechanics of Piano Playing, in the Immersion Lab. Students and faculty from MIT, Harvard University, the University of Michigan, the University of Toronto, and the University of Hartford took part. Participants learned how to use motion capture, accelerometers, and ultrasound imaging to visualize signals from the body during piano playing.Observations and outcomesIf the efficiency and perceived fluency of an expert pianist’s movements comes from harnessing the body’s inherent elastic mechanisms, Kim and Namburi believe, it’s possible to redesign how piano playing is taught. 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