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Keeril Makan named associate dean of MIT’s School of Humanities, Arts, and Social SciencesMIT Professor Keeril Makan has been named associate dean of the MIT School of Humanities, Arts, and Social Sciences (SHASS), effective July 1.
Agustín Rayo, the Kenan Sahin Dean of SHASS, says Makan will serve concurrently as associate dean and in his current role as head of the MIT Music and Theater Arts (MTA) Section.
“Throughout my time as dean, I’ve been consistently impressed by Keeril’s leadership and insight as head of MTA. I look forward to working with him at the school level and relying on his advice,” Rayo says.
Makan says he’s looking forward to bringing his collaborative leadership approach to this new role.
“One of the things that excites me about being head of MTA is working on larger projects that advance the mission of the unit, the mission of the Institute, and have a large impact on the community. This involves getting a lot of people together from different parts of MIT, working towards a common goal, skills that I’ve developed through my work as a composer. I look forward to working in this way at the SHASS-wide level, as well as finding common ground between SHASS and the STEM fields,” says Makan.
Makan joined the MIT faculty in 2006, and was named head of MTA in 2018. In addition to being section head, Makan is currently the Michael (1949) and Sonja Koerner Music Composition Professor.
Among the projects Makan has helped lead as section head has been the construction of MIT’s new music building, which is set to open in fall 2024. He’s also worked to develop MTA’s music technology offerings, including the upcoming launch of a new master’s program, joint with the School of Engineering.
Makan says one of his biggest challenges was leading MTA through the Covid-19 pandemic.
“Performance was particularly challenging in music and theater. But we worked collaboratively to create an educational experience for the students that was artistically meaningful. The experience of Covid taught the world the power of being in a room together, sharing an experience” he says.
Rayo says Makan will lead special projects, and that they’ll work together over the summer to set an agenda for the new role.
After training as a violinist, Makan received degrees in composition and religion from Oberlin College and Conservatory and completed his PhD in composition at the University of California at Berkeley, with additional studies in Helsinki and Paris. He is a recipient of a Guggenheim Fellowship and the Luciano Berio Rome Prize from the American Academy in Rome, among other accolades. His music has been recorded by the Kronos Quartet, the Boston Modern Orchestra Project, and the International Contemporary Ensemble, and performed at the Los Angeles Opera, Carnegie Hall, Lincoln Center for the Performing Arts, and Tanglewood.
The MLC Issues Quarterly ReportIn June, The MLC's CEO Kris Ahrend, testified in Nashville before the House Judiciary Subcommittee on Courts, Intellectual Property and the Internet, at a field hearing entitled “Five Years Later — The Music Modernization Act.” In addition to answering questions about The MLC’s work from the Committee members in attendance, Kris provided an update on The MLC’s operations, including the growth to more than 28,000 rightsholder Members and the distribution of more than $1 billion in royalties to date. The MLC is grateful for the Subcommittee’s time and for the participation of all of the other stakeholders who testified, to address the work of The MLC and all those across the industry working to ensure that rightsholders receive the royalties they are due under the blanket mechanical license. To read Kris’s full written statement, click here.
The MLC’s 2022 Annual Report is now available on our website. The report offers a look into our second full year of operations, key performance metrics from 2022, a financial summary and more.
Read Our 2022 Annual Report
On May 23, the Copyright Royalty Board (CRB) issued its initial rate determination for the Phono 3 rate period. This initial determination and the publication of the corresponding regulations that accompany the initial determination represent the next important step in the CRB’s process of finalizing the rates for the Phono 3 rate period. Once the rate determination is finalized and published in the Federal Register, DSPs will have 6 months to deliver revised data and any royalties they may owe under the final Phono 3 rates — both for the historical unmatched usage previously reported (for 2018, 2019 and 2020) and for usage under the blanket license previously reported (for 2021 and 2022). The MLC has already begun working with DSPs to prepare for their delivery of this revised usage data. For more information, you can read more and check out our timeline here.
In May, we completed running our final set of historical unmatched data files through our internal matching process. During the Congressional Field Hearing in Nashville, we announced that we had matched nearly 70% of the historical unmatched royalties transferred to us by DSPs. That means that nearly $300 million in historical royalties will be eligible to be distributed to Members provided they have claimed their shares of the works that we’ve matched to those historical royalties. Members can use our Claiming Tool to search for — and claim — any missing shares of their songs that other Members have registered with The MLC, and Members can use our Registration Tools to register any songs that have not yet been registered with us. Members can also use our Matching Tool to search for uses of their works in the remaining unmatched data we have for those historical royalties. (The one exception is the historical data we received from FanLabel, which contains issues that FanLabel has not been able to rectify.) By providing our Members with full visibility into all of our remaining unmatched sound recording data, we have fully illuminated the "black box" for digital mechanicals for the first time in history and given Members the ability to help us eliminate the black box by proposing matches to their registered works. We’ve already reviewed and approved matches for more than 800,000 previously unmatched groups of recordings that our Members submitted using the Matching Tool. Once we approve a proposed match submitted by a Member, they will be able to receive any previously unmatched historical royalties we received for their song and any unmatched blanket royalties we have received since The MLC launched full operations.
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