这次庆祝活动的主角是 MTC的前五名注册者 (，他们都曾是麻省理工学院的本科生),，还有几名博士生和教师。每位学者都提出了鼓舞人心的巧妙工程范例，反映了麻省理工学院更广泛和蓬勃发展的音乐技术场景。
The celebratory occasion featured MTC的 first five enrollees (all of whom were previously MIT undergraduates), alongside several PhD students and faculty. Each scholar presented inspiring exemplars of artful engineering that reflected the broader and burgeoning music technology scene at MIT.
90 分钟的活动展示了一系列广泛的研究项目, 包括实时可视化人工智能协同即兴演奏的内容; 基于嘈杂网络通信的声音艺术装置; 一个通过跳舞产生音乐的嘻哈舞圈; 以及使用脑电图(EEG) 信号来识别我们大脑正在想象的音乐曲调。
The 90-minute event exhibited a broad array of research projects, including a real-time visualization of what an AI co-improvising agent is about to play on a piano; a sound-art installation based on noisy network communication; a hip-hop dance circle where music is generated from dancing; and the use of electroencephalogram (EEG) signals to identify the musical tunes that our brains are imagining.
“A探索和洞察的新空间”
“A new space for exploration and insights”
技术演示与现场表演, 的相互作用，展示以 SHASS 院长兼哲学教授 Agustín Rayo, SOE 院长兼化学工程教授 Paula Hammond, 和 MTC 主任兼音乐实践教授 Eran Egozy 的致辞开始。
An interplay of technical presentation with live performance, the showcase began with remarks from SHASS Dean and professor of philosophy Agustín Rayo, SOE Dean and professor of chemical engineering Paula Hammond, and MTC Director and professor of the practice of music Eran Egozy.
Rayo 开始, “这个计划的目标很简单— 麻省理工学院在音乐技术理论和应用方面引领世界,” 添加 “it的 不仅仅是用技术制作音乐; 它的 还涉及跨学科工作，以帮助更好地塑造表达的未来人工智能驱动的世界, 同时反映了麻省理工学院的最佳状态。”
Rayo began, “The goal of this program is simple — for MIT to lead the world in music technology theory and application,” adding “it的 not just about making music with technology; it的 also about working across disciplines to help better shape the future of expression in an AI-driven world, all while reflecting MIT at its best.”
Hammond 遵循: “A，在座的人已经知道, 音乐和工程有一些共同的根源。两者都依赖于数学精度，并由定义的结构,节律,和频率告知。两者都需要努力工作和技术诀窍, 与灵感和想象力, 相结合，才能创造出全新的东西。鉴于这些一致性,， 麻省理工学院的许多教师, 学生, 和工作人员也是有成就的音乐家和艺术家，这并不奇怪。”
Hammond followed: “As those in this room already know, music and engineering share some common roots. Both rely on mathematical precision and are informed by defined structures, rhythms, and frequencies. Both demand hard work and technical know-how, paired with inspiration and imagination, to create something entirely new. Given those congruities, it的 no surprise that so many faculty, students, and staff members across MIT are also accomplished musicians and artists.”
她继续, “我们的音乐节目是一颗宝石。只有在麻省理工学院，我们才能将顶尖的技术专家和顶尖的音乐家聚集在一起，创造独特的合作机会。在这里，我们聚集了对音乐和工程有强烈认同感的教师和学生，形成了一个探索和见解的新空间。它 是定义该研究所的协作文化的一个强有力的例子。”
She continued, “Our music program is a gem. Only at MIT could we bring the top technologists and the top musicians together to create unique opportunities for collaboration. Here we have brought together faculty and students who identify strongly with both music and engineering to form a new space for exploration and insights. It的 a strong example of the collaborative culture that defines the Institute.”
Egozy 称这次活动为�%9音乐会和研讨会的和谐结合,” 并回忆,“it 看到我们的学生在短短而快节奏的一年里所取得的成就有点令人难以置信。虽然我们最初争论一年制和两年制硕士的计划,之间的权衡，但我认为这个队列确实向我们展示了我们可以在集中的时间内在学习和研究能力方面取得巨大进步。”
Egozy called the event a “harmonious hybrid of concert and symposium,” and recollected, “it的 a little mind-boggling to see what our students have achieved in just one short and fast-paced year. While we originally debated the trade-offs between a one-year and a two-year master的 program, I think this cohort really showed us that we can make huge strides in learning and research abilities in a concentrated period of time.”
其中一名学生是 Claire Southard ’25, SM ’26,，她开发了一种机器学习模型，用于识别隐藏在脑电图信号中的音符。
One of those students is Claire Southard ’25, SM ’26, who developed a machine-learning model used to identify musical notes hidden in EEG signals.
Southard 解释说, “ 每年, 音乐家都会被诊断出患有运动障碍，例如帕金森 病和肌张力障碍, 或遭受伤害，导致他们无法按照演奏乐器所需的方式控制自己的手和身体。由于这个,，太多的音乐家被迫停止做他们喜欢的事情。我的工作探索了一种帮助这些音乐家再次表演的策略，通过翻译他们’尝试直接从他们的大脑活动—演奏的音乐，完全绕过运动控制的需要。为了做到这一点,，我训练了机器学习模型，根据使用 EEG, 测量的大脑活动来预测一个人正在想象的音乐，并且发现许多预测的片段是用户想象的可识别的表示。通过设计一个允许音乐家创作音乐的系统，无论他们的身体能力如何,，我希望这项工作有助于为音乐表演带来更容易接近现实的未来。”
Southard explains, “every year, musicians are diagnosed with movement disorders such as Parkinson的 disease and dystonia, or experience injuries that prevent them from controlling their hands and bodies in the ways required to play their instruments. Because of this, too many musicians are forced to stop doing what they love. My work explores one strategy to help such musicians perform again by translating the music they’re trying to play directly from their brain activity — bypassing the need for motor control altogether. To do this, I trained machine-learning models to predict the music a person is imagining from their brain activity measured using EEG, and many of the predicted pieces were found to be recognizable representations of what the user imagined. By designing a system that allows musicians to create music regardless of their physical abilities, I hope this work helps bring a more accessible future for music performance closer to reality.”
Before joining MTC, Southard was initially unaware of the breadth, scope, and magnitude of what the program could offer for further pursuing and realizing her interests. “麻省理工学院音乐技术和计算研究生项目教会了我很多有关 STEM 和艺术交叉点的可能性," 她说。 "当我第一次开始这个项目,时，老实说，我并不确定‘音乐技术是什么。’通过课程,研究,以及与教师,客座演讲者,和同行,的对话，我了解到这个领域比我以前想象的更广泛、更迷人。”
Before joining MTC, Southard was initially unaware of the breadth, scope, and magnitude of what the program could offer for further pursuing and realizing her interests. “The MIT Music Technology and Computation Graduate Program taught me so much about the possibilities at the intersection of STEM and the arts," she says. "When I first started the program, I honestly wasn’t sure what counted as ‘music technology. Through classes, research, and conversations with faculty, guest speakers, and peers, I learned the field was far broader and more fascinating than I could have previously imagined.”
她继续,“来自神经科学和计算机科学背景,我的许多本科项目完全发生在设备上。但这个项目让我遇到了更多的实践经验,，从录音到从头开始制作电子乐器。”
She continues, “coming from a background in neuro- and computer science, many of my undergraduate projects happened entirely on devices. But this program allowed me to encounter more hands-on experiences, from conducting audio recordings to building electronic musical instruments from scratch.”
Another MTC graduate, and student speaker at the 2026 SHASS Advanced Degree Ceremony, Mariano Salcedo ’25, SM ’26, presented a custom web application allowing anyone to create unique emergent visuals that are driven by real-time streaming music. To accomplish this effect, Salcedo built algorithms that leverage the complex visual behavior of self-organized systems as the means toward an aesthetically synergetic end.
In his Advanced Degree Ceremony oration, Salcedo expressed his gratitude and admiration for the passionate people that he的 met not only in MTC, but at MIT overall. In an appropriately compassionate mode, he empathetically opined, “I think what times like this call from us is to lead the way in human and humane-centered technology, which means we don’t only just ask what we can build, but we also ask who is it going to affect, who is not going to affect? Who does it benefit?”
With many of her family members in the audience, Huang reflected, “I have the privilege of being in both MIT Music and EECS — an interdisciplinary, shared space. What does it mean to build music technology in this context? We’re surrounded by extremely talented musicians, so we take this co-design approach: We work with these musicians, we go into the studio, and every week we try something.技术随着创意过程的发展而发展。我们’总是试图推动这两者向前发展,，而它’总是处于边缘。它的非常,非常有回报。这是我最有宾至如归的感觉的’。”
With many of her family members in the audience, Huang reflected, “I have the privilege of being in both MIT Music and EECS — an interdisciplinary, shared space. What does it mean to build music technology in this context? We’re surrounded by extremely talented musicians, so we take this co-design approach: We work with these musicians, we go into the studio, and every week we try something. And the technology grows with the creative process. We’re always trying to push both of these forward, and it的 always on the edge. It的 very, very rewarding. It的 where I feel most at home.”
Huang also explained how this practice sets the stage for a new Studies in Music Technology subject that she will be co-teaching in the fall with recently appointed Professor of Theater Arts Grisha Coleman. Class 21M.369/569 (Tuning Attention: Creative Practices in Movement, Sound, and AI) proposes that the study of sound and movement practices can inform how we build and envision computational systems, focusing particularly on our relationship to AIs. It will introduce students to a range of musical practices in improvisation and somatics by way of motion-capture technologies, critical interaction design, generative modeling, and algorithms for interpretability and learning through human feedback.
All considered, the future of the MIT Music Technology and Computation Graduate Program is bright. Egozy 表示，MTC 在 2026-27 学年从 100 多名申请者中录取了 10 名硕士 学生。 Unlike this year的 class, next year的 students will not only include recent MIT undergraduate alumni, but also new faces to campus.
All considered, the future of the MIT Music Technology and Computation Graduate Program is bright. Egozy says MTC admitted 10 master的 students for the 2026-27 academic year from over 100 applicants. Unlike this year的 class, next year的 students will not only include recent MIT undergraduate alumni, but also new faces to campus.
“Widening the pool to graduates of other schools and institutions will bring an extraordinary wealth of perspectives and experiences to the program. Additionally, all three shared faculty between MTA and EECS — including Mark Rau, Paris Smaragdis SM ’97, PhD ’01, and Huang — are inviting new Music Technology PhD students to their labs by way of EECS,” Egozy says.
Embodying its mission, MTC is proving to be a vibrant, multidisciplinary program that attracts many kinds of students with a variety of career objectives from wide-ranging backgrounds.
“Despite their diversity, our students all possess a central commonality,” Egozy says, “not just a shared love for music, but also a deep desire to augment that passion by way of technology in a very warmhearted, humanitarian way.”
Rachel Loh, Quanta Fellow in Music Technology and Computation: “Visualizing the Internal State of Music Models for Live Human-AI Improvisation”
Noble Harasha, Quanta Fellow in Music Technology and Computation: “Modeling Subjectivity and Collective Sensory Perception as Noisy, Analog Communication in Feedback-Driven Networks”
Z Chen, Quanta Fellow in Music Technology and Computation: “Generative Music as a Catalyst for Social Choreography”
Nithya Shikarpur: “The Moving Drone: A Live Improvisation in the Context of Hindustani Music with the Human Voice, Generative models, and Loops”
Mariano Salcedo, Alex Rigopulos (1992) Fellow in Music Technology and Computation: “Neural Cellular Automata for Interactive Music Visualization”
Claire Southard, John Piscitello Fellow in Music Technology and Computation: “Neural Decoding of Imagined Music”
Stephen Brade, Suwan Kim, Valerie Chen: “Whale, Cello (there?): A Musical Dialog between Cello and a Real-time Diffusion Model Trained on Whale Songs”