A groundbreaking collaborative research initiative, spearheaded by MIT, is breathing new life into ancient and historical musical instruments by creating playable, accurate replicas. This ambitious project, a partnership between the MIT Center for Materials Research in Archeology and Ethnology (CMRAE) and the MIT School of Humanities, Arts, and Social Sciences (SHASS), aims to CT scan, chemically and structurally characterize, and ultimately reproduce these invaluable artifacts housed at the Museum of Fine Arts, Boston (MFA). The endeavor promises to unlock a deeper understanding of past cultures through the tangible and auditory experience of their music.
The Genesis of a Sonic Exploration
The spark for this innovative project ignited in late 2024 when Benjamin Sabatini, a senior MIT postdoc, reached out to MIT Professor Eran Egozy with a visionary question: what if it were possible to create accurate, playable replicas of ancient and historical instruments? This inquiry set in motion a chain of connections that would bring together leading experts from academia and the museum world.
Sabatini was soon introduced to Mark Rau, a newly appointed MIT professor specializing in music technology and electrical engineering. The shared passion for exploring the sonic dimensions of historical artifacts quickly became apparent. Together, Rau and Sabatini approached Jared Katz, the Pappalardo Curator of Musical Instruments at the MFA. Rau, a frequent visitor to museum collections, had long expressed a personal frustration with the lack of accompanying audio demonstrations for musical instruments on display. "My biggest qualm is often there are no accompanying audio examples," Rau commented. "I want to hear these instruments; I want to play these instruments."
Fortuitously, Katz’s own research expertise lies in ancient musical practices, and he had independently developed a technique for 3D scanning and printing playable replicas of ancient instruments. He had also long harbored a desire for access to CT scanning technology to gain a more profound insight into the intricate construction methods of these historical pieces. The MFA, with its distinguished collection of musical instruments dating back to approximately 1550 BCE and encompassing over 1,450 items from six continents, presented an ideal venue for such a project. The museum’s collection began its significant growth in 1917, making it a repository of centuries of musical innovation.
A Multidisciplinary Fusion: From Scan to Sound
The collaborative spirit of the project quickly garnered institutional support. Rau and Sabatini successfully applied for and received funding from the MIT Human Insight Collaborative (MITHIC), with invaluable backing from Katz. The core team, now comprising five dedicated individuals, includes Nate Steele, program associate in the MFA’s Department of Musical Instruments, and MIT postdoc Jin Woo Lee. This multidisciplinary group convenes regularly at the MFA, meticulously scanning and conducting acoustic measurements of the instruments.
The technological backbone of this research is a state-of-the-art CT scanner from Lumafield, a company founded by MIT alumni. This advanced equipment allows the team to capture precise internal and external dimensions of the instruments. By integrating these detailed scans with non-destructive vibration and acoustic testing, as well as sophisticated numerical simulations, the researchers can digitally reconstruct and accurately replicate the intended sound of each artifact.
Professor Rau elaborated on the sophisticated testing methods employed. "For example, if we’re trying to recreate a violin, we can use an impact hammer – a very small hammer with a transducer in it – so we’re imparting a known force signal into the instrument, and then measure the resulting [surface] vibrations with a laser Doppler vibrometer." This comprehensive approach ensures that the physical properties influencing sound production are thoroughly understood.
The Art of Replication: Materializing History
Beyond digital reconstruction, the project delves into the physical replication of these instruments. Using 3D-printed copies as models, the team creates plaster mold negatives. These molds are then used to cast slip, a liquid clay mixture, to produce ceramic replicas. This technique was successfully demonstrated with a playable replica of a Paracas whistle, a ceramic artifact from Peru dating from 600-175 BCE, which was showcased at the MITHIC Annual Event in November.
For instruments crafted from wood, the team plans to collaborate with local luthiers, utilizing old-growth wood to ensure the closest possible match to the original materials. This commitment to material authenticity is central to the project’s goal of creating truly representative reproductions.
Unveiling Cultural Narratives Through Materials and Sound
Benjamin Sabatini, a key figure within CMRAE, emphasizes the profound humanistic implications of this research. From a materials and archaeological perspective, the project seeks to understand the cultures that produced these instruments. "From our perspective, we want to understand the people who made these instruments through both the materials that they’re made of, but also the sound that they have," Sabatini stated. This approach views the instruments not just as objects of study, but as direct conduits to the lives and artistic expressions of past societies.
Under Sabatini’s guidance, a team of Undergraduate Research Opportunities Program (UROP) students, including Irene Dong and Mouhammad Seck, have been instrumental in reproducing several ancient and historical clay instruments in the CMRAE archaeology lab. The Paracas whistle, a testament to their efforts, garnered significant attention at the MITHIC event.
To date, the team has meticulously scanned approximately 30 instruments from the MFA’s extensive collection. Their ambitious target is to scan at least 100 instruments over the course of the project, creating a comprehensive digital archive and laying the groundwork for future scholarly investigations. The collected scan data serves as the foundation for reconstructing the instruments, both in physical form and within software environments, ensuring that their sonic characteristics are as accurately preserved as their visual appearance.
Preserving Heritage, Enhancing Experience
Jared Katz underscores the dual aesthetic and sonic value of these historical artifacts. "They’re both visually beautiful and striking objects, but they are meant to be heard," he remarked. His vision for the research extends to safeguarding the original instruments while simultaneously enabling them to be experienced as intended. "My hope for this research is to provide us with a way to protect the original instrument while still allowing them to be heard and experienced in the way they were intended to be experienced," Katz explained. This dual objective highlights the project’s dedication to both preservation and accessibility.
Fostering Interdisciplinary Education and Community Engagement
The potential for outreach and community engagement through these playable replicas is a significant aspect of the project, as explicitly stated in its proposal. Katz believes that this initiative demonstrates the potent synergy between art and science. "[It] shows how powerful it can be when art and science come together to create new understandings and to help us reactivate these instruments in exciting ways." This fusion promises to unlock novel avenues for public appreciation and scholarly exploration.
The project has also proven to be a powerful catalyst for student engagement, attracting bright minds eager to contribute to this burgeoning field. Victoria Pham, a second-year undergraduate pursuing a degree in materials science and engineering, is working with Sabatini as a UROP student. Pham’s motivation stems from a deep-seated love for history. "I was drawn to this project because I love history," she shared. "I love wandering through the halls of the MFA and immersing myself in the descriptions of paintings and artifacts. I find learning about ancient peoples to be fascinating, especially in how their legacy affects us today."
Pham’s current work involves employing finite element modeling to non-destructively investigate the acoustics of a Veracruz poly-glabular flute, an instrument dating back to 500-900 CE. She finds her contribution deeply rewarding, noting, "[M]y work is fulfilling because I was able to learn new software and problem-solve to improve my model, which was very satisfying." Pham believes that her involvement in this new field of music technology is intellectually stimulating and hopes her work will inspire others to explore archaeology, material science, or music technology.
Alexander Mazurenko, a second-year undergraduate double majoring in music and mathematics, has also become a key contributor. His involvement began last summer and continued through MIT’s Independent Activities Period in January. Mazurenko sees the project as an invaluable opportunity to deepen his interdisciplinary education. "The opportunity to participate in this UROP with Professor Rau was the perfect chance to begin to work in the intersection of my passions," he commented. The research undertaken by both Pham and Mazurenko is slated for presentation at upcoming academic conferences and is expected to culminate in scholarly publications, under the expert guidance of Sabatini and Rau. This commitment to disseminating findings underscores the project’s dedication to advancing academic knowledge.
A Timeline of Discovery and Replication
The project’s inception in late 2024 marked the beginning of a systematic exploration.
- Late 2024: Benjamin Sabatini initiates contact with Professor Eran Egozy, leading to the formation of the collaborative research project.
- Early 2025: Sabatini and Professor Mark Rau connect, sharing common interests, and subsequently propose the cross-institutional project to Jared Katz at the MFA.
- Mid-2025: The team secures funding from the MIT Human Insight Collaborative (MITHIC).
- Late 2025 onwards: Regular scanning and acoustic measurement sessions commence at the MFA.
- November 2025: The team demonstrates a playable replica of the Paracas whistle at the MITHIC Annual Event.
- Ongoing: Continued scanning of instruments, physical replication of artifacts, and development of digital models.
- Future: Planned presentations at conferences, publication of academic papers, and potential community outreach initiatives.
Broader Implications and Future Prospects
The implications of this MIT and MFA collaboration extend far beyond the academic realm. By meticulously reconstructing and enabling the performance of ancient instruments, the project offers a tangible link to our collective past. It allows for a more profound understanding of the musical traditions that shaped human history, providing insights into the craftsmanship, materials science, and cultural contexts of bygone eras.
The ability to hear these instruments as they were originally intended could revolutionize musicological research, offering new perspectives on performance practices, tonal qualities, and the evolution of musical expression. Furthermore, the development of these playable replicas opens doors for educational programs, museum exhibitions, and even contemporary musical compositions that draw inspiration from historical sonic palettes. The project’s success hinges on the seamless integration of advanced scientific techniques with a deep appreciation for the artistic and cultural heritage embodied in these musical artifacts, ensuring that the voices of the past can resonate with future generations.
