A groundbreaking initiative spearheaded by MIT and the Museum of Fine Arts, Boston (MFA) is poised to revolutionize the understanding and appreciation of ancient and historical musical instruments. By leveraging cutting-edge CT scanning, advanced material analysis, and innovative 3D printing technologies, researchers aim to create playable replicas that capture both the physical form and the authentic sonic qualities of these irreplaceable artifacts. This ambitious project, a testament to the power of interdisciplinary collaboration, promises to unlock new avenues for historical research, public engagement, and the preservation of cultural heritage.
The Genesis of a Musical Renaissance
The spark for this endeavor ignited in late 2024 when Benjamin Sabatini, a senior MIT postdoc at the Center for Materials Research in Archeology and Ethnology (CMRAE), reached out to MIT Professor Eran Egozy. Sabatini posed a compelling question: what if it were possible to create accurate, playable replicas of historical instruments, allowing us to not only see but also hear the music of the past? This inquiry set in motion a collaborative research project that would soon bridge the departments of MIT’s School of Humanities, Arts, and Social Sciences (SHASS) with the esteemed collections of the Museum of Fine Arts, Boston.
Sabatini was soon connected with Mark Rau, a newly appointed MIT professor specializing in music technology and electrical engineering. Sharing a mutual fascination for the intersection of acoustics, engineering, and history, Rau and Sabatini found a kindred spirit in Jared Katz, the Pappalardo Curator of Musical Instruments at the MFA. Katz, whose expertise lies in ancient musical practices, had long harbored a desire to hear the instruments under his care. "My biggest qualm is often there are no accompanying audio examples," Katz remarked. "I want to hear these instruments; I want to play these instruments." This shared aspiration laid the foundation for a cross-institutional partnership.
Katz, a visionary in his own right, had already developed techniques for 3D scanning and printing playable replicas of ancient instruments for his research. However, he recognized the limitations of his existing methods and expressed a long-held dream of utilizing CT scanning to gain a deeper understanding of the intricate construction of these historical pieces. The MFA, with its rich and extensive collection of musical instruments, dating back to approximately 1550 BCE and comprising over 1,450 objects from six continents, proved to be an ideal partner. The institution’s commitment to its musical instrument collection, which began in 1917, provided a fertile ground for such an innovative project.
A Collaborative Symphony Takes Shape
The collaborative spirit quickly gained momentum. Rau and Sabatini, with Katz’s enthusiastic support, successfully secured funding from the MIT Human Insight Collaborative (MITHIC). This crucial financial backing enabled the formation of a dedicated five-person team. In addition to Sabatini and Rau, the team comprises Jared Katz, Nate Steele (program associate in the MFA’s Department of Musical Instruments), and Jin Woo Lee, an MIT postdoc. This diverse group now convenes regularly at the MFA, embarking on the meticulous process of scanning and acoustically measuring the museum’s priceless collection.
The Technological Ensemble: CT Scans, Vibrations, and Digital Recreations
At the heart of the project lies Lumafield, a company founded by MIT alumni, which provides the advanced CT scanner used by the team. This state-of-the-art equipment allows for precise measurement of both the internal and external dimensions of the instruments. This detailed anatomical data, when combined with non-destructive vibration and acoustic testing and sophisticated numerical simulations, forms the basis for digitally recreating the instruments’ authentic sound.
Professor Rau elaborated on the technical process: "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 method of impact testing, a staple in acoustic analysis, allows researchers to excite the instrument with a controlled force and precisely measure its resonant frequencies and vibrational modes. These data points are critical for understanding how the instrument produces sound and for accurately modeling its acoustic behavior.
From Digital Blueprint to Tangible Melody
The journey from digital scan to playable replica is a multi-faceted one. The team utilizes the detailed 3D scans to produce 3D-printed copies of the instruments. These prints then serve as negatives for creating plaster molds. The process culminates in casting these molds using slip, a technique employed in ceramics, to physically replicate the instruments.
A compelling demonstration of this methodology was presented at the MITHIC Annual Event in November, where the team showcased a playable replica of a Paracas whistle. This ancient ceramic artifact, originating from Peru and dating back to 600-175 BCE, provided a vivid example of the project’s capabilities. The cross-sectional rotation of the Paracas whistle, captured by the CT scanner, revealed intricate facial details alongside its internal geometry and any imperfections, offering unprecedented insight into its construction and potential sound production.
For instruments crafted from wood, the team plans to collaborate with local luthiers, utilizing old-growth wood to ensure the most authentic material representation. This approach highlights a commitment to preserving the integrity of the original instruments while simultaneously enabling their performance.
Unearthing Cultural Narratives Through Sound and Material
Benjamin Sabatini, a key member of CMRAE, emphasizes the profound humanistic implications of this research. "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," he stated. This perspective underscores the project’s dual focus: the scientific exploration of material properties and acoustic behavior, and the anthropological endeavor of understanding the cultures that produced these artifacts.
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 centerpiece of their efforts, garnered significant attention at the MITHIC event, underscoring the tangible outcomes of this academic pursuit.
To date, the team has meticulously scanned approximately 30 instruments from the MFA’s extensive collection. Their ambitious goal is to scan at least 100 instruments throughout the project’s duration. This comprehensive documentation will not only serve to reconstruct the instruments physically and digitally but will also create a valuable repository of data for future scholarly research.
Preserving the Past, Amplifying its Voice
Jared Katz eloquently articulates the project’s core mission: "They’re both visually beautiful and striking objects, but they are meant to be heard." His hope for this research is to provide a mechanism for safeguarding the original instruments while simultaneously allowing them to be experienced and appreciated in the manner for which they were originally intended. This dual objective of preservation and accessibility is a cornerstone of the project’s long-term vision.
Fostering Community and Interdisciplinary Learning
Beyond its academic and research merits, the project holds significant potential for outreach and community engagement. The creation of playable replicas opens up exciting possibilities for interactive exhibits, educational programs, and public performances. "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," Katz remarked, highlighting the synergistic nature of the collaboration.
The project has also proven to be a powerful catalyst for student engagement and interdisciplinary learning. Victoria Pham, a second-year undergraduate studying materials science and engineering, found herself drawn to the project by her passion for history. "I love wandering through the halls of the MFA and immersing myself in the descriptions of paintings and artifacts," she shared. "I find learning about ancient peoples to be fascinating, especially in how their legacy affects us today."
Pham’s current work involves finite element modeling of a Veracruz poly-glabular flute, an artifact from 500-900 CE, to conduct non-destructive acoustic investigations. She finds the experience deeply rewarding, stating, "My 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 contributing to the nascent 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 pursuing a dual major in music and mathematics, has also been an active participant. His involvement began last summer and continued through MIT’s Independent Activities Period in January. Mazurenko sees his participation in this UROP with Professor Rau as a pivotal opportunity to integrate his academic passions. His work, alongside Pham’s, is slated for presentation at upcoming conferences and is expected to result in academic publications under the mentorship of Sabatini and Rau.
The Future of Historical Sound
The collaborative efforts between MIT and the MFA represent a significant leap forward in how we interact with and understand historical musical instruments. By meticulously reconstructing their physical forms and accurately recreating their sounds, this project not only enriches our knowledge of the past but also ensures that the voices of ancient musicians can once again resonate in the present. The data gathered and the replicas created will serve as invaluable resources for scholars, musicians, and the public alike, fostering a deeper appreciation for the artistry, ingenuity, and cultural richness of bygone eras. This initiative is a testament to the enduring power of curiosity, collaboration, and technological innovation to unlock the secrets of history and bring its forgotten melodies back to life.
