Kate Wagner Featured on Arch Daily

Kate Wagner

Kate Wagner (MA ’18, Audio Sciences) is featured on Arch Daily, an architecture website, talking about “The Age of the Architecture Critic as a Galvanizing Force Is Over. It’s Done.”

Alumni Perform Micro-Concerts for Microgrants

Peabody alumni are involved in a new organization called Lift Music Fund, which mission is to make achievement in music more accessible and equitable. The group awards microgrants every month to Black, Latinx, and Native American student musicians to help offset the incidental costs of pursuing a career in music – things like equipment, lessons, […]

Kate Wagner Writes for The Atlantic, Interviewed on NPR

An article by Kate Wagner (MA ’18, Audio Sciences) was published in The Atlantic called “How Restaurants Got So Loud” on November 27. The article discusses the trends in architecture, interior design, and public taste when it comes to restaurant design, and how these have all impacted the decibel level at popular upscale eateries. She was […]

Kate Wagner Article Featured on Vox

Kate Wagner (MA ’18, Audio Sciences) has a featured article in Vox. The author of the architecture blog, McMansion Hell, critiques Betsy DeVos’s summer home in Michigan for this article.

Joel Watts Receives Grammy Award for Best Orchestral Performance

Joel Watts (BM ’14, Horn; BM ’15, Recording Arts; MM ’15, Audio Sciences) received the Grammy Award for Best Orchestral Performance for his work as assistant recording engineer. Mr. Watts engineered a live recording of Shostkovich’s Under Stalin’s Shadow, featuring Shostakovich’s Symphonies No. 5, 8 ,and 9 performed by the Boston Symphony Orchestra under the […]

Ian Hoffman Joins Peabody as Instructor in Audio Sciences

Ian Hoffman has been appointed Peabody’s new principal instructor in audio sciences, acoustical studies concentration. Mr. Hoffman is an architect, acoustic designer, and educator, whose teaching, research, and practice examine the complex sensitivities of architectural and acoustic design, specifically for the performing arts, bridging the technical and creative, calculated and perceived, aural and tectonic.