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Eduardo Miranda


Personal photograph uploaded by Eduardo Miranda

Eduardo Miranda

  • Job title: Professor in Computer Music, School of Humanities and Performing Arts (Faculty of Arts & Humanities)


  • Head of the Interdisciplinary Centre for Computer Music Research (ICCMR)
  • Deputy Chair and member of the steering committee of the Centre for Humanities, Music and Performing Arts Research (HuMPA)
  • Member of the steering committee of Peninsula Arts
  • Member of the steering committee of the Centre for High Performance Computing
  • Co-director of Peninsula Arts Contemporary Music Festival
  • Programme Manager of MRes Computer Music


Roles on external bodies
Editorial Boards:

  • Member of the Editorial Board: Organised Sound, Cambridge University Press, UK
  • Member of the Editorial Board: Leonardo Music Journal, The MIT Press, USA
  • Member of the Editorial Board: Contemporary Music Review, Routledge, UK
  • Member of the Editorial Board: Leonardo Transactions, The MIT Press, USA
  • Member  of the Editorial Board: Journal of SonicStudies, The Netherlands.
  • Member of the Reviewing Board: IEEE Multimedia,USA
  • Member of the EditorialBoard: The Scientific World Journal, Egypt-USA.\

Peer Reviews:

  • Member of the peer review college of the Austrian Science Foundation (FWF), Austria (appointed 2010 - )
  • Member of the peer review college of the Danish Council for Strategic Research, Denmark (appointed 2010 - )
  • Anonymous peer reviewing of numerous research grant proposals for Research Grants Council of Hong Kong, EPSRC, AHRC, The Wellcome Trust, Racomedi 
  • Member of the Review Panel for Alban Scholarships, European Union (2006-2009)


Teaching interests

  • Music Composition
  • Computer Music / Music Technology
  • Electroacoustic Music
  • Artificial Intelligence
  • Evolutionary Computing / Artificial Life
  • Brain-Computer Interfacing / Assistive Technology


Staff serving as external examiners

  • External Examiner for BA Music Computing, Goldsmiths College (2011 - )
  • External Examiner for the MA/MSc in Music Technology, Dept of Music & Dept of Electronics, University of York (2007 – 2009)
  • External Examiner for the BMus in Music with Computer Sound Design, Dept of Music and Sound Recording, University of Surrey (2007 – 2010)
  • External Examiner for the BMus Honours (Tonmeister), Dept of Music and Sound Recordings, University of Surrey (2007 – 2010)
  • External Examiner for the MSc Applied Artificial Intelligence, School of Engineering, Computer Science and Mathematics, University of Exeter (2006 –2010)
  • External Examiner for the MSc Music Information Technology, City University (2006 – 2009)
  • External examiners for 24 PhD awards to date at: 
    • University of Adelaide, Australia (2014)
    • University of Edinburgh (2013)
    • University of Oslo , Norway (2012)
    • University of Surrey (2010)
    • University of Essex (2010, 2014)
    • University of York (2010)
    • Queen's University Belfast (2010)
    • Open University (2010, 2013)
    • Birmingham Conservatoire (2009, 2011)
    • University of the West of England (2008)
    • University of East Anglia (2008)
    • Edinburgh Napier University (2008)
    • University College, London (2007, 2010)
    • Goldsmiths College (2007)
    • Queen Mary University of London (2007, 2010, 2011)
    • Chalmers University of Technology, Sweden (2004)
    • Federal University of Rio Grande do Sul, Brazil (2002)
    • University of Coruña, Spain (2001)

Research interests

  • Composition (including algorithmic and computer-aided)
  • Electroacoustic Music Composition
  • Sound Synthesis
  • New Musical Interfaces
  • Expressive Music Performance (by machines)
  • Brain-Computer Music Interface
  • Evolutionary Computer Music
  • Music Neurotechnology
  • Unconventional Computation (for music technology)
  • Artificial Intelligence and Music

Other research


Inventor: Eduardo Reck Miranda c/o Sony France S.A., “Morphological categories for voice synthesis”, Europe: EP 1 160 764 A1, Publication 05/12/2001; Japan: P2002-23775A, Publication 04/06/2001.

Inventor: Eduardo Reck Miranda c/o Sony France S.A., “Expressivity of Voice Synthesis”, Europe: EP 1 160 766 A1, Publication: 05/12/2001, USA: US 2002/0026315 A1, Publication 28/02/2002.

Inventor: Eduardo Reck Miranda c/o Sony France S.A., “Vocal sounds granular synthesis by means of cellular automaton”, Europe: EP 1 160 765 A1, Publication 05/12/2001; Japan: P2002-6873A, Publication 04/06/2001.

Inventor: Eduardo Reck Miranda c/o Sony France S.A., “Synthesis of Ultra-Linguistic Utterances”, USA: US 22002/0029145 A1, Publication 07/03/2002.

Inventor: Eduardo Reck Miranda c/o Sony France S.A., “Sound characterisation and/or identification based on prosodic listening”, Europe: EP 1 246 164 A1, Publication 02/10/2002; PCT International: WO 02/070744 A2, Publication 10/10/2002.


I have published over 120 papers within the last 10 years. Below is selection of papers in learned peer reviewed journal papers. A more comprehensive list, including copies for downloading are available from my pages:

Kirke, A. and Miranda, E. (2012). "Pulsed Melodic Affective Processing – Using Music for Natural Affective Computation and Increased Processing Transparency", Neural, Parallel, and Scientific Computations, 20:227-240.

Miranda, E. R., Adamatzky, A. and Jones, J. (2011). "Sounds Synthesis with Slime Mould of Physarum Polycephalum", Journal of Bionic Engineering, 8(2011): 107-113.

Anders, T. and Miranda, E. R. (2011).  "A Computational Model for Rule-Based Microtonal Music Theories and Composition", Perspectives of New Music, 48(2): 47-77.

Miranda, E. R., Magee, W., Wilson, J. J., Eaton, J., and Palaniappan, R. (2011). “Brain-Computer Music Interfacing (BCMI): From Basic Research to the Real World of Special Needs", Music and Medicine, DOI: 10.1177/1943862111399290

Anders, T. and Miranda, E. R. (2011). “A Survey of Constraint Programming Systems for Modelling Music Theories and Composition”, ACM Computing Surveys, 43(4):Article 30.

Anders, T. and Miranda, E. R. (2010). “Constraint Application with Higher-Order Programming for Modeling Music Theories”, Computer Music Journal, 34(2):25-38.

Miranda, E. R. (2010). "Contextualizing Eighteenth Century Enlightenment Through the Lenses of Contemporary Science", Physics of Life Reviews, 7:35-36.

Miranda, E. R. (2010). “Plymouth brain-computer music interfacing project: from EEG audio mixers to composition informed by cognitive neuroscience”, International Journal of Arts and Technology, 3(2/3):154-176.

Miranda, E. R. (2010). “Organised Sound, Mental Imageries and the Future of Music Technology: A Neuroscience Outlook”, Organised Sound 15(1):13-25.

Miranda, E. R., Kirke, A., Zhang, Q. (2010). “Artificial Evolution of Expressive Performance of Music: An Imitative Multi-Agent Systems Approach”, Computer Music Journal, 34(1):80-96

Anders, T. and Miranda, E. R. (2009). “Interfacing Manual and Machine Composition”.Contemporary Music Review, 28(2):133-147.

Durrant, D., Hardoon, D. R., Brechmann, A., Shawe-Taylor, J., Miranda, E. R. and Scheich, H. (2009). “GLM and SVM analyses of neural response to tonal and atonal stimuli: new techniques and a comparison”, Connection Science, 21(2-3):161-175.

Kirke, A. and Miranda, E. R. (2009). "A Survey of Computer Systems for Expressive Music  Performance", ACM Computing Surveys, 42(1):Article 3.

Miranda, E. R., Bull, L., Gueguen, F. and Uroukov, I. S. (2009). "Computer Music Meets Unconventional Computing: Towards Sound Synthesis with In Vitro Neural Networks",Computer Music Journal, 33(1):09-18.

Miranda, E. R. and Matthias, J. (2009). "Music Neurotechnology for Sound Synthesis",Leonardo, 42(5):439-442.

Miranda, E. R. (2008). "Emergent Songs by Social Robots", Journal of Experimental and Theoretical Artificial Intelligence, 20(4):319-334.

Miranda, E. R., and Maia Jr., A. (2007). "Spectral Fuzzy Sets and Markov Streaming for Granular Synthesis of Sound", Symmetry: Culture and Science, 18(2-3):223-241.

Miranda, E R. (2006). “Brain-computer music interface for composition and performance”,International Journal on Disability and Human Development, 5(2):119-125.

Miranda, E. R. (2005). “Artificial Phonology: On Synthesising Disenbodied Humanoid Voice for Composing Music with Surreal Languages”, Leonardo Music Journal, 15:8-16.

Miranda, E. R. and Brouse, A. (2005). “On Interfacing the Brain Directly with Musical Systems”, Leonardo, 38(4):331-336.

Miranda, E. R.  and Valsamakis, N. (2005). “Iterative Sound Synthesis using Cross-Coupled Digital Oscillators”, Digital Creativity, 16(2):79-92.

Miranda, E. R. (2004). “At the Crossroads of Evolutionary Computation and Music: Self-Programming Synthesizers, Swarm Orchestras and the Origins of Melody”, Evolutionary Computation, 12(2):137-158.

Miranda, E. R., Roberts, S. and Stokes, M. (2004). “On Generating EEG for Controlling Musical Systems”, Biomedizinische Technik, 49(1):75-76.

Westerman, G. and Miranda, E. R. (2004). “A New Model of Sensorimotor Coupling in the Development of Speech”, Brain and Language, 82(2):393-400.

Miranda, E. R. (2003). “On the evolution of music in a society of self-taught digital creatures”, Digital Creativity, 14(1):29-42.

Miranda, E. R. (2003). “On the Music of Emergent Behaviour: What can Evolutionary Computation Bring to the Musician?”, Leonardo, 36(1):55-58.

Miranda, E. R., Sharman, K., Kilborn, K., Duncan, A. (2003). “On Harnessing the Electroencephalogram for the Musical Braincap”, Computer Music Journal, 27(2):80-102.

Westerman, G. and Miranda, E. R. (2003). “Modelling the Development of Mirror Neurons for Auditory-Motor Integration”, Journal of New Music Research,  31(4):367-375.

Bilotta, E., Miranda, E. R., Pantano, P and Todd, P. (2002). “Artificial Life for Musical Applications: Workshop Report”, Artificial Life, 8(1):83-86.

Miranda, E. R. (2002). “Emergent Sound Repertoires in Virtual Societies”, Computer Music Journal, 26(2):77-90.

Miranda, E. R., (2002). “Generating Source Streams for Extralinguistic Utterances”,Journal of the Audio Engineering Society, 50(3):165-172. 

Miranda, E. R., Correa, J. S., Wright, J. (2000). “Categorising Complex Dynamic Sounds”,Organised Sound, 5(2):95-102.

Miranda, E. R., McAlpine, K. and Hoggar, S. (1999). “Making Music with Algorithms: A Case Study”, Computer Music Journal, 23(2):19-30.

Miranda, E. R. (1998). “The Role of Speech Synthesis in Requiem per una veu perdudua”,Organised Sound, 3(3):235-240.

Miranda, E. R. (1997). “Machine Learning and Sound Design: A Case Study”, Leonardo Music Journal, 7:49-55.

Miranda, E. R. (1995). “An Artificial Intelligence Approach to Sound Design”, Computer Music Journal, 19(2):59-75.

Miranda, E. R. (1995). “Granular Synthesis of Sounds by means of a Cellular Automaton”,Leonardo, 28(4):297-300.

Miranda, E. R. (1995). “Cellular Automata Synthesis of Acoustic Particles”,Supercomputer, 56:16-23.

Miranda, E. R. (1994). “From Symbols to Sound: AI-based Investigation of Sound Synthesis”, Contemporary Music Review, 10(2):211-232.

Miranda, E. R. (1994). “Music composition using cellular automata”, Languages of Design, 2:105-117.

Miranda, E. R. (1993). “Cellular Automata Music: An Interdisciplinary Project”, Interface, 22(1):3-21.

Wiggins, G., Miranda, E. R., Smaill, A. and Harris, M. (1993). “A Framework for the Evaluation of Music Representation Systems”, Computer Music Journal, 17(3):31-42.


Reports & invited lectures

Invited Conference/WorkshopSpeaker


·      Technarte – InternationalConference on Art and Technology , La Alhondiga, Bilbao, UK.

·      EU - NETT N euralEngineering Summer School, University of Nottingham, Nottingham, UK.

·      MedicineUnboxed, VOICE 23-24 November 2013, Parabula Arts Centre, Cheltenham, UK


·    UK Brain-Computer Interface Network Meeting , University of Warwick, Coventry, UK.

·    Inspired by Digital , London Chamber Orchestra & Queen Mary University of London,London, UK.

·    Plymouth International Book Festival , Plymouth, UK.

·    Inspire byDIGITAL, London Chamber Orchestra & Queen Mary University of London,People’s Palace, QMUL, London, UK.



·    Utilisation de l’électroencéphalographie dans lacomposition musicale , University ofBordeaux 1 & Association Française d’Informatique Musicale (AFIM),Bordeaux, France.


·    Music Technology: Solutions to Challenges , Royal Hospital for Neuro-disability - Instituteof Neuropalliative Rehabilitation, London, UK.


·    UK Brain-Computer Interface Network Meeting , University of Birmingham, Birmingham, UK.

·    Man Made ,Dana Centre – Science Museum, London, UK.



  ·    Sonic Imagery Symposium , De Montfort University, Leicester, UK.

·    Art, Brain and Language Symposium , Casa da Música, Porto, Portugal.

·    First International Symposium on Applied Sciences inBiomedical and Communication Technologies (ISABEL2008) , Aalborg, Denmark.

·    International Music Computing Research Workshop 2008 , Open University, Milton Keynes, UK.


·    AHRC ICT Methods Network Workshop: NewProtocols for Electroacoustic Music Analysis , De Montfort University, Leicester, UK.

·    International Meeting ORES: Rupture andTradition , Arts, Scienceand Technology Foundation – Observatory, April 26 – 28 2007, Trancoso,Portugal.


·    eNTERFACE – The SIMILAR NoE SummerWorkshop on Multimodal Interfaces , Dubrovnik, Croatia.

  2005 :

  ·    Brain Science, Music Understanding, andMusic Technology: The Limits of Current Research and Perspectives Beyond , Universitat Pompeu Fabra, Barcelona,Spain.

·    Digital Music Research Network andRoadmap Launch , QueenMary University of London, London, UK.

2004 :


·    Art & Biotechnologies , Musée d’Art Contemporain de Montréal,Montréal, Canada.




·    Annual Congress of the BrazilianComputing Society / X Brazilian Symposium on Computer Music , UNICAMP, Campinas, Brazil.

·    International Symposium on Music &Science , ICEM-UNESCO,Coimbra, Portugal.

·    Colloquium Past, Present and Future ofTechnology in Music ,Institute for Psychoacoustics and Electronic Music (IPEM), University of Ghent,Belgium.


2001 :


·    Experimenta 2001: Thought as Design , Lisbon, Portugal.


Conferences organised

·    Symposiumon Music and Unconventional Computing, part of AISB Convention, University ofExeter, UK (2013). [co-organiser]

·    NeuroArts Conference , Plymouth, UK (2011). [co-organiser]

·    Brain-ComputerInterfaces for Music , Plymouth, UK (2011).

·    MusicTechnology in Education for the Young at Risk of Social Exclusion , Plymouth, UK (2010).

·    PRISMAInternational Conference on Aesthetic Decisions inComputer-Aided Composition, Plymouth, UK (2010).

·    Music, Science and the Brain , Plymouth, UK (2008). [co-organiser]

·    Music-AL Workshop , Workshop of Music and Artificial Lifepart of European Conference on Artificial Life (ECAL), Lisbon, Portugal (2007).

·    6th European Conference onArtificial Life / 1st Workshop on Artificial Life Models for      Musical Applications , Prague, Czech Republic (2001). [co-organiser]

·    XV Annual Congress of the BrazilianComputer Science Society / II Brazilian Symposium on Computer Music , Canela, Brazil (1995).

·    World Conference on ArtificialIntelligence in Education / Artificial Intelligence in Music Education Workshop , Edinburgh, UK (1993). [co-organiser]