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Eduardo Miranda

 

Personal photograph uploaded by Eduardo Miranda

Professor Eduardo Miranda - (Prof Eduardo Miranda)

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


Role

  • 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 Peninsula Arts' steering committee for music
  • 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



 

Qualifications & background
Other Appointments (last 4 only):

Visiting Research Fellow
Staatliches Institut für Musikforschung (National Institute for Music Research)

Berlin, Gemany

2010 - to date

Edgar Varèse Visiting Professor of Computer Music
Electronic Music Studios, Institute of Communications Research
Technische Universität Berlin (TUB)
Berlin, Germany
Winter Semester of 2006 - 2007

Research Scientist
SONY Computer Science Laboratory
Paris, France
1998 – 2003

Adjunct Associate Professor of Computer Science
American University of Paris
Paris, France
2002 – 2003

 

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.
  • Member of the Editorial Board: Contemporary Music Review, Routledge.
  • Member of the Editorial Board: Leonardo Transactions, The MIT Press.
  • Member  of the Editorial Board: Journal of Sonic Studies.
  • Member of the Reviewing Board: IEEE Multimedia.
  • Member of the EditorialBoard: The Scientific World Journal.

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

Patents

1) 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.

2) 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.

3) 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.

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

5) 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.


 

Research degrees awarded to supervised students

Successful PhD completions:

2014, University of Plymouth, Hans Holger Rutz . PhD Thesis: Tracingthe Compositional Process.

2013, University of Plymouth, Nikolas Valsamakis . PhDThesis: Non-Standard Sound Synthesis with Dynamic Models.

2013, University of Plymouth, Christian Dimpker . PhDThesis: Extended Notation: The Depiction of the Unconventional.

2012, University of Plymouth, Noris Mohd Norowi . PhD Thesis: AnArtificial Intelligence Approach to Concatenative Sound Synthesis.

2012, University of Plymouth, Daniel Livingstone . PhDThesis: Design Strategies for Adaptive Social Composition: Collaborative SoundEnvironments.

2012, University of Plymouth, Joao Martins. PhDThesis:  Emergent Rhythmic Structures asCultural Phenomena Driven by Social Pressure in a Society of Artificial Agents.

2011, University of Plymouth, Alexis Kirke . PhDThesis: Application of Intermediate Multi-Agent Systems to IntegratedAlgorithmic Composition and Expressive Performance of Music.

2010, University of Plymouth, Peter Beyls . PhDThesis: Music as Emergent Complex Behaviour.

2010, University of Plymouth, Leandro Costalonga . PhDThesis: Biomechanical Modelling of Musical Performance: A Case Study of theGuitar

2009, University of Plymouth, Marcelo Gimenes . PhDThesis: An Approach to Machine Development of Musical Ontogeny.

2001, University of Glasgow, Alexander Duncan , PhDThesis: EEG Pattern Classification for the Brain-Computer Musical Interface.

1999, University of Glasgow, Kenneth McAlpine . PhDThesis: Application of Dynamical Systems to Music Composition.

 

Creative practice & artistic projects

Please refer to my personal website for my creative practices: PERSONAL WEB SITE

 


Publications
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 Academia.edu pages:


http://plymouth.academia.edu/EduardoReckMiranda

Miranda, E. R, (2014). "Harnessing the Intelligence of Physarum Polycephalum for Unconventional Computing-Aided Musical Composition", International Journal of Unconventional Computing, 10(3):251-268.

Daly, I., Malik, A., Hwang, F., Roesch, E., Weaver, J., Kirke, A., Williams, D., Miranda, E.and Nasuto, S. J. (2014). "Neural correlates of emotional responses to music: an EEG study", Neuroscience Letters, DOI: http://dx.doi.org/10.1016/j.neulet.2014.05.003

Kirke, A. and Miranda, E. (2014). "Pulse Melodic Affective Processing: Musical structures for increasing transparency in emotional computation", Simulation: Transactions of the Society for Modeling and Simulation International, 90(50):606-622.

Kirke, A. and Miranda, E. R. (2014). "Unconventional Computer and Teaching: Proposal for MUSIC, a Tone-Based Scripting Language for Accessibility, Computation and Education", International Journal of Unconventional Computing, 10(3): 237-249.

Kirke, A. and Miranda, E. R. (2014). "Towards Harmonic Extensions of Pulsed Melodic Affective Processing - Futher Musical Structures for Increasing Transparency in Emotional Computation", International Journal of Unconventional Computing, 10(3): 199-217.

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

Conference Keynotes, Invited Speaker (a selection from last5 years only)

2014:

(1)NOTAM Forum with SkRR, Olso, Norway.

(2)Research and Creativity Seminar, IRCAM – Centre Georges Pompidou, Paris, France.


2013:

(1) Technarte – InternationalConference on Art andTechnology, LaAlhondiga, Bilbao, Spain.

(2) EU - NETT N euralEngineering Summer School, University ofNottingham, Nottingham, UK.

(3) Medicine Unboxed, VOICE 23-24 November 2013, Parabula ArtsCentre, Cheltenham, UK


2012:

(1) UK Brain-Computer Interface Network Meeting, University ofWarwick, Coventry, UK.

(2) Inspired by Digital, London Chamber Orchestra & Queen MaryUniversity of London, London, UK.

(3) Plymouth International Book Festival, Plymouth, UK.

 

2011:

(1) Utilisation de l’électroencéphalographie dans lacomposition musicale,  University of Bordeaux 1 & AssociationFrançaise d’Informatique Musicale (AFIM), Bordeaux,France.


2010:

(1) Music Technology: Solutions to Challenges, Royal Hospital forNeuro-disability – Institute of Neuropalliative Rehabilitation, London, UK.


2009:

(1) UK Brain-Computer Interface Network Meeting, University ofBirmingham, Birmingham, UK.

(2) Man Made, Dana Centre – ScienceMuseum, London, UK.

(3) Art, Brain and Language Symposium, Casada Música, Porto, Portugal.

(4) First International Symposium on AppliedSciences in Biomedical and Communication Technologies (ISABEL2008), Aalborg, Denmark.

 

 

Conferences organised

·    Symposiumon Music and Unconventional Computing, part of AISB Convention, University of Exeter, 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]

 


Other academic activities
I am a also a composer working at the crossroads of music and science. My music is informed and inspired by my research into Artificial Intelligence (AI) in significant ways. I have composed  music for symphonic orchestras, chamber groups, solo instruments - with and without live electronics - and  electroacoustic music .

My music has been broadcast and performed at festivals and concerts worldwide, by renowned performers and ensembles such as Ian Pace (piano), Frances M Lynch(soprano), Mariona Sagarra (soprano), Luciani Cardassi (piano), Catarina Domenici(piano), Ney Rosauro (percussion), Saltire String Quartet, Chamber Group of Scotland, Scottish Chamber Orchestra (SCO), Orquestra Sinfônica de Porto Alegre (OSPA), BBC Concert Orchestra, Heritage Orchestra and Ten Tors Orchestra, to cite but a few.  In addition to concert music, I have composed for theatre and contemporary dance.   


Additional information

No info added

 

Links

Research:

http://cmr.soc.plymouth.ac.uk