Professor Eduardo Miranda
Professor in Computer Music
School of Humanities and Performing Arts (Faculty of Arts & Humanities)
Please refer to my website for more information:
- Head of the Interdisciplinary Centre for Computer Music Research (ICCMR)
- Member of Peninsula Arts' steering committee for music
- Member of the steering committee of the Centre for High Performance Computing
- Member of Information Security Group
- Co-director of Peninsula Arts Contemporary Music Festival
- Programme Manager of Res.M Computer Music
Other Appointments (last 4 only):
Electronic Music Studios, Institute of Communications Research
Technische Universität Berlin (TUB)
Winter Semester of 2006 - 2007
SONY Computer Science Laboratory
Adjunct Associate Professor of Computer Science
American University of Paris
Roles on external bodies
- Co-editor: Journal of Creative Music Systems, Huddersfield University Press. (http://jcms.org.uk/)
- Member of the Editorial Board: Organised Sound, Cambridge University Press.
- 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 Editorial Board: International Journal of Unconventional Computing, Old City Publishing
- Member of the Reviewing Board: IEEE Multimedia.
- Member of the EditorialBoard: The Scientific World Journal.
- 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)
- 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 – 2016)
- 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 29 PhD awards to date at:
- University College Cork (2016)
- University of Reading (2015)
- Sydney Conservatorium of Music (2014)
- 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, 2015)
- 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, 2015)
- Chalmers University of Technology, Sweden (2004)
- Federal University of Rio Grande do Sul, Brazil (2002)
- University of Coruña, Spain (2001)
- 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
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:
2016, University of Plymouth, Joel Eaton . PhD Thesis: Brain-Computer Music Interfacing: Designing Practical Systems for Creative Applications.
2014, University of Plymouth, Hans Holger Rutz . PhD Thesis: Tracing the 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
I have had the privilege of hearing my music at festivals and concerts worldwide, played by renowned performers and ensembles such as Bergersen String Quartet, Leo String Quartet (from the City of Birmingham Symphony Orchestra), Sond'Ar-te Electric Ensemble (Portugal), Chamber Group of Scotland, Scottish Chamber Orchestra, BBC Concert Orchestra and Ten Tors Orchestra, to cite but a few. In addition to concert music, I have composed for theatre and contemporary dance.
"... John Cage's dream realized."
- BBC News -
"Miranda has created something truly unique ..."
- Palatinate -
"... the first piece of music composed for an interactive biosystem."
- BBC Focus Magazine -
"If the goal is to push music-making beyond conventional bounds, Miranda and his colleagues must surely have succeeded."
- MIT Technology Review -
"Today marks a fascinating musical first ... a performance of the world's first Brain-Computer Music Interface (BCMI) quartet."
- The Observer -
- The Sunday Times -
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:
Daly, I., Hwang, F., Kirke, A., Malik, A., Weaver, J., Williams, D., Miranda, E. and Nasuto, S. (2015). "Automated identification of neural correlates of continuous variables", Journal of Neuroscience Methods, 242(2015):65-71. DOI: 10.1016/j.jneumeth.2014.12.012
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.
Schramm, R., Jung, C. R. and Miranda, E. R. (2014). "Dynamic Time Warping for Music Conducting Gestures Evaluation", IEEE Transactions on Multimedia, DOI:
Daly, I., Williams, D., Hwangm F., Kirke, A., Malik, A., Roesch, E., Weaver, J., Miranda, E., Nasuto, S. (2014). "Investigating music tempo as feedback mechanism for closed-loop BCI control", Brain-Computer Interfaces, DOI: 10.1080/2326263X.2014.979728
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.
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 last 5 years only)
2015: Technarte – InternationalConference on Art andTechnology, La Alhondiga, Bilbao, Spain.
2014: NOTAM Forum with SkRR, Olso, Norway.
2014: Research and Creativity Seminar, IRCAM – Centre Georges Pompidou, Paris, France.
2013: Technarte – InternationalConference on Art andTechnology, La Alhondiga, Bilbao, Spain.
2013: EU - NETT N euralEngineering Summer School, University of Nottingham, Nottingham, UK.
2013: Medicine Unboxed, VOICE 23-24 November 2013, Parabula ArtsCentre, Cheltenham, UK
2012: UK Brain-Computer Interface Network Meeting, University ofWarwick, Coventry, UK.
2012: Inspired by Digital, London Chamber Orchestra & Queen MaryUniversity of London, London, UK.
2012: Plymouth International Book Festival, Plymouth, UK.
2012: Utilisation de l’électroencéphalographie dans la composition musicale, University of Bordeaux 1 & AssociationFrançaise d’Informatique Musicale (AFIM), Bordeaux,France.
2010: Music Technology: Solutions to Challenges, Royal Hospital for Neuro-disability – Institute of Neuropalliative Rehabilitation, London, UK.
2009: UK Brain-Computer Interface Network Meeting, University ofBirmingham, Birmingham, UK.
2009: Man Made, Dana Centre – ScienceMuseum, London, UK.
2009: Art, Brain and Language Symposium, Casada Música, Porto, Portugal.
2009: First International Symposium on AppliedSciences in Biomedical and Communication Technologies (ISABEL2008), Aalborg, Denmark.
Other academic activities
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