Prof Eduardo Miranda

Eduardo R. Miranda


"... a formidable composer"

- Wire -


"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 -

Contact: mirandaagent@gmail.com

Welcome to my blog-like webpage!

I am 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.

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.

My new book, Thinking Music, telling the inside story to my choral and orchestral work Sound to Sea, is now available. Click on the picture of the cover below for more information.

Thinking Music book cover

Samples of my work are available online at SoundCloud and through my Vimeo channel. (Click on the icons below)
 




In 2011-2012 I was composer-in-residence at the Science Museum, London, working with Lottolab Studio. Please, click on the icons below for more information.

 

Previous residencies include: CCMIX (Centre de Création Musicale Iannis Xenakis, Paris, France), IMEB (Institut International de Musique Electroacoustique de Bourges, France), Fundació Phonos (Barcelona, Spain), Luciano Berio's Centro Tempo Reale (Florence, Italy), Banff Center (Banff, Canada), IRCAM (Paris, France) and NOTAM (Oslo, Norway).

I have had the privilege of discussing my work on AI in music composition in The Forum - broadcast by BBC World Service - with BBC diplomatic correspondent, Bridget Kendall, UCL's cell therapy maverick, Prof Chris Mason, and MIT's economist, Prof Esther Duflo. A truly interdisciplinary discussion with examples from my symphonic work, Mind Pieces (see below). Click on the icon below for more information and to access the podcast.

BBC World ServiceBBC The Forum

For all other features elsewhere ont the BBC click [ HERE ]

In the run-up for a talk I gave at Medicine Unboxed at Parabula arts Centre in Cheltenham in November 2013 I wrote an article on voice and technology for the The Guardian's blog Notes & Theories. Click on the icon below to access it.






COMPOSITION PROJECTS: Highlights

Sounds from Underground

prepared piano and string quartet (3 cellos and 1 contrabass)

"... there was a discernible sense of form and structure within each of its three contrasting movements, as well as perceptible cohesion between them – something which any successful piece of classical music should similarly aspire to."

(Seen and Heard International, 10-Feb-2014)

Sounds from Underground is a new piece, which emerged as a collaboration with pianist Luciane Cardassi, during a residency at Banff Centre, Canada, in 2013, partially supported by a grant from Plymouth University.

I created a unique sonic vocabulary for this piece by exploring unusual ways of playing the instruments.

Whereas some notes of the piano are muffled with earplugs inserted between the strings inside the instrument, other notes are played by means of magnetic resonators.

I teamed up with American engineer and composer Andrew McPherson (the inventor of Magnetic Resonator Piano) to build an array of computer-controlled electromagnets that are placed inside of the piano to vibrate the strings. The electromagnets vibrate the strings of the piano independently of the hammers, affording new and yet beautiful sonorities on the piano, all controlled during the performance via a bespoke piece of software. Click on the photo below to watch  short documentary on this work.



In the run-up for the
concert at Peninsula Arts Contemporary Music Festival in February 2014, I delievered a lecture at IRCAM, Paris, and talked to a cool online magazine called Imperica.





Activating Memory

string quartet and BCMI quartet

"Today marks a fascinating musical first: Prof Eduardo Miranda and colleagues will showcase a performance by the world's first Brain-Computer Music Interface (BCMI) quartet"

(The Observer, 09-Feb-14)

Activating Memory is an innovative experimental composition for 8 performers: a string quartet and BCMI quartet. BCMI stands for Brain Computer Music Interface.

The BCMI quartet involves four persons wearing a brain cap furnished with electrodes to read information from the brain of 4 persons. I teamed up with g.tec, manufacturer of biomedical technology, and Joel Eaton at ICCMR, to design an extraordinary machine that converts brain information into musical scores.

During the performance, the BCMI quartet generates musical scores to be performed by the string quartet in real-time. Each member of the BCMI quartet generates a part for a musician of the string quartet.

Click on the image below to watch a short movie of the inside story of this composition, with the
extraordinary Bergersen String Quartet.



Click on the image to watch a reportage on the science behind the piece by LJ  Rich for BBC News.

Prof Eduardo Miranda


Activating Memory took the world media by stom. Click on the icons below for sample reports from South America, Europe and Africa.

        Activating Memory             Polskie Radio
   


        Globo          Mozambique Noticias      
 
 
In the run-up for the concert at Peninsula Arts Contemporary Music Festival, in February 2014, I wrote an article for Brain World on the interplay between music and brain sciences (Click on the icon below to read the article.)


[ CLICK HERE ] For more composition projects highlights


Impact: International Press


"It sounds like science fiction, but music made via MRI scans of our heads is here."
- The Sunday Times -

Click on the icon to read the profile article by Andrew Smith


My work has been reported by the press worldwide. Below is a short selection of news stories published by magazines in Egypt, Norway, Italy, UK, Lebanon, Netherlands, Germany and USA. Click on the covers of the magazines below to read the articles.
 
         
 
        

 
        


            


Neil Bowdler, a reporter of BBC Radio 4's The World at One programme, paid a visit to ICCMR, the leading contemporary music research lab that I run at Plymuth University in the UK, to produce a nicely put together documentary, which can be heard by clicking on the icon below.



Click on the photo below to hear a chat with Sean Rafferty about my Symphony of Minds Listening on BBC Radio 3's In Tune.
  


Music

"... Clever, and strangely soothing, its sound blipped, splattered and dripped, ending in a scrunching cascade of high splintered sound."
- The Scotsman -

"Mozart for a modern world"
- News Scientist  -

"With the aid of a small string ensemble, this work definitely had something to say, even if the language was not immediately familiar to more classically-trained listeners."
- Seen and Heard International  -

Discography

Most of the CDs below can be bought online; e.g., via Amazon. Should you be interested in a particular recording or CD and you cannot find it in the market, please do not hesitate to contact me.


Mother Tongue

Mother Tongue is published and distributed by Sargasso.

It is also available from iTunes, where you may also purchase individual tracks: [iTunes].

 

Pieces on this CD:

  • Electroacoustic Samba II
  • Le Jardin de Jerome
  • Requiem per una veu perduda (4 movs.)
  • Goma Arabica
  • Electroacoustic Samba I
  • Robotapithecos


... These are immensely sophisticated pieces that constitute an electronic global music of convincingly organic simplicity.  Brian Morton, Wire


Mozart Reloaded

This special Sargasso Limited Edition of 100 signed copies includes a book, 2 CDs and an original print. The book contains an essay by about the compositional process involved in the creation of the piece, a foreword by Professor Andy Miah, and the full score of the piece. It also includes a unique signed print by Peter BB Davis, created especially for this edition.

Mozart Release


Part of CD compilations and CDs accompanying publications


   Image  

       

       

  • Raster Plot, track 1. In CD 150 with Plymouth University - Commemorative CD.  Peninsula Arts, UK, 2012. [5.060109.091816]
  • Sacra Conversazione, 5 movements, electroacoustic solo version, tracks 1-5, CD 2. In  CD Coletânea de Musica Eletroacústica Brasileira. Sociedade Brasiliera de Música Eletroacústica, Brazil, 2009. [CD SBME 005]
  • Ex Tetika Doquenti (a.k.a. Carnival for Piano), 3 movements, piano, tracks 14, 15, 16. In CD Porto 60 - Catarina Domenici, Fumproarte, Brazil, 2004. [389.726.04-8]

  • Grain Streams, piano and electronics, tracks 1, 2, 3. In CD Plural, Fumproarte, Brazil, 2003. [389.726.04-7]

  • Anatema , flute, clarinet Bb, bassoon, track 5. In CD Plural, Fumproarte, Brazil, 2003. [389.726.04-7]

  • Cidade Baixa, clarinet Bb, bassoon, piano and triangle, track 13. In CD Plural, Fumproarte, Brazil, 2003. [389.726.04-7]
  • Entre o Absurdo e o Misterio, chamber orchestra, track 14. In CD Plural, Fumproarte, Brazil, 2003. [389.726.04-7]
  • Grain Streams, piano and electronics, tracks 3, 5, 7. In CD New Sound 120, 2002. SOKOJ-MIC, Yugoslavia.
  • Aquarium, electroacoustic, track 19. In CD Virtual Zoo, Studio Forum, France, 2001.

  • Electroacoustic Samba I, electroacoustic, track 4. In CD Southern Cones: Music out of Africa and South America, part of Leonardo Music Journal, Vol. 10. The MIT Press, 2000. [EMF CD 027 - ISSN 0961-1215]

  • Electroacoustic Sambas II and III, electroacoustic, disc 1 - track 6. In CD Cultures electroniques, No. 12, IMEB - UNESCO - CIME, France, 1999. [LCD 278068/69]

  • Requiem per una veu perduda (excerpts Sanctus-Benedictus and Agnus Dei), mezzo soprano, live electronics and electroacoustics, tracks 11 and 12. In CD accompanying Organised Sound, Vol. 3, No. 3, Cambridge University Press, 1998. [ISSN 1355-7718]

  • Electroacoustic Samba X, electroacoustic, track 1. In CD Desde el otro Lado, O.O. Discs, USA, 1998. [OO45]

  • Goma Arabica, electroacoustic, track 3. In CD of Sociedade Brasileira de Musica Eletroacustica, No. 1, Brazil, 1996. [CD SBME 001]

  • Olivine Trees, electroacoustic, track 6. In CD of the proceedings of the II Brazilian Symposium on Computer Music, Brazil, 1995.


Concerts

Below is only a short list of representative concerts and festivals all over the world where my music has been performed .


          



                 
 
        
   
  
 
    Ketlles Cambridge
  Ljubljana


 Electronica BBC CO     Mind Pieces - Eduardo R Miranda
   
  • La Friche la Belle de Mai, Orchestre de la Cité de la Musique de Marseille, Marseille, France (2013).
  • Difusão Sonora de Música Eletroacústica, Porto Alegre, Brazil. (2013)
  • Peninsula Arts Contemporary Music Festival, Plymouth, UK. (2013)
  • New Resonances Festival, Wilton's Music Hall, London, UK. (2012)
  • Sond'Ar-te Electric Ensemble, Cascais Cultural Centre, Cascais, Portugal. (2012)
  • Jornadas de Música Electroacustica, Montevidéo, Uruguay. (2012)
  • Sound to Sea, St Andrew's Minster, Plymouth, UK (2012).
  • EarZoom Festival, Cankarjev Dom, Ljubljana, Slovenia. (2011)
  • Música Eletroacústica, Sala dos Sons, Porto Alegre, Brazil. (2011)
  • Electronica III, BBC Concert Orchestra, Queen Elizabeth Hall (South Bank Centre), London, UK. (2011)
  • Electric Voice Theatre with Frances Lynch, Kettle's Yard, Cambridge, UK. (2011)
  • Going North,  Luciane Cardassi (piano), Peel Hall, University of Salford, UK. (2011)
  • Peninsula Arts Contemporary Music Festival, Plymouth, UK. (2011)
  • Going North, Luciane Cardassi (piano), Rolston  recital Hall, Banff, Canada. (2010)
  • Uma viagem musical do Brasil ao Canadá, Luciane Cardassi (piano), T-Son 61, Studio PANaroma. Teatro Maria de Lourdes Sekeff. Instituto de Arts da UNESP, Sao Paulo, SP, Brasil. (2010)
  • … onde serene…, Piano and electronics, Luciane Cardassi (piano), Banff Centre Rolston  recital Hall, Banff, Canada. (2009)
  • Baghdad Lullabies, Illios Happening, Frances M Lynch (voice), Harstad, Norway. (2009)
  • Ultraschall Festival, Deutchlandradio Kultur, Sophiensaele, Berlin, Gemany. (2007)
  • Konzert elektroakustischer Musik, Universtität Bremem Theatersaal, Germany. (2007)
  • Sonic Fusion Festival, Edinburgh, UK. (2006)
  • Jornadas de Música Electroacustica, Montevidéo, Uruguay. (2006)
  • UNYASI Festival, South African Electro-Acoustic Music Festival, Johannesburg, South Africa. (2005)
  • Encuentros / Encounters at DePaul, DePaul University, Chicago, USA. (2005)
  • St Andrew’s Church, Ten Tors Orchestra, Plymouth, UK. (2004)
  • Porto 60, Salão Mourisco, Catarina Domenici (Piano), Porto Alegre, Brazil. (2004)
  • Festival Música Viva, Coimbra, Portugal. (2003).
  • Ipem40!, Instituut voor Psychoacustica en Elektronische Muziek, Gent, Belgium. (2003)
  • X Jornadas de Informatica y Electronica Musical, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain. (2003)
  • Ciclo Internacional de Música Electroacustica, Santiago de Chile, Chile. (2003)
  • Jornadas de Música Electroacustica, Montevidéo, Uruguay. (2003)
  • International Computer Music Conference ICMC, Göteborg, Sweden. (2002)
  • Multiplex 2002: Música, Tecnologia e Artes Visuais, Goethe Institut, Porto Alegre, Brazil. (2002)
  • 3a. Galeria Sonora de Compositores Latinoamericanos, Denton TX, USA. (2001)
  • Seoul International Computer Music Festival, Seoul, South Korea. (2001)
  • Synthèse Festival, Bourges, France. (2001)
  • Musique et Art Visuel, Notre Dame de Monts, France. (2000)
  • Festival Música Viva, Lisbon, Portugal. (2000)
  • Temporada de Conciertos 1999 del la Casa de las Americas, Ciudad de la Habana, Cuba. (1999)
  • Seoul International Computer Music Festival, Seoul, South Korea. (1999)
  • Synthèse Festival, Bourges, France. (1999)
  • Sala Hal, computer music series, Barcelona, Spain. (1998)
  • Série Concertos do Século XX, Belo Horizonte, Brazil. (1998)
  • Buenos Aires no dorme, Buenos Aires, Argentina. (1998)
  • Festival Forfest Kromeriz, Kromeriz, Czech Republic. (1998)
  • X Bienal de Música Brasileira, Rio de Janeiro, Brazil. (1997)
  • Festival Elektronischer Frühling, Vienna, Austria. (1996)
  • International Computer Music Conference ICMC, Hong Kong, China. (1996)
  • OSPA (Porto Alegre Symphony Orchestra), Official Concert series, Porto Alegre, Brazil. (1995)
  • XI Bienal de Música Brasileira Contemporânea, Rio de Janeiro, Brazil. (1995)
  • Ciclo Acusmatico, Bogotá, Colombia. (1995)
  • Synthèse Festival, Bourges, France. (1995)

Research


"[Prof Miranda's] research into the evolution of music may change the way in which we create music"
- New Electronics -


My research interests and expertise include: composition (including algorithmic,  computer-aided and electroacoustic), sound synthesis, new musical interfaces, expressive music performance (by machines), brain-computer music interfacing, evolutionary computer music, music neurotechnology, unconventional computation (for music technology) and artificial intelligence.

I am Professor of Computer Music with Plymouth University in England and I am affiliated to UFRGS's Computer Music Lab in Brazil. Also, I was appointed DAAD Edgard-Varese-Gastprofessur at Technische Universität Berlin, and Research Fellow at the Staatliches Institut für Musikforschung (Museum of Musical Instruments, Berlin Philharmonic).

I am proud of the impact of my research into brain-computer music interfacing (or BCMI) for people with severe disabilities, which was the topic of a key note I gave at the international conference on "Music Technology: Solutions to Challenges", held recently at the Royal Hospital for Neuro-disability, in London.

Check the articles by Philip Ball in Nature  Nature logo, by Matthew Knight, in CNN Lab CNN Logo
and by Alice Vincent in Wired  .




My research into modelling the evolution of music using robots has been in the news all over. The singing robots that learn how to sing melodies by babbling to each other have caught people's imagination. See short article We, Robots in Reason, published in the USA.





In 2011 I won the Vice-Chancellor's World Class Research Award at Plymouth University for my "outstanding contribution to the research and outward-facing agenda" of the institution.


World Class Research Award


Editorial Boards

  • New Sound (Department of Musicology, Faculty of Music, Belgrade): Editorial Board

Books


       Book     book
    

            
    
 

             

[Click here] for an order form. It is recommend that you order directly from publisher.
[Click here] for a review by Victor Lazzarini, National University of Ireland Maynooth, in Computer Music Journal.

Edited thematic journal issues

       
 
       Music and Unconventional Computing



Research papers: journals

"... author of one of the top 5% most highly cited papers in [his] field worldwide"
-  Council of Canadian Academies -

I have published well over 120 refereed research papers in conference proceedings, journals and book chapters. Only peer-reviewed research papers published in learned journals are listed below. A complete list of my research paper publications is available on  request.

Most of my papers are available for downloading from my Academia.edu pages.


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.

        

Last updated 18 Jun 2014.