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 -
Welcome to my blog-like webpage!
Tweets by @bio_computer
I am a composer working at the crossroads of music and science. I have composed music for symphonic orchestras, chamber groups, solo instruments - with and without live electronics - and electroacoustic music. In addition to concert music, I have composed for theatre and contemporary dance.
My music has been featured at festivals and concerts worldwide, by renowned performers and ensembles, including Bergersen String Quartet (London), Hausmann Quartet (San Diego), 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.
The recording of Mind Pieces (for orchestra, percussion and prepared piano), and an accompanying e-book have recently been published by Intelligent Arts, in the USA. The e-book is available now from Amazon and Apple, and the recording of the symphony is freely available for listening on-line through Intelligent Arts’ website.
A selection of interviews and news articles from the the international press are available on-line with Scoop.It. (Click on the icon below to see them.)
Samples of my work are available online at SoundCloud and through my Vimeo video channel. (Click on the icons below to access these.)
I am honoured to have been invited to deliver key notes at 13th Sound and Music Computing Conference and Summer School in Hamburg and at NeuroTechX in London, both in September 2016. And in April 2016 I was invited by BBC Earth to join Sir David Attenborough, Oscar-winning filmmaker Hugh Welchman and Nicholas Negroponte, the founder of MIT Media Lab, to present fresh insights into the boundary-pushing technology used to reveal wonders of our natural world at the prestigious EG Conference in California.
"EG is like an episode of The Twilight Zone, except time doesn't stop and then everything shatters." (Matt Groening, creator of The Simpsons)
In 2015 I was invited to showcase my work at Technarte in Bilbao (Spain) and also at the prestigious music festival Mainly Mozart in San Diego (USA), where I had the privilege to talk about the impact of my research on Fox 5 TV. (Click on the photo to watch.) A news article in the San Diego Union-Tribune newspaper in also available online [Click here].
In the run-up for a talk I gave at Medicine Unboxed (Parabula arts Centre in Cheltenham, 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.
I had the opportunity to discuss 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.
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.
Other residencies include: USEAC (Harvard University Studio for Electroacoustic Composition, Cambridge, USA), 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), NOTAM (Oslo, Norway) and Harvard Univesity (Cambridge, USA).
For all other features and stories on the BBC, click [ HERE ]
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"
"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 -
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 is published and distributed by Sargasso.
It is also available from iTunes, where you may also purchase individual tracks: [iTunes].
Pieces on this CD:
... These are immensely sophisticated pieces that constitute an electronic global music of convincingly organic simplicity. Brian Morton, Wire
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.
Part of CD compilations and CDs accompanying publications
Below is only a short list of representative concerts and festivals all over the world where my music has been performed .
"[Prof Miranda's] research into the evolution of music may change the way in which we create music"
- New Electronics -
|My research interests and
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 at Plymouth University in the UK and I am affiliated to UFRGS's Computer Music Lab in Brazil. I was appointed DAAD Edgard-Varese-Gastprofessur at Technische Universität Berlin in 2006 and subsequently Research Fellow at the Staatliches Institut für Musikforschung, Berlin, Germany. In 2015 I was appointed Visiting Professor at Université de Bordeaux, France.
I am proud of the impact of my research into brain-computer music interfacing (or BCMI) for people with severe physical disabilities, which was the topic of a key note I gave at the international conference on "Music Technology: Solutions to Challenges", held at the Royal Hospital for Neuro-disability, in London. Subsequently I demonstrated the technology in a public concert with severely motor-impaired patients; the first ever concert of this kind.
The impact of this research has been widely reported by the international media. Click othe logos to read a selected sample available on-line:
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.
"It explores an artist's creative process
in a degree of detail
that is seldom documented."
Philip Ballauthor of The Music Instinct
[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
Research papers: journals"... author of one of the top 5% most highly cited papers in [his] field worldwide"
- Council of Canadian Academies -
published over 200 refereed research papers in conference
proceedings, journals and book chapters. Only peer-reviewed research
papers published in learned journals
are listed below. Most of my papers are available for downloading from my Academia.edu or ResearchGate repositories.
 Daly, I., Williams, D., Hwang, F., Kirke, A., Malik, A., Weaver, J., Miranda, E. R., Nasuto, S. J., (2016). "Affective Brain-Computer Music Interfacing", Journal of Neural Engineering, 13:4. http://dx.doi.org/10.1088/1741-2560/13/4/046022
 Miranda, E. R. (2016). "The music of particle collisions". Nature Physics 12(8):721.
 Miranda, E. R. (2015). "Music Neurotechnology: From Music of the Spheres to Music of the Hemispheres", Symmetry: Culture and Science, 26(3):353-378.
 Daly, I., Williams, D., Hallowell, J., Hwang, F., Kirke, A., Malik, A., Weaver, J., Miranda, E., Nasuto, S. (2015). "Music-induced emotions can be predicted from a combination of brain activity and acoustic features", Brain and Cognition, 101:1-11. DOI: 10.1016/j.bandc.2015.08.003.
 Williams, D., Kirke, A., Miranda, E., Daly, I., Hallowell, J., Weaver, J., Malik, A., Roesch, E., Hwang, F., Nasuto, S. (2015). "Investigating Perceived Emotional Correlates of Rhythmic Density in Algorithmic Music Composition", ACM Transactions on Applied Perception, 12(3): article 8. DOI: 10.1145/2749466.
 Eaton, J., Williams, D., and Miranda, E. (2015). "The Space Between Us: Evaluating a multi-user brain-computer music interface", Brain-Computer Interfaces, 2-3:103-116. DOI: 10.1080/2326263X.2015.1101922.
 Kirke, A., Freeman, S. and Miranda, E. R. (2015). "Wireless Interactive Sonification of Large Water Waves to Demonstrate the Facilities of a Large-Scale Research Wave Tank", Computer Music Journal, 39(3):59-70. DOI: 10.1162/COMJ_a_00315.
 Miranda, E. R. and Williams , D. (2015). "Artificial Intelligence in Organised Sound", Organised Sound, 20(1): 76-81.
 Kirke, A. and Miranda, E. (2015). "Multi-Agent Emotional Society Whose Melodies Represent its Emergent Social Hierarchy and Are Generated by Agent Communications", Journal of Artificial Societies and Social Simulation, 18(2): article 15. Online Journal
 Kirke, A., Eaton, J. and Miranda, E. (2015) “Real-time Hallucination Sonification and Simulation through User-led Development of an iPad Augmented Reality Performance”, Leonardo, 48(3): 235-242.
 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: dx.doi.org/10.1016/j.neulet.2014.05.003.
 Kirke, A. and Miranda, E. R. (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.
 Serquera, J. and Miranda, E. R. (2014). "Histogram Mapping Synthesis: A Cellular Automata-Based Technique for Flexible Sound Design." Computer Music Journal, 38(4):1-15, DOI:10.1162/COMJ_a_00267
 Williams, D., Kirke, A., Miranda, E. R., Roesch, E., Daly, I., and Nasuto, S. (2014). "Investigating affect in algorithmic composition systems." Psychology of Music. Published online before print August 15, 2014. DOI: 10.1177/0305735614543282
 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.
For information on studying for a post-graduate degree (masters and/or doctorate) at Plymouth University under my guidance, please click on the link below.
Last updated 30 Sep 2015.