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 -

(replace _AT_ by @)

This blog-like web page highlights my professional activity. I update it roughly twice a year. However, since 2019 I have tended to post what I am up to more frequently on LinkedIn instead.

I am a computer scientist and composer working at the crossroads of music and science.
I teach and conduct research at the University of Plymouth, UK, where I am Professor in Computer Music and director of the Interdisciplinary Centre for Computer Music Research (ICCMR).

Miriam Richter interviewed me in 2018 for Computer Music Journal about how I became a composer working with computers, and my approaches to computer-aided composition, among other things. A comprehensive list of my compositions (up to 2018) is also provided. To access the interview, click on the journal cover below.

I 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, Prof Chris Mason, and MIT's Nobel laureate economist Prof Esther Duflo. A truly interdisciplinary discussion with examples from my symphonic work, Mind Pieces. Click on the icon below for more information and to access the podcast.

BBC World
                                                        The Forum

Nowadays, I am championing a new field of research, which I coined Quantum Computer Music. I have recently published the first book ever on this topic, with contributions by emerging pioneers.

Quantum Computer Music book cover

In 2021 I was a visiting researcher at Quantinuum in Oxford, UK, where I worked with the Quantum Natural Language Processing team to develop an approach to composing music with quantum computers.

Currently, I am collaborating with the Center for Quantum Technology Applications (CQTA) at DESY, in Zeuthen, Germany, to harness quantum computing technology for audio and music.

I  am proud to have been awarded two Honorary Mentions in 2019, one by Prix Arts Electronica and another by STARTS Prize which is the grand prize of the European Commission for projects integrating science and technology. The prize-winning piece, Biocomputer Rhythms was performed at the Arts Electronica Festival in 2020.


And in 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  EG Conference (a.k.a. TED on steroids) in beautiful  Carmel-by-the-Sea, California. (Click on the photo to watch.) 


"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 2020 I had the privilege to be nominated SinFonia Composer in Residence to develop methods for sonification of Synthetic Biology.

The SinFonia work follows from the
Biofaction's Artist in Residence project, where I  developed the concept of artificial biology for generative music. I composed a new piece for percussion and electronics, using codes of DNA: Artibiotics. Learn more about this work in an interview I gave to Music Matters on BBC Radio 3.

A selection of delivered keynotes and invited talks includes:
  • QCS Hub (Quantum Computing and Simulation), Oxford (UK), 2021.
  • QHack, (Quantum Machine Learning Hackathon), Toronto (Canada), 2021.
  • Mainly Mozart festival in San Diego (USA), 2015 and 2017, where I had the privilege to talk about the impact of my research on Fox 5 TV. A news article in the San Diego Union-Tribune newspaper in also available online [Click here].
Fox 5 News

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 read it.

Samples of my music are available online at SoundCloud and through my Vimeo video channel. (Click on the icons below to access these.)


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.


Lampedusa - Opera in 3 Acts

This is an opera for choir, electronics, baritone, soprano and dancer.

"The resulting language includes sounds and grammatical structures that are very old, very ancient, very different, kind of almost outside the scope of what we understand of modern humanity.
Built In, 15-Oct-2019

My opera Lampedusa is set in a parallel Shakespearean universe. The plot takes place before the arrival of Prospero and Miranda in Lampedusa, allegedly the island portrayed in Shakespeare’s play The Tempest

The premiere took place on 23 February 2019 at The House, Plymouth, with Edward Price (bartione, as Caliban), Emma Tring (soprano, as Sycorax) and Hayley Bentley (dancer, as Ariel). Stage Director, Victor Ladron de Guevara. Click [ here ] to download a PDF with the opera programme notes, libretto and full credits.

In the opera, Lampedusa is a mysterious island, inhabited by invisible musical creatures. It is believed that the islands’ music could drive people mad. Legend tells that Sirens learn their craft there. The opera tells the story of Sycorax, a refugee from Europe, her son, Caliban, and Ariel. Ariel is an invisible native inhabitant who objects Caliban’s ambitions of reigning over the island.

Lampedusa includes materials composed with an unprecedented piece of software developed at ICCMR. It renders high-energy particles collision data from CERN’s Large Hadron Collider into sounds and music.

The libretto is in the imaginary island’s language Vōv, created by celebrated language inventor David J. Peterson. Vōv builds upon Peterson’s previous experience with the fictional language Dothraki, which he created for the TV series Game of Thrones.

Click on the photo below to watch a short documentary.

Click [ here ] [ here ] and [ here ] to learn more about the creation of the opera, interviews with the production team an cast.

Here are videos with  excerpts from the premiere [ Act 1 ], [ Act 2 ], [ Act 3 ].
Audio recordings of the reharsals are available on SoundCloud.

Biocomputer Rhythms

Thase 2 pieces are for piano and biocomputer. See the Research section below for more details about the scientific research supporting these compositions.

"... it's rather fabulous."
Classical Music, 11-April-16

"It is perhaps the unlikeliest duet in musical history."
The Independent, 09-Feb-15

"... John Cage's dream realized."
BBC News, 27-Feb-15

"Miranda has created something truly unique ..."
Palatinate, 05-Mar-15

"... the first piece of music composed for an interactive biosystem."
BBC Focus Magazine,  02-Mar-15

Biocomputer Music and Biocomputer Rhythms were composed in 2015 and 2016, respetively, to explore the potential of the interactive musical biocomputer that we have been developing in my lab

Click on the photo below to watch the first short documentary about this research, which we produced in 2014 with cinema iloobia. A more recent documentary and footage from performances are available on my Vimeo channel.

Biocomputer Music

Biocomputer Music and Biocomputer Rhythms have captured people's imagination and took the arts & culture world by storm internationally, from Jarvis Coker's BBC Radio 6 programme and Noisey webmag, to Groove in Berlin and Moozyka in Sao Paulo.  Click on the icons below for a selected few others.


See also an interview that I gave to Tom Service, for Music Matters, on BBC Radio 3.
Tom Service


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

" ... transformational for someone who can't move but can now make music."
The San Diego Union-Tribute, 26-Sep-15

Activating Memory is an experimental composition for 8 performers: a string quartet and BCMI quartet. BCMI stands for Brain Computer Music Interface. More information about the scientific research behind this piece is found in the Research section below.

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 my PhD student Joel Eaton 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.

An unprecedented concert was held at the Royal Hospital for Neuro-disability, in London, in July 2015, where 4 severely motor-impaired patients teamed up with a string quartet for form the Paramusical Ensemble. Patients and the quartet had the opportunity to make music together performing Activating Memory. Below is a short documentary of this extraordinary project, which I have been developing for over a decade.

Click on the photograph below to watch an earlier short documentary on the inside story of this composition, with
Bergersen String Quartet.

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

                                    Eduardo Miranda

The impact of the research behind Activating Memory has been reported by the media all over the world. Click on the icons below for sample reports from South America, Europe and Asia.

        Activating Memory     Polskie Radio    Globo  Turkish
Activating Memory has been performed at a number of music festivals internationally, including MusicTech Fest at LSO St Luke's in London, 11th International Symposium on Computer Music Multidisciplinary Research in Plymouth and Mainly Mozart in San Diego (USA). The piece won a special mention by the jury of Medicine Unboxed Creative Prize in 2014.

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.




"... 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"
- New 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  -


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.

Computer-Aided Symphonic Works

My latest CD album is published by Da Vinci Classics.

Make no mistake! This is real fully-fledged professional symphonic music.

This album is available on Amazon, Spotify and iTunes, and other online shops.

Da Vinci

Pieces on this CD:

  • Mind Pieces (5 movements)
  • Sound to Sea (4 movements)

Mother Tongue

Mother Tongue is published and distributed by Sargasso.

The album in available on iTunes and Spotify, and other online shops.


Pieces on this CD:
  • Electroacoustic Samba II
  • Le Jardin de Jerome
  • Requiem per una veu perduda (4 movements)
  • 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




  • 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.


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


    Ketlles Cambridge

 Electronica BBC CO     Mind
                          Pieces - Eduardo R Miranda

  • Kapelica Gallery, Ljubljana, Slovenia. (2021)
  • Tate Liverpool, Contemporary Music Festival, Liverpool, UK. (2020)
  • Open CUBE, Graz, Austria. (2019)
  • BEYOND Festival, Karlsruhe, Germany. (2018, 2019)
  • Mainly Mozart, Marriott La Jolla, San Diego, California, USA. (2017)
  • Symmetry Festival, Concert Hall of the Collegium Hungaricum Vienna, Vienna. Austria. (2016)
  • Sunset Center, Carmel-by-the-Sea, California, USA. (2016)
  • Peninsula Arts Contemporary Music Festival, The House, Plymouth, UK. (2016)
  • Mainly Mozart, Brendan Nguyen (piano), Atkinson Hall, La Jolla, San Diego, California, USA. (2015)
  • Mainly Mozart, Hausmann Quartet, The Auditorium at TSRI, La jolla, San Diego, USA. (2015)
  • Festsaal of TU Wien, Vienna, Austria. (2015)
  • Peninsula Arts Contemporary Music Festival, The House, Plymouth, UK. (2015)
  • Das Musikinstrumenten-Museum, Curt Sachs-Saal, Berlin, Germany. (2014)
  • Music Tech Festival - London, LSO St Luke's, London, UK. (2014)
  • Peninsula Arts Contemporary Music Festival, Plymouth, UK. (2014)
  • 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)


"[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.

[A] I am the Principal Investigator of RadioMe, a major UKRI-funded project aimed at harnessing Artificial Intelligence to adapt and personalise live radio for people living with dementia. RadioMe is developed in collaboration with University of Glasgow,  Anglia Ruskin University, BBC Radio Devon, and collaborators.

[B]  Also, I am a Co-Investigator of UKRI-funded project, OptiMucle, in partnership with University of Salford, University of Stirling and Glasgo School of Arts, to develop an audiovisual system to monitor breathing disorders.

[C] I am a leading pioneer of Brain-Computer Music Interfacing. I coined the term 'Brain-Computer Music Interfacing', abbreviated as BCMI, which is now generally used to refer to research in this area. With my team at the University of Plymouth's ICCMR I developed BCMI technology aimed at individuals suffering from severe motor impairment.  My team and I demonstrated this technology in a public concert with an ensemble of severely motor-impaired patients at the Royal Hospital for Neuro-disability, London. I believe this was the first ever concert of this kind.
Our BCMI research enabled Ms Johnson, a former National Welsh Opera violinist, who became paralysed after an horrific accident 30 years ago, to enjoy making music again.

I am pleased that this research enabled Ms Johnson to develop activity, which resulted in her being awarded an MBE for services to music in 2017 from the Royal Family.

The work starred in
the film Music of the Mind, produced by Grey London for Volvo & Sky Atlantic, as part of the Human Made Stories series. Click on the photograph below to watch the film.


Click othe logos below to read a selected sample of
stories in the international media available on-line:
Nature logo   

[D] Latterly, I have been working with Unconventional Computing for musical applications. In particular, I am developing quantum computing technology for music.

For instance, my team and I have been developing electronic components grown out of biological material. Click on the photograph below to watch one of our components growing an electric filament from a slime mould known as
Physarum polycephalum.

We implemented what is perhaps the first ever musical biocomputer, based on living organic components cultured on a circuit board. The system listens and makes variations on the listened materials. Click on the photograph below to watch a demonstration with Juilliard pianist Derek Wang.

An article introducing the research into biocomputing appeared in Interalia Magazine and Sumit Paul-Choudhury, the editor-in-chief of News Scientist, wrote an excellent article about it. (Click on the icon below to read it.) The work was also featured in the multi-award winning short science-fiction film The Creeping Garden, by Tim Grabham and Jasper Sharp.

                                  Scientist logo

For updates on my work in Quantum Computer Music, please refer to the QuTune project website.

Editorial Boards



BCMI   Quantum Computing Arts
                                            and  Quantum Computer


   Thinking Music book
  Book   book   

"It explores an artist's creative process
in a degree of detail
 that is seldom documented."

Philip Ball, author of The Music Instinct

Edited thematic journal issues

                    and Unconventional Computing

  • Special issue on evolutionary music. Soft Computing, Vol. 16, Issue 12, 2012, Springer. Co-edited with Francisco Fernández de Vega (Universidad de Extremadura, Spain) and Carlos Cotta (Universidad de Malaga, Spain).
  • Exploring Music through Neuroscience. Contemporary Music Review, Vol. 28, Part 3, 2009, Routledge. Co-edited with Katie Overy, University of Edinburgh.
  • Aesthetic Decisions in Computer-Aided Composition. Contemporary Music Review, Vol. 28, Part 2, 2009, Routledge.
  • Evolutionary Music: At the Crossroads of Evolutionary Computing and Musicology. Contemporary Music Review, Vol. 22, Part 3, 2003, Routledge.

Research papers: peer-reviewed

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

I have published over 200 refereed research papers in conference proceedings, journals and book chapters.

Only peer-reviewed research papers published in journals are listed below. See also my, ResearchGate  and Google Scholar repositories.

[87] Miranda, E. R. and Siegelwax, B. N. (2022). "Teaching Qubits to Sing: Mission Impossible?". International Journal of Unconventional Computing, Accepted: July 14, 2022.

[86] Venkatesh, S., Miranda, E. R. and Braund, E. (2022). "SSVEP-based Brain-computer Interface for Music using a Low-density EEG System". Assistive Technology. doi: 10.1080/10400435.2022.2084182

[85] Miranda, E. R., Venkatesh, S. et al. (2022). "An Approach to Interfacing the Brain with Quantum Computers: Practical Steps and Caveats". International Journal of Unconventional Computing, 17(3):159-171. [ Open Access ]

[84] Venkatesh, S., Moffat, D. and Miranda, E. R. (2022). "You Only Hear Once: A YOLO-like Algorithm for Audio Segmentation and Sound Event Detection". Applied Sciences 12(7): 3293. doi:

[83] Miranda, E. R., Venkatesh, S. et al. (2021). "Quantum Brain Networks: A Perspective". Electronics 11, 1528. doi:

[82] Venkatesh, S., Moffat, D., Miranda, E. R. (2021). “Investigating the Effects of Training Set Synthesis for Audio Segmentation of Radio Broadcast”. Electronics 10(7): 827. doi:

[81] Miranda, E. R. (2020). “Genetic Music System with Synthetic Biology”, Artificial Life 26(3):366-390. doi:

[80] Daly, I., Nicolaou, N., Williams, D., Hwang, F., Kirke, A., Miranda, E. and Nasuto, S. J. (2020). “Neural and physiological data from participants listening to affective music”, Nature Scientific Data 7(177). doi:

[79] Costalonga, L., Pimenta, M. S. and Miranda, E., R. (2019). "Understanding Biomechanical Constraints for Modelling Expressive Performance: A Guitar case study", Journal of New Music Research. doi: 10.1080/09298215.2019.1643892

[78] Braund, E., Venkatesh, S. and Miranda, E. (2019). "PhyBox: A Programmable Interface for Physarum Polycephalum-based Memristors", International Journal of Unconventional Computing 14(3-4):217-233

[77] Daly, I., Williams, D., Hwang, F., Kirke, A. Miranda, E. R. and Nasuto (2019). "Electroencephalography reflects the activity of sub-cortical brain regions during approach-withdrawal behaviour while listening to music", Nature Scientific Reports. doi:

[76] Miranda, E. R., Antoine, A., Celerier, J-M. and Desainte-Catherine, M. (2019).  "i-Berlioz: Towards Interactive Computer-Aided Orchestration with Temporal Control", International Journal of Music Science, Technology and Art 1(1):15-23. ISSN 2612-2146

[75] Miranda, E. R., Braund, E. and Venkatesh, S. (2018). "Composing with Biomemristors: Is Biocomputing the New Technology of Computer Music?", Computer Music Journal 42(3):28-46. doi:

[74] Daly, I., Williams, D., Malik, A., Weaver, J., Kirke, A., Hwang, F., Miranda, E. R. and Nasuto, S. J. (2018). “Personalised, Multi-modal, Affective State Detection for Hybrid Brain-Computer Music Interfacing”, IEEE Transactions on Affective Computing. doi: 10.1109/TAFFC.2018.2801811

[73] Mcloughlin, M., Lamoni, L., Garland, E., Ingram, S., Kirke, A., Rendell, L and Miranda, E. R. (2018). "Using agent-based models to understand the role of individuals in the song evolution of humpback whales (Megaptera novaeangliae)", Music & Science 1(1):1-17. doi:

[72] Norowi, N. M., Miranda, E. R. and Hussin, M. (2017). "Parametric Factors Affecting Concatenative Sound Synthesis", Advanced Science Letters 23(6):5496-5500. doi:

[71] Miranda, E. R. and Braund, E. (2017). "Interactive Musical Biocomputer: An unconventional approach to research in unconventional computing", Symmetry: Culture and Science 28(1):7-20.

[70] Nicolaou, N., Malik, A., Daly, I., Weaver, J., Hwang, F., Kirke, A., Roesch, E. B., Williams, D., Miranda, E. R. and Nasuto, S. (2017). "Direct Motor-Auditory EEG Connectivity Is Modulated by Music Tempo", Frontiers in Human Neuroscience. doi: 10.3389/fnhum.2017.00502

[69] Miranda, E. R. and Braund, E. (2017). "A Method for Growing Bio-memristors from Slime Mould", JoVE - Journal of Visualized Methods. [ Online ]

[68] Visi, F., Coorevits, E., Schramm, R. and Miranda, E. R. (2017). "Musical Instruments, Body Movement, Space, and Motion Data: Music as an Emergent Multimodal Choreography", Human Technology, 13(1):58081. [ Online ]

[67] Williams, D., Kirke, A., Miranda, E., Daly, I, Hwang, F., Weaver, J., Nasuto, S. (2017). "Affective Calibration of Musical Feature Sets in an Emotionally Intelligent Music Composition System", ACM Transactions of Applied Perception, 14(3):1-13. doi:10.1145/3059005

[66] Braund, E. and Miranda, E. R. (2017). "On Building Practical Biocomputers for Real-World Applications: Receptacles for Culturing Slime Mould Memristors and Component Standardisation", Journal of Bionic Engineering, 14(1):151-162.

[65] Williams, D. Mears, J. Kirke, A., Miranda, E., Daly, I., Malik, A., Weaver, J., Hwang, F. and NAsuto, S. (2016). "A Perceptual and Affective Evaluation of an Affectively-Driven Engine for Video Game Sountracking", ACM Computers in Entertainment, 14(3): Online.

[64] 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.

[63] Miranda, E. R. (2016). "The music of particle collisions". Nature Physics 12(8):721.

[62] Kirke, A.J., Shadbolt, P., Neville, A. and Miranda, E. R. (2015). "A Hybrid Computer Case Study for Unconventional Virtual Computing", International Journal of Unconventional Computing, 11(3-4):205-226.

[61] Miranda, E. R. (2015). "Music Neurotechnology: From Music of the Spheres to Music of the Hemispheres", Symmetry: Culture and Science, 26(3):353-378.

[60] 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.

[59] 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.

[58] 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.

[57] 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.

[56] Miranda, E. R. and Williams , D. (2015). "Artificial Intelligence in Organised Sound", Organised Sound, 20(1): 76-81.

[55] 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

[54] 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.

[53] 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.

[52] 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.

[51] Schramm, R., Jung, C. R. and Miranda, E. R. (2014). "Dynamic Time Warping for Music Conducting Gestures Evaluation", IEEE Transactions on Multimedia, DOI:

[50] Daly, I., Williams, D., Hwangm F., Kirke, A., Malik, A., Roesch, E., Weaver, J., Miranda, E. R., Nasuto, S. (2014). "Investigating music tempo as feedback mechanism for closed-loop BCI control", Brain-Computer Interfaces, DOI: 10.1080/2326263X.2014.979728

[49] 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:

[48] 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.

[47] 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.

[46] 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.

[45] 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

[44] 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

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

[42] 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.

[41] 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.

[40] 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

[39] 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.

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

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

[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.

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

[34] 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

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

[32] 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.

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

[30] 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.

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

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

[27] 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.

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

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

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

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

[22] 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.

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

[20] 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.

[19] Miranda, E. R., Kirkby, S. and Todd, P. (2003). "On Computational Models of the Evolution of Music: From the Origins of Musical Taste to the Emergence of Grammars", Contemporary Music Review, 22(2):91-110.

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

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

[16] 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.

[15] 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.

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

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

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

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

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

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

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

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

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

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

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

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

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

[1] 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 10 August 2022.