Journal Papers

2019

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.

2019

Braund, E., Venkatesh, S. and Miranda, E. (2019). “PhyBox: A Programmable Interface for Physarum Polycephalum-based Memristors”, International Journal of Unconventional Computing x(x):xx-xx

2019

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.

2019

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.

2018

Kirke, A., Williams, D., Miranda, E. R., Bluglass, A., Whyte, C., Pruthi, R. and Eccleston, A. (2018). “Unconsciously interactive Films in a cinema environment – a demonstrative case study”

2018

Kirke, A. (2018) “When the soundtrack is the game: From Audio-Games to Gaming the Music”. In D Williams and N. Lee (Eds.), Emotion in Videogame Soundtracking. Springer, pp. 65-83.

2018

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.

2018

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.

2018

Miranda, E. R., Antoine, A., Celerier, J-M, Desainte-Catherine, M. (2018). “i-Berlioz: Towards Interactive Computer-Aided Orchestration with Temporal Control”. International Journal of Music, Science, Technology and Art. (In print)

2018

Kirke, A. (2018). “Programming Gate-based Hardware Quantum Computers for Music”, Muzikologija, 24:21-37.

2018

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.

2018

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.

2018

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: https://doi.org/10.1162/comj_a_00469 [ PEARL ]

2017

Norowi, N. M., Miranda, E. R. and Hussin, M. (2017). “Parametric Factors Affecting Concatenative Sound Synthesis”, Advanced Science Letters, 23(6):5496-5500. DOI:

2017

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 on Applied Perception 14:3, May 2017.

2017

Nicolaou,N., Malik, A., Daly, I., Weaver, J., Hwang, F., Kirke, A., Roesch, E. B., Williams, D., Miranda, E. R., and Nasuto, S. J. (2017). “Directed Motor-Auditory EEG Connectivity Is Modulated by Music Tempo”, Frontiers of Human Neuroscience, 11(Article 12).

2017

Kirke, A. and Miranda, E., (2017). “Aiding Soundtrack Composer Creativity through Automated Film Script-profiled Algorithmic Composition”, Journal of Creative Music Systems, 1(2).

2017

Williams, D. and Da Rocha, M. A.., (2017). Decoding cultural signifiers of Brazilian identity and the African diaspora from the music of Sepultura. Metal Music Studies, 3:1, pp.145-152(8), Intellect.

2017

Bonet, N. (2017). The Development of the Tenora. Galpin Society Journal, 70, pp. 169-178.

2017

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.

2017

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(2017):151-162.

2016

Schramm, R., Nunes, H. S., Nunes. L. A., Visi, F. and Miranda, E. R. (2016). “3CMS: An Interactive Decision System for Live Performance”. In R. Kronland-Martinet et al. (Eds.) Music, Mind, and Embodiment. Lecture Notes in Computer Science 9617. Springer.

2016

Visi, F., Coorevits, E., Schramm, R., and Miranda, E. R. (2016). “Analysis of Mimed Violin Performance Movements of Neophytes”. In R. Kronland-Martinet, M. Aramaki, and S. Ystad (Eds.), Music, Mind, and Embodiment: 11th International Symposium on Computer Music Multidisciplinary Research, CMMR 2015, Plymouth, UK, June 16-19, 2015, Revised Selected Papers (Vol. 9617 LNCS, pp. 88–108). Cham, Switzerland: Springer.

2016

Williams, D., Kirke, A., Miranda, E. R., Daly, I., Hallowell, J., Hwang, F., Malik, A., Roesch, E., Weaver, J. and Nasuto, S. J., (2016). “A perceptual and affective evaluation of an affectively-driven engine for video game soundtracking” Computers in Entertainment – Special issue on digital creativity, ACM (forthcoming)

2016

Daly, I., Williams, D., Hallowell, J., Hwang, F., Kirke, A., Malik, A., Weaver, J., Miranda, E., Nasuto, S. (2016). “Music-induced emotions can be predicted from a combination of brain activity and acoustic features” Brain and Cognition, Elsevier, Volume 101. pp.1-11

2016

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, July 2016.

2016

Williams, D. (2016). “Breve Analisis Comparativo De La Capoeira Brasilera Y La Musica Samara Talandesa Y Las Practicas Ritualas Compartidas.” Revista Asia América Latina. Vol 1:1, June 2016, pp.67-84. Grupo de Estudios de Asia y América Latina, Universidad de Buenos Aires, Argentina. ISSN 2524-9347.

2016

Williams, D. (2016). “Utility versus creativity in biomedical musification.” Journal of Creative Music Systems, 1:1, September 2016, Huddersfield University, UK.

2016

Williams, D. (2016). “On the affective potential of the recorded voice.” Journal of the Audio Engineering Society, 64:6, June 2016.

2016

Williams, D. (2016). “Emotionally-Congruent Dynamic Soundtrack Generation.” Journal of the Audio Engineering Society, 64:9, September 2016.

2016

Bonet, N. (2016). The Metal Tenora. Newsletter of the American Musical Instrument Society, 45/2, pp. 13-17.

2015

Williams, D., Kirke, A., Miranda, E. R., Daly, I., Hallowell, J., Hwang, F., Malik, A., Roesch, E., Weaver, J. and Nasuto, S. J., (2015). “Investigating Perceived Emotional Correlates of Rhythmic Density in Algorithmic Music Composition”, ACM Transactions on Applied Perception, t.b.a. (In Print)

2015

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).

2015

Miranda, E. R. (2015). “Music Neurotechnology: From Music of the Spheres to Music of the Hemispheres”, Symmetry: Culture and Science. (Submitted)

2015

Daly, I., Hwang, F., Kirke, A., Malik, A., Weaver, J., Williams, D., Miranda, E. R. and Nasuto, S. J., (2015). “Automated identification of neural correlates of continuous variables”, Journal of Neuroscience Methods, 242(2015):65-71.

2015

Eaton, J., Williams, D., and Miranda, E. (2015). “The Space Between Us: Evaluating a multi-user brain-computer music interface”, Brain-Computer Interfaces, 2:1, 2015

2015

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.

2015

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

2015

Kirke, A., Miranda, E.R. (2015) “A 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), 16.

2015

Kirke, A., Davies, G., Talevi, A., Eaton, J. and Miranda, E. (2015)”A Case Study in “Reality Opera” – Optimization and Simulation to Create Human Musical Drama that Emerges Dynamically during Performance”, Digital Creativity (Submitted).

2015

Williams, D. (2015). “Cross-Analysis of Brazilian Capoeira and Thai Sarama Field Recordings and Shared Ritual Practices”, Analytical Approaches to World Music Journal ISSN 2158-5296, Volume 4, No.1

2015

Miranda, E. R. and Williams, D. (2015).”Artificial Intelligence in Organised Sound”. Organised Sound, Cambridge University Press, Volume 20, No. 2.

2015

Kirke, A., Shadbolt, P., Neville, A., & Miranda, E. R. (2015). A Hybrid Computer Case Study for Unconventional Virtual Computing. International Journal of Unconventional Computing, 11(3-4), 205-226.

2014

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

2014

Daly, I., Malik, A., Hwang, F., Roesch, E., Weaver, J., Kirke, A., Williams, D., Miranda, E. R., Nasuto, S. J. (2014). “Neural Correlates of Emotional Responses to Music; An EEG Study.” Neuroscience Letters, vol 573 pp52-57.

2014

Daly, I., Williams, D., Hwang, F., Kirke, A., Malik, A., Roesch, E., Weaver, J., Miranda and E. R., Nasuto, S. J., (2014). “Investigating music tempo as a feedback mechanism for closed-loop BCI control”, Brain-Computer Interfaces, 1(3-4).

2014

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

2014

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)

2014

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

2014

Kirke, A., Miranda, E.R. (2014) “Pulsed Melodic Affective Processing: Musical structures for increasing transparency in emotional computation.” Simulation, 90(5): 606-622.

2013

Bessell, D. (2013). “Dynamic Convolution Modeling, A hybrid synthesis strategy”. Computer Music Journal, Vol. 37, No. 1, Pp. 44-51.

2013

Kirke, A., Miranda, E., Chiaramonte, A., Troisi, A.R., Matthias, J., Fry, N., McCabe, C., Radtke, J. and Bull, M. (2013). “Cloud Chamber: A Performance with Real Time Two-Way Interaction Between Subatomic Particles and Violinist”, Leonardo, Vol. 46, No.1, MIT Press, USA.

2013

Williams, K. (2013). “Post-World War II Jazz in Britain: Venues and Values 1945–1970”, Jazz Research Journal, 7(1):113-131.

2013

Williams, K. (2013). “Global Perspectives on the Practice and Pedagogy of Jazz History in the Twenty-first Century”, Journal of Music History Pedagogy, 3(2): 173-174.

2013

Williams, K. (2013). “Improvisation as Composition: Fixity of Form and Collaborative Composition in Duke Ellington’s Diminuendo and Crescendo in Blue”, Jazz Perspectives, 6(1-2): 223-246.

2012

Kirke, A., Miranda, E. (2012). “Pulsed Melodic Processing – the Use of Melodies in Affective Computations for Increased Processing Transparency”. In Music and Human-Computer Interaction, S. Holland, K. Wilkie, P. Mulholland and A. Seago (Eds.), London: Springer.

2011

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

2011

Anders, T. and Miranda, E. R. (2011). “A Survey of Constraint Programming Systems for Modelling Music Theories and Composition”, ACM Computing Surveys, 43(4).

2011

Anders, T. and Miranda, E. R. (2011). “A Computational Model for Rule-Based Microtonal Music Theories and Composition”, Perspectives of New Music, Vol. 48, No. 2, pp. 47-77.

2011

Miranda, E. R., Adamatzky, A. and Jones, J. (2011). “Sound Synthesis with Slime Mould of Physarum Polycephalum”, Journal of Bionic Engineering 8(2011):107-113.

2010

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

2010

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

2010

Miranda, E. R. (2010). “Contextualizing eighteenth century Enlightenment through the lenses of contemporary science”, Physics of Life Review, 7(2010):35-36.

2010

Morgan, N., Fox, A.., Legard, P. and Robinson, M. (2010). Craft Research 1:39-61. (doi:10.1386/crre.1.39_1)

2010

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

2010

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

2009

Miranda, E. R. and Matthias, J. (2009). “Music Neurotechnology for Sound Synthesis”, Leonardo (in print).

2009

Miranda, E. R. and Matthias, J. (2009). “Music Neurotechnology for Sound Synthesis: Sound Synthesis with Spiking Neuronal Networks”, Leonardo, Vol. 42, No. 5, pp. 439-442.

2009

Durrant, S., Hardoon, D. R., Brechmann, A., Shawe-Taylor, J., Miranda, E. R., Scheich, H., (2009). “GLM and SVM analyses if neural response to tonal and atonal stimuli: new techniques and a comparison”, Connection Science, Vol. 2, No. 1, pp. 161-175.

2009

Taube, H., Cole, T., Cole, P., Eacott, J., Angliss, S., et al. (2009). “Artists’ Statements”, Contemporary Music Review, Vol. 28, No. 1, pp. 115-128.

2009

Jones, D., Matthias, J., Hodgson, T., Outram, N., Grant, J. and Ryan, N. (2009). “The Fragmented Orchestra”, Proceedings of New Interfaces for Musical Expression (NIME 2009) Conference, Carnegie Mellon University, Pittsburgh (PA), USA.

2009

Anders, T. and Miranda, E. R. (2009). “Interfacing Manual and Machine Composition”. Contemporary Music Review, Vol. 28, No. 2, pp. 133-147.

2009

Miranda, E. R., Bull, L., Gueguen, F., Uroukov, I. S. (2009). “Computer Music Meets Unconventional Computing: Towards Sound Synthesis with In Vitro Neuronal Networks”, Computer Music Journal, Vol. 33, No. 1, pp- 9-18.

2008

Miranda, E. R. (2008). “Emergent Songs by Social Robots”, Journal of Experimental and Theoretical Artificial Intelligence. 1­16, iFirst.

2007

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.

2007

Matthias, J. and Ryan, N. (2007). “Cortical Songs: Musical Performance Events triggered by Artificial Spiking Neurons”, Body, Space & Technology Journal, Vol. 8. (Perspectives section).

2007

Edworthy, J and Knast, A. (2007). Commentary on David Huron’s “On the Role of Embellishment Tones in the Perceptual Segregation of Concurrent Musical Parts”. Empirical Musicological Review, 2(4):140-145.

2007

Kirke, A., Miranda, E.R. (2007). “Capturing the Aesthetic: Radial Mappings for Cellular Automata Music”. Journal of the ITC Sangeet Research Academy, Vol. 21, pp. 15-23.

2006

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

2005

Valsamakis, N. and Miranda, E. R. (2005). “Iterative Sound Synthesis by means of Cross-Coupled Digital Oscillators”, Digital Creativity. 16(2):79-92.

2005

Miranda, E. R. and Brouse, A. (2005). “Interfacing the Brain Directly with Musical Systems: On developing systems for making music with brain signals “, Leonardo, 38(4):331-336.

2005

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

2004

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

2004

Miranda, E. R. (2004). “At the Crossroads of Evolutionary Computation and Music: Self-Programming Synthesizers, Swarm Orchestras and the Origins of Melody”, Evolutionary Computation, Vol. 12, No. 2, pp. 137-158.

2003

Westerman, G. and Miranda, E. R. (2003). “A New Model of Sensorimotor Coupling in the Development of Speech”, Brain and Language, Vol.82, No.2, pp.393-400.

2003

Westerman, G. and Miranda, E. R. (2003). “Modelling the Development of Mirror Neurons for Auditory-Motor Integration”, Journal of New Music Research, Vol. 31, No. 4, pp. 367-375.

2003

Miranda, E. R., Sharman, K., Kilborn, K., Duncan, A. (2003). “On Harnessing the Electroencephalogram for the Musical Braincap”, Computer Music Journal, Vol. 27, No. 2, pp. 80-102.

2003

Miranda, E. R., Kirby, 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, Vol. 22, No. 3, pp. 91-111.

2003

Miranda, E. R. (2003). “On the evolution of music in a society of self-taught digital creatures”, Digital Creativity, Vol. 14, No. 1, pp. 29-42.

2003

Miranda, E. R. (2003). “On the Music of Emergent Behaviour: What can Evolutionary Computation Bring to the Musician?”, Leonardo, Vol. 36, No. 1, pp. 55-58.