University of Plymouth
206 Smeaton Building
Drake Circus
Plymouth PL4 8AA
United Kingdom
Tel: +44 (0)1752 232579
Brief Overview of our Research
The EPSRC-funded Digital Music Research UK Roadmap identified six key research themes for development over the next 10 years (http://music.york.ac.uk/dmrn/roadmap/), which are central to ICCMR’s research strategy. ICCMR currently addresses the following topics:
Evolutionary Computer Music
ICCMR is a pioneer in adopting a computational neo-Darwinian approach to study and make music. We are developing Evolutionary Computation and Artificial Life techniques to model the evolution of music in surrogate societies of artificial agents and robotic simulations. These systems are programmed with the cognitive and physical abilities deemed necessary to evolve music, rather than with preconceived music rules, knowledge and procedures.
We developed a computational model that simulates the role of imitation in the development of music. This model has recently been implemented as a robotic simulation, which made an impact in the scientific community, resulting in press coverage by New Scientist.
We are currently developing a more sophisticated model inspired by Wundt’s theory of cognition to simulate the role of complexity in the evolution of music. We are also investigating the role of emotions in sound-based communication systems.
Key references:
- Miranda, E. R. (2008). "Emergent Songs by Social Robots", Journal of Experimental and Theoretical Artificial Intelligence, Vol. 20, No. 4, pp. 319-334.
- Miranda, E. R. and Biles, J. A. (Eds.) (2007). Evolutionary Computer Music. London: Springer.
- 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.
Representation of Musical Experience
We are interested in unveiling how the brain perceives and represents music physiologically. Research into how we represent musical experience in the brain is emerging as a rich area of investigation thanks to ongoing advances in brain-scanning technology such as EEG (electroencephalogram) and fMRI (Functional Magnetic Resonance Imaging). Far from being a passive receptor of sound, the auditory system is constantly adjusting itself to reflect the current acoustic context and task demands. Perception therefore involves a process of prediction. An informed understanding of how the brain predict events on the basis of musical experience is a fundamental requirement for the design of interactive music systems; for example, for musical improvisation.
We unveiled the neural correlates of tonal modulations around the circle-of-fifths, which describe how close one tonal key is to another. Group analysis revealed a number of clusters of fMRI activation, including bilateral activation of transverse temporal gyri showing increase neural activity in this area with increasing distance in key. Also, in collaboration with partners at UCL, we developed a new Support Vector Machine (SVM) approach to the analyses fMRI data, as potentially more efficient alternative to the linear modelling (GLM) currently used in most fMRI research. In addition, we developed Strasheela, a music composition system software that allows for the representation of music as a constraint satisfaction problem.
We are conducting more EEG and fMRI experiments with our partners at UCL in order to establish whether tonality has an influence on the motor cortex or not. It is envisaged that this finding will contribute to rehabilitation programmes using music to stimulate the motor cortex. Strasheela is being further developed in order to be able to run on-line, which is a major challenge in the field of constraint programming on its own right.
Key references
- Brechmann, A., Durrant, S., Scheich, H. and Miranda, E. R. (2008). "Activation in auditory cortex correlates with the distance of musical key change", Proceedings of 6th Forum of the Foundation of European Neuroscience Societies, FENS - Abstracts Vol. 4, Geneva (Switzerland).
- Durrant, S., 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, Vol. 21, No. 2., pp. 161-175.
- Anders, T. and Miranda, E. R. (2010). “Constraint Application with Higher-Order Programming for Modelling Music Theories”. Computer Music Journal, Vol. 22 (to appear).
Computer-Aided Composition
Computers play key roles in several aspects of music making, ranging from the synthesis of complex sounds, to the automatic generation of music. The field of Computer-Aided Composition permeates all other research areas developed at ICCMR, from evolutionary computer music to practice-based research.
We are conducting research into the development of composition systems based on Artificial Intelligence, including algorithmic composition systems using Cellular Automata and a programming language based on the constraint programming paradigm.
We developed Strasheela, a constraint-based language for modelling music theory and compositional methods. It adopts a declarative approach to programming (rather than procedural), which is similar to the way in which music theory is traditionally expressed in the literature – namely, by means of rules. We are currently looking into the possibility of adding visual programming capability to Strasheela.
Key references
- Anders, T. and Miranda, E. R. (2008). "Higher-Order Constraint Applications for Music Constraint Programming", Proceedings of International Computer Music Conference - (ICMC2008), Belfast (UK).
- Anders, T. and Miranda, E. R. (2009). “Interfacing Manual and Machine Composition”, Contemporary Music Review, Vol. 28, No. 2, pp. 133-146.
- Miranda, E. R. (2001). Composing Music with Computers. Oxford, UK: Elsevier – Focal Press. (Reprinted 2004)
Expressive Music Performance
Music typesetting systems play back music in perfect metronomic time, a performance that often sounds inhuman (“mechanical”) because human performers normally deviate from the musical score; for example speeding up and slowing down while playing, and changing how loudly they play. We are addressing this problem using Evolutionary Computation techniques and Machine Learning of biophysical (kinetic) measurements of humans performing music in order to furnish machines with the ability to play music expressively.
We developed a proof-of-principle system that is able to evolve its own strategies to perform pieces of music expressively. Also, we developed a novel evolutionary music composition system combining generative expressive performance and generative composition.
We are currently studying ways in which we could use our technology to deal with audio rather than symbolic music representation. In short, we aim at being able to alter the way in which, say an iPod, plays back a piece of music.
Key references
- Kirke, A. and Miranda, E. R. (2009). "A Survey of Computer Systems for Expressive Music Performance." ACM Computing Surveys, Vol. 42, No. 1., Article 3.
- Zhang, Q. and Miranda, E. R. (2006). “Evolving Musical Performance Profiles using Genetic Algorithms with Structural Fitness”, Proceedings of Genetic and Evolutionary Computation Conference (GECCO 2006), Seattle (USA).
Assistive Music Neurotechnology
We are developing Brain-Computer Music Interface (BCMI) technology aimed at special needs and Music Therapy, in particular for people with severe physical disability, but able brain function. At present there are a number of systems available for recreational music making and Music Therapy for people with physical disabilities, but these systems are controlled primarily with gestural devices, which are not suitable for those with more complex physical conditions. Severe brain injury, spinal cord injury and Locked-in Syndrome result in weak, minimal or no active movement. To many with disability, BCMI technology has the potential to enable more active participation in recreational and therapeutic opportunities.
ICCMR is well known internationally for its groundbreaking work in the field of BCMI. We have implemented a number of proof-of-concepts systems, which have attracted the attention of the scientific community and press worldwide.
We are currently collaborating with the medical community in order to establish protocols for usage of our systems and test them in real clinical scenarios.
Key references
- Miranda, E R. (2006). "Brain-Computer music interface for composition and performance", International Journal on Disability and Human Development, Vol. 5, No. 2, pp. 119-125.
- Miranda, E. R., Roberts, S. and Stokes, M. (2004). "On Generating EEG for Controlling Musical Systems", Biomedizinische Technik, Vol. 49, No. 1, pp. 75-76.
Unconventional Computation
New computational paradigms based on and/or inspired by the principles of information processing in physical, chemical and biological systems are promising new venues for the development of new types of computers, which may eventually supersede classical paradigms. We are exploring ways in which unconventional modes of computation may provide new directions for future developments in music.
We are pioneers in this new exciting field of research. A ground breaking paper reporting our research into building sound synthesisers using hybrid wetware-silicon devices using in vitro neuronal networks has recently been accepted for publication in Computer Music Journal.
We are currently investigating a number of non-linear media and models in sound synthesis with a view on creating technology for implementing new musical instruments based on unconventional computation paradigms. Research into new sound synthesis techniques (e.g., concatenative synthesis) is also being developed.
Key references
- 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, Vol. 33, No. 1, pp. 09-18.
- Miranda, E. R. and Matthias, J. (2009). "Music Neurotechnology for Sound Synthesis", Leonardo, Vol. 42, No. 5, pp. 439-442.
- Serquera, J. and Miranda, E. R. (2008). "Cellular automata sound synthesis: From histograms to spectrograms". In A. Adamatzky et al. (Eds.) Automata 2008: Theory and Applications of Cellular Automata. Frome (UK): Luniver Press.
Practice-Based Research
Converting basic research outcomes into real world applications through practice-based research is pivotal for our success. ICCMR’s highly interdisciplinary research environment facilitates this by bringing together scientist/engineers and musicians/composers. The outcomes of this research include scholarly articles on the use of new technology in music, musical compositions and/or live performances applying new concepts, methodologies and technologies.
We used our systems based on neo-Darwinian evolutionary theory to compose a number of successful pieces, such as Grain Streams for piano and live electronics, which has been performed in concerts in Annecy, Buenos Aires, Porto Alegre, Banff, Gothenburg, Edinburgh and Chicago, to cite but a few. More recently, we applied our model of the spiking behaviour of brain activity to implement the Fragmented Orchestra installation, a prize-winning music work, which spanned 24 sites in the UK.
New composition and performances are currently in development applying our brain-computer interfacing technology, new sound synthesis methods (e.g., in vitro neural networks technique and concatenative synthesis), and our new evolutionary models using complexity and machine-simulated emotion.
Key references & performances
- Grant, J., Matthias, J. and Ryan, N. (2009). Fragmented Orchestra, music installation over 24 sites in the UK. FACT Gallery, Liverpool.
- 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.
- Troisi, A., Chiaramonte, A., Miranda, E. R. and Kirke, A. (2009). "Electroshop", a concert involving musical sculptures and compositions created at ICCMR. Nuovaconsonanza Festival 2009, Rome, Italy.
Music Technology in Education
ICCMR is working towards new pedagogical approaches based on the use of music technology to enhance learning of basic disciplines (e.g., mathematics, physics, language) in groups at risk of exclusion. This project is funded by the European Union and is developed in collaboration with Association for Culture, Sport and Leisure (Italy), Liverpool Chamber of Commerce and Industry (UK), Centre for Innovation and Development in Education (Romania) and Barcelona Media Foundation - Pompeu Fabra University (Spain).