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Eduardo
Reck Miranda was
born in Porto Alegre, Brazil. He graduated in Information Processing
Technology with distinction from UNISINOS (Universidade do Vale
do Rio dos Sinos) in 1985. From 1984 to 1988 he studied Music
(focusing on Composition) at UFRGS (Universidade Federal do Rio
Grande do Sul) and in 1989 he studied Philosophy (focusing on
Cultural Anthropology and Epistemology of Science) at PUC-RS
(Pontifícia Universidade Católica do Rio Grande
do Sul). In 1989 he started his post-graduate research studies
at the Department of Computer Science of UFRGS in the field of
Artificial Intelligence, where he specialised in Formal Logic
and developed an in-depth study about logic formalisms for musical
composition. Between 1983 and 1989 he also attended a number
of extra-curricular courses
and workshops in composition. In 1991, he received a Masters
of Science degree (MSc) in Music Technology from the University
of York in England and in 1992 he went on to study at the University
of Edinburgh, Scotland, where in 1995 he obtained his doctorate
(PhD) in Artificial Intelligence and Music.
In 1994 he was awarded a research fellowship at the Edinburgh
Parallel Computing Centre (EPCC), Scotland, where he developed
Chaosynth, a granular synthesis software that uses evolutionary
computing techniques for generating complex sound spectra. Chaosynth
is now manufactured and commercialised by Nyr Sound, a software
company based in England. In 1995 he joined the staff (permanent
lectureship post) of the Centre for Music Technology (run by
the Department of Music and the Department of Electronic Engineering)
of the University of Glasgow, Scotland, where he lectured music
technology and composition for three years. During his lectureship
in Glasgow, he formed a research group involving members from
the Departments of Music and Mathematics in order to conduct
interdisciplinary research in the field of computer-aided composition
systems. During this period he developed CAMUS, a software for
music composition based upon cellular automata, and composed
Entre l¹Absurde et le Mystère, for chamber orchestra,
which is perhaps the first professional, fully fledged piece
of music composed with Artificial Life. One of his most exciting
missions at the Department of Music in Glasgow was, however,
the creation the Music and Artificial Intelligence course for
Bachelor of Music degree (BMus). He has recently been commissioned
by Universitat Autònoma de Barcelona, Spain, to create
and teach a course on Artificial Intelligence and Evolutionary
Models for Multimedia for its forthcoming Master of Electronic
Arts degree. Miranda¹s compositions have been broadcast
and performed in concerts and festivals worldwide, including
Festival Música Viva (Lisbon, 1999, 2000), Computer Music
Festival in Seoul (Seoul, 1998, 1999), International Computer
Music Conference (Hong Kong, 1996), Synthèse Festival
(Bourges, 1995, 1998),
Ciclo Acusmático (Bogotá, 1995), Festival Elektronischer
Frühling (Vienna, 1993, 1994), International Symposium for
Electronic Arts (Minneapolis, 1993), Encompor (Porto Alegre,
1988, 1989, 1995) and Festival Latino-Americano de Arte e Cultura
(Brasília, 1987). Commissioned works from composer-in-residency
schemes include the composition of Goma Arábica (electroacoustics
solo) at the Electronic Music
Studios of the University of Edinburgh¹s Faculty of Music
with funds from the European Union/TRACS scheme (Edinburgh, 1995);
Wee Batucada Scotica (string quartet) commissioned by the University
of Glasgow (Scotland, 1996); Requiem per una veu perduda (soprano
and electroacoustics) commissioned by
Universitat Pompeu Fabra (Barcelona, 1997), and Grain Streams,
a concerto for piano and electronic media commissioned by Studio
Forum (Annecy, 1999). He has recently been appointed a fellow
of the John Simon Guggenheim Foundation (New York, 2000) to compose
Sacre Conversazione, for voice quartet, synthesised speech and
live-electronics. His compositions have won prizes and distinctions
at Grand Prix de Musique Electroacoustique de Bourges Electroacoustique
(France, 1994), Concurso de
Composição de Londrina (Brazil, 1995) and Concorso
Internacional Luigi Russolo di Musica Elettroacustica (Italy,
1995 and 1998). Some of his early musical scores have recently
been published by Edições Musicais Goldberg Ltda
(Brazil) and his compositions have been released on CD by O.O.
Discs Inc (USA), IMEB/UNESCO (France), Cambridge University Press
(UK), MIT Press and Sociedade Brasileira de Música Eletroacústica
(Brazil). Miranda is an active researcher in the fields of artificial
intelligence in music (knowledge representation and machine learning),
music technology (sound synthesis and algorithmic composition)
and evolutionary computing (computational models of music origins).
Miranda is currently engaged research in the field of man-machine
interaction, with special focus of sound-based communication
systems, paralinguistic signals and emotions. His papers have
been published by international journals, including
Supercomputer, Journal of the Audio Engineering Society, Computer
Music Journal, Leonardo, Organised Sound and Journal of New Music
Research. He is the author of two books: Computer Sound Synthesis
for the Electronic Musician, published in 1998 by Focal Press,
Oxford, UK (its second edition
if due this year) and Composing Music with Computers, recently
published in 2001, also by Focal Press. He is the editor of the
books Música y Nuevas Tecnologias: Perspectivas para le
Siglo XXI, published in 1999 by Editora L¹Angelot, Barcelona,
Spain and Readings in Music and Artificial Intelligence, published
by Harwood Academic Publishers, Amsterdam, The Netherlands in
2000. Miranda is also member of the editorial board of Leonardo
Music Journal (MIT Press, USA) and Organised Sound (Cambridge
University Press, UK). |
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