Milton Mermikides is a composer, guitarist and educator in a wide range of musical styles and collaborates with artists and scientists as diverse as Tim Minchin, Evelyn Glennie, Pat Martino, John Williams, Tod Machover, Professor Sophie Scott, Professor Morten Kringelbach, The Swingle Singers, Steve Winwood, Peter Zinovieff and Brian Eno. Son of a CERN nuclear physicist, he was raised with an enthusiasm for both the arts and sciences, an eclecticism which has been maintained throughout his teaching, research and creative career. He is a graduate of the London School of Economics (BSc), Berklee College of Music (BMus) and the University of Surrey (PhD). He has lectured, exhibited and given keynote presentations at the Royal Academy of Music, TEDX, Royal Musical Association, European Sleep Research Society, British Sleep Society, St. Bart’s Hospital, The British Library, Royal Physiological Society, Royal Society of Medicine, British Psychological Society, Hong Kong Academy of the Performing Arts, The Design Museum, Smithsonian Institute, Glastonbury Festival, Charterhouse School, The Science Museum, Manchester Science Festival, Aldeburgh Music, Ableton’s Loop Conference (2017 Berlin and upcoming 2020) and his work has been featured in the Times Higher Education, Oxford Handbook of Computer Music, BBC Radio 4 Midweek, New Scientist, BBC Radio 3 Music Matters and BBC Radio 4 Inside Science. His music and writing are published by Viribus, Deutsche Grammaphon, Mute, Extreme, Cambridge University Press and Oxford University Press, and he has won awards and commendations for writing, teaching, research and his charity work. Milton is Reader in Music at the University of Surrey, Professor of Jazz Guitar at the Royal College of Music, Deputy Director of the International Guitar Research Centre, a Governor of Addison Primary School, and lives in London with his wife, the guitarist Bridget Mermikides and his daughter Chloe.
Areas of specialism
Data Sonification and Data-based Composition; Composition (electronic, acoustic, and polystylistic); Time-feel, micro and macro rhythmic expression; Improvisation; Digital Performance; Technology at the intersection of pedagogy, performance, composition and analysis; Musical notations and illustrations
University roles and responsibilities
MMus Programme Director
Deputy Director of the International Guitar Research Centre
BBC Radio 4 The Rhythm of Life with Evelyn Glennie
2020
BBC Scotland. Good Morning Scotland
2019
BBC Radio 3 Music Matters
TEDx Groningen
Django Circle (Mermikides 2020)
Everything is Music event
Research
Research interests
Data sonification and Data-based composition
Guitar research
Technology at the intersection of composition, pedagogy, improvisation, analysis and performance.
Time-feel (micro- and macro- rhythmic expression)
Composition analysis, modelling and broad practice (from acoustic, electronic to generative)
Music notations and illustrations.
Research projects
Time-Feel
This project of papers, presentations, compositions and technological devices investigates the field of micro-rhythmic expression(or ‘Time-feel’), a fundamental but incompletely articulated musical component. In particular, it explores rhythmic concepts that are inadequately captured by the linear, onset- focused and gridded paradigm of standard music notation and terminology. As revealed by researchers over the past 30 years (e.g. Ellis 1991, Friberg 2002, Benadon 2007, Danielsen 2010, Dittmar 2017) there are copious (often tacitly ‘known’) rhythmic devices employed in wide cultural practice which ‘deviate’ from this standard notational rhythmic lattice (Wishart 1996) and yet hold expressive and stylistic salience. The rapid advance of digital audio processing has allowed researchers to examine these ‘micro-rhythmic’ devices closely and objectively, unfiltered by limitations of perception, established notation and terminology. However, the weight of current research is concerned with a passive post-hoc performance analysis, and not how these concepts might be developed, shared, taught and re-employed in performance and compositional practice. This project, which makes active use of technology in analysis, ‘real-time’ pedagogy, and compositional deployment closes this knowledge gap, and provides useful terminology and concepts for pedagogy and practice.
The papers represent contributions to the field, particularly in the separation and interaction of beat asymmetry (‘swing’) with ensemble phasing (‘latency’), a mechanism employed in jazz, pop, Latin and numerous global music cultures. These findings have been disseminated to its academic community however they have reached a wide cohort of practitioners beyond this narrow field, through the first ever popular publication of the field in Guitar Techniques Magazine (readership 20,000), micro-rhythmic etudes (Kronókosmos), and the Ableton-hosted Breaking 4/4 touring workshop. In addition, technological devices (Time Machines, Mingus) have been developed which allow the real-time analysis, pedagogical instruction and creative deployment of this fundamental but otherwise hidden aspect of musical expression
Hidden Music
Hidden Music is an ongoing series of collaborative projects exploring the musical representation of scientific data and concepts. Embedded in the field of data sonification – the ‘auditory display’ of information – it employs only (and often technologically executed) systematic processes, obeying Hermann’s rules of repeatability, rule-base, relevance and recognizability (2011 Hermann et al.) serviced by a wealth of compositional techniques and models. This strict ‘sonic graph’ limits the imposition of anthropocentric ‘emoting’ of the data or its massaging to generic stylistic familiarity. Rather it lets the data sing for itself in the rich medium of sound to unveil meaningful, communicative patterns – a ‘hidden music’. The project relies on, and effects, collaborations with leading researchers in a range of scientific fields and institutions, and is disseminated at conferences, galleries, broadcasts and presentations to members of the scientific communities, medical practitioners and trainees, patients, creative artists and a public audience of millions. Through masterclasses, workshops and the dissemination of original technologies and techniques, this project actively expands this form of interconnected music-making in the international community of composers.
The outputs and benefits of the project series include:
1) Visceral science communication e.g. climate change data in Four Warnings, the Solar System as melorhythms (Distant Harmony), real-time population growth in Birth/Death and the spread and genomic evolution of disease (Outbreak, Chorus of Changes).
2) The cathartic ‘sounding out’ of inner human experience (e.g. blood cell activity during leukaemia treatment (Bloodlines), the phasing and disrupted rhythms of insomnia (Sound Asleep) and stress level tracking in nurses’ work hours (Careful).
3) The sourcing of novel compositional techniques and ‘useful constraints’ that are transportable to ‘conventional’ compositional practice.
4) The formation of collaborative networks that dissolve the traditional delineations of scientist and artist, in the embrace of a universal conceptual and aesthetic language.
Hermann, T., A. Hunt, and J.G. Neuhoff. 2011. The Sonification Handbook. Isd.
M-Space
This research project comprises a series of compositions, theoretical writings, media and technologies. Central to the project is Mermikides’ concept of M-Space (multi-dimensional musical space) (Mermikides & Feygelson 2017). This model was initially developed to formalise jazz improvisation pedagogies (Crook 1991), and as a means to better analyse, visualise and conceptualise jazz improvisational strategies and structures. However, it rapidly expanded to not only provide insight into broad improvisational practice, but also as a compositional tool. Technologies are central to the exploration of M-Space in composition, and in real-time performance. The multi-modal approach to M-Space has effected a liminality where several boundaries and conventions of musical practice are transgressed and blurred. The boundaries in question are those of style/genre, perception (of pitch, rhythm and timbre), the electric and acoustic domains, improvisation and composition, generative and intuitive process, instrumental identity and human/machine interaction. Informed by a training in jazz improvisation, modernist compositional techniques, popular and electronic music, music cognition and neuroscience, these works aim to further the relationship between the electronic and acoustic domains, musical function and stylistic symbiosis.
Collaborations and new works have been developed with cellist Laura van der Heijden (2012 BBC Young Musician of the Year), actor and voice artist Clarence Smith (RSC, Star Wars), harpist Maria-Christina Harper (2010 International Harpist of the Year), classical guitarist Bridget Mermikides, Classical ukulelist Samantha Muir (D’Oz), the synthesizer pioneer Peter Zinovieff, and software companies Ableton and Cycling ’74.
Academic and musical output are published in Oxford University Press, Sony, Extreme, Viribus, We are Robots and Loop. An unexpected outcome from the research project is that M-Space visualisations have now crossed a functional boundary into the visual arts with publications of ‘musical illustrations’ (analogous to the field of scientific illustration). These have been published in Cambridge University Press, Deux Elles, Soundboard Scholar and the Computer Arts Society.
Crook, H., 1991: How to Improvise: An Approach to Practicing Improvisation (Rottenburg: Advance Music).
Mermikides, M., & Feygelson, E. (2017) The shape of musical improvisation. In Leech-Wilkinson, Daniel, and Helen M. Prior, eds. 2017. Music and Shape. Vol. 1. Oxford University Press.
Art of Timing
Supervision
Postgraduate research supervision
James Dean (Fretboard strategies)
Anne-Marie Curran-Cundy (Techne scholar) (Multimodality in violin practice)
Maria-Christina Harper (Contemporary harp practice)
Leon Michener (Contemporary piano practice)
Ataman Kinis (Modelling and composing with Turkish Maqam ornamentation)
Completed postgraduate research projects I have supervised
Dr Bill Bruford (Creativity in drum kit performance)
Dr Tom Williams (Improvisation strategies)
Dr Kate Lewis (Pioneering female guitarists of the 20th century)
Dr Jo Langton (Pioneering female electroacoustic musicians)
Dr James Armstrong (Music and the environment)
Teaching
Postgraduate and undergraduate:
Compositional technique and analysis (acoustic, electronic, and a variety of notations)
Harmony (analysis and practice)
Improvisation
Technology in performance, analysis and studio.
Creative practice, Bach studies, Jazz, global music forms, meta music, generative art.
Publications
Highlights
Publications (2015 -)
Articles and Chapters:
Mermikides, M. (2020) Monitored Freedom: Swing Rhythm in the Jazz Arrangements of Roland Dyens, Soundboard Scholar, no. 6, 36-54
Mermikides, M. (2020) ‘Straight and Late’: Analytical Perspectives on Coltrane’s Time-feel, Jazz Perspectives, 12:1, 147-166
Mermikides, M., Zinovieff, P. & Curran-Cundy, A. (2020). “Revisiting December Hollow : Unearthing Emotive Shape,” in Weinel, J., Bowen, J.P., Diprose, G. & Lamport N., eds. Proceedings of EVA London 2020 (EVA 2020), BCS
Mermikides, M. & Feygelson, E. (2017) ‘The shape of musical improvisation’ in Leech-Wilkinson, D.l, & Prior, H.M., eds. Music and Shape. Vol. 1. Oxford University Press.
Keynotes and Selected Conference Papers and Presentations:
Mermikides, M. (2021). Digital Self-sabotage: Remapping the fretboard for pedagogy, pattern-breaking and insight. Special guest paper. 21st Century Guitar: Lisbon. Portugal.
Mermikides, M. & Mermikides A. (2020). Accessing Patients through the Arts. British Psychosocial Oncology Society Conference. Edinburgh, Scotland.
Mermikides, M. (2020). Sound Asleep: The Music of Sleep Patterns. Keynote paper. Royal Society of Medicine: London.
Mermikides, M. (2019). All the Feels. Special guest paper. 21st Century Guitar: Ottawa, Canada.
Mermikides, M. (2019). (Plucked) from Thin Air. Keynote paper. International Guitar Research Centre conference: Hong Kong.
Mermikides, M. (2019). Music. seen. Keynote paper. International Guitar Research Centre conference: Hong Kong.
Mermikides, M. (2019). Following the Heard. Keynote paper. Doctoral College: Guildford, Surrey.
Mermikides, M. & Kringelbach, M. (2018). Harmonic Cadences in the Human Sleep Cycle. Keynote paper. Royal Physiological Society: London.
Mermikides, M. (2019). Nuages. Keynote paper. International Guitar Research Centre conference: Hong Kong.
Mermikides, M. (2017). Hidden Music. Keynote paper. Festival of Research: Guildford, Surrey.
Mermikides, M. (2017). Changes Over Time. Conference paper. Society of Music Theory Conference: Arlington, Virginia.
Mermikides, M. (2017). What Makes a Musician with Prof Vincent Walsh, Professor Adam Ockelford and Professor Lauren Stewart. Cheltenham Science Festival
Mermikides, M. (2016). Hidden Music. Keynote paper. School of Veterinary Science: Guildford, Surrey.
Mermikides, M. & Mermikides, A. (2016). Composition as Chimera. Keynote paper. Music Composition as Interdisciplinary Practice: York University.
Mermikides, M. (2016) Hidden Music. InPatients Event with Brian Lobel and Peggy Shaw. The Warehouse, London.
Mermikides, M. (2016) Everything We Do is Music. TEDx presentation. Groningen, Holland.
Mermikides, M. (2016) Hidden Music. Studium Generale. Groningen, Holland.
Mermikides, M. (2015). Sound Asleep. Keynote paper. British Sleep Society: Sage, Gateshead.
Mermikides, M. (2014). Sound Asleep. Conference paper. European Sleep Research Society Annual Conference: Tallinn, Estonia
Compositions (Published Scores):
Mermikides, M. (2020). Bumbershoots for Solo Guitar & Live Electronics. London: Viribus Music Publishing.
Mermikides, M. (2020). Corale for Solo Guitar & Live Electronics. London: Viribus Music Publishing.
Mermikides, M. (2020). Four Warnings for Piano. London: Viribus Music Publishing.
Mermikides, M. (2020). Freezing Point for Solo Guitar & Live Electronics. London: Viribus Music Publishing.
Mermikides, M. (2020). I(c)escape for Solo Guitar & Live Electronics. London: Viribus Music Publishing.
Mermikides, M. (2020). Limnos for Solo Guitar & Live Electronics. London: Viribus Music Publishing.
Mermikides, M. (2020). Insighted for Solo Classical Guitar & Electronics. London: Viribus Music Publishing.
Mermikides, M. (2020). Insighted for Ukulele & Electronics. London: Viribus Music Publishing.
Mermikides, M. (2020). Spirals for Solo Guitar & Live Electronics. London: Viribus Music Publishing.
Mermikides, M. (2020). Two Blue Circles for Solo Guitar & Live Electronics. London: Viribus Music Publishing.
Mermikides, M. (2019). Asini for Solo Guitar & Live Electronics. London: Viribus Music Publishing.
Mermikides, M. (2019). Boîte Cassée for Solo Guitar & Live Electronics. London: Viribus Music Publishing.
Mermikides, M. (2019). Ten Tickles for Solo Guitar & Live Electronics. London: Viribus Music Publishing.
Compositions (Audio and Audio-visual Works)
Mermikides, M. (2020). Careful Encounters. London: Chimera.
Mermikides, M. (2020). Chorus of Changes. London: N01Z.
Mermikides, M. (2020). Four Warnings for Piano. London: Viribus Music Publishing.
Mermikides, M. (2020). Head Music: Subject 12 Connectome. London: N01Z.
Mermikides, M. (2020). Lucid Listening. London: Chimera.
Mermikides, M. (2019). Doctored Names. London: N01Z.
Mermikides, M. (2019). Public Opinion. London: N01Z.
Mermikides, M. (2019). Transitions. London: N01Z.
Mermikides, M. (2018). 49-48. London: N01Z.
Mermikides, M. (2018). Canterbury Skyline. London: N01Z.
Mermikides, M. (2018). Heart of Mouse. London: N01Z.
Mermikides, M. (2018). Nataraja. London: N01Z.
Mermikides, M. (2018). Charterhouse Skyline. London: N01Z.
Mermikides, M. (2017). Music fromInvisible Man. London: N01Z.
Mermikides, M. (2017). Musical Culture. London: N01Z.
Mermikides, M. (2017). Deep Listening. Game audio. Peak.
Mermikides, M. (2016). Music from Careful. London: Chimera.
Mermikides, M. (2016). Groningen Harp. London: N01Z.
Mermikides, M. (2016). Take Your Seats. London: N01Z.
Mermikides, M. (2015). ACTG. London: N01Z.
Mermikides, M. (2015). Another Day. London: N01Z.
Mermikides, M. (2015). Birth & Death. London: N01Z.
Mermikides, M. (2015). Circles. London: N01Z.
Mermikides, M. (2015). Crystals. London: N01Z.
Mermikides, M. (2015). Dark Shards. London: N01Z.
Mermikides, M. (2015). Distant Harmony I. London: N01Z.
Mermikides, M. (2015). Distant Harmony II. London: N01Z.
Mermikides, M. (2015). Distant Harmony III. London: N01Z.
Mermikides, M. (2015). Geometudes I: Triangle & Line. London: N01Z.
Mermikides, M. (2015). Geometudes III: Hexagon & Line. London: N01Z.
Mermikides, M. (2015). Geometudes IV: Lullaby for Polygons. London: N01Z.
Mermikides, M. (2015). Geometudes V: Interlocking Polygons. London: N01Z.
Mermikides, M. (2015). Inner Sound of Sleep. London: N01Z.
Mermikides, M. (2015). Irrational Music. London: N01Z.
Mermikides, M. (2015). Nocturne I: Deep Sleep. London: N01Z.
Mermikides, M. (2015). Nocturne II: Breathless. London: N01Z.
Mermikides, M. (2015). Nocturne III: Restless. London: N01Z.
Mermikides, M. (2015). Outbreak. London: N01Z.
Mermikides, M. (2015). Pendulum Music. London: N01Z.
Mermikides, M. (2015). Seed Pods. London: N01Z.
Mermikides, M. (2015). Sleep Map I. London: N01Z.
Mermikides, M. (2015). Sleep Map II. London: N01Z.
Mermikides, M. (2015). Sleep Map III. London: N01Z.
Mermikides, M. (2015). Wave. London: N01Z.
Collaborative Compositions
Ammar, N. & Mermikides, M. (2018) Aching Hearts. Extreme Music.
Ammar, N. & Mermikides, M. (2018) Maybe It’s You. Extreme Music.
Mermikides, M. & Ammar, N. (2018) Lapis Lazuli. Extreme Music.
Mermikides, M. & Ammar, N. (2018) Prisms. Extreme Music.
Mermikides, M. & Ammar, N. (2018) Scintilla. Extreme Music.
Mermikides, M. & Ammar, N. (2017) Eclipse. Extreme Music.
Mermikides, M. & Ammar, N. (2017) First Light. Extreme Music.
O’Doherty, B. & Mermikides, M. (2019). Music from the play Albino Parts. London: Gleam.
O’Doherty, B. & Mermikides, M. (2019). Time Riders. Video Game Soundtrack. Playcraft Live/London: Gleam.
O’Doherty, B. & Mermikides, M. (2018). Music from the play The Monk, the Bird & the Priest. London: Gleam.
Zinovieff, P., Mermikides, M. & Curran-Cundy, A. (2020) December Hollow. Viribus Music Publishing.
Musical Illustrations
Mermikides, M. (2020) Django’s Circle. Cover of Soundboard Scholar no. 6.
Mermikides, M. (2018) Illustrations and Design for Theorbo Concerto by Steve Goss. Deux Elles.
Mermikides, M. (2017) Wes Space. IGRC/Hong Kong Academy of the Performing Arts
Mermikides, M. (2017) Spiegel on a Postcard in Shenton, A. (2018). Arvo Pärt’s Resonant Texts: Choral and Organ Music 1956–2015. Cambridge: Cambridge University Press
Mermikides, M. (2017) Beatitudes Circles in Shenton, A. (2018). Arvo Pärt’s Resonant Texts: Choral and Organ Music 1956–2015. Cambridge: Cambridge University Press
Mermikides, M. (2015) Modal Compass. Unpublished.
Mermikides, M. & Løfvander (2017) Milton’s Modal Compass. Overtone Music Network.
Technologies
Mermikides M. (2020) DeSouzaphone. London: N01Z.
Mermikides M. (2020) Powers. London: N01Z.
Mermikides M. (2020) Tintinnabulator. London: N01Z.
Mermikides, M. & Kane, P. (2020) Kandinsky Max4Live device. Berlin: MetaFunction.
Kane, P. & Mermikides M (2019) Asteroid Report Max4Live device. Berlin: MetaFunction.
Kane, P. & Mermikides M (2019) Weather Report Max4Live device. Berlin: MetaFunction.
Kane, P. & Mermikides M (2019) Crypto Sequencer Max4Live device. Berlin: MetaFunction.
Mermikides, M. & Kane, P. (2019) Climate Report Max4Live device. Berlin: MetaFunction.
Mermikides, M. & Kane, P. (2019) Crypto Max4Live device. Berlin: MetaFunction.
Mermikides, M. & Kane, P. (2017) Euclid Junction. Berlin: MetaFunction.
Mermikides, M. & Kane, P. (2017) Rhythmic Omitter. Berlin: MetaFunction.
Mermikides, M. & Kane, P. (2017) SLW Coach. Berlin: MetaFunction.
Mermikides, M. & Faia, C. (2016) Mingus. London: N01Z.
Pedagogical Publications & Magazine Articles
Mermikides, M. (2021) Unpacking Eurovision. Total Guitar Magazine.Future Music Publishing.
Mermikides, M. (2021) Six Lessons of the Sea Shanty. Total Guitar Magazine.Future Music
Publishing.
Mermikides, M. (2021) Anatomy of a Rock Guitar Solo. Total Guitar Magazine/Guitar Player.Future Music Publishing.
Mermikides, M. (2020) Kronókosmos Vol. I. London: Viribus Music Publishing.
Mermikides, M. (2017) Art of Timing. Guitar Techniques Magazine Issue 275. Future Music Publishing.
Mermikides, M. (2017) Holdsworth for Mortals Pt.2. Guitar Techniques Magazine Issue 272/Guitar Player. Future Music Publishing.
Mermikides, M. (2017) Garsed on Holdsworth. Guitar Techniques Magazine Issue 273. Future Music Publishing.
Mermikides, M. (2017) Chord Soloing. Guitar Techniques Magazine Issue 272. Future Music Publishing.
Mermikides, M. (2017) Holdsworth for Mortals Pt.1. Guitar Techniques Magazine Issue 272/Guitar Player. Future Music Publishing.
Mermikides, M. (2016) Slash Chords. Guitar Techniques Magazine Issue 257. Future Music Publishing.
Mermikides, M. (2016) Tim Lerch Style Study Pt.1. Guitar Techniques Magazine Issue 257. Future Music Publishing.
Mermikides, M. (2016) Tim Lerch Style Study Pt.2. Guitar Techniques Magazine Issue 258. Future Music Publishing.
Mermikides, M. (2016) Tim Lerch Style Study Pt.I. Guitar Techniques Magazine Issue 258. Future Music Publishing.
Mermikides, M. (2015) Extreme Music. Guitar Techniques Magazine. Future Music Publishing.
Mermikides, M. (2015) Four Levels of Blues Soloing. Guitar Techniques Magazine. Future Music Publishing.
Mermikides, M. (2015) Five Decades of Jam Bands. Total Guitar Magazine. Future Music Publishing.
Mermikides, M. (2015) Bossa Nova Guitar. Guitar Techniques Magazine. Future Music Publishing.
Mermikides, M. (2015) Wacky Scales. Guitar Techniques Magazine Issue 252. Future Music Publishing.
Mermikides, M. (2015) Parallel Worlds. Guitar Techniques Magazine Issue 248. Future Music Publishing.
Mermikides, M. (2015) Carl Verheyen Style Study Pt. 1. Guitar Techniques Magazine Issue 240. Future Music Publishing.
Mermikides, M. (2015) Carl Verheyen Style Study Pt. 2. Guitar Techniques Magazine Issue 241. Future Music Publishing.
Mermikides, M. (2015) Carl Verheyen Style Study Pt. 3. Guitar Techniques Magazine Issue 242. Future Music Publishing.
Mermikides, M. (2015) Carl Verheyen Style Study Pt. 4. Guitar Techniques Magazine Issue 243. Future Music Publishing.
Mermikides, M. (2015) Carl Verheyen Style Study Pt. 5. Guitar Techniques Magazine Issue 244. Future Music Publishing.
Mermikides, M. (2015) Carl Verheyen Style Study Pt. 6. Guitar Techniques Magazine Issue 245. Future Music Publishing.
Mermikides, M. (2015) Carl Verheyen Style Study Pt. 7. Guitar Techniques Magazine Issue 246. Future Music Publishing.
