Staff profile

Nick Collins' research interests include live computer music, musical artificial intelligence, and computational musicology, and he is a frequent international performer as composer-programmer-pianist, from algoraves to electronic chamber music. He co-edited the Cambridge Companion to Electronic Music (Cambridge University Press 2007/2nd Edition 2017) and The SuperCollider Book (MIT Press, 2011/2nd Edition 2024), wrote the Introduction to Computer Music (Wiley 2009) and co-wrote Electronic Music (Cambridge University Press Introductions series, 2013). Sometimes, he writes in the third person about himself, but is trying to give it up.

Chapter in book

• Collins, N. (2022). Jack Code's Rebellion. In A. Blackwell, E. Cocker, G. Cox, A. McLean, & T. Magnusson (Eds.), Live Coding: A User's Manual (64-65). Massachusetts Institute of Technology Press
• Collins, N. (2020). The Future of Rhythm. In R. Hartenberger, & R. McClelland (Eds.), The Cambridge Companion to Rhythm. Cambridge University Press

Conference Paper

• Collins, N., & Grierson, M. Avoiding an AI-imposed Taylor's Version of all music history. . Manuscript submitted for publication
• Collins, N., Ruzicka, V., & Grierson, M. (2020). Remixing AIs: mind swaps, hybrainity, and splicing musical models.
• Collins, N., & Knotts, S. (2019). A Javascript Musical Machine Listening Library. In Proceedings of the 2019 International Computer Music Conference (383-387)
• Collins, N. (2019). Sonification of the Riemann Zeta Function. In P. Vickers, M. Grohn, & T. Stockman (Eds.), Proceedings of the 25th International Conference on Auditory Display (ICAD 2019) (36-41). https://doi.org/10.21785/icad2019.003
• Collins, N. (2010). Computational analysis of musical influence: A musicological case study using MIR tools. In J. Stephen Downie, & R. C. Veltkamp (Eds.),

Journal Article

• Collins, N. (2020). Composition in the Age of AI. Ideas Sónicas/Sonic Ideas,
• Collins, N. (2018). “…there is no reason why it should ever stop”: Large-scale Algorithmic Composition. Journal of Creative Music Systems, 3(1),
• Collins, N., Manning, P., & Tarsitani, S. (2018). A new curated corpus of historical electronic music: Collation, data and research findings. Transactions of the International Society for Music Information Retrieval, 1(1), 34-55. https://doi.org/10.5334/tismir.5
• Collins, N. (2017). Corposing a History of Electronic Music. Leonardo music journal, 27, 47-48. https://doi.org/10.1162/lmj_a_01010
• Collins, N. (2016). Towards Machine Musicians Who Have Listened to More Music Than Us: Audio Database-led Algorithmic Criticism for Automatic Composition and Live Concert Systems. Computers in entertainment, 14(3), Article 2. https://doi.org/10.1145/2967510
• Collins, N. (2016). A funny thing happened on the way to the formula: Algorithmic composition for musical theatre. Computer Music Journal, 40(3), 41-57. https://doi.org/10.1162/comj_a_00373
• Collins, N. (2016). Live Coding and Teaching SuperCollider. Journal of Music, Technology & Education, 9(1), 5-16. https://doi.org/10.1386/jmte.9.1.5_1
• Collins, N. (2015). The Ubuweb Electronic Music Corpus: An MIR investigation of a historical database. Organised Sound, 20(1), 122-134. https://doi.org/10.1017/s1355771814000533
• Collins, N. (2012). Automatic Composition of Electroacoustic Art Music Utilizing Machine Listening. Computer Music Journal, 36(3), 8-23. https://doi.org/10.1162/comj_a_00135
• Collins, N. (2011). Live Coding of Consequence. Leonardo, 44(3), 207-211. https://doi.org/10.1162/leon_a_00164
• Collins, N. (2008). The Analysis of Generative Music Programs. Organised Sound, 13(3), 237-248. https://doi.org/10.1017/s1355771808000332

Other (Digital/Visual Media)

• Collins, N. (2013). SuperCollider Music Information Retrieval Library. [[Media unknown]]

Report

• Collins, N. (2022). OK Computer Analysis: An Audio Corpus Study of Radiohead. [No known commissioning body]