You can contact me if you're interested in doctoral study; you can find more about current and past research students here
The full list is below. I include links to the papers/music/code where they are available on this site, and to the conferences or publishers where links are extant. The papers are typically in PDF format. The journal articles will only be made available where the publisher isn't retaining copyright. Under review items will only be referenced once they have a proper home. E-mail me if you're interested in anything you suspect is behind the scenes. There are implementations and artworks related to much of this work as well (see, for instance, the music pages)
Unpublished research report
Collected by theme
(2016) [PDF] Nilson, C. Collected Rewritings: Live Coding Thoughts, 1968-2015. Burntwood: Verbose
(2013) Collins, N., Schedel, M., and Wilson, S. Electronic Music. (Introductions to Music series) Cambridge: Cambridge University Press
(2011) Wilson, S., Cottle, D., and Collins, N. (eds.) The SuperCollider Book. Cambridge MA: MIT Press
(2009) Introduction to Computer Music. Chichester: Wiley
(2007) Collins, N. and d'Escrivan, J. (eds.) The Cambridge Companion to Electronic Music. Cambridge: Cambridge University Press
PhD(2006) [abstract/citation info/download] "Towards Autonomous Agents for Live Computer Music: Realtime Machine Listening and Interactive Music Systems" PhD Thesis. Centre for Science and Music, Faculty of Music, University of Cambridge
Book Chapters(2017) [forthcoming] "Origins of Algorithmic Thinking in Music" Book chapter in Alex McLean and Roger Dean (eds.), The Oxford Handbook of Algorithmic Composition. New York: Oxford University Press (2014) "Virtual musicians and machine learning: Towards musical familiars and touring AIs" Book chapter in Karen Collins, Bill Kapralos and Holly Tessler (eds.), The Oxford Handbook of Interactive Audio. New York: Oxford University Press (2013) [HTML] "Noise Music Information Retrieval" pp. 79-98 in Cassidy, Aaron and Einbond, Aaron (eds.) Noise in and as music. University of Huddersfield, Huddersfield. ISBN 978-1-86218-118-2 (2009) "Electronica". Book chapter in Roger Dean (ed.) The Oxford Handbook to Computer Music. New York: Oxford University Press, pp.334-353
(2016) [HTML] "A funny thing happened on the way to the formula: Algorithmic composition for musical theatre" Computer Music Journal 40(3): 41-57
(2016) [HTML] "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): 1-14 (Musical Metacreation Special Issue Part 2)
(2016) [HTML] "Live Coding and Teaching SuperCollider" Journal of Music, Technology and Education 9(1): 5-16
(2015) [PDF] "The Ubuweb Electronic Music Corpus: An MIR investigation of a historical database" Organised Sound 20(1): 122-134
(2014) [HTML] "Live and Non-Realtime Source Separation Effects for Electroacoustic Music" eContact! 16.3
(2011) [HMTL] "Musicians' Attitudes to Musical Influence", Empirical Musicology Review 6(2): 103-124
(2011) d'Escrivan, J. and Collins, N. "Musical Goals, Graphical Lure and Narrative Drive: VisualAudio in Games", Journal of Visual Culture 10: 238-246
(2009) "Form and Algorithmic Composition", Contemporary Music Review 28(1): 103-114
(2008) [PDF] "The Analysis of Generative Music Programs", Organised Sound 13(3): 237-248. Copyright © Cambridge University Press 2008
(2006) [PDF] "Composing to Subvert Content Retrieval Engines" ARRAY, ICMA online journal (my contribution was actually written May 2005)
(2006) [HMTL] Nick Collins and Fredrik Olofsson. "klipp av: Live Algorithmic Splicing and Audiovisual Event Capture", Computer Music Journal 30(2): pp 8-18
(2006) "BBCut2: Incorporating Beat Tracking and On-the-fly Event Analysis", Journal of New Music Research 35(1); pp 63-70
(2004) [HMTL] "An Algorithm for the Direct Generation of Set Class Representatives in Any Pitch Class Space", Music Theory Online 10(3)
(2003) "Generative Music and Laptop Performance", Contemporary Music Review 22(4): pp 67-79
(2003) [PDF] Collins, N., McLean, A., Rohrhuber, J. & Ward, A. "Live Coding Techniques for Laptop Performance", Organised Sound 8(3): pp 321-30. Copyright © Cambridge University Press 2003
(2003) "Recursive Audio Cutting", Leonardo Music Journal 13: pp23-9
(2003) [PDF] "Algorithmic Composition Methods for Breakbeat Science" (Revised with a new foreword and mp3 examples). ARiADA 3.
(2002) [PDF] "Experiments With a New Customisable Interactive Evolution Framework", Organised Sound 7(3): pp 263-273. Copyright © Cambridge University Press 2002
(2014) Adinda van 't Klooster and Nick Collins "In A State: Live Emotion Detection and Visualisation for Music Performance". Proceedings of NIME 2014, London
(2013) Presentation on "Live and Non-Realtime Source Separation Effects for Electroacoustic Music" at Toronto Electroacoustic Symposium
(2013) Presentation on "Markov Pools for Music Prediction" at Society for Music Perception and Cognition conference, Toronto
(2013) Presentation on "Chronological Similarity Matrices and Other Applications of Music Information Retrieval for Analyzing the Evolution of Popular Music" at Popular Music Analysis Conference (PopMAC), Liverpool.
(2013) Presentation on "Educating Artificial Composers And Critics" at From Tape to Typedef conference, Sheffield
(2012) [PDF] "Influence in Early Electronic Dance Music: An Audio Content Analysis Investigation" International Society for Music Information Retrieval conference (ISMIR), Porto.
(2011) [PDF (9 MB)] [sound examples and code] "Sound Cross-synthesis and Morphing Using Dictionary-based Methods". Nick Collins and Bob Sturm. Proceedings of ICMC2011, International Computer Music Conference, Huddersfield
(2010) [PDF] "Computational Analysis of Musical Influence: A Musicological Case Study Using MIR Tools". International Society for Music Information Retrieval conference (ISMIR), Utrecht.
(2007) [HTML] "The Analysis of Generative Music" Presentation at EMS07- Electroacoustic Studies Network
(2003) [PDF] "Microtonal Tempo Canons After Nancarrow/Jaffe". Proceedings of the International Computer Music Conference, Singapore.
(2003) [PDF] Nick Collins and Fredrik Olofsson. "A Protocol for Audiovisual Cutting". Proceedings of the International Computer Music Conference, Singapore.
(2002) [PDF] "The BBCut Library". Proceedings of the International Computer Music Conference, Goteborg, Sweden, September 16-21, 2002.
(2002) [PDF] "Interactive Evolution of Breakbeat Cut Sequences". Proceedings of Cybersonica, Institute of Contemporary Arts, London, June 5-7, 2002.
(2002) [PDF] "Infinite Length Pieces: A User's Guide". Proceedings of MAXIS, Sheffield Hallam University, April 12-14, 2002.
(2002) [PDF] "Relating Superhuman Virtuosity to Human Performance". Proceedings of MAXIS, Sheffield Hallam University, April 12-14, 2002.
(2001) [PDF] "Further Automatic Breakbeat Cutting Methods". Proceedings of Generative Art 2001. Milan.
(2001) [PDF] "Algorithmic Composition Methods for Breakbeat Science". Proceedings of Music Without Walls, De Montfort University, June 21-23, 2001, ISBN 1857213319, CD-ROM.
(2000) [PDF] "Caring for the Instrumentalist in Automatic Orchestration". Proceedings for Acoustics and Music: Theory and Applications (AMTA 2000), Montego Bay, Jamaica, December 20-22, 2000, ISBN 960-8052-23-8, pp 32-38.
(2000) [PDF] "An Investigation into the Existence of Z Chords". Proceedings for Acoustics and Music: Theory and Applications (AMTA 2000), Montego Bay, Jamaica, December 20-22, 2000, ISBN 960-8052-23-8, pp 26-31.
(1999) [PDF] "Uniqueness of Pitch Class Spaces, Minimal Bases and Z Partners". Proceedings of the Diderot Forum on Mathematics and Music, Vienna, ISBN 3-85403-133-5, pp 63-77.
(1999) [PDF] "SplineSynth: An Interface to Low-Level Digital Audio". Proceedings of the Diderot Forum on Mathematics and Music, Vienna, ISBN 3-85403-133-5, pp 49-61.
(2014) [HTML] Alex McLean, Julian Rohrhuber and Nick Collins. Guest co-editor for special issue on live coding, Computer Music Journal 38(1)
(2011) [PDF] Alex McLean, Thor Magnusson and Nick Collins. Curator's statement for Computer Music Journal 35(4):119-137 DVD live coding compilation
(2009) Review of Jamie Sexton (ed.) Music, Sound and Multimedia: From the Live to the Virtual (Edinburgh University Press). Organised Sound 14(1): 111-112
(2008) Leonardo Music Journal 18 Audio CD
(2008) Review of Understanding the Art of Sound Organization + La musique des sons/The Music of Sounds by Leigh Landy (MIT Press and Sorbonne). Organised Sound 13(3): 273-276
(2008) [HTML] Karlheinz Stockhausen: Cosmic Pulses (review). Computer Music Journal 32(1): 88-91
(2007) [HTML] Review of Radiohead's digital release "In Rainbows" DIFFUSION 25:10:07, Sonic Arts Network. an accompanying generative remix program and example outputs are also available there.
(2004) [HTML] Review of Radiohead Kid A/Amnesiac/Hail to the Thief. Computer Music Journal 28(1): 73-7
(2003) Review of Hyperimprovisation by Roger Dean (A-R Editions). Organised Sound 8(3): 336-7
(2014) [text file] Rewrite me
(2011) [PDF] "LL: Listening and Learning in an Interactive Improvisation System", Research report
(2002) [PDF] "How to be a True Recording Artist". This is an unpublished sonic art joke I wrote in 2002 that I found on my hard drive.
(2001, revised 2002) [PDF] "Transposition Invariance and Parsimonius Relation of Z Sets". Includes a self transposing Z sets classification theorem, and a table of the density of Z related set classes in universes Z8 through Z24. Revised after review and subsequently favorably received by music theory mathematics researchers including David Lewin.
(2000) [PDF] "SplineSynth2: Interpolating Break-Point Sets To Obtain Sound Transformations Distinct From a Cross-Fade". Research report on the SplineSynth2 software.
(2005) An Interview with Matt Black (Coldcut). Computer Music. November 2005.
(2002) Practical Laptop Use. Future Music, October 2002, FM127.
Digital Image Processing (a technique from complex analysis applied to whether a point is inside or outside an arbitrary curve) US6519370, GB2340006, JP2000057360, 11th February 2003. Patent owned by Sony.
[Interactive music systems and machine listening] -- AI musician concert systems, realtime machine listening, automatic music analysis
[Composition and analysis] -- algorithmic composition, generative music, electronic music composition
[Music psychology] -- perception of metre, human beat tracking, modelling of perceptual attack time