Milton Mermikides is a composer, lecturer, writer, academic, producer, electronic musician, illustrator and guitarist from London, UK. He also is embarrassed to talk about himself in the 3rd person, but he’s already started now so here we are.

He is the 37th Gresham Professor of Music, an Associate Professor in Music at University of Surrey, Professor of Jazz Guitar at the Royal College of Music, Professor of Research at the Guildhall School of Music & Drama, Senior Research Fellow and Composer in Residence at the Centre of Eudaimonia and Human Flourishing (Linacre College, Oxford University), an Ableton Certified Trainer, and Deputy Director of the International Guitar Research Centre.

A full CV, overview of research/compositional areas, learning resources, contact enquiries and latest news are all available here, menus and search bars should help with all else. Wikipedia

Everything we do is Music, TEDX


PhD (Composition) from University of Surrey

BMus (Performance & Composition) from Berklee College of Music

BSc (Analytical & Descriptive Economics) from London School of Economics


Judged the final of the 2006 World Air Guitar Championships

Attempted to open front door with an Oyster card.

Still really needs to fix that drawer

Milt With Guitar Large
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11 replies on “Welcome”

Thanks for taking the time to write your “Hertz so Good” article. It has helped shutting up a few conspiracy nuts on my facebook feed.

Also, many other interesting reads on your site. Keep up the good work!

The funny thing about 432hz imo is that if its a semitone with a slight off bit in terms of cents one could as easy tune 440 that same amount and get the same effect. Its a pointreference. The 432 advocates like the tuning origo to be slightly off ab, and they would still be playing slightly off A440. 🙂

Ty for the good read! The comment section was the funny part! 🙂

Hi from Cambridge . I was thinking about a harmony flow chart yesterday and woke up and found yours. My thought included a timeline to show which composers favored certain patterns, like Fritz Loewe’s propensity for leaving his bridges on III#5 (If Ever I Would
leave You, How to Handle a Woman, On the Street Where You Live). Or how historically we move from drones to atonality but now we’ve come full circle in serious Western music with prizewinning pieces that are completely tonal. Thanks for your inspiration

That would be awesome. Music history is nothing like that convenient linear expansion of ‘complexity’ but it would make for a fascinating exercise. (Check out Hook Tools for a valiant effort with pop music). I will do my bit given time.

I know it is an old comment, but I swallowed the hook and went on searching for “hook tools”. All I found were weird DIY wall drills. What am I missing?

Good morning sir,
I have discover your Tintinnabulator. I am a real fan of Arvo Part but I don’t know how to use it on my PC(windows). Would you help me ? Must I have an apply or something else to read it ?
Thanks for helping me,

Hello, I came across your wonderful lecture on Arvo Part initially so have been exploring further your videos. I just watched your TED talk. I like your sense of experimentation and attitude that music pervades everything and everything can be the inspiration for music. This past year I have been making rubbings of tree bark and converting the markings into notation. To date I have made rubbings of 7 trees, including two different cherry trees, and after initially transcribing the pieces for a small ensemble I recently orchestrated and compiled them together. The thought occurred to me that we can identify trees from their leaves, their fruit and bark so why not from rubbings of the bark’s texture. If you are interested these pieces can be heard on my YT channel.
Kind regards

Greetings from Mexico. I really enjoyed your article on Allan Hodsworth.

Thank you very much for your article

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