Professor Roger Dean

roger.dean@uws.edu.au
Room no: 1.G.123
Building: 1
Campus: UWS Bankstown (Bullecourt Ave, Milperra)
Phone no.: +61 2 9772 6902
Research Professor of Sonic Communication
Research Program: Music Cognition and Action
Biography
I am researcher and a composer/improviser. My early research was in molecular cell biology, and since 1989 I have also been involved in musicology, particularly with reference to improvisation. Since 2007 my research focus has turned to music cognition, and music computation (both analytic and generative). I also have extensive experience as an institution-builder, being a CEO for 18 years, first of the Heart Research Institute, Sydney (an autonomous body of which I was foundation director), and then of the University of Canberra, of which I was Vice-Chancellor and President. I founded the creative ensemble LYSIS in the UK, and it continues as austraLYSIS here in Australia. Our work is concerned with the creation of sound, text and intermedia work, and it operates internationally. My brief biography is available on Wikipedia, and see austraLYSIS for fuller information about my creative work.
Qualifications and Honours
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BA, University of Cambridge
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MA, University of Cambridge
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PhD, University of Cambridge
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DSc, Brunel University (higher doctorate in science)
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DLitt, Brunel University (higher doctorate in humanities)
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Australian Centenary Medal, 2002
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FAICD (fellow of the Australian Institute of Company Directors)
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FAHA (fellow of the Australian Academy of the Humanities)
Roles
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Researcher
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PhD supervisor
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Member of the University Research Committee
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Founder and Artistic Director, austraLYSIS
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Composer/improviser
Publications: a link to my Google Scholar Profile is at the bottom of this page. Here are my ERA-related creative outputs since 2010. Other creative activities are covered on the austraLYSIS web site.
Publications
2012
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(2012). Comparative time series analysis of perceptual responses to electroacoustic music, Music Perception, 29 (4), 359-375. doi:10.1525/MP.2012.29.4.359
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(2012). Synchronization can influence trust following virtual interaction, Experimental Psychology. doi:10.1027/1618-3169/a000173, Gottingen, Germany
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(2012). Mental imagery for musical changes in loudness, Frontiers in Psychology, 3 (Article 525), 1-9. doi:10.3389/fpsyg.2012.00525
2011
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(2011). The perceived affective expression of computer-manipulated sung sounds, Computer Music Journal, 35, 95–104.
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(2011). Acoustic intensity causes perceived changes in arousal levels in music: An experimental investigation, PLoS One, 6,. doi:10.1371/journal.pone.0018591
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(2011). Modelling perception of structure and affect in music: Spectral centroid and Wishart's Red Bird, Empirical Musicology Review, 6, 131–137.
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(2011). Continuous subjective loudness responses to reversals and inversions of a sound recording of an orchestral excerpt, Musicae Scientiae, 15, 387–401. doi:10.1177/1029864911410122
2010
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(2010). A rise–fall temporal asymmetry of intensity in composed and improvised electroacoustic music, Organised Sound, 15, 147–158. doi:10.1017/S1355771810000142
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(2010). Les pulsations de la symétrie: de la coévolution possible du rythme dans la musique et la danse, Musique et evolution 281–299., Belgium
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(2010). The control of acoustic intensity during jazz and free improvisation performance: possible transcultural implications for social discourse and community, Critical Studies in Improvisation, 6, 1–22.
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(2010). Clay conversations, SCAN: Journal of Media Arts and Culture.
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(2010). Speak far and wide, Drunken Boat, Online,.
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(2010). Hanging Betsy, Ekleksographia, Online,.
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(2010). Time series analysis as a method to examine acoustical influences on real-time perception of music, Empirical Musicology Review, 5, 152–175. Download: publications


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