Peter Roger Alsop
+61 414 246 943
My educational and professional activities are based on integrating the conceptual and technological processes of a wide variety of areas including the arts, sciences, community, and education. This has included developing collaborative linkages locally, nationally, with indigenous Australians, and local and international educational and creative institutes and practitioners.
While at the Faculty of Fine Arts and Music (previously the Victorian College of the Arts) my teaching has involved the creation and management of online, blended, and face to face courses at undergraduate, post graduate and research higher degree levels. The areas taught include design, music, performing arts/production, and research higher degree studies, and methods used range through online, lecture based, seminar based, and fully practice based learning.
SInce 2007 I have taught at Box Hill Institute in music recording, the history of music recording, interactive media, and research skills in undergraduate and masters courses. I am also a member of the Box Hill Institute Higher Education Board of Studies and the Music Education Course Advisory Committees.
My research and practice based creative work focuses on performing and interactive arts, music, and the performing arts, and is funded through competitive national and internal University of Melbourne grants, for which I have had role as the creative leader, collaborator, and financial manager.
Graduate Certificate of University Teaching (University of Melbourne) 2014
PhD, School of Communication and Media (Royal Melbourne Institute of Technology) 2011
Master of Arts, Composition (La Trobe University) 1999
Graduate Diploma of Music Technology (La Trobe University) 1993
Bachelor of Arts, Music and Drama (La Trobe University) 1991
2018 – current: Lecturer in the Directorate Teaching Program.
1999 – 2018: Lecturer in Sound, Research and Higher Degree Coordinator; Faculty of Victorian College of the Arts and Music (VCAM), (0.6 from 2006, full time 1999-2005)
Development, review and delivery of undergraduate, postgraduate, and research courses; committee memberships (research, ethics, design, performance/project development, and teaching and learning committees); academic research/professional practice; and maintaining knowledge of, and research in, current industry practices and processes, developing industry partnerships.
Creation and delivery of the Interactive Art Media breadth/elective courses.
Creation and delivery of lectures in sound for film in the Making Movies breadth course.
Collaborative creation of Master of Fine Arts and PhD courses in the School of Production.
Creation and delivery of the Master of Sound Design by Research (now incorporated into the VCA Master of Fine Arts).
Creation and delivery of the on-line course Sound Design Skills.
Creation and delivery of the interactive composition lectures.
Supervision and assessment of VCA Music Honours students.
Past member of the VCA Research and Research Training Committee 2005 to 2016
Inaugural Chair of the VCA Human Research Ethics Committee from 2005 to 2009.
Developing under-graduate courses in Production with colleagues.
Developing the Post–Graduate Diploma in Production courses with colleagues.
Forming and maintaining university and industry connections across diverse areas of the arts, including education, recording, performance, and community; and areas of interactive arts and the art/science nexus.
Developing and maintaining connections between the various schools at the VCA and the broader UoM.
2008 – current: Box Hill Institute (BHI): casual lecturer in music technology
Key responsibilities: development, review and delivery of the Mixed Media Design, Electronic Sound Creation, Music Production, Production Styles and Advanced Tracking classes in the Master of Music, Music Degree and Advanced Diploma of Music Industry courses for first, second, and third year students.
Key achievements: collaboratively developing popular complementary courses in music recording and production, and membership of the Box Hill Institute Music Course Advisory Committee and Higher Education Board of Studies.
2011 – Performative Architecture Studio/Creative Computing Workshop; Faculty of Architecture, Building & Planning, UoM (casual lecturer)
Key Responsibilities: Development and delivery of subjects in conceptual and technical skills in interactive audio and video installation.
2006 – 2007: Northern Metropolitan Institute of Technology (NMIT): casual lecturer in Theatre Production and Computer Music
Key responsibilities: delivery of courses developed by the NMIT staff and course advisory committee, co-ordinating delivery of the courses with other staff members.
2000:Monash University School of Music: Casual Lecturer in Music Production
Key responsibilities: delivery of lectures in Music Production Processes to Composition students.
1995 – 1999:La Trobe University Music Department: Tutor in Interactive Computer Music and Tutor in Harmony
Key responsibilities: tutoring in tonal harmony and in interactive computer music processes for composition, music history and music technology students to complement lectures in those subjects.
· Margaret MacKay, Composing Contemporary Ceremony: Towards a praxial technique from a critical ‘practice as research’ perspective; principal supervisor, 2018
· Vincent Giles, Microsound, Spectra, and Objectivity: tracing memetics in organised sound; principal supervisor 2016
· Travis Cox, Code, display, user: semiotic dialogues in interactive web page artworks; principal supervisor, 2016
· Camille Robinson, LISTENTING ART: making sonic artworks that form a critique of listening; principal supervisor (unanimously nominated for the Chancellors Prize), 2016
· Natalie Grant, Momentum: Experiential Development in Music Composition; co supervisor, 2015
· Ben Wiesner: Integrating Space, Composition and Performance 2015
· Mark Pedersen: Sound Labyrinth: Exploring the Embodied Sublime Through an Immersive Audio/Visual Installation. 2014
· Peter Farnan: Distilling an Essence: the Structuring of the Recorded Pop/Rock Song Form. 2014
· Tisara Munasinghe: Sounds from the past: an audio artwork developed from memories of Sri Lankan emigrants in contemporary Melbourne. 2013
· Luke Harralampou: And Their Lungs Reflect What the Sun Means to Them. 2012
· Darren Steffen: Simple subtle sustained waveforms and the notion of comfort in a new approach to creating an immersive, interactive sound installation. 2012
· Elisabeth Viggers: Connections: nothing exists in isolation. 2011
· Robert Stewart: SoundNode: a prototype user interface for sound design in performance environments. 2010.
· Kahra Scott-James: Narrative aesthetics – sound design in story development: a case for pre-auralvis. 2014
· Paul Fletcher: An abstract narrative form of film: can an abstract form of film successfully include elements of the concrete representation based narrative film form? 2009
· Thomas Rando: How do Digital Audio Workstations influence the way musicians make and record music? 2019
· Myfanwy Alderton, co supervisor 2017
· Renusha Aguthala
· Emily Collette
· Elnaz Sheshgelani
· Ioannis Sidiropolous
· Leanora Olmi
· Jessica Williams, co supervisor
· Susannah WIlliams
· Brett Canning
· David Streefkerk
· Peter Satchell
· Chris Dickie
· Simon Bowland
· Richard Gyngler
· Matt Voight
· Cobie Orger, co supervisor
· Jung Moon (PhD – completed)
· Olena Federova (PhD – completed)
· Lynn Thompson (PhD - completed)
· Andrea Meadows (PhD)
· Katherine Edwards (MFA - completed)
· Chung Liang Liu (MFA – completed)
· Belinda Woods (PhD - completed)
Tracing Time to Measure Space - GENERATIVE ART FUTURING PAST conference, Letterature Festival Internazionale di Roma – 2019 XVIII edizione IL DOMANI DEI CLASSICI
Galileo’s Heritage: Astronomers, Artists and DEEPER DARKER BRIGHTER - Pamela Bain, Carolyn Lewens, Christopher Fluke, James Josephides, Jeffrey Cooke, Igor Andreoni, Roger Alsop and Stephanie Sacco SPECTRA Art & Science Symposium, Adelaide, 2018
NonHuman Agents in Cultural Production: Animals, Environments and Simulations - Jessica Laraine Williams, Roger Alsop, Thijs van Overveld & Mathew Berg – Quite Frankly, Symbiotica Conference, Perth 2018
Using the text of Finnegan’s Wake to create the electro-acoustic work Hush! Caution! Echoland! ACMC Adelaide 2017
Australia on display: Tracing an Australian identity through the evolving costume design for The Australian Ballet’s production The Display E Collett, R Alsop - Studies in Costume & Performance 2 (1), 61-79 2017
SOUND, SHADOW AND LIGHT: generating the experience of a natural environment – Generative Art Conference Florence 2016.
usedlost: Creating a Multi-spatial Audiowork from Virtual Locations - NIME, Griffiths University 2016
Computing gives an artist new tools to be creative – the Conversation 2016
Interpreting Data: Re-contextualizing Data to Develop Approaches to Musical Composition - Vincent Giles & Roger Alsop – Korean Electro-Acoustic Music Society's 2015 Annual Conference (KEAMSAC2015)
Integrating Composer/Improviser’s Actions in the creation of an interactive and provocative composition system – (KEAMSAC2015) In and Out, Over and Under: AN INTERACTIVE AUDIOVISUAL INSTALLATION RESPONDING TO PERCY GRAINGER’S FREE MUSIC AND THE GRAINGER MUSEUM – International Computer Music Conference, Texas 2015
Sublime: An Open Approach to Collaborative Performance – Travis Cox & Roger Alsop - ACMC, Victorian College of the Arts, 2014
Gesture, sound and place. – ISEA2013 proceedings – Roger Alsop & Mark Pedersen (MSD student), 2013
SPEECH: creating a virtual audio-visual artwork – International Computer Music Conference, Perth 2013
FLUIDITY – WE ARE WATER: THE DEVELOPMENT OF AN IMPROVISED AUDIOVISUAL PERFORMANCE – Water Issues Relating to Environmental Landscape Sustainability’ World Water Day, IRESA, Université de Sousse, Tunisie, 2013
TWITCH: translating microscopic fast motion to a musical composition – Roger Alsop & Peter Myers, (published through ANAT/CSIRO) 2014
An Approach to Feature Extraction of Human Movement Qualities and Its Application to Sound Synthesis. – Mark Pedersen & Roger Alsop – ACMC, Queensland University, 2012
As parts of a recomposition of social meaning that transcends previous modes of classification – Autopsya, 2012
ActionA/V: An Improvisatory Process for Translating Movement to an Audiovisual Outcome – ACMC, Australian National University Canberra, 2010
The Trouble with CARE: Creative Arts and Research Ethics – Australian National University (Publisher), B. Bolt, R. Vincs, R. Alsop, M. Sierra, & G. Kett 2010
Transforming Art: Processes for Developing Audio-Visual Works – Sounding Out 5 conference, Bournemouth University, 2010
Crossing Media in Practice: Improvisation Across Art Forms – Third International Congress of Synesthesia, Science and Art 09, International Foundation Arteciudad / artecittà, Granada, 2009
Realtime Integration of Sound, Image and Text in Creating Performance, a three day artist in residency was associated with this paper – Theatre Noise Conference, Central School of Speech and Drama, University of London, 2009
Diversionary Space Project at Royal Melbourne Hospital Short Term Dementia Ward – Darren Steffen & Roger Alsop; UNESCO Observatory 2009 e-journal
Sound Design Skills: exploring a blended learning environment for developing practical and conceptual skills – Roger Alsop & Marsha Berry; Media Arts Scoping Symposium (MASS) Proceedings, VCAM, Melbourne, 2009
Integrating Text Sound and Vision in an Interactive Audio Visual Work – International Conference on Music Communication Science, University of New South Wales, Sydney, 2007
The biggest shed in the world: an approach to computer enhanced creativity – ACMC, Australian National University, Canberra, 2007
Weaving Relationships Between Sound and Image in Improvised Performance – Roger Alsop & Paul Fletcher (Master of Animation student); ACMC, Adelaide University, Adelaide, 2006
Compositional Processes in Developing Poly-Media Performance Works – ACMC Edith Cowan University, Perth, 2003
The Ineluctable Modality of the Audible: Exploring the sound worlds of James Joyce’s Ulysses – World Forum of Acoustic Ecology Symposium, VCA, Melbourne, 2003
Teaching Electro-Acoustic (EA) Composition to the Uninitiated - ACMC Queensland University of Technology, Queensland, 2000
Exploring the Self Through Algorithmic Composition – Leonardo Music Journal, Vol 9: 1999; MIT Press
Personal Expression Through Algorithmic Composition – ACMC, ANU, Canberra, 1998, also published in the e-journal Mikropolyphonie
An Approach to Making Music From Speech – Winner of the New Music Australia Prize for Music and Writing: 1993. This paper was expanded and presented at Synasthetica '94, ANU, as Making Music From Speech
Examples of music can be found here, and examples of video works can be found here
2019
Sound-Wind-Breadth/Hands Feed Roots -MIUC (Make It Up Club) with Brigid Burke (composer) and Mark Pedersen
Lecture on Nothing - Presented the Prague Quadrennial 2019 (Performer/voice Kylie Supski, Director reVersbutcher). This was also presented at the 2019 Australasian Computer Music/TENOR conference at Monash University, and as an interactive performance by Roger Alsop at the Atelierhaus Australische Botschaft Ost, Berlin.
Along the riverrun - group show "Sounds LIke" Hawthorn Gallery, with a performance by the Zagreb Flute Ensemble. This was also presented at the Academy of Music, University of Zagreb
Inhabiting Geometries (Video) The Memo Gallery Healesville
sepdek tridek sep kvardek kvin (Video) this work has been presented at: The Project Space - Deakin University; Canberra Space Centre - Deep Space Communication Network (NASA); Parkes Observatory - Visitors Centre (CSIRO).
Curating the Prague Quadrennial Sound Kitchen international showcase of sound design and composition.
2018
Collage - curating the collage collective sound, text & vision explorations.
Composition and sound design for DEEPER, WIDER, FASTER video – Hawthorn Town Hall Gallery, also presented in the 2018 SPECTRA conference 2018
teneat univers, interactive sound design – Hawthorn Town Hall Gallery
shiver&spine, the artist, & viscera - SeenSound
2017
Sound Design and composition for “Four Men” and “Dog Play: La Mama
Hush, Caution, Echoland, for clarinet - Elder Hall, Adelaide
Music for Imagined Dances, Sounding Finnegan’s Wake 1, & Acoustic Laptop Orchestra 4 – World Stage Design 2017, Taiwan
Migration, for Acoustic AV Laptop – seensound
In&Out 123 interactive improvised performance – Brunswick Green & Cross Street.
2016
DIP – Live Performance – Generative Art Conference 2016, Florence
FLOW2000 – Live Performance with Brigid Burke – GA 2016, Florence
OUR PLACE OUR HOME – Melbourne Festival Closing Performance
Yarra Bridge – Live performance – SeenSound
HOME – Latrobe Regional Gallery Morwell - interactive AV (90 day solo exhibition)
2015
Flow2000 – KEAMSAC: Seoul – for alto flute
Flow2000 – ACMC: Sydney – for clarinet
usedlost – Sound Kitchen: Prague Quadrennial 2015 – for sound dispersion
Vespers’ Bells – Tilde New Music Festival Melbourne – Electronic music
Let Me Count the Ways – Collaborative web based work
Who’s That Girl – short film: music, atmos, dialog and foley.
GreenPress – youtube advertising/information for the GreenPress cafe
Bubble Muffin – pilot and pitch for ABC children’s show
2014
Infundibular – Dancehouse; 2014 Fringe Festival (Artistic Director) - for Dance and interactive AV
In and Out, Over and Under – NiteArt at the Granger Museum, - interactive AV installation
Motion 5 – Australasian Computer Music Conference, Melbourne 2014 – for clarinet and film
Substation workshop (Exploring improvisations in Music Dance and technologies)
Tilde New Music Festival (Live Guitar Improvisation and Recorded performance of piano works Ambit Improvisations 1)
2013
SPEECH – International Computer Music Conference, Perth 2013
ActionA/V & SoundLabyrinth – interactive audio workshop presented at ISEA2013 Sydney with Mark Pedersen
Motion 4 – Audio Visual improvisation with Brigid Burke (clarinet); seensound, Melbourne
2012
Fluidity: We Are Water – Improvised audio visual work; Water Issues Relating to Environmental Landscape Sustainability’ World Water Day
ORB – Audio Visual work; seensound, Melbourne
A GENTLE COLLAPSING – Audio Visual work; seensound, Melbourne
Takutsubo – Australasian Computer Music Conference, Queensland University
Uploading the Goddess – Sound Design & Composition. Husk Theatre
Das Shoku Shake – 45downstairs – Melbourne Fringe Festival
2011
Waiting for Godot – La Mama (remount)
Luminescence – Music for Imagined Dances; Dance Massive, Dancehouse
2010
Little Con – improvised performance; Cecil Street Studio
Empty – improvised performance with performer Annmaree Ellis; Studio 202
My Wonderful Everyday – web based audio work funded through VicHealth, Technology, Arts and Social Connection Scheme (TASC) grants program.
2009
Cook: an exploration – video system design and programming; La Mama
Waiting for Godot – sound design; La Mama Theatre
Angels – visual work; White Street Project
I know what you did – interactive video work; White Street Project
Alphington Wetlands Festival – audio system design and mixer (also 2005, 2006, & 2008)
Undue Noise 3 – interactive video and sound improvisation with Paul Fletcher; Castlemaine
2008
the GO SHOW – sound design, multi location performance event; Melbourne International Arts Festival; (MIAF)
Behind the Scenery – web based audio work created as Artist in Residence; Royal Botanic Gardens Cranbourne
Yelling at Stars – mentor/project development/interactive programming; Next Wave Festival
2007
Pole – audiovisual work; Geek Chic at Loop, Melbourne
Artist in Residence, Federation Square – interactive AV works
White Spider – musical composition; Melbourne International Arts FEstival
5 – multimedia work – (ACMC) ANU; Canberra
Yelling at Stars – development phase mentor
2006
Yellow Wallpaper – sound design; Malthouse Theatre
Grand Union Orchestra – sound design and mix; Festival Melbourne2006 and Stonnington Jazz Festival
phoFAUX gallery opening – composition/sound design; Footscray
Dreamlake – interactive music and video performance; with Paul Fletcher, Bendigo
Once Upon A Time – audio composition; Empirical Soundings, Bendigo
Wetlands Mix – Alphington Wetlands Festival and City of Yarra Commonwealth Games opening
Ambit – (ACMC) Adelaide University, Adelaide
2005
Local Migration – video/installation work; with Hoang Tran Nguyen, Big West Festival
Grand Union Orchestra – sound design and mix; Malvern Town Hall Melbourne International Jazz Festival
Sixteen Words for Water – sound design/composition; Courthouse Theatre
Yellow Wallpaper – sound design; The Storeroom Theatre
Wetlands Mix – audio composition; Alphington Wetlands Festival
Amounts are rounded to the lower $1000. In each of these grants I had the equivalent role of chief investigator, responsible for developing conceptual frameworks and grant submission, gathering and guiding teams, and all financial aspects (grant budget, collaborator payment, and acquittal).
2016
Teaching Assistantship (for PhD candidates) Internal VCA grant for PhD student $15000
Faculty Small Grants Scheme (for research travel), Internal VCA grant $3000
2015
Near Miss Funding Grant, Internal VCA grant $3000
Faculty Small Grants Scheme (for research travel), Internal VCA grant $5000
2014
Internal VCA funding for the 2014 Australasian Computer Music Conference, provision of venues and speaker fees. $8000
Faculty Small Grants Scheme (for research travel), Internal VCA grant $3000
2012/14
Let Me Count The Ways – Regional Arts Victoria/VCAMCM $72000
2010/11
My Wonderful Everyday – Vic Health $22000
2008/9
Behind the Scenery – Royal Botanic Gardens/Australia Council $8000
Performer Willoh S. Weiland through the SPARK program, provided by Youth Arts Queensland; this project resulted in the Yelling at Stars performance, performed on the closing night of the 2008 Melbourne Fringe Festival at the Myer Music Bowl and 2015 MONAFOMA
Victoria University postgraduate performance student Annmaree Ellis in developing interactive improvised performance skills. 2010
Victoria University postgraduate dance student Anna McLean in designing interactive performance systems. 2008
Research and Higher Degree Examiner for:
Guest Professor in The Art of Digital Media postgraduate course , University of the Arts, Belgrade
Tertiary Education Quality and Standards Agency External Expert.
Box Hill Institute Higher Education Board of Studies
Box Hill Institute Music Degree Course Advisory Committee
Collarts Course Advisory Committee
Reviewer - International Journal of Qualitative Studies in Health & Well-being 2017
Reviewer – New Interfaces in Musical Expression 2016 to 2017
Reviewer – Digital Creativity Journal
Reviewer – Digital Humanities Conferences 2011 to 2019
Reviewer – Australasian Computer Music Conferences 2007 -11, 2014-17, & 2019
Reviewer – Media Art Scoping Study proceedings 2009
Editorial Panel – Second Nature: International journal of Creative Media
Co Organizer and referee for 2014 Australasian Computer Music Conference (Melbourne)
Co Organizer and referee for 2003 World Forum of Acoustic Ecology Symposium (Melbourne)
Co Organizer and referee for 2002 Australasian Computer Music Conference (Melbourne)
VCA School of Production Indigenous Liaison Officer 2002 to 2004
Research assistant to Professor Richard Vella, La Trobe University Music Department, 1998 - 1999
International Organisation of Scenographers, Theatre Architects, and Technicians (OISTAT) Sound Working Group
Electronic Music Foundation (EMF)
Multicultural Arts Victoria
Australian Network for Art and Technology (ANAT)
Australasian Computer Music Association (ACMA)
International Computer Music Association (ICMA)
Human Computer Sciences Network (HCSNet)
Yoursoundscape
Dancenet
"ISM" and "CHASM"; The Frog Peak Music Collaborations Project, (compact disc)
"Pillage", One for the Love of God (compact disc)
Ambit Improvisations 1 Heat Depth gretl Neuköln Four Men In the house of breathings lies that word
My leaves have drifted from me usedlost toy pianos Phasmid Experiments Ghostone