A 2024 interview asks 'What's your research story?' and includes a video discussing the potential contributions of music science to our society.

An article for the Australian music magazine, Limelight, November 2021, by Roger Dean, 'Enjoying exploring the unfamiliar: establishing familiarity in new music'. (Roger Dean) | 202111)

The 'Thinking Spaces' seminar series of the International Institute for Critical Studies in Improvisation (IICSI) at the University of Guelph, Canada, presents roger dean on "AI and improvisation: Virtual Improvisers, Virtual Pianos". Given in April 2021 (1h44min: also available on the IICSI website). (Roger Dean) | 202104)

roger dean presents a research seminar on novel uses of continuous pitch structure with a virtual piano (given in an online format to the MARCS institute seminar series, western sydney university, 2020 and including musical extracts; a shorter version of this was also presented at the international AI in music conference run by KTH, stockholm later in 2020, and a paper on appeared in Leonardo in 2021) (Roger Dean) | 202007)

Sound and Data, a conversation with Scot Gresham-Lancaster for Creative Disturbance, Sept 2018. (Roger Dean talking with Scott Gresham Lancaster. 37') | 2018. Topics: creating music from big data or composerly ideas, and the roles and power of personalised algorithms. Creative Disturbance is (or was) an international discussion/podcaste site supported by MIT, Leonardo and other creative organistions.

roger dean presents a research seminar on Research Led Practice (creative practice and research) hosted by Prof Simon Emmerson and Dr James Andean, at De Montfort University, UK 2018. Note that this is a live video of the scene, and so the slides are not fully legible (but they are mainly cues to the talk). (Roger Dean) | 20218)

Sydney Morning Herald Interview (Roger Dean and Hazel Smith interviewed by Andrew Taylor) | 2011. Topics: austraLYSIS work and methods. The interview video contains significant extracts of our intermedia piece Film of Sound, by Will Luers(video), Hazel Smith (text), Roger Dean (sound). The online article is here; and the image here.

Conversations 2010 (Roger Dean and Hazel Smith talking with Julian day) | 2010. Topics: austraLYSIS pieces Wordspotting, Toy Language 1, Multipiano Trumpet (which became TrumpetStones), Clay Conversations 2; soundspotting, spatialisation, poetry, text, invented languages, Robert Normandeau

0 / 0

Towards an Ethos of Improvisation 2009 (A discussion between Roger Dean, Tracey Nicholls and Rebecca Caines from the Candian 'Improvisation, Community and Social Practice' research website | 2009. )

Towards a rational policy for the equitable promotion of the creative arts: a talk given by Roger Dean at the Currency House Breakfast series, Sydney Opera House, 22 October 2008. Introduced by Wendy McCarthy.

Synopsis: Dean argues that given there is to be government funding for the creative arts (an essential), then it should be distributed in such a way as to promote both the creation and the presentation of art works equitably. He develops a detailed argument based on population distributions and numbers of active artists, concluding that approximately 68% of total Australian government subsidy for the creative arts should go to the presentation of works originated before 1950; 23% to presentation of post-1950 works (which would include c. 2.3% for the presentation of new Australian work); and 9% towards the creation (composition, writing etc) of new work. Presently the latter two components seem to be substantially underfunded. Funding should be based on a single competitive pool, with a uniform demand for quality of work, and in most cases also for innovation and Australian content. An essential feature of the funding distribution would be that the availability in different areas of activity should change with time, representing in part the degree to which they consume the attention of Australian creative artists. Thus for example, the development of a new creative field (such as computer music in the 1950s), inevitably creates a requirement for a change of distribution; and similarly, fields may cease to attract many creative workers, and hence their need for subsidy can be reduced (e.g. opera), while preserving funding towards the presentation of a repertoire of older works in the field.