Curriculum Vitae of
ROGER ALSOP 
2008

Secrets of the Hidden City, Melbourne Museum
Krapps Last Tape, La Mama

Moon Lantern Festival, Richmond City Council

Tet Festival, Richmond City Council

Remembrance of Things Past, VCA School of Drama (MIFA 2002)

Playback, choreographer Don Asker, VCA School of Dance

Scenes of the Future from the Past, NYID Office Space Car Park

Springtime, Griffin Theatre

The Three Interiors of Lola Strong, creative development phase

The Rice Paddies, Melbourne International Festival of the Arts, Maribrynong Big West Festival

The Wall, creative development phase

HamletMachine, Adelaide Fringe Festival
Portrait of [Dora], La Mama
Bega Arts Festival Opening, Bega
Place and Memory, creative development phase, Melbourne Museum

Teatro Del Mundo, Sound design; La Mama

Sarita, Musical Director and recordist; VCA
Kagome, Sound operator/designer; Sydney, Theatrespace; and Melbourne, the Malthouse

Home Trilogy,  A White Sports Coat, The Forty Lounge Cafe and Blood Moon, La Mama

The Shed, La Mama

Kagome,  Theatreworks, St Kilda

The Bells,  Five Angry Men, Melbourne Festival

Sound Stream, Flinders St. Conservatorium, Adelaide (concert recorded and broadcast by the ABC), La Trobe University; and Artspace, Woolloomooloo

How Can We, Clubelectronische; Melbourne Fringe Festival

Improvisations, Danceworks; Melbourne Fringe Festival

Someone (installation version), En Red O: Soundscapes Festival; Barcelona

Someone (concert version), Astra Choir

maleORDER, for maleORDER Fashion Exhibition, Ian Potter Gallery, in collaboration with Ros Bandt

Someone 16/10/98, Live Wires, Old Darlington School, University of Sydney

Musician's Clubs, MIDI improvisations, Hard Listening, Musicians' Club
My darling. I shall never forgive myself for not having insisted on your coming, The Electric Eye, Melbourne Festival.

Someone 10/11/97, for La Trobe Moat Concert

St Dymphna's Bells, installation, Sonic Resolutions, Linden Gallery, St Kilda

sitting, gently rocking, for interactive computer and voice, Theatreworks, St Kilda
Improvisation on St Dymphna's Bells; with Michael Hewes, Iwaki Auditorium

Tongue, Astra Choir, Meat Works, North Melbourne

Winding On, La Trobe University

Under an open minded sky, Soundscape & operator; Hawthorn Town Hall and the Australian Computer Music Conference, Melba Hall

In the company of friends, SAMTV (channel 31) program Portraits of a Composer

Sea Visions, Gabriella Smart (piano) Hobart, Burnie & La Trobe University

Reflex, Linden New Music

Reply, Linden New Music & Australian Computer Music Conference, ANU Canberra

We must, La Trobe University

Northern Access News Theme, Channel 31

Refugees in Australia, themes & background music, RMITV; Channel 31

Shadow to Light, Soundscape design & operator; performed with Earl Livings (text) and Arun Munezz (choreographer); Hawthorn Town Hall

RECORDING EXPERIENCE

Wakulpa, Luke O'Niell; winner, 1994 ABC Radio National Melbourne Fringe Music Award

Kagome, Nadoya music and dance company; digital editing and mastering 
Driftwood, Anne Norman and Michael Livett; digital editing and mastering
The Tempest, Peter Tahourdin, recording and mastering, for the Australian Opera
 

INTEGRATING TEXT SOUND AND VISION IN AN INTERACTIVE AUDIO VISUAL WORK. International Conference on Music Communication Science Sydney 2007

The biggest shed in the world: an approach to computer enhanced creativity Australasian Compute Music Conference, Canberra 2007

Weaving Relationships Between Sound and Image in Improvised Performance co written with Paul Fletcher Australasian Compute Music Conference, Adelaide 2006

Compositional Processes in Developing Poly-Media Performance Works, Australasian Compute Music Conference, Perth 2003

The Ineluctable Modality of the Audible, WFAE Symposium, Melbourne 2003

Teaching Electro-Acoustic (EA) Composition to the Uninitiated, Australasian Computer Music Conference 2000

Exploring the Self Through Algorithmic Composition, Leonardo Music Journal, Vol 9: 1999; MIT Press

Personal Expression Through Algorithmic Composition, Australian Computer Music Conference 1998, also published on the Internet site Mikropolyphonie

An Approach to Making Music From Speech. Winner of the New Music Australia Prize for Music and Writing in the School of Humanities, La Trobe University, 1993. This paper was expanded and presented at Synasthetica '94, ACAT, as Making Music From Speech

Varicom: an interactive program created in 'Max'. Chroma No. 12 April/May 1993
 

Australasian Computer Music Association
Electronic Music Foundation
Green Room New Works Panel
SPARK mentoring program 2007
 

QUALIFICATIONS & STUDIES

Master of Arts (La Trobe University)

Graduate Diploma of Music Technology (La Trobe University)

Bachelor of Arts, Music and Drama (La Trobe University)

Conducting (Robert Rosen, VCA)

Film Composing (Paul Schutze, AFTRS)
 

EMPLOYMENT

Victorian College of the Arts Lecturer in Sound, ongoing
Monash University School of Music Guest Lecturer in Music Production
Deakin University, Rusden School of Drama Seminar on Collaboration in Performance Arts

La Trobe University

Tutor; Inter-active Computer Music

Tutor; Harmony

Research assistant to Professor Richard Vella
 

DESCRIPTION OF EMPLOYMENT

At the Victorian College of the Arts Production Centre my duties as Lecturer in Sound Design include developing and teaching a curriculum for sound design students in all aspects of sound and sound design for performance arts, teaching concepts and practise of sound design, and electro-acoustic music to Undergraduate, Graduate Diploma and Post Graduate, Masters and PhD choreographers and to Undergraduate and Post Graduate music composition students.

In my work I am responsible for the smooth running of the audio and audio-visual aspects of all performances carried out by the VCA, including minor repair of AV equipment and the general maintenance of the audio studios.

I am responsible for the design and implementation of each studio, including the writing of manuals specific to each studio and the purchase and sourcing of software and hardware. My goal when developing the studios is to create varied, challenging and powerful environments that each student could easily replicate on graduation according to their needs.

I am also a member of the Research and Research Training committee, the Teaching and Learning Fund Committee, and am Chair of the VCA Ethics Committee

At Monash University I gave lectures on the production of recorded music, introducing and discussing topics ranging from microphone technique to room simulation and supervised the relevant tutorials.

At Rusden I was involved in a seminar type lecture to undergraduate directing students discussing the processes of dramatic and other performance type collaborations.

At La Trobe University I was responsible to senior lecturer David Hirst when tutoring in Inter-active Computer Music. This included teaching basic synthesis techniques and programming for interactive improvisation and composition using MAX. During this time I taught a visually impaired student.

My work tutoring in harmony was under the guidance of Professor Richard Vella and consisted of developing an aural understanding of harmonic concepts as tools in composition.

While working as Richard Vella’s research assistant I was responsible for researching and developing audio examples of the concepts presented in his book Musical Environments (Currency Press) and collating his previous research.
 

The title for my MA by research was “Using Aspects of Language in Computer Based Composition: Three Approaches to Current Australian Texts”. In this study I explored segmental, intonational and semantic aspects of poems by three Australian poets. These poems then became the fundamental agent in an ongoing series of electro-acoustic and instrumental compositions.

In the Graduate Diploma of Music Technology I studied recording, synthesis, basic programming and inter-active music technology.

In my undergraduate work I majored in Music Technology, Composition and Drama
 

The Tempest was recorded as part of a funding development grant with the Australian Opera. My role was to record the Orchestra and singers in rehearsal and then edit a complete work from those rehearsals.

Kagome and Driftwood were collaborative works between me and the performers and composers. Using ProTools we collated and edited their recordings to form the final compositions as represented on the CDs.

Wakulpa was developed from studio recordings by me and location recordings by the composer. These recordings were then collated, edited and mastered for presentation on CD.