Ian Rogers is a lecturer in the BA (Music Industry) program at RMIT.
Ian is primarily involved with academic courses, and coordinates the 3rd year BA (Music Industry) students
Ian’s research and publications concern cultural studies and sociological approaches to popular music and music industry. His research career began with a PhD an empirical study looking at musicians, ideology and career aspiration in Australia. More recently, he has extended his field research into a variety of related areas pertaining to music venues, music heritage, busking and cultural memory.
Ian’s creative musical practice is diverse. As a performing musician, he has played on over ten commercially available recordings and toured both nationally and internationally.
- Research associate for ARC-funded project ’Popular Music and Cultural Memory’ (2012 – present)
- Vagrant Performance Funding, from New Weird Australia via Australia Council ($500, 2012)
- Contemporary Music Touring Program (Australia Council) awarded to Ian Rogers on behalf of No Anchor ($11,000, 2011)
- Sound Travelers (Australia Council) awarded to Ian Rogers on behalf of Ambrose Chapel ($2500, 2009)
- Australian Postgraduate Award, Three-year research stipend ($18,000 p.a., 2005)
- Contemporary Music Touring Program (Department of Communications, Information Technology & The Arts) awarded to Ian Rogers on behalf of Iron On ($6500, 2004)
- The APACA Arts And Cultural Management Prize, Queensland University of Technology(2002)
- Long-term touring, composing and recording musician in a range of fields including rock, pop, electronic and experimental music.
- Contributing music writer for The Vine (Fairfax) and Mess & Noise (independent)
- Maintains blog ’The Occasional Musician’
- Co-curator of ’Bleak Metal’ compilation for Sydney based label ’New Weird Australia’.
- Music ’Catalyst’ workshop programmer for The State Library of Queensland.
- PhD, Cultural Studies, University of Queensland
- Master of Creative Industries (Arts Management and Creative Enterprises), Queensland University of Technology
- Graduate Diploma of Creative (Arts and Cultural Management)
- Bachelor of Business (Property Management)
- Strong, C.,Rogers, I.,Cannizzo, F. (2016). Melbourne's Music Laneways In: Creative Victoria Melbourne, Australia
- Bennett, A.,Rogers, I. (2016). Popular Music and Materiality: Memorabilia and Memory Traces In: Popular Music and Society, 39, 28 - 42
- Bennett, A.,Rogers, I. (2016). In the scattered fields of memory: unofficial live music venues, intangible heritage, and the recreation of the musical past In: Space and Culture, 19, 490 - 501
- Strong, C.,Rogers, I. (2016). She-Riffs: Gender and the Australian Experience of Alternative Rock and Riot Grrrl in the 1990s In: Journal of World Popular Music, 3, 38 - 53
- Strong, C.,Cannizzo, F.,Rogers, I. (2016). Aesthetic cosmopolitan, national and local popular music heritage in Melbourne's music laneways In: International Journal of Heritage Studies, 23, 83 - 96
- Bennett, A.,Rogers, I. (2016). Popular Music Scenes and Cultural Memory, Palgrave Macmillan, United Kingdom
- Bennett, A.,Rogers, I. (2014). Street music, technology and the urban soundscape In: Continuum, 28, 454 - 464
- Bennett, A.,Rogers, I. (2014). In search of 'Independent' Brisbane: Music, memory, and cultural heritage In: Sounds and the City: Popular Music, Place, and Globalization, Palgrave Macmillan, United Kingdom
- Carter, D.,Rogers, I. (2014). Fifteen years of 'Utopia': Napster and Pitchfork as technologies of democratization In: First Monday, 19, 1 - 14
- Rogers, I. (2013). The hobbyist majority and the mainstream fringe: The pathways of independent music-making in Brisbane, Australia In: Redefining Mainstream Popular Music, Routledge, London, United Kingdom
5 PhD Current Supervisions