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)
- Carter, D.,Rogers, I. (2021). Black Flag’s My War Side Two: Cultural and Aesthetic Legacies in Studio Recording In: Popular Music & Society, 44, 438 - 450
- Rogers, I. (2021). The Spiral by Iain Ryan In: The Spiral by Iain Ryan Melbourne and London
- Rogers, I.,Whiting, S. (2020). “If There Isn’t Skyscrapers, Don’t Play There!” Rock Music Scenes, Regional Touring, and Music Policy in Australia In: Popular Music and Society, 43, 450 - 460
- Strong, C.,Cannizzo, F.,Rogers, I. (2020). Career Paths: The Victorian Music Business Career Life Cycle In: Victorian Music Development Office Melbourne
- Whiting, S.,Klimentou, P.,Rogers, I. (2019). 'We're Just Normal Dudes': Hegemonic Masculinity, Australian Identity, and Parkway Drive In: Australian Metal Music, Emerald Publishing Limited, Bingley, United Kingdom
- Rogers, I. (2019). Disappearing History: Two Case Studies on the Precarity of Music Writing In: Remembering Popular Music's Past, Anthem Press, London, United Kingdom
- Strong, C.,Brunt, S.,Cannizzo, F.,Montano, E.,Rogers, I.,Shill, G. (2019). Adapting the studio model for the Australian popular music education context In: Journal of Popular Music Education, 3, 293 - 308
- Bennett, A.,Rogers, I. (2018). The Making and Remaking of Brisbane and Hobart: Music Scenes in Australia's "Second-Tier" Cities In: Made in Australia and Aotearoa/New Zealand : Studies in Popular Music, Routledge, New York, United States
- Peterson, F.,Jollands, M.,McKay, E.,Pond, P.,Rogers, I.,Heath, D. (2018). Digital work practices: where are the jobs, what are they, and how prepared are graduates? In: Australian Technology Network of Universities Melbourne, Australia
- Rogers, I. (2017). Without a true north: Tactical approaches to self-published fiction In: M/C Journal, 20, 1 - 1
3 PhD Completions4 PhD Current Supervisions
- Distributing Australian Music with Web3: A Musician's Perspective on NFT Platforms. Funded by: Australia Council for the Arts Digital Futures from (2022 to 2023)