Roger T Dean

Biographic Data

ID1098780
NAMERoger T Dean
GIVEN NAMESRoger T
FAMILY NAMEDean
SIGNATUREDEAN R T
AFFILIATIONSWestern Sydney University
ORCID0000-0002-8859-8902
VERIFIEDYes
TOTAL WORKS53
TOTAL CITATIONS4
AUTHOR COUNT50
EDITOR COUNT3
FIRST PUBLICATION YEAR1993
LATEST PUBLICATION YEAR2026
H-INDEX1

  • Acoustical and Cultural Explanations for Contextual Tonal Stability

    Lillian M Hearne, Roger T Dean et al.ARTICLEMusic Perception An Interdisciplina…2026

    A defining aspect of tonality in Western music is that different musical pitches are perceived to have different stabilities: listeners expect unstable pitches to resolve to stable pitches such as the tonic, which is the most stable. To investigate possible explanations for these hierarchies of tonal stability, we conducted three experiments where participants rated the “fit” and “stability” of probe tones contextualized by a variety of musical s…

  • An Algorithm for Human Embodiment and Computational Realization of Familiar and Novel African/Clave

    Cameron Undy, Roger T Dean et al.ARTICLELeonardo2025

    This paper introduces an algorithm which aims to inspire music creation by generating familiar African/clave rhythm and novel transforms of them. The algorithm generalizes the musical practices described in Peñalosa’s pedagogy into an ‘embodied state’ indicative of African philosophies of call and response and grounding in ancestral wisdom. Based upon polyrhythmic alternations of hands and feet performing replicated ‘seed rhythms’, the rhythms pr…

  • Promoting unfamiliar music through data science

    Daryl Bainbridge, Roger T DeanARTICLELeonardo2025

    This article describes a personal music recommender system designed to overcome the ‘cold start’ problem that affects the visibility of recent works of composition and improvisation outside popular music. The approach builds upon our experimental results that showed increased levels of engagement by subjects with unfamiliar music through a focus on acoustic properties and emotional response. Set in the context of a digital music library, the deve…

  • Increasing music preference through guided self-framing

    Agnieszka Chmiel, Andrew J Milne et al.ARTICLEPsychology of Aesthetics…2024

  • Going online

    Open AccessJennifer Macritchie, Agnieszka Chmiel et al.ARTICLEMusicae Scientiae2023

    As a result of the COVID-19 pandemic, many cultural and artistic programs for older adults have been put on hold, despite the numerous physical, social, and emotional well-being benefits continued participation may bring. This article details a cross-section of participants ( n = 13) in the Active Minds Music Ensemble—a longitudinal Australian-based research project that provides 12 months of group music instrument lessons to healthy older adult …

  • Denley, Jim

    Roger T Dean, Roger DeanCHAPTERThe new Grove dictionary of music…2022

  • Evaluative conditioning of responses to unfamiliar chords by exposure to valenced images

    Open AccessEline A Smit, Andrew J Milne et al.ARTICLEPsychology of Music2022

    The extent to which emotional responses to musical elements are influenced by their past associations with specific emotional responses is largely unknown. To assess this possibility, the present study tested whether pairing positive, negative, or neutral chords from an unfamiliar musical system (a microtonal Bohlen–Pierce tuning) with positively or negatively valenced pictures would have an effect on subsequent liking ratings. The microtonal cho…

  • Making the Unfamiliar Familiar

    Open AccessEline A Smit, Andrew J Milne et al.ARTICLEMusicae Scientiae2022

    Affective responses to music have been shown to be influenced by the psychoacoustic features of the acoustic signal, learned associations between musical features and emotions, and familiarity with a musical system through exposure. The present article reports two experiments investigating whether short-term exposure has an effect on valence and consonance ratings of unfamiliar musical chords from the Bohlen-Pierce system, which are not based on …

  • Ammri

    Roger T Dean, Agnieszka Chmiel et al.ARTICLEJournal of New Music Research2022

    We present computational analyses of musical performances during 12-months study by novice participants aged 65–80. They learned two instruments (an electronic piano keyboard; the iPad app ThumbJam) each with two distinct approaches: replication by ear of melodies, and improvisation using specified methods. Here we present computational simulations and analyses of such processes and the corresponding R script. Using MIDI recordings from one parti…

  • The Multi-Tuned Piano

    Roger T DeanARTICLELeonardo2022References: 13

    Unlike a physical grand piano, a physical synthesis instrument, such as one of Pianoteq’s series of grand pianos, is not necessarily constrained at any moment to a single tuning system. This article discusses why a system using discrete piano pitches (not sliding pitches) chosen freely among the audible pitch continuum presents interesting musical and expressive possibilities. Audio and video of compositions and an improvisation exploiting the sy…

  • Affective and Cognitive Responses to Musical Performances of Early 20th Century Classical Solo Piano Compositions

    Mary C Broughton, Jessie Dimmick et al.ARTICLEMusic Perception An Interdisciplina…2021

    Effective audience engagement with musical performance involves social, cognitive and affective elements. We investigate the influence of observers’ musical expertise and instrumental motor expertise on their affective and cognitive responses to complex and unfamiliar classical piano performances of works by Scriabin and Hanson presented in audio and audio-visual formats. Observers gave their felt affect (arousal and valence) and their action und…

  • On the Roles of Complexity and Symmetry in Cued Tapping of Well-formed Complex Rhythms

    Roger T Dean, David Bulger et al.ARTICLEMusic Perception An Interdisciplina…2021

    Production of relatively few rhythms with non-isochronous beats has been studied. So we assess reproduction of most well-formed looped rhythms comprising K=2-11 cues (a uniform piano tone, indicating where participants should tap) and N=3-13 isochronous pulses (a uniform cymbal). Each rhythm had two different cue interonset intervals. We expected that many of the rhythms would be difficult to tap, because of ambiguous non-isochronous beats and sy…

  • Influence of a continuous affect ratings task on listening time for unfamiliar art music

    John R Taylor, Roger T DeanARTICLEJournal of New Music Research2021

    We aim to increase user engagement in unfamiliar music. We investigated listening duration for 100 unfamiliar art music items from the Australian Music Centre (AMC) library, presented under four different exposure conditions: a continuous affect response task, text/photographic information, text only, and no information. Participants could skip each item, and provided post-excerpt liking or familiarity ratings. Time-series analysis models of list…

  • Context effects of background babbling on memory for melodies

    Open AccessSteffen A Herff, Roger T Dean et al.ARTICLEMusicae Scientiae2020

    Disruptive effects of background noise on memory have been thoroughly investigated. Potential beneficial context effects of background noise on memory, however, have received far less attention. Here, we explore whether and how unintelligible multiple talker background babbling affects melody recognition. Participants continuously listened to melodies, each of which appeared twice during the experiment. After each melody participants were asked t…

  • The Oxford Handbook of Algorithmic Music

    Roger T Dean, Alex McleanBOOKAlgorithmic Music2018

    Algorithmic music appears to be at a turning point in its history, with many new systems and communities of practice developing together, as vibrant musical culture. This handbook brings together dozens of leading researchers and practitioners in the field, blending technical, artistic, cultural and scientific viewpoints into a whole that considers the making of algorithmic music as a rich, and essentially human activity. The book is organised in…

  • The Audience Reception of Algorithmic Music

    Mary Simoni, Roger T Dean et al.BOOKAlgorithmic Music2018

    Contemporary music research and practice have leveraged advances in computing power by integrating computing devices into many aspects of music—from generative music to live coding. This efflorescence of musical practice, process, and product raises complex issues in audience reception. This chapter employs a comparative analysis in a longitudinal study designed to understand the psychological aspects of the audience reception of algorithmic musi…

  • Interference in memory for pitch-only and rhythm-only sequences

    Open AccessSteffen A Herff, Kirk Olsen et al.ARTICLEMusicae Scientiae2018

    In human memory, the ability to recognize a previously encountered stimulus often undergoes cumulative interference when the number of intervening items between its first and second presentation increases. Although this is a common effect in many domains, melodies composed in tuning systems familiar to participants (e.g., Western tonal music) do not seem to suffer such cumulative decrements in recognition performance. Interestingly, melodies in u…

  • Learning a well-formed microtonal scale

    Yvonne Leung, Roger T DeanARTICLEJournal of New Music Research2018

    This study investigates learning interval structure and pitch occurrence frequency of a microtonal scale by two groups of musicians (one experienced in Western tonal music only, the other in several microtonal systems) and non-musicians. While musically untrained participants could rapidly learn the pitch occurrence frequency of this scale, learning microtonal pitch intervals was slow in musicians. Interestingly, microtonal musicians were the slo…

  • The Character Thinks Ahead

    Roger T Dean, H SmithARTICLELeonardo2018References: 1

    The authors discuss how to control outputs from deep learning models of text corpora so as to create contemporary poetic works. They assess whether these controls are successful in the immediate sense of creating stylometric distinctiveness. The specific context is the authors’ piece The Character Thinks Ahead (2016–2017); the potential applications are broad

  • Relationships Between Generated Musical Structure, Performers’ Physiological Arousal and Listener Perceptions in Solo Piano Improvisation

    Roger T Dean, Freya BailesARTICLEJournal of New Music Research2016

    What musical structures do improvisers produce, and how do these relate to their physiological arousal while performing and to listener perceptions? Nine professional improvisers performed both structured and free improvisations. We hypothesized that increases in performers’ arousal and attention during structural transitions would be reflected by changes in skin conductance. Consistent with the hypothesis, skin conductance changed particularly a…

  • The Serial Collaborator

    Roger T DeanARTICLELeonardo2014References: 4

    Serial music, which is mainly non-tonal, superimposes compositional freedom onto an unusually rigorous process of pitch-sequence transformations based on ‘tone rows’: a row is usually a sequence of notes using each of the 12 chromatic pitches once. Compositional freedom comprises forming chords from the sequences, and in multi-strand music, also in simultaneously presenting different segments of pitch-sequences. The present project coded a real-t…

  • Generative Structures in Improvisation

    Roger T Dean, Freya Bailes et al.ARTICLEJournal of New Music Research2014References: 12

    We assessed the hypothesis elaborated by Pressing and by the first author that improvisation is normally based on the generation of segmental contrasts in musical features. Nine experienced improvisers performed a series of free- and 3-section referent-based pieces, each of about three minutes. Each player undertook eight improvisations with 'referent' instructions, preceded and followed by a free improvisation. A MIDI-equipped grand piano was us…

  • The Oxford Handbook Of Computer Music

    Roger T DeanBOOKThe Oxford Handbook Of Computer…2011

  • Continuous subjective loudness responses to reversals and inversions of a sound recording of an orchestral excerpt

    Open AccessSam Ferguson, Emery Schubert et al.ARTICLEMusicae Scientiae2011

    Twenty-four respondents continuously rated the loudness of the first 65 seconds of a Dvořák Slavonic Dance, which was known to vary considerably in loudness. They also rated the same excerpt when the sound file was digitally treated so that (1) the sound pressure level (SPL) was inverted or (2) it was temporally reversed or (3) both 1 and 2. Specifically we wanted to see if acoustic intensity was processed into the percept of loudness primarily u…

  • Practice-led Research, Research-led Practice in the Creative Arts

    H Smith, Roger T Dean et al.BOOKPractice-led Research,…2009

    This book addresses one of the most exciting and innovative developments within higher education: the rise in prominence of the creative arts and the accelerating recognition that creative practice is a form of research. The book considers how creative practice can lead to research insights through what is often known as practice-led research. But unlike other books on practice-led research, it balances this with discussion of how research can im…