Ian Stevenson is a specialist in the field of audible design with over twenty years of experience as an audio engineer, producer, artist and educator. He is currently senior lecturer in music and sound design at the University of Technology Sydney. Ian has worked in the theatre on West-end and touring productions in Europe and Australia, in broadcast on commercial and public radio and television, live sound and record production for contemporary classical and popular concert music, post-production, and in high-tech audio product management. His current research is in the areas of sound design, sound studies, soundscape analysis, and music and sound pedagogy.
- Australasian Computer Music Association
- Electroacoustic Music Studies Network
- Digital Humanities Research Group, Western Sydney University
- Audio Engineering Society (full member from 1987-2006)
- Society of Motion Picture and Television Engineers
- British Society of Aesthetics
- International Computer Music Association
- International Society for the Arts, Sciences and Technology
Can supervise: YES
- Sound design
- Sound studies
- Digital music systems and instrument design
- Soundscape analysis
- Sound recording
- Music and sound pedagogy
Current Higher Degree Supervision
- Stephane Elmosnino PhD candidate "Mental representation in critical listening training" (principal supervisor)
- Alex White PhD candidate "Generative composition with modular syhthesisers"
- Rowan Holmes DCA candidate "melodiÆ incognita: exploring the Bohlen-Pierce Scale" (principal supervisor)
Higher Degree Graduates
- Sharon Williams PhD "Public Drum Project" 2018 (principal supervisor)
- Michelle Stead PhD "Learning To Listen The Construction of Listening in Electroacoustic Music Discourse" 2017 (co-supervision)
- Petar Jovanov DCA "A Cross-Cultural and Multimedia Fractured Macedonian-Australian Compositional Voice" 2014 (co-supervision)
- Adrian Barr PhD "The Transcendent Experience in Experimental Popular Music Performance" 2013 (co-supervision)
- Daniel Portelli MA "Breath through Water: Personal Cross-Cultural and Multimedia Processes Flowing Towards Dao in Composition" 2013 (co-supervision)
- Wade Marynowski DCA "An Exploration of the Uncanny in Autonomous Artworks" 2010 (co-supervision)
- Jon Drummond PhD "Interactive Electroacoustics" 2008 (co-supervision)
- 2019 PhD MARCS Institute WSU
- 2019 PhD Edith Cowan University
- 2017 DCA University of Technology Sydney
Blom, D, Bennett, D & Stevenson, I 2020, 'Developing a Framework for the Analysis of Program Notes Written for Contemporary Classical Music Concerts', Frontiers in Psychology, vol. 11, pp. 1-13.View/Download from: UTS OPUS or Publisher's site
At classical music concerts, a program note is the usual medium for communicating information about the music to be heard and performed. Although there may be crossover of information, the program note is distinct from the CD cover note, from notes contained within a musical score note, and from a composer’s directions for performers. With a focus on contemporary classical works in the Australian context, the researchers’ aim in this study was to develop and test an analytical frame of informational categories with which to examine program note content. Three extant studies – one scientific, one phenomenological and one semiotic – informed the development of an initial theoretical framework for program note analysis. This was tested through the analysis of program notes (n = 30) from each of three writer cohorts: composers, professional writers, and higher education students. The analytical frame revealed different emphases of information categories among the three program note writer groups, with a more sophisticated combination of categories used by the professional writers and composers. This has implications for the teaching of program note writing in tertiary performance institutions, encouraging diversity of student content without extinguishing personal insights.
A door opens partially, and a hand appears, then a face, blurred in the half-light. The advancing figure makes its entrance with a slow fluidity that suggests ectoplasm, and in fact this is not a physical entity. It hovers in space for a few seconds, semitransparent, before dematerialising, along with the traces of the portal through which it just passed. Then, as the light grows and the eye discovers more of the surrounding space, another figure is revealed, with the same aura of pale hair surrounding the upturned face-but this is a gravity-bound presence, and as it rises from the floor, its movements are a confusion of impulses. It is quite literally finding its feet
Blom, D, Bennett, D & Stevenson, I 2016, 'The Composer’s Program Note for Newly Written Classical Music: Content and Intentions', Frontiers in Psychology, vol. 17.
Stevenson, I 2014, 'De Quincey’s Acoustemology', SoundEffects: an Interdisciplinary Journal of Sound and Sound Experience, vol. 4, pp. 131-143.
Stevenson, I 2016, 'Schaeffer’s Sound Effects' in Macarthur, S, Lochhead, J & Shaw, J (eds), Music’s Immanent Future: The Deleuzian Turn in Music Studies, Routledge, pp. 102-117.
Blom, D, Stevenson, I & Encarnacao, J 2015, 'Assessing Music Performance Process and Outcome Through a Rubric: Ways and Means' in Lebler, D, Carey, G & Harrison, SD (eds), Assessment in Music Education: from Policy to Practice, Springer International Publishing, pp. 125-139.View/Download from: Publisher's site
Blom, D & Stevenson, I 2019, 'Inside the semi-autonomous iPad (tablet) ensemble', Program of the International Symposium on Performance Science 2019, International Symposium on Performance Science, University of Melbourne, Melbourne Conservatorium of Music, pp. 16-16.
This empirical paper aims to examine self-directed creative and collaborative discovery in semi-autonomous electronic musical ensembles in the context of tertiary-level music performance training from a student’s perspective. It also examines the particularity of iPad or tablet technology and their associated software ecosystems in the context of electronic music-making in its impact on creativity, collaboration, motivation, identity, musical outcomes and the processes of learning.
Stevenson, I 2016, 'Soundscape analysis for effective sound design in commercial environments', Sonic Environments Australasian Computer Music Conference, Sonic Environments Australasian Computer Music Conference, Australasian Computer Music Association, Brisbane, pp. 69-74.
Stevenson, I 1970, 'Performativity and Interactivity: Concepts for Framing the Pedagogy of Making', Make - Australasian Computer Music Conference, Australasian Computer Music Conference, Australasian Computer Music Association, Sydney, pp. 108-111.
Stevenson, I, Blom, D & Encarnacao, J 2012, 'The assessment rubric as institutional culture: Evaluating creative music processes and outcomes at undergraduate level', Educating Professional Musicians in a Global Context, 19th International Seminar of the Commission for the Education of the Professional Musician (CEPROM) International Society for Music Education, 19th International Seminar of the Commission for the Education of the Professional Musician International Society for Music Education, Athens, pp. 15-20.
Paine, G, Stevenson, I & Pearce, A 1970, 'The Thummer Mapping Project (ThuMP)', New Interfaces for Musical Expression, New Interfaces for Musical Expression, New York City, pp. 70-77.
Paine, G & Stevenson, I 2005, 'The Thummer Mapping Project – ThuMP', 2005 Australasian Computer Music Conference, Australasian Computer Music Association.
Hewitt, D & Stevenson, I 2003, 'Emic-Extended Mic-stand Interface Controller', New Interfaces for Musical Expression Conference, New Interfaces for Musical Expression Conference, NIME, Montreal.
Stevenson, I 2002, 'Spatialisation, Method and Madness Learning from Commercial Systems', Australasian Computer Music Conference 2002, Australasian Computer Music Association.
Stevenson, I 2000, 'Diffusion - Realisation, Evaluation and Analysis', Australasian Computer Music Conference, Australasian Computer Music Association.
Stevenson, I, 'Design Issues for New Performance Systems', 2005 Australasian Computer Music Conference, Australasian Computer Music Association.
Stevenson, I & Blom, D 2020, 'Playing with Fire: New Australian music for electroacoustics and acoustic piano', Playing with Fire: New Australian music for electroacoustic and acoustic piano, Wirripang Media Pty Ltd, Sydney.
Playing with Fire is a commercially released CD of new Australian music for piano and electroacoustics co-produced and recorded by Stevenson and distributed by Wirripang Media.