• 1979 – 1982

    personal studies of composition (Juraj Hatrík)

  • 1981 – 1984

    the Conservatory in Bratislava (composition – Juraj Pospíšil)

  • 1984 – 1991

    Academy of Performing Arts in Bratislava (composition – Ivan Hrušovský)

  • 1985, 1989

    educational programmes at École Normale de Musique de Paris – Alfred Cortot, where Yoshihisha Taira was his director of studies

  • 1986 – 1987

    a teacher of the theory of music at the Bratislava Conservatory

  • 1987 – 1989

    the programming director at the Symphony Orchestra of the Czechoslovak Radio

  • 1988

    summer courses in Darmstadt and a course of electroacoustic music in Poland

  • 1989

    a course of computer music in Stockholm

  • 1990 – 1991

    a musicology course of Francois-Bernard Mâchea at Université des Sciences Humaines de Strasbourg and studies of composition at Conservatoire National de Région de Boulogne-Billancourt (of Michel Zbar)

  • since 1992

    he has lived in Paris

  • 1992 – 1993

    extended studies of computer music at Université Paris VIII (Horatius Vaggioni) and at the same time he lectured on electroacoustic music at Academy of Music and Drama in Bratislava

  • 1992 – 1996

    a member of the Melos-Étos festival board

  • 1993 – 1994

    he attended a composing class of Michel Roisenblat at Conservatoire National de Région de Rueil-Malmaison

  • 1994 – 2000

    a freelance artist

  • since 2000

    he has worked with the Radio France and led a class of music theory and analysis at the Conservatoire de Noisy

"Rudolf’s interest as a composer is focused on the parameter of sound. He treats the selected musical instrument as a medium for transmitting the absolute language of music, to the extent that it is an object with specific capabilities of producing sound. For the composer, this sonic variety becomes the basis on which he builds his compositions (Solo pour Alex). Also testifying to this orientation is the representation of electro-acoustic music in Rudolf’s work. In a period when the professional production of electro-acoustic music was dampened down in Slovakia, Rudolf (like another member of his generation, also living in Paris, A. Mihalič) had contact with the Parisian institute IRCAM, one of the world-ranking centres in this discipline, and in a certain sense his work continued the tradition of Slovak electro-acoustic music established in the 1960s."

(ZAGAR, Peter: Róbert Rudolf. In: A Hundred Slovak Composers. Eds. Marián Jurík, Peter Zagar. Bratislava : National Music Centre Slovakia, 1998, pp. 236 – 237.)