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Career Summary

Biography

I have been engaged in research since early 2007, following the completion and award of an MA (Music) in 2006. My primary areas of research are: Music practices in the 19th century, Music and Society, Australian music, Social Justice and Gender studies, Music & technology. Currently, I am researching popular entertainment and the construction of identity in Newcastle, NSW.  Recent publications in this field include: "Newcastle in the 1870s: audience identity, power and cultural ownership" in Crossroads: an Interdisciplinary journal, UQ. Another article on benefit concerts in the Newcastle mining townships is due to be published in Musicology Australia in 2014. Another strand of research has been into composers from nineteenth century Newcastle. In 2013  I presented "Forgotten Musicians of Newcastle" at a HASS RHD conference and created a piece of performance art entitled "Forgotten Composers of the Hunter Valley", which was performed at the Newcastle Conseratorium in December 2013. Other creative work has been shown in Hobart and Leeds ("Margery's Times: Margery Through the Looking Glass") and New York ("New Adventures of Mark Twain").

Some of my current research can be seen on:

http://helenenglishblog.com/</p>

 

 

Qualifications

  • Master of Arts (Music), University of Newcastle, 16/08/2006
  • Diploma in Music, Guild Hall School of Music and Drama

Research

Research keywords

  • Australian music
  • Nineteenth Century Music
  • music and gender
  • sociology of music

Research expertise

Sonic Art - soundscapes representing temporality. 19th c. music practices in Australia, specifically the Newcastle region. The Historical Performance Practice movement in UK and Australia

Languages

  • French
  • Italian

Fields of Research

CodeDescriptionPercentage
190409Musicology And Ethnomusicology100

Appointments

Executive Officer
NACTMUS (National Council for Tertiary Music) (Australia)
01/04/2003

Collaboration

"Assessment in Music: An approach to aligning assessment with Threshold Learning Outcomes in the Creative and Performing Arts"

This research project was led by Queensland Conservatorium, Griffith University from 2012-2014. As a team member, I was a contributor to discussions about assessment in music and was involved in determining Threshold Learning Outcomes in Music Studies at Tertiary level. In 2013 I gave a conference paper as co-author with Richard Vella, Chair of Music at University of Newcastle, "Embedding Creative and Critical thinking in Performance Studies - the Challenge". This is due to be published by Springer in 2014 as a book chapter

Administrative

Administrative expertise

Program Convenor, Software expertise: Word, Excel, Publisher, Finale, Sibelius. Auditions, enrolments, orientation, credits, mentoring, completions

Teaching

Teaching keywords

  • Australian Music
  • Keyboard
  • Musicology

Teaching expertise

Australian Music, Music history, Piano playing and associated skills, 19th c. music, Baroque

music

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Highlighted Publications

For publications that are currently unpublished or in-press, details are shown in italics.

YearCitationAltmetricsLink
2008English HJ, Margery's Times: Margery Through the Looking Glass, University of Leeds, Leeds, UK (2008) [J2]

Margerys Times presents an alternative mode of historical representation through sound, which, as John Shepherd states:brings the world to the listener, unlike vision, which stresses separation. This project combines sound art with an historical subject to represent a temporality (time and place) and poses the question: can a medium of sonic creativity mediate across time to create meaning and a sense of temporality through evoking memories and imaginings in the listener? The subject of this work is the English mystic Margery Kempe (1373-c.1438). The musical soundscape draws on readings of texts in Middle and Modern English, recorded music and created sounds. Multi-tracking allows the composer to position these components to create meaning and then use recording software to manipulate the sounds within the sound mix. The time-based aspect of the soundscape engenders a sense of journey and narrative. Glimpses of events are created through overlay and spacing to construct the non-linear, dream-like experience of memory recall. This creates an experience of history that draws on original, authentic material, but utilises 21st technology to realise an output, thus embodying our times. As a composition, it presents to historians an obscure subject in a new engaging way. Its alternative modality gives the listener a unique, embodied experience of a distant temporality and its nexus with our times. The work was commissioned by the ARC Network of Early European Research and presented at the symposium: Time and Temporalities in 2007, Hobart and then at the International Medieval Congress, Leeds, UK in 2008.

Publications

For publications that are currently unpublished or in-press, details are shown in italics.

Click on a category title below to expand the list of citations for that specific category.

Chapter (1 outputs)

YearCitationAltmetricsLink
2012English HJ, Wye SQ, 'Musical entertainment in Newcastle, NSW, 1875-77', A World of Popular Entertainments: An Edited Volume of Critical Essays, Cambridge Scholars, Newcastle upon Tyne 207-220 (2012) [B1]

Journal article (2 outputs)

YearCitationAltmetricsLink
2014English HJ, 'Music-Making in the Colonial City: Benefit Concerts in Newcastle, NSW in the 1870s', Musicology Australia, 36 53-73 (2014) [C1]
2013English HJ, 'Musical Entertainment in Newcastle, New South Wales, in the 1870s: Audience, Identity, Power and Cultural Ownership', Crossroads: an interdisciplinary journal for the study of history, philosophy, religion and classics, VI 73-83 (2013) [C1]

Conference (2 outputs)

YearCitationAltmetricsLink
2013English HJ, 'Re-viewing history through sound - fact or fiction?', re-Visions: Proceedings of the New Zealand Musicological Society and the Musicological Society of Australia Joint Conference, Dunedin, New Zealand (2013) [E1]
2009English HJ, Wye SQ, 'Popular musical entertainment in Newcastle 1876, focusing on the opening and early operation of the Victoria Theatre, Perkins Street', A World of Popular Entertainments Conference Proceedings, Callaghan, NSW (2009) [E3]

Creative Work (2 outputs)

YearCitationAltmetricsLink
2013English HJ, Forgotten Composers of the Hunter Valley, 1870-79, Harold Lobb Recital Hall, Newcastle Conservatorium of Music (2013) [J2]
2008English HJ, Margery's Times: Margery Through the Looking Glass, University of Leeds, Leeds, UK (2008) [J2]

Margerys Times presents an alternative mode of historical representation through sound, which, as John Shepherd states:brings the world to the listener, unlike vision, which stresses separation. This project combines sound art with an historical subject to represent a temporality (time and place) and poses the question: can a medium of sonic creativity mediate across time to create meaning and a sense of temporality through evoking memories and imaginings in the listener? The subject of this work is the English mystic Margery Kempe (1373-c.1438). The musical soundscape draws on readings of texts in Middle and Modern English, recorded music and created sounds. Multi-tracking allows the composer to position these components to create meaning and then use recording software to manipulate the sounds within the sound mix. The time-based aspect of the soundscape engenders a sense of journey and narrative. Glimpses of events are created through overlay and spacing to construct the non-linear, dream-like experience of memory recall. This creates an experience of history that draws on original, authentic material, but utilises 21st technology to realise an output, thus embodying our times. As a composition, it presents to historians an obscure subject in a new engaging way. Its alternative modality gives the listener a unique, embodied experience of a distant temporality and its nexus with our times. The work was commissioned by the ARC Network of Early European Research and presented at the symposium: Time and Temporalities in 2007, Hobart and then at the International Medieval Congress, Leeds, UK in 2008.

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Grants and Funding

Summary

Number of grants6
Total funding$34,278

- Indicates that the researcher may be seeking students for this project.

Click on a grant title below to expand the full details for that specific grant.

2014 (2 grants)

ERF Teaching Relief - English$25,000
Funding Body: University of Newcastle

Project Team
Ms Helen English, Professor Richard Vella
SchemeRole
Equity Research FellowshipInvestigator
Total AmountFunding StartFunding Finish
$25,00020142014
GNo:G1301347

Music in the valley: identity, memory and reinvention in colonial Newcastle 1870-1879$3,750
Funding Body: University of Newcastle

Project Team
Ms Helen English
SchemeRole
Equity Research FellowshipChief Investigator
Total AmountFunding StartFunding Finish
$3,75020142014
GNo:G1301236

2010 (1 grants)

Musicological Society of Australia/New Zealand Musicological Society Conference, University of Otago, New Zealand, 2 - 4 December 2010$1,500
Funding Body: University of Newcastle - Faculty of Education and Arts

Project Team
Ms Helen English
SchemeRole
Travel GrantChief Investigator
Total AmountFunding StartFunding Finish
$1,50020102010
GNo:G1000843

2008 (2 grants)

Margery's Times: Margery Through the Looking Glass$1,900
Funding Body: University of Newcastle

Project Team
Ms Helen English
SchemeRole
New Staff GrantChief Investigator
Total AmountFunding StartFunding Finish
$1,90020082008
GNo:G0188941

International Medieval Congress, University of Leeds, 7/7/2008 - 10/7/2008$1,700
Funding Body: University of Newcastle

Project Team
Ms Helen English
SchemeRole
Travel GrantChief Investigator
Total AmountFunding StartFunding Finish
$1,70020082008
GNo:G0189126

2007 (1 grants)

Time and Temporalities$428
Funding Body: University of Newcastle

Project Team
Ms Helen English
SchemeRole
Travel GrantChief Investigator
Total AmountFunding StartFunding Finish
$42820072007
GNo:G0188279
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Research Supervision

Number of current supervisions2
Total current UoN PhD EFTSL0.4

For supervisions undertaken at an institution other that the University of Newcastle, the institution name is listed below the program name.

Current Supervision

CommencedProposed
Completion
ProgramSupervisor TypeResearch Title
20142018PhD (Music)Co-SupervisorThe Role of Digital Technologies in Contemporary Folk Music Practices
20072007Honours Music
University of Newcastle
Co-SupervisorAssociate Artist or Accompanist?: an evaluation of the pianist's role
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Ms Helen English

Work Phone(02) 4921 8929
Fax(02) 4921 8958
Email
PositionSenior Lecturer
School of Creative Arts
Faculty of Education and Arts
The University of Newcastle, Australia
Focus AreaMusic
Office
CON305,
The Conservatorium of Music,
The Conservatorium
Cnr Laman and Auckland Street
Newcastle NSW 2300
Australia
URL:www.newcastle.edu.au/profile/helen-english