Dr. Karen Heath

e: karen.heath@unimelb.edu.au
w: karen-heath.com
w: www.linkedin.com/in/karen-heath-education

Qualifications:  

2024:    Doctor of Musical Arts - Music Education (Boston University, United States)    
     Area of focus: Memory and neuroscience in learning
           Dissertation title: Multiple memory systems in instrumental music learning                                        

2005:    Master of Arts (Monash University, Melbourne, Australia)🇦🇺
Thesis title: The synthesis of music and dance: Performance strategies for selected choreographic music works by Karlheinz Stockhausen  

2003:    B Mus (Hons) (Monash University, Melbourne, Australia)
2002:    B Ed (Monash University, Melbourne, Australia)
2001:    B Mus (Monash University, Melbourne, Australia)    

Publications, conferences, and papers:

ORCHID ID: 0000-0002-6085-2075 

Heath, K. L., & Ohki, M. (2025). Music Performance Mental Training: A model for transforming music performance anxiety using reappraisal techniques. Conference: Research in Music Education (RiME).
Heath, K. L. (2025). Multiple memory systems in instrumental music learning [dissertation]. https://doi.org/10.13140/RG.2.2.21345.72804
Heath, K. L. (2024, July 29). Multiple Memory Systems in Instrumental Music Learning [poster presentation]. ISME 2024 Biannual Conference, Helsinki, Finland.
Heath, K. L. (2024, July 26). Multiple Memory Systems in Instrumental Music Learning [conference presentation]. Instrumental and Vocal Music Teaching Commission - ISME 2024 Biannual Conference, Helsinki, Finland.
Heath, K. L. (2021). Rocking out without limits: The struggle against perfectionism at an all-girls’ school. Massachusetts Music Educators Journal, 70(2), 33-34.
Heath, K. L. (2005). The synthesis of music and dance: Performance strategies for selected choreographic works by Karlheinz Stockhausen [thesis]. https://doi.org/10.4225/03/583cfa4c4223d

Forthcoming articles, books, conferences, and papers:

Heath, K. L. (2025). Multiple memory music learning: A music pedagogy of cognition and memory pathways (book).
Heath, K. L. (2025). Auto(in)correct: Understanding automaticity in music learning through the Multiple Memory Music Learning Framework. Conference: Asia-Pacific Symposium for Music Education Research (APSMER).
Heath, K. L. (2025). Oh no, auto(in)correct strikes again! How automaticity occurs in instrumental music learning. Conference: Australian Society for Music Education (ASME).

Higher Education - Teaching 

2025:    Lecturer for Master of Music Performance Teaching (University of Melbourne)  

Music Learning, Teaching, and Research (tutor, guest lecturer)
Leadership in Schools (tutor, guest lecturer); Second Instrument and Vocal Studies – Woodwind (lecturer)
Ensemble (lecturer)
Applied Instrumental and Vocal Teaching (guest lecturer)
Instrumental Pedagogy (guest lecturer)
Professional Practice (guest lecturer)

2025:    Presentation with John Hendry OAM for Box Hill Institute – Cultivating Creative Learning Spaces
2024:    Masterclass Tutor for Clarinet Megaday (Melbourne Conservatorium of Music, University of Melbourne)
2024:    Guest lecturer for Master of Music Performance Teaching students (University of Melbourne)
2023:    Guest lecturer for postgraduate composition students (University of Melbourne)
2015:    Guest lecturer in music performance (Universiti Teknologi MARA, Malaysia)

Roles – Organisational, Educational, and Academia

Current:                         Council member of the Victorian Chapter for Australian Society for Music Education (ASME)
Current:                         Consultant for Australian Music Education Board (AMEB) Clarinet and Saxophone syllabus development, working with Indigenous composers
Current:                         Secretary for the Walhalla Heritage and Development League
2025:                            Peer reviewer for Intellect Books (publisher)
Forthcoming:               Contributing editor for the International Journal of Popular Music Education (to commence August 2025)
2009-13:                       Director of Anon Islet Records (Music Label)

Memberships and Advocacy

Current:                         Member of the European Society for the Cognitive Sciences of Music (ESCOM)
Current:                         Member of the Instrumental and Vocal Music Teaching Commission (IVMTC)
Current:                         Member of International Society for Music Education (ISME)
Current:                         Member of the national chapter of the Australian Society for Music Education (ASME)
Current:                         Member of the Association of Music Educators (Amuse)
2021-22:                       Submission of feedback to ACARA and VCE for changes to curricula
2016-2022:                 Member and council member of Association for the Directors of Music in Independent Schools (ADMIS)
2015-2016:                 Committee member of School Music Action Group (SMAG)
2015:                            Stakeholder response to VIT on The Permission to Teach Review (April 2015)

Employment Duties: Scope and Responsibility (Universities and Schools)

The scope of duty and responsibility within previous teaching positions encompasses the following:

Course materials and scope and sequence development: Within the context of preexisting curricula as part of the Master of Music Performance Teaching course (Second Instrument and Vocal Study, Woodwind).
Editing and refinement: For the Master of Music Performance Teaching course, I refined and clarified several of the handbooks. My tasks included updating materials and reformatting the handbooks using University of Melbourne templates. 
Curriculum development: Within the contexts and requirements of ACARA, Victorian Curriculum, Victorian Certificate of Education (VCE, VCAA), and VET/VM (vocational majors).
Curriculum whole-school mapping: Participation in whole-school curriculum mapping to ensure compliance with cross-curriculum priorities (i.e., Aboriginal and Torres Strait islander histories and cultures, Asia and Australia’s engagement with Asia, and Sustainability).
Curriculum and content development for online application: This was especially pertinent during the pandemic and ensuing lockdowns. As head of department, I developed numerous websites and extensive online resources for students to access, and ensured my staff were supported in navigating the new world of online education.
Oversight of departmental assessment and reporting
Development of assessment rubrics: In line with ACARA, Vic Curriculum, VCE and VET/VM platforms.
Development of assessment rubrics: To measure co-curricular assessment in the creative art space.
Implementation of multiple web-based delivery platforms for remote learning
Implementation of innovative class instrumental-music-based programs: Including the initiation of pilot programs for young learners.
Classroom teaching (P-12)
Facilitating workshops for secondary students: Bringing industry professionals into the classroom.
Tour planning and management for creative arts students: Including interstate tours and festival performances.
Management of programs: For students, administration staff, and teaching staff.
Management of candidates for external performance examinations: This includes the Australian Music Education Board and VCAA music performance examinations.
Performance/concert planning and management: In my various leadership roles, on average, I would coordinate and oversee between 20-40 events across the school year.
Director of ensembles
Management of ensembles and large-scale events: Valedictory evenings, school-wide gatherings at Melbourne Convention Centre, and events managing upwards of 1500 people.
Liaising with local businesses: Engaging with local businesses for the purpose of sponsorship fostered reciprocal relationships between school and wider communities.
Parent and community liaison
Chairing of departmental meetings
Develop content and parameters for reporting: The construction of assessment rubrics.
Input of VASS data for VCE results
Communications: The development of course guides, writing articles for community newsletters and yearbooks
Community engagement: Working with primary schools and ensembles in the Western Suburbs.
Course material development: Working directly with COSAMP (College of Sound and Music Performance) in the editing of course materials for VCE VET Music which was then published for use by relevant stakeholders.

Performance (classical/contemporary classical):

Notable recent performances: Clarinet 1 for Andrea Bocelli’s Orchestra, Sydney Cricket Ground (April 2025); Premiere of Bass Clarinet solo work in Helsinki (July 2024).
Extensive performance experience (Eb/B/A clarinets, bass clarinet and contrabass clarinet) with organisations such as Opera Australia, Victorian Opera, Arcko Symphonic Ensemble, Gemma Turvey’s New Palm Court Orchestra (including performances with 5-time Grammy award winner Eugene Friesen), Bolt Ensemble.
Long-term collaboration with Swedish composer Henrik Denerin, with performances in Australia and Japan. The most recent notable work was a premiere of Denerin’s composition for Bass Clarinet solo, Tesbih 17, in Helsinki (July 2024).
Performance experience in a range of studio settings, including film score recordings, e.g., Rogue starring Sam Worthington (Dimension Films, Village Roadshow Pictures, 2007).

Performance (contemporary):

Extensive recording, performance, and touring experience with bands The Grand Silent System and Ennis Tola.
Session musician for a number of contemporary popular artists, including Lior, David Ross MacDonald (The Waifs), The Paradise Motel, and others.

Record Label and Entrepreneurial Activities (contemporary):

Director of Anon Islet Records (2009-2013). This indie label had 12 bands signed to it, and working within a co-operative model, we released and promoted music, organised shows and touring, and I was personally in charge of servicing releases to radio station representatives, assigning ISRC codes, and other administrative duties.

Director of Music is a Weapon Records (forthcoming – soft launch in October 2025). Having learned a lot from the co-operative model that was Anon Islet Records, the MIAW label is focused on music for production purposes. The underlying point of difference is an artistic philosophy of only publishing, synchronising, and promoting music made by humans, not AI.

Composition (classical and contemporary):

Classical compositions for chamber ensembles have been performed in Japan, Canada, Scotland, and Spain.
Extensive compositional catalogue for clarinet for pedagogical purposes.
Associate Composer with the Australian Music Centre.
Collaborative compositional activity for the bands The Grand Silent System and Ennis Tola.
Songwriting for solo performance (singing/piano playing).

Employment History*

2025:                            University of Melbourne
                                 Lecturer: Master of Music Performance Teaching

2025:                            Scotch College
                                    Teacher – Clarinet

2023 - 2025                Eltham High School
Instrumental Music Teacher (Clarinet) and Director of Wind Ensemble

2018 - 2022:                   Fintona Girls’ School
                                 Music Learning Leader (Head of Department)

2016 – 2018:                  Caroline Chisholm Catholic College        
                                  Director of Music (Head of Department)

* Employment history for the last 10 years only 

Interests

Cognitive science research: application in real-time learning
Implications of AI
Contemporary classical music performance and composition
Website development and coding
Volunteer work

Awards, Grants, Commissions, Sponsorships 

2025:                                            Departmental Award – Boston University (Doctorate of Musical Arts in Education)
2025:                                            Regional Grant from Baw Baw Shire for development of the Walhalla Museum
2024:                                            Tiny Town Grant (Regional Development Victoria) – Walhalla Museum Upgrade: $50,000
2009-Present:                           Associate Composer with the Australian Music Centre
2020:                                            Performance of composition in Toledo, Spain
2017:                                            Composition commission: Arcko Symphonic Ensemble
2012:                                            Composition commission: The Memory of Landscape for trombone and piano for Hiroshi Tanaka (Performed in Osaka and Tokyo)
2010:                                            Composition and performance: Pan for alto flute, bass clarinet, piano, percussion and electronics (performed in Tokyo by Kazuko Ihara)
2010:                                            Recorded vocals, arranged and conducted string trio at Abbey Road Studios, London
2009:                                            Composition commission: Island for harp, percussion and electronics for Frank Aarnink of Iceland Symphony Orchestra (Iceland) (performed in Reykjavik 2009)
2009:                                            Nominated for an APRA award for best recorded performance of an Australian composition
2008:                                            Sponsorship for free event from: Federation Square (performance venue), Orsino Images, Riverriver, Small House Records, I Dream A Highway
2007:                                            Awarded 3rd place from Karlheinz Stockhausen for a performance of his 1976 work: Der Kleine Harlekin (Germany)
2007:                                            Composition Commission: Food Music for Piazza Contemporary Collective (Montreal and Edinburgh Fringe Festivals)
2006:                                            Awarded ‘Best Music Act’ for The Melbourne Fringe Festival for composition Ananke
2006:                                            Composition Commission: Temple for two percussionists for Klangfarben (Melbourne)
2005:                                            Awarded 2nd Place from Karlheinz Stockhausen for a performance of his 1977 work In Freundschaft (Germany)
2005:                                            Received scholarship from Karlheinz Stockhausen to attend his course (Germany)
2005:                                            Awarded 1st Class Honours for Master of Arts (Music Performance) degree
2005:                                            Presented seminar on Choreographic Music for The Musicological Society of Australia
2005:                                            Composition Commission: advert jingle for presentation to stakeholders nationwide
2004/05:                                      Awarded Departmental Scholarship (Monash University)
2003:                                            Awarded Ernst Morawetz Prize (Monash University)
2003:                                            Awarded 1st Class Honours for Honours in Music Performance Degree
2001:                                            Awarded Membership to The National Golden Key Honour Society for academic results in the top 15% Of Monash University
2000:                                            Nominated for the Young Australian of The Year Award for contributions to music
1999/2000:                                Awarded The Mazda Foundation Prize at Monash University for results in music performance
1999:                                            Awarded a grant from Arts Victoria for a composition, performed by The Australian Pops Orchestra to commemorate the ‘passing of the torch’ in the lead-up to the Olympics