Helen Julia Minors is Professor of Music, Artistic Research and Pedagogy and she is Head of the School of Arts at York St John University. She is also Visiting Professor of Artistic Research at Lulea University of Technology in Sweden. Her recent publications include: Choreomusicology: Dialogues in Music and Dance(Routledge 2025), co-edited with Sam Dorf; Routledge Companion to Women and Musical Leadership: The nineteenth century and beyond (Routledge, 2025), co-edited with Laura Hamer; Teaching Music Performance in Higher Education: exploring the potential of artistic research (Open Books, 2024), co-edited with Stefan Östersjö, Gilvano Dalagna and Jorge Salgado Correia; Music, Dance and Translation (Bloomsbury 2023); Artistic Research in Performance through Collaboration, co-authored and co-edited with Martin Blain (Palgrave 2020); as well as a range of articles and chapters, including recently articles in Tibon(2021) and The London Review of Education (2019), and chapters in Multimodality and the Arts (2026), Routledge Companion to Applied Musicology(2023) and Intersemiotic Perspectives on Emotions: Translating across Signs, Bodies and Values (2023). Writing on Paul Dukas includes the co-edited volume, with Laura Watson, Paul Dukas: Legacies of a French Musician (2019) which includes her chapter entitled 'Paul Dukas’s Modern Aesthetic Revealed in Funereal Mode: Le Tombeau in La Revue musicale', and other chapters include: ‘Le Tombeau de Ronsard, La Revue musicale (1924): memory and historical interplay’,  in Historical Interplay in French Music and Culture (2018) and Paul Dukas et Claude Debussy: Identité dans l'opéra français’, in La musique française: esthétique et identité en mutation 1892–1992 (2012); and articles include ‘Paul Dukas’s Appropriation of Maeterlinck’s Text: Surveying a Primary Source of Ariane et Barbe-Bleue (1907)’, Ars Lyrica (2011), ‘Paul Dukas’s La Péri (1911–12): A Problematic Creative–Collaborative Journey’, Dance Research: Ballets Russes special edition part 2 (2009) and  ‘Paul Dukas’s La Péri as interpreted by two balletic collaborators’, Opera Quarterly: Performance, History, Theory (2006)