Music, Technology, Education and Environmental Sustainability: An Overview of Findings from Recent Research in the UK

Music, technology, education and environmental sustainability: an overview of findings from recent research in the UK Ross M Purves [0000-0003-4301-7024], Evangelos Himonides [0000-0002-8749-0799] and Emma Arnott [0009-0005-8329-1919] Department of Culture, Communication and Media, University College London Institute of Education, 20 Bedford Way, London, WC1H OAL [email protected] Abstract. This paper explores the intersection of music technology education and environmental sustainability, drawing on UK-based research projects conducted between 2023 and 2025. It examines how music educators can respond to the climate crisis through pedagogical innovation, operational change, and cultural leadership. Music’s emotional resonance, popularity among young people, and historical role in activism position it as a powerful medium for ecological education. However, the technologies that enable much music-making—digital instruments, recording equipment, and cloud-based platforms—are themselves implicated in unsustainable practices, including energy consumption, e-waste, and opaque supply chains. Through findings from an action research workshop with pre-service teachers and a national study of UK music services and hubs, the paper highlights opportunities for place-based learning, creative reuse of obsolete equipment, and the integration of repair and maintenance skills into curricula. It also addresses the challenges of digital equity and the environmental costs of cloud computing. The authors advocate for a redefinition of 21st century musicianship that embraces sustainability, critical reflection, and technological fluency. They call for enhanced professional development, peer learning networks, and sector-wide support to embed ecological responsibility into music education. Ultimately, the paper argues that music educators are uniquely positioned to foster environmentally conscious practices and prepare learners to engage creatively and ethically with a rapidly changing world. Keywords: music technology, music education, environmental sustainability 1 The interplay of music, technology, education and environmental responsibility The convergence of music, technology, and education presents a compelling opportunity to address pressing challenges of environmental sustainability. As the climate and biodiversity crises intensify, educators and practitioners across the music sector Proc. of the 17th International Symposium on CMMR, London, UK, Nov. 3-7, 2025 635 2 R. M. Purves, E. Himonides and E. Arnott increasingly recognise their responsibility to respond—not only through operational changes but also through pedagogical innovation and cultural leadership [1]. Music holds a unique position within this landscape. Its popularity among young people, capacity to engage audiences emotionally, and ability to communicate complex ideas in accessible ways make it a powerful medium for environmental education [2][3]. Moreover, music has long served as a vehicle for protest and social commentary, offering a platform for resistance and advocacy [4]. These qualities can usefully be harnessed within educational contexts to foster ecological awareness and action. However, the integration of environmental responsibility into music education is not without its tensions. The very technologies that enable music’s reach—digital instruments, recording equipment, and streaming platforms—are themselves implicated in unsustainable practices, from energy consumption to electronic waste [5][6][7]. This paradox necessitates a critical re-evaluation of how music technology is taught and used. Educators are thus called to balance the creative potential of new tools with a commitment to sustainable practice, encouraging learners to repurpose older equipment, reduce consumption, and consider the full lifecycle of musical technologies [8][9][10]. Within this context, this paper summarises key findings relating to music education, technology and environmental sustainability arising from two research projects undertaken in the UK between 2023 and 2025: • An action research project implemented by the first author in June 2023, in which 15 pre-service secondary school music teachers (on the English postgraduate certificate of education programme at University College London (UCL)) undertook a practical workshop exploring different aspects of music and environmental sustainability, including music technology usage. • A research project undertaken by a team from UCL between March 2024 and May 2025, commissioned by UK music education sector organisation Music Mark to explore environmental sustainability practices across UK music services, education hubs, and their partners1 [11]. In total, over 150 professionals participated, including teachers, managers and administrators, contributing insights into teaching, operations, policy, and youth engagement. The project aimed to map current practices, identify barriers, and highlight good examples to support the sector’s response to the climate and biodiversity crises. Implications for music technology, digitisation, electronics and computer usage came through strongly within the findings. These findings are explored in relation to arguments and evidence more fully explored in a recent journal article [12] and book chapter [1] by the first two authors, according to a series of themes: opportunities for place-based music making and learning; 1 In the UK, music services and (in England) hubs play a central role in delivering and supporting music education beyond the classroom. Traditionally, local government-run ‘music services’ provided instrumental, vocal, and ensemble tuition. Since 2011, those in England have been restructured into ‘music education hubs’, which are partnerships coordinated by a lead organisation. These hubs bring together schools, local authorities, community groups, music organisations, and industry partners to ensure access to music education for children and young people within a local area [11]. Proc. of the 17th International Symposium on CMMR, London, UK, Nov. 3-7, 2025 636 Music, Technology, Education and Environmental Sustainability 3 challenging ‘gear acquisition syndrome’ through creative repurposing and pedagogical innovation; promoting repair and maintenance skills to teachers and learners; digitallymediated music teaching and administration; and sustainable models of music technology education infrastructure and energy usage. It concludes with a call to reconsider the scope of 21st century musicianship to include environmental sustainability practices relating to all of these areas. 2 Opportunities for place-based music making and learning Place-based learning in music education—rooted in local environments, communities, and cultural contexts—has traditionally been associated with acoustic practices and site-specific performance. However, digital, computing, and electronic technologies are increasingly expanding the possibilities for engaging with place in musically and environmentally meaningful ways [1]. These tools offer potential for learners to explore, interpret, and respond to their surroundings, while also fostering ecological awareness and technological fluency. One of the most compelling applications of technology in place-based music education is the use of field recording and soundscape composition. Learners can capture environmental sounds using portable digital recorders, smartphones, or contact microphones, and then manipulate these recordings using digital audio workstations (DAWs) to create compositions that reflect their local sound environments [13]. This process not only develops technical and creative skills but also deepens learners’ attentiveness to the acoustic ecology of their surroundings [14]. Such practices align with the principles of eco-literate pedagogy, which emphasises sensory engagement, critical reflection, and a sense of care for place [15]. By working with the sounds of their own communities—whether urban, rural, or coastal—students can explore the intersections of music, identity, and environment. Moreover, these activities can be adapted to a wide range of educational settings, from formal classrooms to informal community projects, and can be scaled according to available resources and expertise. One compelling example of the possibilities is offered by the Koes Symfoni (‘Symphony Woods’) Project in Cornwall, UK - a creative, environmentally focused initiative that integrates music education with ecological restoration [11][16]. Led by Cornwall Music Service Trust in partnership with music community interest company Global Jamming, the project engages young people in composing a symphony inspired by the natural environment of Bodmin Moor, while also participating in tree planting to establish a new temperate rainforest. Music technology plays a central role in the creative process. Young participants develop musical phrases inspired by the woodland, which are sampled, alongside ambient sounds from the Woods themselves. These samples are triggered via MIDI keyboards as the basis for a piece in symphonic form. This approach allows learners to interact with and manipulate their own compositions digitally, blending traditional and electronic elements. The project also includes film and live performance, showcasing both the musical and environmental achievements of the young people involved. Proc. of the 17th International Symposium on CMMR, London, UK, Nov. 3-7, 2025 637 4 R. M. Purves, E. Himonides and E. Arnott Digital tools also enable learners to sonify environmental data—such as temperature changes, air quality, or biodiversity metrics—transforming abstract information into musical forms [17]. This approach not only supports interdisciplinary learning across music, science, and computing, but also offers a powerful means of making environmental issues more tangible and emotionally resonant [18]. Professional development is key to enabling educators to facilitate these experiences. Teachers need support in developing the technical skills, pedagogical strategies, and ecological awareness required to integrate digital place-based learning into their practice [11]. This includes training in field recording, sound editing, and data sonification, as well as access to adaptable teaching resources and peer learning networks. 3 Challenging ‘gear acquisition syndrome’ through creative repurposing and pedagogical innovation In the context of music education, the environmental implications of material consumption are increasingly under scrutiny. One particularly pervasive issue is the phenomenon known as ‘Gear Acquisition Syndrome’ (GAS), a tendency among musicians and educators to equate creative potential with the continual acquisition of new equipment [19]. This mindset not only contributes to unsustainable consumption patterns but also risks narrowing pedagogical imagination by privileging novelty over resourcefulness [8]. Challenging GAS requires a shift in both mindset and practice. Rather than viewing older or less sophisticated equipment as obsolete, educators are encouraged to explore its creative potential through repurposing and recontextualization [10]. Such approaches not only extend the lifespan of equipment but also model sustainable and imaginative practice for learners. Fundamentally, they highlight the possibilities afforded through reclaiming agency and creativity in the face of environmental and economic pressures. Repurposing equipment can open up new aesthetic possibilities, challenge dominant narratives of technological progress, and democratise access to music-making by reducing reliance on expensive or exclusive tools [1]. One example of the possibilities comes from the action research workshop undertaken with student secondary school music teachers. As part of this, they engaged with a hands-on activity using two cheap Yamaha ‘classroom style’ keyboards from the 1980s—typical of those found languishing in old school music cupboards in the UK (fig. 1). These were connected to a 2006 IBM laptop (salvaged from a junk shop) running Linux and equipped with open source real time sound processing software. Although the keyboards could be regarded as producing outdated, "cheesy" synthesizer sounds on their own, the processing software allowed students to creatively transform these sounds into fresh, inspiring timbres. The aim was to demonstrate how seemingly obsolete equipment could be repurposed for modern music education, potentially sparking ideas for assessed GCSE examination composition coursework and promoting sustainable, resourceful teaching practices. Proc. of the 17th International Symposium on CMMR, London, UK, Nov. 3-7, 2025 638 Music, Technology, Education and Environmental Sustainability 5 Fig. 1. Student teachers exploring the sonic possibilities presented by processing sounds from ‘obsolete’ classroom keyboards through open source effects software running on an old Linux laptop. The environmental case for such practices is compelling. Flood [20], for instance, has highlighted the growing problem of e-waste generated by discarded music technology. This issue underscores the urgency of rethinking our relationship with musical tools, not only as consumers but as educators shaping future practice. Such matters were the motivation behind a second activity included within the action research workshop with student teachers. Drawing on the model provided by Bates [21], students undertook an activity in which they explored the environmental impact of obsolete music technology through the case of an early 2000s computer audio recording interface (Fig. 2). Although the hardware was still technically functional, it had been rendered unusable by a lack of modern operating system drivers, highlighting the issue of planned obsolescence. Students examined the interface’s internal electronic components and discussed the environmental and human costs associated with the extraction of raw materials used in such equipment. This activity raised awareness of the e-waste problem and encouraged students to consider ways to extend the life of older technology—either by adapting it for modern use or passing it on to others—rather than discarding it. Proc. of the 17th International Symposium on CMMR, London, UK, Nov. 3-7, 2025 639 6 R. M. Purves, E. Himonides and E. Arnott Fig. 2. Student teachers explore the electronic components found within an ‘obsolete’ computer audio interface and consider its environmental footprint and potential future applications. Such activities can be deeply empowering for learners. Engaging with the materiality of music-making—through building, modifying, or repairing instruments—fosters a sense of ownership and connection [8]. It also invites critical reflection on the social and ecological systems that underpin musical production and consumption. In this way, challenging GAS becomes not only an environmental imperative but a pedagogical opportunity to enrich music education with values of sustainability, equity, and innovation. 4 Promoting repair and maintenance skills to teachers and learners As music education increasingly incorporates digital, computing, and electronic technologies, the repair and maintenance of equipment has emerged as a critical sectorwide priority. Beyond its practical necessity, this focus reflects a growing commitment to environmental sustainability, resource efficiency, and pedagogical innovation across the music education landscape [11]. The environmental case for prioritising repair is compelling, but repair and maintenance also offer rich pedagogical opportunities. Integrating basic repair skills into teaching can help learners to understand the materiality of music technology and to engage with it in more responsible and creative ways. Repurposing older or malfunctioning devices can also serve as a springboard for creative exploration. Learners might experiment with glitch aesthetics, circuit bending, or hybrid setups that combine analogue and digital tools [10]. These activities not only extend the life of equipment but Proc. of the 17th International Symposium on CMMR, London, UK, Nov. 3-7, 2025 640 Music, Technology, Education and Environmental Sustainability 7 also challenge conventional notions of technological progress, encouraging students to see value in imperfection, adaptation, and experimentation. At an organisational level, our recent research found that music services and hubs are beginning to implement more systematic approaches to equipment maintenance and, in some cases are developing this into programmes of professional development for teachers [1]. For instance, although likely to be oriented currently towards acoustic rather than electronic instruments, 25% of participants were aware of instrument repair or maintenance skills workshops for music teachers being enacted or planned by the music services or hubs they worked with. Whilst there was also a strong appetite for expanding such initiatives, many barriers remain. Many educators lack access to training in repair techniques, and few institutions offer formal pathways into music technology maintenance as a career. There is also a need for clearer guidance on safe and ethical practices, particularly when working with electrical components. Only some 8% of our music service and hub research participants were aware of current teaching and learning activities in which faulty or redundant equipment was repurposed through ‘circuit bending’ or ‘dirty electronics’ practices. Music education sector organisations play a vital role in addressing all these gaps by developing toolkits, facilitating professional development, and advocating for repair to be recognised as a core component of sustainable music education. 5 Digitally-mediated music teaching and administration Our recent UK survey of music services and hubs [11] suggests that the integration of digital technologies into music education has transformed administrative operations across this sector. Online registers, application forms, and communications have reduced paper usage and streamlined workflows. While initially accelerated by the COVID-19 pandemic, such shifts have since evolved into more strategic and sustainable components of music education provision. Our findings confirmed that, whilst high quality online teaching and ensemble rehearsal remains very challenging overall due to technical limitations, in certain cases digital platforms have enabled music services and hubs to extend their reach, particularly in rural or underserved areas where traditional face-to-face provision may be limited by geography or transport infrastructure. For example, teacher-led models of music technology delivery—such as those developed by Leicestershire Music focusing on turntablism—have allowed non-specialist educators to facilitate high-quality music lessons using pre-prepared digital resources [22]. Such an approach not only reduces the need for peripatetic travel, thereby lowering carbon emissions, but also builds capacity within schools and supports long-term educational sustainability. However, such approaches raise both environmental and equity challenges. Replacing paper-based music distribution and administration with digital media presents a complex set of environmental and ethical challenges. The perception of digital media as “clean” can obscure its lifecycle impacts. Devine [7] and Shevock [8] caution that replacing recyclable paper with electronic alternatives may not always result in a net environmental gain, especially when factoring in the energy required for device use and Proc. of the 17th International Symposium on CMMR, London, UK, Nov. 3-7, 2025 641 8 R. M. Purves, E. Himonides and E. Arnott data storage. Cloud-based services, now ubiquitous in music education and production, rely on vast data centres whose energy demands are often hidden from end users. Although some providers have shifted towards renewable energy, the environmental cost of maintaining these infrastructures remains substantial. Moreover, the manufacture of digital devices involves resource-intensive processes, often with limited transparency about the sourcing of raw materials—many of which are mined under environmentally and socially harmful conditions [6][23]. Digital solutions also risk exacerbating inequalities. As highlighted in our recent research [11], access to reliable internet, up-to-date devices, and digital literacy is not universal, potentially creating a digital divide that can marginalise learners and educators alike. Moreover, some in the UK music education sector have encountered barriers to digital adoption due to restrictions on pupil device use within school, underscoring the need for context-sensitive approaches. 6 Towards sustainable models of music technology education infrastructure and energy usage There is growing recognition of the need for environmentally sustainable approaches to recording studio design and energy usage [24][25]. Educators and institutions are encouraged to adopt holistic strategies that consider the entire signal path—from instrument to speaker—and the broader lifecycle of music production tools [6][26][27]. This includes selecting energy-efficient equipment, minimising power consumption, and exploring renewable energy sources. Practices such as field recording with portable, low-power devices, repurposing older technologies, and designing off-grid or modular setups offer both pedagogical richness and environmental benefits [13]. However, our recent research of the situation in UK music services and hubs [11] reveals that many operate within significant structural constraints that limit their ability to implement such changes. A substantial number are tenants in older, often energyinefficient buildings owned by local authorities or third parties, leaving them with little control over insulation, heating systems, or energy suppliers. Even where there is a strong desire to retrofit facilities or invest in greener infrastructure, funding limitations and governance structures can frequently present insurmountable barriers. As a result, while some services have made progress through digital innovation and resource-sharing, others remain constrained by logistical and financial realities. This tension reiterates, once again, the importance of context-sensitive sustainability strategies—ones that balance ambition with feasibility. It also underscores the need for sector-wide support, including targeted funding, policy alignment, and practical toolkits, to enable music education providers to contribute meaningfully to climate action within their operational means. Proc. of the 17th International Symposium on CMMR, London, UK, Nov. 3-7, 2025 642 Music, Technology, Education and Environmental Sustainability 9 7 Conclusion: extending conceptualisations of 21st century musicianship to embrace environmental sustainability The evolving landscape of music education in the 21st century demands a reimagining of what it means to be a musician—particularly in light of technological advancement and the urgent need for environmental sustainability. As digital, computing, and electronic tools become increasingly embedded in musical practice, educators are called to develop new conceptualisations of musicianship that reflect not only technical proficiency and creative fluency, but also ecological responsibility and ethical awareness [1]. Traditional models of musicianship have often privileged virtuosity, stylistic mastery, and the acquisition of high-end equipment. However, such models are increasingly being challenged by pedagogical approaches that foreground adaptability, critical thinking, and sustainability. In this context, 21st century musicianship should not be informed by the possession of the latest gear, but by the ability to work resourcefully with available tools, to repurpose and repair, and to engage with music as a socially and environmentally situated practice. This shift is particularly evident in the growing emphasis on creative reuse and technological disobedience [10]. Learners are encouraged to explore the sonic potential of outdated or malfunctioning equipment, to modify and reconfigure devices, and to question the consumerist logic that equates musical value with technological novelty. Such practices not only reduce waste but also cultivate a mindset of experimentation, resilience, and critical engagement with the material culture of music. Moreover, the integration of sustainability into musicianship extends beyond tools and techniques to encompass broader values and dispositions. Eco-literate music education, as advocated by Shevock [15], invites learners to connect with local soundscapes, to reflect on the environmental impact of their musical choices, and to consider their role within wider ecological systems. This approach aligns with the development of 21st century skills such as collaboration, systems thinking, and ethical reasoning— skills that are increasingly recognised as essential for navigating complex global challenges. Digital technologies also offer new avenues for expressing and enacting these values. From sonifying environmental data to composing with field recordings, learners can use music technology to explore ecological themes and to contribute to public discourse on sustainability. These activities not only enhance musical and technical competencies but also position students as active participants in shaping a more sustainable future [18]. Professional development in all these areas is essential. Teachers at all levels require both technical competence and pedagogical confidence to embed technology meaningfully into their practice. This includes understanding the environmental impact of digital tools, developing skills in repurposing and maintaining equipment, and designing learning experiences that reflect both musical and ecological values. Pedagogical integration also involves rethinking the role of technology in the classroom. Rather than positioning the latest software or hardware as inherently superior, educators are encouraged to explore how older or simpler tools can be used in Proc. of the 17th International Symposium on CMMR, London, UK, Nov. 3-7, 2025 643