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PLEASE READ THESE TERMS AND CONDITIONS OF USE CAREFULLY BEFORE USING THIS WEBSITE

Welcome to our website. If you continue to browse and use this website you are agreeing to comply with and be bound by the following terms and conditions of use, which together with our privacy policy and website disclaimer, govern Music EDnet’s relationship with you in relation to your use of this website.

By using this website, you signify your acceptance of these terms and conditions of use. For the purposes of these terms and conditions, “Us”, “Our” and “We” refers to Music EDnet and “You” and “Your” refers to you, the client, visitor, website user or person using our website.

AMENDMENT OF TERMS

We reserve the right to change, modify, add or remove portions of these terms at any time. Please check these terms regularly prior to using our website to ensure you are aware of any changes. We will endeavour to highlight any significant or substantive changes to you where possible. If you choose to use our website then we will regard that use as conclusive evidence of your agreement and acceptance that these terms govern your and Music EDnet’s rights and obligations to each other.

LIMITATION OF LIABILITY

It is an essential pre-condition to you using our website that you agree and accept that Music EDnet is not legally responsible for any loss or damage you might suffer related to your use of the website, whether from errors or from omissions in our documents or information, any goods or services we may offer or from any other use of the website. This includes your use or reliance on any third party content, links, comments or advertisements. Your use of, or reliance on, any information or materials on this website is entirely at your own risk, for which we shall not be liable.

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COMPETITION AND CONSUMER ACT

For the purposes of Schedule 2 of the Australian Consumer Law, in particular Sections 51 to 53, 64 and 64A of Part 3-2, Division 1, Subdivision A of the Competition and Consumer Act 2010 (Cth), Music EDnet’s liability for any breach of a term of this agreement is limited to: the supplying of the goods or services to you again; the replacement of the goods; or the payment of the cost of having the goods or services supplied to you again.

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Physical goods may be delivered by Australia Post, New Zealand Post and/or other reputable courier companies. Deliveries are processed promptly upon receipt of full payment for individuals or a purchase order from schools/educational instutitions or approved commercial accounts. Delivery of stocked goods generally take between 2 and 14 days, depending on the delivery option. Delivery of custom designed and manufactured goods and large building projects will be confirmed at the time of ordering. Damaged or lost orders should be resolved with the courier company directly and we are not responsible for goods that are damaged in transit or not received. Replacement of damaged or lost items is made at the discretion of Music EDnet.

Software licenses and digital goods are delivered as soon as processed, typically within 2 business days. Please be aware there are inherent risks associated with downloading any software and digital goods. Should you have any technical problems downloading any of our goods, please contact us so we may try to assist you.

RETURNS AND REFUNDS

Music EDnet handles returns and processes refunds in accordance with the Australian Consumer Protection legislation or the New Zealand Consumer Guarantees Act.

Should you wish to return your order, please notify us within 14 days of purchase with a valid reason for return. If we are unable to resolve your complaint or further assist you, we will process a refund upon timely receipt of the goods purchased. Unopened goods will be refunded in full. Refunds will be processed promptly and payment made by the same method that you made payment. All refunds are made at the discretion of Music EDnet.

LINKS TO OTHER WEBSITES

Music EDnet may from time to time provide on its website, links to other websites, advertisements and information on those websites for your convenience. This does not necessarily imply sponsorship, endorsement, or approval or arrangement between Music EDnet and the owners of those websites. Music EDnet takes no responsibility for any of the content found on the linked websites.

Music EDnet’s website may contain information or advertisements provided by third parties for which Music EDnet accepts no responsibility whatsoever for any information or advice provided to you directly by third parties. We are making a ‘recommendation’ only and are not providing any advice nor do we take any responsibility for any advice received in this regard.

DISCLAIMER

To the fullest extent permitted by law, Music EDnet absolutely disclaims all warranties, expressed or implied, including, but not limited to, implied warranties of merchantability and fitness for any particular purpose. Music EDnet gives no warranty that the documents, goods or services will be free of errors, or that defects will be corrected, or that our website or its server is free of viruses or any other harmful components.

Whilst we, at all times endeavour to have the most accurate, reliable and up-to-date information on our website, we do not warrant or make any representations regarding the use or the result of the use of any document, product, service, link or information in its website or as to their correctness, suitability, accuracy, reliability, or otherwise.

It is your sole responsibility and not the responsibility of Music EDnet to bear any and all costs of servicing, repairs, or correction. The applicable law in your state or territory may not permit these exclusions, particularly the exclusions of some implied warranties. Some of the above may not apply to you but you must ensure you are aware of any risk you may be taking by using this website or any products or services that may be offered through it. It is your responsibility to do so.

YOUR PRIVACY

At Music EDnet, we are committed to protecting your privacy. We use the information we collect about you to maximize the services that we provide to you. We respect the privacy and confidentiality of the information provided by you and adhere to the Australian and New Zealand Privacy Principles. Please read our separate Privacy Policy carefully.

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THIRD PARTIES

We do not and will not sell or deal in personal or customer information. We may however use in a general sense without any reference to your name, your information to create marketing statistics, identify user demands and assist in meeting customer needs generally. In addition, we may use the information that you provide to improve our website and services but not for any other use.

DISCLOSURE OF INFORMATION

Music EDnet may be required, in certain circumstances, to disclose information in good faith and where Music EDnet is required to do so in the following circumstances: by law or by any court; to enforce the terms of any of our customer agreements; or to protect the rights, property or safety of our customers or third parties.

EXCLUSION OF COMPETITORS

If you are in the business of creating similar documents, goods or services for the purpose of providing them for a fee to users, whether they be business/education users or domestic users, then you are a competitor of Music EDnet. Music EDnet expressly excludes and does not permit you to use or access our website, to download any documents or information from its website or obtain any such documents or information through a third party. If you breach this term then Music EDnet will hold you fully responsible for any loss that we may sustain and further hold you accountable for all profits that you might make from such unpermitted and improper use. Music EDnet reserves the right to exclude and deny any person access to our website, services or information in our sole discretion.

COPYRIGHT, TRADEMARK AND RESTRICTIONS OF USE

This website contains material which is owned by or licensed to us. This material includes, but is not limited to, the design, layout, look, appearance, trademarks and graphics. You are not permitted to reproduce the documents, information or materials on the website for the purposes of sale or the use by any third party. In particular you are not permitted to republish, upload, transmit electronically or otherwise or distribute any of the materials, documents or products that may be available for download from time to time on this website.

Music EDnet expressly reserves all copyright and trademark in all documents, information and materials on our website and we reserve the right to take action against you if you breach any of these terms.

Any redistribution or reproduction of part or all of the contents in any form is prohibited other than the following: you may print or download extracts for your personal, educational and non-commercial use only; and you may copy the content to individual third parties for their personal or educational use, but only if you acknowledge the website as the source of the material.

You may not, except with our express written permission, distribute or commercially exploit the content. Nor may you transmit it or store it in any other website or other form of electronic retrieval system.

WHOLE AGREEMENT

These terms and conditions represent the whole agreement between you and Music EDnet concerning your use and access to Music EDnet’s website and your use and access to the documents and information on it. No other term is to be included in this agreement except where it is required to be included by any legislation of the Commonwealth or any State or Territory. All implied terms except those implied by statute and which cannot be expressly excluded are hereby expressly excluded.

EXCLUSION OF UNENFORCEABLE TERMS

Where any clause or term above would by any applicable statute be illegal, void, or unenforceable in any Australian State or Territory or New Zealand then such a clause shall not apply in that jurisdiction and shall be deemed never to have been included in these terms and conditions in that jurisdiction. Such a clause if legal and enforceable in any other State or Territory shall continue to be fully enforceable and part of this agreement in those other States and Territories. The deemed exclusion of any term pursuant to this paragraph shall not affect or modify the full enforceability and construction of the other clauses of these terms and conditions.

JURISDICTION

This agreement and this website are subject to the laws of SA and Australia. If there is a dispute between you and Music EDnet that results in litigation then you must submit to the jurisdiction of the courts of SA.

Peter Lee

Director - Rising Software (Vic)

Peter Lee graduated from the University of Melbourne in 1998. While completing a Bachelor of Music, Peter commenced work with his partners on Auralia, a software package specifically designed to assist music students with their aural skills.

Initially only available in Australia, Auralia was soon widely exported to countries including the USA, UK, New Zealand, Sweden and Germany. Translations into languages such as German, Swedish, Chinese and Hungarian were completed. A companion package for theory studies, Musition, was soon released.

Peter continues to enhance Auralia and Musition and works with teachers and students from around the world exploring developments in music education and technology, and will be available during the conference to speak with interested delegates about Auralia and Musition software.

Building skills in Year 7 & 8 – engage & differentiate with pop and film / Auralia & Musition Bootcamp! Curriculum, quizzes, engagement & workflow (2 sessions) 

Session 1 (Online only, 11am)

Building skills in Year 7 & 8 – engage & differentiate with pop and film

Explore innovate ways to develop key skills for both instrumental and classroom music.  This session showcases how the new Auralia and Musition provide effective learning support and versatile resources, covering core musical elements such as instruments, dynamics, tempo, texture, contour, and ensembles.

Easily incorporate pop, film, and jazz and engage students with familiar materials while reinforcing foundational concepts.  The provided questions, quizzes, and worksheets save valuable preparation time and allow you to easily teach diverse classes with varied musical backgrounds.

Additionally, traditional notation-based materials on intervals, chords, rhythm, form & melody ensure deeper understanding and creativity among students.

Session 2 (Online only, 12pm)

Auralia & Musition Bootcamp! Curriculum, quizzes, engagement & workflow

Learn how to use Auralia and Musition effectively in your classroom – explore the curriculum, learn time saving tips & strategies for student engagement.  We’ll create a quiz, assign it to our Year 8 students and then examine results across the cohort.  The quiz will be automatically graded, with engaging contemporary content.

Peter Lee

Director - Rising Software (Vic)

Request a quote for a Mipro Portable PA system

Performing and Experimenting with Music Technology for Music Qualifications

This session will look at ideas for how to utilise Music Tech as a performance and composition tool, with a focus and examples from the IB Music course but which can be used with many other exam courses.

Many exam courses (Including IB) now allow students to perform using Music Technology, so we will look at some examples of student work with a live demonstration of how a high quality performance can be achieved using inexpensive and accessible equipment to many music teachers and students.

The session will also look at how students can experiment with music technology and show high-level composition skills by using techniques such as: quantising, compression, filters and sampling to secure high marks, rather than the more traditional composition elements of harmony and melody. 

Will Hyland

Assistant Director of Music/Senior Music Teacher - Tanglin Trust School (Singapore)

AI in Action: Navigating AI in the Classroom with Simple, Effective, and Time-Saving Strategies

AI is everywhere, but with so many options, it can be overwhelming to know what actually works in the classroom. This interactive workshop takes a practical approach, showcasing simple AI tools that enhance student engagement and streamline lesson planning—saving valuable time for teachers.

Through real-world experiences—both successes and unexpected challenges—this session explores the most effective AI applications for students in Years 7–12. Hear feedback from students on what they’ve loved and what’s been the most useful for them in the classroom.

By adapting a single AI tool for different year levels and learning objectives, educators can maximise its impact while minimising prep time. Walk away with fresh insights, tested strategies, and a clear understanding of what has (and hasn’t) worked over the past year in an AI-enhanced learning environment.

Key Takeaways:

✅ Practical AI Applications – Discover simple tools that support engagement without overcomplicating your workflow.
✅ Real Classroom Insights – Learn from student feedback on AI-driven learning experiences.
✅ Time-Saving Strategies – See how one AI tool can be adapted across different age groups for maximum impact.

Stay ahead of the curve with AI-powered teaching that’s effective, educational, and engaging!

Beth Lyon

Music Teacher / Subject Coordinator - Music, St Peter's College (SA)

Leveraging technology for music learning & Authentic Assessment

In today’s dynamic educational environment, the integration of technology is redefining how authentic learning and assessment is designed and implemented in music education. This session will explore the ways educators can leverage digital tools to create authentic learning and assessment that genuinely reflect students’ real-world skills and creativity. Grounded in research on authentic assessment, the session will provide a clear definition of the approach and its relevance in contemporary teaching practices.

Participants will gain insights into the use of digital portfolios for tracking student progress, the importance of using of AI-driven tools in the classroom, and non-traditional instruments such as DJ controllers and MIDI Grid Controllers to expand the musical landscape. The focus will remain on how technology can enhance the authenticity of learning and assessment by aligning with students’ experiences, diverse talents, and future pathways in music-making.

Attendees will leave equipped with practical strategies to implement these technologies while upholding the core values of authenticity, creativity, and student empowerment in their assessments.

John Hodder

Curriculum Leader - Arts & Performance Assumption College, Warwick (QLD)

Our Students Played Too Loud, So We Did This... (Silent Classroom Secrets)

The Roland HS-5 is discontinued. The Jam Hub is dead. What do we do now? 

Join Pete Orenstein as he leads a discussion with expert music educators as they address one of music education’s most persistent challenges: managing sound levels in the music classroom. Drawing from decades of classroom experience, our panel explores how post-jam hub silent rehearsal technologies have transformed their teaching environments, from entry-level USB interfaces to professional-grade digital mixing solutions.

The session examines practical implementations of silent rehearsal spaces across varying budgets, demonstrating how these innovations improve student focus, enhance individual practice, and revolutionise ensemble rehearsals. Panelists will share their experiences integrating digital audio interfaces, virtual instrument modeling, and monitoring systems into their curriculum, offering concrete strategies for teachers looking to create more controlled, effective learning environments.

From addressing noise complaints to improving practice efficiency, this discussion provides actionable insights for music educators seeking to create active musical experiences in the music classroom. Join us to discover how silent rehearsal technology isn’t just solving noise problems – it’s opening new possibilities for music education.

Peter Orenstein

Musician, Educator, Co-Founder Gig Based Learning (NSW)

AI enhanced songwriting for educators

Stay one step ahead in the classroom with creative technology

This one-hour interactive workshop is designed specifically for high school music and music technology teachers. It demonstrates practical, cutting-edge AI tools integrated into songwriting workflows – tools your students may already be using behind the scenes and without knowledge of intellectual property issues.

This concise and engaging, hands-on workshop not only introduces AI tools into your classroom, transforming these secretive practices into classroom innovations that foster creative inspiration, but also addresses the critical issues of IP and plagiarism, ultimately empowering educators to lead in today’s dynamic musical landscape.

Objectives:
Demonstrate Practical AI Applications: Show how AI tools can serve as creative aids rather than complete songwriting solutions.

Enhance Classroom Relevance: Equip educators with hands-on strategies to integrate AI tools already available in Logic Pro and other DAW’s, alongside dedicated AI plugins and web apps that can add huge value and speed to workflow.

Address IP & Plagiarism Concerns: Emphasize ethical usage and legal compliance, turning potential pitfalls into opportunities for informed, creative curation.

Key Discussion Points:
AI as a Creative Catalyst: Taking ownership of AI tools to inspire and assist rather than replace the artist’s originality.

Ethical & Legal Considerations: IP rights, proper attribution, and the pitfalls of plagiarism – arming educators with the knowledge to enforce responsible practices in their classrooms.

Roo Pigott

Founder / CEO, Songwork International (Singapore)

Using YouTube as an educational tool in the music classroom

Beaming in live from Las Vegas, USA, Tyler Swick will demonstrate methods for keeping engagement high with short, relevant videos from student entry to exit. Welcome songs, performance demonstrations, tuning, and warm-ups should all be recorded and played for the class so that the teacher can accomplish secondary tasks like taking attendance and taking care of last-minute student needs. 

Swick will share all of the YouTube hotkeys, settings, and Chrome extensions that help YouTube feel like an educational tool instead of just a television. Slowing videos down, displaying large captions, and even changing the key signature of songs can all be done with a few clicks. 

Be inspired to find YouTube videos that fit your classroom needs or create content of your own that matches your routines precisely. Choose whether your creations are seen by the world or just your students. Swick’s YouTube channel, Swick’s Classroom, started as a resource for his own students but now has 36,000 subscribers, averaging 25,000 views a day. 

Tyler Swick

Music Specialist - Clark County School District | Creator, Swick's Classroom (US)

Tips and tricks for teaching with Noteflight Learn

Noteflight Learn offers an intuitive cloud-based notation platform to teach composition and music theory skills, tools to easily create exercises and assignments, and real-time performance assessment for students with instant ratings and feedback.

Through this session, participants will explore Noteflight Learn and its diverse feature set, which enables teachers to deliver tailored learning experiences for students with varying levels of knowledge, abilities, and interests.

This session will cover setting up resources for bands and ensembles developing self-paced theory lessons, utilising audio sync to create backing tracks, and using the Playscore feature to provide interactive, self-directed learning.

Josh Cowley

Music Program Manager - Adelaide Botanic High School (SA)

Beyond the play button: Reimagining Music Performance with Technology

As digital music-making becomes commonplace among students, music teachers play a vital role in guiding young musicians to use technology to create compelling, musically engaging performances. What knowledge is essential for effectively teaching music technology, and how can educators keep pace with its rapid evolution? Despite the overwhelming range of new tools, there are common approaches that artists and educators can apply to ensure that musicality remains at the core of technology integration.

In a music education system that often values mastery of repertoire as a mark of achievement, how can technology-focused performances meet assessment criteria? And how can we fairly benchmark “technology-heavy” performances against those using traditional instruments?

In this workshop, experienced music technology teacher and Ableton’s Education Development Manager, Matt Ridgway, will unpack these questions, provide practical strategies teachers can implement, and offer insights into supporting students as they perform with technology in ways that highlight their musicality.

Matt Ridgway

Education Specialist, Ableton | Music Teacher - Sydney Road Community School (Vic)

play 60: Creative Algorithms and Music with Sonic Pi

Used for programming and music creativity, Altan demonstrates how text based programming and music education coexist in real-time dynamics and can be a vehicle for teaching creative programming for musical arrangement, composition and performance and at the same time, learn how to code. 

Responding to innovations in STEAM education computer science, the session will take a practical look at tools teachers can use the implementation of code-based music creation and performance in a primary school classroom setting and beyond. Altan will demonstrate approaches where students apply what they learn in an range of contexts. This is framed in a Specialist Teaching and Learning classroom dynamic. At it’s heart is the Music and Programming creation tool developed by Professor Sam Aaron called Sonic Pi.

Sonic Pi is intuitive to the extent that it can be implemented in schools for students as young as grade 4. You don’t need programming experience, it’s simple to get started, completely free and runs on Mac OS and Windows . 

Discover how your students can simultaneously learn to code by composing and performing music through play and experimentation in fun ways.

Teachers will learn how to use Sonic Pi as a resource to enhancing teaching music concepts across all year levels.

Altan Riffat

Learning Specialist Digital Media and Coding Taylors Lakes Primary School (Vic)

Demystifying recording and mixing techniques for music teachers

No longer do you need to spend a lot of money hiring a professional studio for recording and mixing students bands to a high standard. The tools are now cheap and easily accessible to anyone with a decent laptop. However, most teachers don’t have a background in recording and mixing, and feel inadequate when it comes to helping students produce their original compositions to the highest quality possible.

In this session, Duncan will share his experience of what has worked well for numerous albums and recording sessions he has done with his students with guidelines of how you can use the resources you probably already have in your department to get your student work up on Spotify and sounding great.

Duncan Ferguson

Head of Music - St Andrew's College (NZ)

5 Captivating Canva creations for music teachers

Canva, the education community’s favourite (free) design software is THE perfect tool to help you create digital content with ease. 

Unleash your creativity in this session as we explore 5+ design ideas that all music teachers can use, including captivating event posters, dynamic anchor charts, stylish certificates or awards, promotional social media content and digital concert programs. 

Learn how to utilise Canva’s remixable templates and extensive elements library to make your own unique teaching materials and digital content to promote your music program. 

We’ll also explore Canva’s time-saving AI features including the Background Remover for both images and video, the Magic Eraser, Magic Grab and Magic Edit tools that can help you edit images and the Magic Animate tool to add motion to your designs. You’ll leave the session with new design ideas and creative hacks you can use right away

Katie Argyle

Director, Midnight Music (Vic)

Exploring Digital Musicianship with Soundtrap

Using Soundtrap, this session explores how educators can foster digital musicianship through “Studio Audio Art”—a form of music(k)ing centered on creating music for recorded listening. 

Building on Turino’s definition of Studio Audio Art, Small’s concept of “musicking”, and Emo’s “digital musician”, participants will engage with strategies to integrate Soundtrap into classroom projects that emphasize student creativity, collaboration, and agency.

This approach aims to enrich performing, creating, and listening experiences by providing opportunities for students to produce and share their own Studio Audio Art.

Brad Fuller

Co-founder, Gig Based Learning (NSW)

Empowering teachers and learners through online learning

Imagine working from home, delivering your lessons online 2-3 days a week. Your students are autonomous learners. You have no lessons to prepare. Your time at a physical school provides opportunities for collaborating with colleagues or providing the fun stuff like bands, orchestra, shows etc. Your face to face teaching may be multi level and targeted as synchronous or asynchronous. You could have a great work life balance which accommodates yours and your families needs.

Meet Belinda Carey, the lead teacher for music at Te Kura, New Zealand’s largest school with 30,000 online students across the globe. In this seminar, Belinda will explore how online learning can empower both teachers and learners by combining the best elements of digital platforms and technologies with culturally responsive pedagogy.

Could this be the potential new reality?

What You’ll Learn:

  • The unique aspects of teaching music online and how they could empower you and your students in a face to face school.
  • Strategies for caring for and engaging students in an online environment.
  • The tools and platforms we use to enhance learning.
  • Adapting to synchronous and asynchronous learning models.
  • Flourishing in an AI-driven world.
  • How we can all thrive in an evolving educational landscape

Belinda Carey

Lead Teacher Music Te Aho o Te Kura Pounamu (Te Kura) The Correspondence School (NZ)

Creating personalised music resources with Hookpad

In this session, participants will engage in hands-on learning about creating music resources that are relevant and responsive to the students in their classrooms using the MIDI sequencing software “Hookpad” from the website Hooktheory.

The presenter will demonstrate how they have used Hookpad to create culturally responsive “theorytabs” of Māori waiata (songs). Theorytabs display the melody and harmony of songs and can be listened to in MIDI form, as well as being linked to the song on YouTube. By the end of this session, participants will have the skills and knowledge to start creating their own theorytabs for their classrooms.

Fionn Murphy

Music Teacher - Pakuranga College (NZ)

Will Hyland

Assistant Director of Music/Senior Music Teacher - Tanglin Trust School (Singapore)

Will has worked in Music Education since 2007, beginning his career in a large music specialist school in Central London, before moving to Tanglin Trust School Singapore in 2011.

He has always used Music Technology within his teaching in all age ranges, from students creating music with their devices or phones to advanced scoring and composing projects for students looking to pursue a career in Music.

He teaches the CIE IGCSE Music, CIE A Level Music and IB DP Music SL/HL Music courses and is always looking at new and creative ways to support students with their performance/composition and analysis skills using technology. This has included creating music with students for school productions, collaborating with film students to create film soundtracks and establishing Music Tech and Composition clubs, where students can further develop their skills.

Tanglin Trust have also established a Composition Competition with industry professionals judging and offering feedback to students on their composition and music tech skills.

Beth Lyon

Music Teacher / Subject Coordinator - Music, St Peter's College (SA)

Beth is a dedicated music educator and accomplished performer with a career spanning over three decades. As a music teacher and subject coordinator at St Peter’s College, Adelaide, she is committed to inspiring the next generation of musicians through a dynamic, performance-driven approach to learning.

Beyond the classroom, Beth was the founder of award-winning jazz band Etype Jazz, a group that captivated audiences at festivals worldwide. With an extensive career touring nationally and internationally, she has shared her music across diverse stages, recorded 10 albums, and seamlessly (at times!) balanced life as both a performer and educator.

Over the past decade, her focus has shifted towards music education, with a deep passion for middle and senior school curricula. She champions a practical, performance-based methodology rooted in the “Bigger Better Brains” philosophy, encouraging students to discover the joy of playing an instrument while fostering cognitive and emotional growth. More recently she has embraced AI technology to enhance learning, ensuring students engage with music in exciting and meaningful ways.

With an infectious enthusiasm for both performance and pedagogy, Beth strives to shape the future of music education.

John Hodder

Curriculum Leader - Arts & Performance Assumption College, Warwick (QLD)

John Hodder is the Curriculum Leader of Arts & Performance at Assumption College, where he teaches Music, Drama, and Media Arts. With a wealth of experience in curriculum leadership, John is deeply passionate about integrating technology into arts education to enrich student learning and support teacher development.

Prior to joining Assumption College, John led curriculum development and teacher professional development at MusicEDU, and served as the Coordinator of Music Curriculum at St Joseph’s Nudgee College.

John’s expertise lies in creating dynamic, relevant curriculum that engage students and empower educators. He is particularly enthusiastic about the potential of music technology to transform the classroom, provide authentic learning experience, and he is dedicated to helping teachers expand their capacity in this area. His recent presentations at the ASME Queensland and Drama Queensland State Conferences focused on leveraging technology to enhance teaching and learning in the arts.

Through his leadership and advocacy, John continues to drive innovation in arts education, ensuring that students and teachers alike benefit from cutting-edge tools and approaches.

Peter Orenstein

Musician, Educator, Co-Founder Gig Based Learning (NSW)

Peter Orenstein is a baritone saxophonist in Hot Potato Band (HPB), and co-founder of Gig Based Learning (GBL) with Dr Brad Fuller. In his dual role at HPB, Pete is a Sennheiser endorsed production manager as well as the director of the School Incursion Program.

At GBL, Pete is a classroom music education consultant. He conducts inspections of music classrooms, compiling inventory lists, creating prototypes of innovative setup solutions, and generating proposals for upgrades. When he isn’t visiting schools, Pete is the community manager of the GBL Community of Practice that champions a shared approach to classroom music pedagogy, programs, resources, and reflection.

Previously a high school music teacher, Pete spent 8 years as a full-time music teacher while also juggling touring around the world with HPB. He holds a Bachelor of Music/Education from the University of New South Wales and a Master in Education (Specialisation in Technology) from Macquarie University, reflecting his keen interest in the intersection of music, technology, and education.

When he’s not immersed in music, technology, and/or education, Pete embraces the challenge of ultrarunning. He thrives in the exhilarating solitude and discovery of the untamed Aussie bush. Despite his love for touring and performing in new cities, Pete deeply values the stability and comfort of home, always appreciating the chance to return to his family life.

Roo Pigott

Founder / CEO, Songwork International (Singapore)

Roo is a music industry entrepreneur who brings a wealth of experience
and knowledge into classrooms around the world. He founded
Songwork International in 2010, with a vision of creating a songwriting
and music production school which would become the first step for
many students entering a career path in the music industry.

Key achievements include the creation of the world’s first successful
fan-funded record label, and subsequent creation of thousands of artist
& label owned download stores (EMI, AWAL, Kobalt, Warner, CBS, BBC,
Paramount, MTV, Radiohead, Pink Floyd, Sigur Ros, etc), Roo’s past
companies have included management and music rights management
companies with huge lists of hit platinum songs and writers, amassing
close to 10 million sales units, with multiple diamond, gold, and
platinum awards, an Edison Pop award, and multiple number ones &
top ten hits. (NAYEON, Flo-Rida, Madonna, Ciara, Shakira, Justin Bieber,
David Guetta, Jason Derulo, Tory Lanez, Becky G and Pitbull, etc.).

Roo’s wide-ranging experience is referenced and quoted in various
music industry ‘how to’ books and manuals and can be heard on his
musical releases with Universal and Sony ATV.

Tyler Swick

Music Specialist - Clark County School District | Creator, Swick's Classroom (US)

Tyler Swick is an elementary music teacher in Las Vegas, NV where he runs an award-winning general music program and manages the YouTube channel, “Swick’s Classroom.”

Swick’s Classroom has amassed 15 million views on YouTube and over 100 million on TikTok. Swick is a member of the inaugural Yamaha 40 Under 40 Music Educator class and the only elementary music teacher to receive the Heart of Education Award.

Swick has presented on technology in music education at NAMM, NAfME, IMES, Ti:ME, NSSBE, and state-level conferences. He serves on the Communication & Outreach Committee for the National Society of Steel Band Educators and the Advocacy in Action Advisory Team with Music For All.

On stage, Swick has performed at the Latin Grammys, Panorama, and was featured in an international LG phone commercial.

Josh Cowley

Music Program Manager - Adelaide Botanic High School (SA)

I am an Adelaide-based teacher and musician with over 15 years of experience in education. Throughout my career, I have worked in three public schools, successfully developing quality music programs that are diverse and rich in outcomes.

My focus has been on exploring and implementing innovative technologies to enhance teaching practices, aiming to develop approaches that effectively connect students with creative practices.

My goal is to create dynamic learning environments where technology fosters creativity, collaboration, and deeper understandings. Through this, I strive to develop programs that provide opportunities for all musical pursuits, and cultivate a lifelong appreciation for the arts.

Matt Ridgway

Education Specialist, Ableton | Music Teacher - Sydney Road Community School (Vic)

Matt Ridgway is a multi-faceted musician and educator based in Melbourne’s Inner North.

In addition to his 25 years of music teaching experience working with young people in Sydney Road Community School, Matt is Ableton’s Education Specialist for Australia and New Zealand. In this role, he works with artists and educators to develop their skills using Ableton Live as a central hub of music creation. He runs regular teacher professional development sessions so that teachers get the most out of the technology they have available.

He is a strong advocate for music education, and believes that contemporary music making practices engage and empower young people.

Marcel Pusey

Marcel Pusey

Director, Bassistry Music & O-Music Ltd (UK)

Marcel Pusey is Director of Award Winning Company, Bassistry Music and Director of O-Music Ltd. Bassistry is one of the UK’s leading music educational workshop groups. It provides a variety of dynamic, innovative World Music, Rhythm, Song and Dance and Song writing in schools.

Marcel also co-designed the composition and learning app, O-Generator. Historically distributed worldwide by Sibelius Music Software. O-Generator was developed into a cloud-base app and is part of the MusicFirst suite of products. In 2019, Marcel and Mark launched a new primary school product. An online Song, Dance and Movement library called ‘Cool4School’.

Marcel works as composer and educator. He has produced albums, written music for television (BBC, ITV and Channel 4), multimedia and employs and collaborates with some of the UK’s top musicians. Marcel has been a key note speaker, presenter and workshop leader at events in Australia (MTEC 2009, MTEC 2011) and the USA (TI:ME 2011) Norway, (Musictek 2016).

Bassistry Music provide World Music, Music Tech & Composition Workshops in UK, Hong Kong, Australia, Singapore, Thailand and USA.

Altan Riffat

Learning Specialist Digital Media and Coding Taylors Lakes Primary School (Vic)

I am an educator with over 35 years of primary school teaching experience.  My roles have included classroom generalist teaching, team and school leadership, and as a specialist in Music Education, Computer Education and Numeracy Leadership. My current role as a Learning Specialist is in the Digital Literacies Domain with a focus on Media Arts in Music, Coding and Visual Arts.

As a member of the school leadership team, I contribute to driving innovation and excellence within the school. I explicitly seek to develop and implement forward-thinking programs that re-engage pupils in contemporary contexts through the application of digital media across a range of domains.  

With a passion for integrating technology and creativity, I create engaging, hands-on learning experiences that empower students to thrive in a digital world. My commitment to fostering curiosity, collaboration, and critical thinking is the core to shaping a forward-thinking curriculum. Profession learning and leadership is key for a growth mindset. This is a paradigm from which I build on my own practice.

Constantly striving for excellence, I aim to ensure that practice is not redundant. I draw from collaboration and strategically leave legacies for others to build from.

Duncan Ferguson

Head of Music - St Andrew's College (NZ)

Duncan is the Head of Music at St Andrew’s College in Christchurch, New Zealand. In addition to this he develops Music Technology exemplars for the New Zealand Qualifications Authority and regularly runs teacher Professional Development courses for teachers all over New Zealand.

Duncan is also an Apple Distinguished Educator and the Managing Director and resource developer for Learning Ideas Ltd, a company he setup in 2002 to provide ear training, theory/score reading and music technology resources primarily for New Zealand high school teachers. Resources he has created have been supplied to over 95% of New Zealand high schools.

Katie Argyle

Director, Midnight Music (Vic)

Katie Argyle is a music technology trainer, consultant, blogger and podcaster who is passionate about helping music teachers through her business Midnight Music (www.midnightmusic.com.au).

She runs hands-on workshops, presents regularly at conferences in Australia and overseas and she offers online training and support to music teachers all over the world through her music technology professional development online community – the Midnight Music Community.

Katie is also the author of the keyboard and technology program for middle school students titled Studio Sessions (published by MusicEDU) and the host of the weekly Music Tech Teacher podcast.

Brad Fuller

Co-founder, Gig Based Learning (NSW)

Narrabeen-based electric bassist and educator Dr. Brad Fuller has over 35 years of experience in music and education across diverse settings.

Since 2000, he has shared his work in music education with teachers globally, both in person and as a pioneer in online teacher training.

Brad holds a PhD in music education from the University of Sydney’s Sydney Conservatorium of Music and, alongside James Humberstone, is developing a reflective practice model for music educators called EEBP. He has built an international research presence through peer-reviewed papers, presentations at international conferences, a chapter in The Routledge Companion to Creativities in Music Education, and an upcoming Oxford publication on improvisation in music therapy.

Brad lectures in music and education at several universities, teaches high school music, and is co-founder, with Peter Orenstein, of Gig Based Learning.

Keith Huxtable

Managing Director, Music EDnet (SA)

Keith’s experience in the music industry spans more than 50 years. Having studied Electrical Engineering at Monash University while performing part time as a professional musician, Keith has enjoyed a long career that combines his interests in music and technology.

Over the years Keith has held senior technical and marketing positions with Yamaha and Roland, is a past Vice President of the Australian Music Association and a council member of ASME in SA. Keith moved to Adelaide in 1991 to establish what is now known as Music EDnet through which he has pursued the advocacy of music in education along with technology as his mission.

Today Music EDnet is nationally recognized as a leading source of music technology in schools and educational institutions.

Belinda carey

Lead Teacher Music Te Aho o Te Kura Pounamu (Te Kura) The Correspondence School (NZ)

Belinda is currently Kaiako Matua/Lead teacher for Puoro/Music at Te Kura/ the NZ Correspondence School. She is an active musician, playing bassoon in a number of orchestras. She has been an HOD Drama and Music, HOF of Arts at Wellington High School, and Makoura College. Waiararapa.

She was a MENZA kaiarahi/national advisor in Music and is currently on the New Zealand Curriculum Refresh Arts team. She has recently completed a Masters in Education with a focus on cultural responsiveness.

Belinda has worked in education, performing arts and community arts in Australia and New Zealand and is a fearsome advocate for equity, the power of Music, and the rights of all students to have a comprehensive Arts education led by specialist teachers.

Fionn Murphy

Music Teacher - Pakuranga College (NZ)

My name is Fionn Murphy, and I’ve been a high school music teacher for nine years, with 2025 marking my tenth year in the classroom. I’m from Golden Bay/Mohua, at the northwest tip of Te Waipounamu (South Island of New Zealand).

After earning a Bachelor of Music (Hons) and a Graduate Diploma in Teaching from the University of Otago, I began my teaching career. My first full-time role was at Otamatea High School in Northland in 2016.

Working as the sole music teacher in a remote rural high school was a fantastic start to my career, as my classroom pedagogy—which still guides me today—was built on using music technology to best meet the needs of my students. In 2020, I transitioned to my current position as a music teacher at Pakuranga College in Auckland.

Although my current school is larger and more urban, my approach to integrating music technology into the classroom has remained consistent. I look forward to sharing more about this with you in my session.

Rob Oakley

Head of Music - Monterey Secondary College (Vic)

Rob Oakley has taught secondary music for 17 years in public schools in Victoria, during which he has developed multiple music departments and Performing Arts programs in Learning Specialist roles.

He has recorded, mixed and mastered 13 student albums and produced many accompanying band interviews, film clips and TV shows as part of his students’ productions. He has seen the transition and been at the forefront of integrating music technology into school music programs and has a strong focus on creating music ed spaces that harness tech to enhance student learning, but also make it user friendly to ensure effective teaching happens.

Outside of work he produces a variety of eclectic music often involving remixes, re-edits, mash-ups and and is involved in producer groups focusing on sample flip and remix challenges. He is a self proclaimed “Nerd” and loves researching music technology and exploring its applications in education.

Music classrooms that streamline production and inspire students

Are you struggling to multitrack record student bands, or produce professional video productions of student performances live? In this session discover proven techniques and expert advice to streamline the production process in your classroom. Rob Oakley shares how he has spent over a decade designing classroom spaces with a focus on removing bottlenecks between students, performance and production. The session will focus on his current classroom set-up, processes, ideas and demonstrations to promote student engagement and ensure audio and video production can be seamlessly integrated into your classrooms with confidence. By attending this session you will gain insight to:

• Practical, hands-on techniques and effective strategies tailored to the unique challenges and opportunities of working with technology in secondary school.

• How technology can be used to promote student engagement, improve wellbeing and expression for students.

• How to garner support from school leadership and share your vision. 

• Useful apps, websites, devices and resources to assist in your classroom.

• Integrating networked technologies such as Dante, NDI, Ableton Link and how they can simplify and enhance your students’ live productions.

• Creating a classroom which allows students to perform live, while multitrack recording and producing a live, switched video, recorded straight to a USB with no post production required.

Rob Oakley

Head of Music - Monterey Secondary College (Vic)

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