MT: Describe yourself in three words.
BS: Likes to dance.
MT: What will you be sharing with Expo delegates?
BS: I'll be sharing the results of a fascinating research project looking at how an augmented reality piano app (think Guitar Hero with a real piano) can be used to support teaching and home practice. The research started from the premise that augmented and virtual reality is already a part of many pupils' lives and has great potential. However, it is nowhere near being able to offer the responsive, pupil-centred and relational teaching that is the foundation of human, in-person tuition. The research also threw up interesting pedagogical questions around the role of the teacher, the importance of notation, and how much a teacher's attitude to new technology impacts their pupils. So I will be unpacking a lot of this alongside two speakers from Wiltshire Music Connect: deputy hub lead Sophie Amstell and piano tutor Benjamin Woodbridge. Sophie will share a hub's perspective on the importance of adopting new tech and Benjamin will demonstrate the technology live, talking about his experiences as a tutor on the project.
MT: Tell us a bit about your background and career.
BS: I studied Ethnomusicology at SOAS, where I realised that in many parts of the world the point of music-making is to play with people rather than for people, and what I loved about my own music-making was that indescribable connection between people when we groove together. Most of all, I loved creating that possibility for young people, especially those that struggled to express themselves in other ways. Fast forward a few years, and my current practice has two overlapping areas of focus: working to improve access to high-quality music opportunities for pupils with additional needs, and exploring the sometimes mind-blowing opportunities that technology affords in music education.
MT: If you could make one change to the UK music education system, what would it be?
BS: Mandate termly visits to live performances, mostly in small venues.
MT: Other than your session, what are you looking forward to about attending the Expo?
BS: It's a really rich programme this year. I'm always looking for ideas to incorporate movement and drama into my sessions, so I'll be dipping into some of the drama workshops. The ‘Exploring international approaches to ukulele education’ session also looks intriguing.
MT: What was a key takeaway from your music education?
BS: In a world so focused on being heard above the clamour, the skill we need to develop most is our ability to listen.
MT: Who should attend your Expo session and why?
BS: Our research focused on the piano, but its broader themes are relevant to all instrumental tutors. I would particularly encourage those who find the idea of using more technology in their work uncomfortable or scary to attend our session. It isn't about knowing it all; it's just about finding what works for you and your particular practice.
MT: What do you hope to see happen in music education in the next five years?
BS: With my inclusion hat on, I would love to see music hubs and arts organisations recruiting and training new practitioners from a more diverse range of places. I see youth workers, special school teaching assistants, FE college graduates and community leaders with strong instrumental practice and a great rapport with young people. All they need is training in the nuts and bolts of music teaching. If this was in place, it would be much easier to engage with a more diverse range of young people.
MT: In your view, what should we be talking about that isn't currently getting enough attention?
BS: The combination of augmented and virtual reality, very fast internet and real-time AI translation will soon allow pupils to be taught by anyone, anywhere in the world. Budding MCs could be mentored by pros in the Bronx. A class in Jersey could take part in live gamelan sessions with their peers in Java. The potential is incredible, and we can start to build those relationships and the infrastructure now.
MT: What artist/composer are you listening to on repeat this week?
BS: I've got ‘tiny pinpricks of u’ by all cats are beautiful as my morning alarm. After waking up to that, the day can't go wrong.
You can hear more from Ben Sellers at the Music & Drama Education Expo 2024, which takes place on 22 and 23 February at the Business Design Centre in London. View the programme and register for free.
