Instrument Sustainability and Repairs

The UK music industry is responsible for approximately 540,000 tonnes of carbon emissions each year (The Environmental Sustainability of Music Industries, 2020). Whilst most of these emissions come from live music, the impact of musical instruments, as part of this, is also worth considering. 

Becoming carbon neutral is a challenge for the instrument manufacturing industry, as many instruments have historically relied on threatened natural resources. For example, string instruments have typically been made with materials from multiple types of trees and animals, many of which are vulnerable and endangered (Strings Magazine). Whilst positive adaptations are becoming more accessible (like these vegan violins, which are created without any animal products!), it is still essential to ensure that all instruments have the longest life possible to prevent further damage to natural resources.  

A paper titled ‘Ending the Throwaway Culture: Five Principles for Tackling Single-use Items’ was published in 2020 by the Expert Panel on Environmental Charging and Other Measures (EPECOM) to tackle the reliance on single-use items and throwaway culture in Scotland. In this, they state: 

‘Single-use items have become a defining feature of our modern-day economy and consumer culture. They have transformed the way products and services are provided. However, the rise in items that are discarded after a single use has also led to damaging environmental and social impacts.

 

The impact of our excessive consumption on both the climate emergency and biodiversity loss is now widely recognised. In response, there is a pressing need to move towards a circular economy. A circular economy is part of the solution to solving these major environmental issues – one in which products, services and systems are designed for reuse to maximise their value and minimise waste.’ 

Whilst instruments would certainly not be described as ‘single-use items’, it is still important to create a circular economy and maximise their value. One way that this can happen is through instrument repairs, which already play an important role in the music industry. Normans Education recently suggested that instruments should be repaired rather than replaced if they are showing signs of minor wear and tear, if they are high-quality or have sentimental value, and where repairing the instrument would be more cost-effective than replacing it. Instruments should only be replaced if they face irreparable damage, if the instrument has become obsolete or rarely used, or if the instrument requires constant repairs (Normans Education). 

However, there are growing concerns about the workforce sustainability of instrument repairers. In a recent survey from the Music Industry Association (MIA), 60% of respondents indicated that their Repairers were in the age demographic of over 60. Only 17.14% of respondents stated that they use Repairers under the age of 25. Further questions into the respondents’ recruitment of trained Repairers demonstrated concerns: 

‘We currently rely on a high proportion of Repairers/Tuners that may be leaving the industry over the next 5-10 years. Bearing in mind the time it would take to train alternatives, and the fact that we don’t offer a really joined-up route into this profession points toward an inevitable skills gap.’ – MIA Repair Survey Outcomes

We mustn’t lose this workforce if we want to promote a circular economy for musical instruments: 

‘Ensuring existing instruments which are of good quality can be repaired locally becomes even more important to reduce the carbon footprint of new manufacture and shipping.’ – Matthew Gunn, Cambridgeshire Music 

Technology and electronic instruments pose a greater issue, with the UK generating over 1.6 million tonnes of electronic waste each year, and only 20% of this is recycled through proper channels (Waste Managed). In 2017, a report into the environmental sustainability of major electronic manufacturers and IT companies found that the supply chain – including manufacturing – accounted for 70 to 80% of the carbon footprint generated during the lifetime of a product. Whilst these figures aren’t specific to music technology, it can be assumed that the figures would be similar (Attack Magazine). The constant development of new technology means that resources can become outdated quickly, however, it is again essential to maintain music technology and maximise its lifespan as much as possible. 

Instrument loan schemes are a great way to provide young people with good-quality instruments that they may not be able to invest in themselves, reducing the need for new products to be manufactured and maximizing the lifespan of the instruments. Rehoming instruments that are no longer required but still playable is also a great way to prevent instruments from going to landfill. And of course, Normans’ ‘ReTune’ scheme for music services is a great way to donate instruments to be repaired, donated, auctioned or recycled. 

Many manufacturers are now working to make new instruments more sustainable. However, making the most out of the instruments we already have should be the priority in encouraging a circular economy within the music education sector. 

Don’t forget to visit the This Is Not A Rehearsal webpage to explore more news, training & events, resources and research to support you on your sustainability journey. If you’d like to stay up to date with training and resources related to the climate crisis within the music education sector, click here to sign up for our ‘This Is Not A Rehearsal’ monthly newsletter.