Meet the Female Founders Transforming Music Education

Australian start-ups are leading the charge in the next evolution of music education – and we have a group of visionary female founders to thank.

From expanding access to music lessons in schools to addressing critical skills shortages in live production and harnessing music as a tool for trauma recovery, these innovators are tackling some of the sector’s biggest challenges head-on.

The traditional barriers to music education are being dismantled in innovative ways. Natalie Kradolfer is bridging the gap in primary school music education by equipping generalist teachers with engaging, ready-made lesson plans and video-led classes through the online platform, Amplify Music Education.

Claire Bredenoord is addressing the severe skills shortage in live music production by providing Australia’s first tertiary programs solely dedicated to the live music industry through Industri Education.

Meanwhile, Amy Collett, through Little Minds by InTonal, is combining science-backed sound therapy with storytelling and mindfulness to support emotional healing, particularly for children and trauma survivors.

To mark Women’s History Month, The Music Network spoke with Kradolfer, Bredenoord, and Collett about their groundbreaking work, the challenges they have faced, and the future they envision for music education.

While each of these founders operates in different corners of the industry, they share a common goal – making music education more accessible, impactful, and inclusive. They’re also leading the charge in sectors that have traditionally been male-dominated, advocating for more opportunities for women and reshaping what leadership looks like in education, tech, and the arts.

Natalie Kradolfer, Co-Founder, Amplify Music Education

Amplify is a music tech startup with a mission to reintroduce music to the classroom.

TMN: What inspired you to start Amplify, and what impact have you seen so far?

Kradolfer: As someone whose life has been centred around music for so long, I wasn’t okay with the fact that 80% of primary school students in Australia weren’t learning music at primary school. Research proves that primary school is the most important time in a person’s life to be exposed to music. 

There is never going to be enough music teachers to have one in every school – it’s just not possible. So the solution to upskill and support the teacher who is already in the classroom with easy-to-use, high quality, ready-made lessons seemed to be the best way to solve the problem at scale.

There are now over 180,000 students learning music at school who weren’t before Amplify came into existence, and that number is growing every day. Teachers tell us that they feel more confident and students are more engaged. Principals tell us that having more music in their school has completely changed the staff, student and community culture for the better. It’s pretty powerful stuff!

Have you faced challenges as a female founder in music education and EdTech?

Broadly speaking, EdTech is a male-dominated industry, which is fascinating considering that in Australia, 82% of primary teachers are female. Music is also traditionally a male-dominated industry, but that feels like it’s shifting a little bit, at least from where I am. 

Regardless of gender, founders face challenges every day. When you’re operating in unchartered territory, you have to expect that. 

Prior to founding Amplify, I worked in an industry that I guess you could say was female dominated, so it wasn’t often that I felt at a disadvantage because of my gender. But there have been a number of times where I have felt it over the last few years. I have sat in meetings with male colleagues and been blatantly ignored, I have been to industry events and been the only female in the room and I have come to expect that I have to work a bit harder to stand out and prove myself. But I also know that there are a lot of things that are unique to females and unique to me, that make me stand out and really good at what I do.

For me, the hardest challenges of being a female founder are the ones that happen outside of the office. The constant “mum-guilt” from working and travelling too much, the “school mum guilt” of forgetting it’s library day or there’s yet another school event that I can’t go to. 

I have an awesome team, I have great mentors, I know other women that are juggling the same things and like most women do, we just get on with it.

What needs to change to support more female entrepreneurs?

It sounds really simple, but we just need the industry to understand that females are going to do it differently and in a lot of cases, that is actually a good thing. We think differently, we lead differently and we prioritise different things. And the statistics show that female-founded start-ups generate 10% more cumulative revenue over a five-year period. So we’re obviously doing something right!

It’s so important to celebrate the successes of the people who sit outside the mould so that the future generations know that they can do it. “You can’t be what you can’t see” rings so true – this will definitely help shift the landscape to be more inclusive.

How is Amplify ensuring music education is accessible for all students, especially in remote or underfunded areas?

We are committed to making music education equitable and accessible for all students and our technology-led solution makes that possible. The platform has been designed so that any teacher can confidently teach engaging, high quality music lessons with an affordable subscription model. The popularity of Amplify in remote areas in the NT, WA, QLD and SA proves that it is a solution that is much needed.

We have also been involved in advocating to Government for funding and intervention around music education in primary schools. We recently gave evidence at the NSW Parliamentary Inquiry into music education. There is a government response expected in March.

What advice do you have for women starting businesses in music, education, or tech?

Have a crystal-clear vision. Know what you stand for. Proactively seek out “your people.” Ask for help. Be prepared to make sacrifices. Back yourself. Learn from your setbacks. Celebrate your wins.

What has been the most rewarding part of your journey?

Watching something that I imagined in my head come to life… this has been really cool. I love watching the product grow and evolve.

Every milestone has been huge in its own way. I remember when we hit 50 schools, I remember when we hit 100 schools and now we’re not too far away from hitting 1,000 schools. But the numbers are one thing, it’s the feedback from the teachers and the students that makes it all worthwhile.

I had a teacher say that in 20 years of teaching, she never thought she’d be able to teach music and the connection that it has allowed her to build with the students has completely changed her classroom. 

What is next for Amplify in the next two and five years?

We have recently launched two new subject areas in the arts — being dance and drama. So we will continue to build those out and potentially look at other subject areas. Middle school (US) and high school is a space we are looking at getting into as well as building more technology so that we can continue to deliver contextually localised learning experiences for students. 

The problem that we are solving is not unique to Australia, so we are also looking at expansion into classrooms all over the world. After all, music is a universal language!

Claire Bredenoord

Claire Bredenoord, Co-Founder, Industri Education

Industri Education is Australia’s first tertiary institution dedicated solely to the live music industry.

TMN: What gap in the sector did you see that led to its creation?

Bredenoord: There is an enormous gap in music industry education, which ironically is where most of the music workforce is: live music. It really is its own area, commercially, creatively and logistically, and is deserving of its own education programs. 

The music industry has traditionally been male-dominated, particularly the live music industry in technical and production roles (with only 27% of key roles filled by women). As a female leader in this space, how are you helping to create opportunities for women in live music?

For a long time, access to the music industry has relied on who you know, or having the chutzpah to just get in there and make a name for yourself. We know that the people who have those connections or get those opportunities before they’ve earnt their stripes often look a lot like the person who is giving them a leg up.

Our programs give committed students the chance to develop their skills and create connections independently of those selection processes, so they enter the industry with a network and experience that they can point to. By providing pathways, we contribute to making music industry careers more accessible for women, and all types of people who are underrepresented in music. We also put a lot of energy into creating a supportive learning environment and really putting our necks out there to get students opportunities.

Have you witnessed any gender-based bias in the industry, and how has that affected/prepared you in your own journey?

While blatant misogyny and racism are obviously there, I’ve more frequently witnessed the subtle actions (or inactions) that keep the industry predominantly white and male. These forms of bias are harder to call out, but they create unwelcoming environments that make people think this industry won’t accept them. 

Personally, I just do my best to check my biases, and stay alert to how I can actively contribute to a space that’s supportive and inclusive of all. I think working in education, there’s a greater onus on us to set the tone for the future of the industry we want to see.

While we’ve seen some positive indications of the live music industry recovering post-COVID, there’s now talk of a looming crisis in skills shortages. What challenges does this present, should we be concerned, and how does Industri Education’s approach help bridge that gap?

Live music is more than recovering – it’s growing! This is fantastic and skilled workers are in high demand, particularly on the technical production side. Rather than panic we just have to show people that there are real opportunities for them in the live music sector. 

We were working on Industri for years before the pandemic, so it’s just great timing that we are up and offering these courses when there’s such a need for training pathways. Our full associate degree course is two years long, which allows people to intensively develop their skills and reach job-readiness in a fairly short period of time. 

Your courses emphasise hands-on learning and practical experience at real events, working with companies like JPJ Audio and producing gigs at the Tote Hotel. What has been the industry’s response to this model, and how has it benefited students?

The industry has informed our hands-on approach from day one. On-the-job has been the only option in live music since the industry started, but on its own can be inconsistent, exclusive and a costly exercise for employers.

Our industry partners hadn’t had the luxury of thinking about the ideal way to become a professional in the sector, as everyone’s been too busy getting on with the job. So they were enthusiastic about working with us to develop the courses and chart out the student journey. 

Our students go through a powerful cycle of theory, application in industry and post-event reflection many times over. It’s pretty rare to get the supportive learning environment and real-world experience at the same time, but I think that allows students to grow into the type of person you’d want to work with much faster.

What advice would you give to women looking to break into live music production, sound, lighting, or business operations?

Besides having a chat to us about doing one of our courses – sorry – have to – I’d say volunteer for events and local music orgs, go to as many different gigs as you can, and don’t be afraid to ask people about opportunities they may have coming up. The worst they can say is no.

Also, always show up on time.

What has been the most rewarding moment or achievement of your entrepreneurial journey so far?

Attending the first gigs our students put on was a pretty special moment, watching their pride in seeing a jolly mosh break out in the crowd for a band they booked and promoted, or having that first go on the mixing desk at a ticketed gig. 

What’s next for Industri? What do you hope to achieve in the next 2 and 5 years?

We have a lot in the works but just keeping on our path to become the go-to educator for the live music industry in Australia. And getting 100% of our students into the industry after graduation. 

Amy Collett

Amy Collett, Co-Founder, InTonal

Little Minds by InTonal combines music, science, and mindfulness to support emotional well-being to support children and trauma survivors.

TMN: What inspired you to create this platform?

Collett: Having experienced childhood trauma firsthand, I found solace in music and storytelling. Later, working in youth trauma, I saw how powerful these tools could be in helping children regulate and heal.

Over the past decade, my growing interest in the science behind sound frequencies, breathwork, and meditation led me to develop a creative and accessible way to bring these critical tools to all children, regardless of their background or experiences.

Your platform integrates therapeutic music, guided meditation, and brain-targeting frequencies. How do these elements work together to support emotional regulation and trauma recovery?

Scientific research shows that specific sound frequencies can positively impact the brain. By designing music around these frequencies and layering it with engaging storytelling that subtly teaches breathwork and meditation techniques, we engage both the conscious and subconscious mind. Together, these elements help regulate the nervous system, build emotional resilience, and support the development of healthy minds.

There’s increasing awareness of the role music plays in mental health, especially for children. How do you see health professionals, or schools and educators, using InTonal as a tool for emotional learning?

Our goal is to make this tool easily accessible, allowing health professionals and educators to teach emotional regulation through sound, breathwork, and storytelling. Whether integrated into classrooms, therapy sessions, or at-home routines, it provides children with engaging, science-backed strategies to manage stress, improve focus, enhance sleep, and support overall well-being.

You’re developing an app to expand InTonal’s reach. How do you see technology shaping the future of music therapy and mental health support?

Technology is making music therapy and mental health support more accessible than ever, allowing personalised, science-backed tools to reach children in their everyday environments. By integrating emerging technologies, we can expand the impact of sound-based healing, making it more engaging, adaptable, and widely available. 

Building a startup at the intersection of music, mental health, and technology is no small feat. What challenges have you faced as a founder, and what have you learned along the way?

Bringing together music, mental health, and technology has meant navigating multiple industries, each with its own complexities and barriers to entry. I’ve learned that resilience, adaptability, and building the right collaborations are key to turning an idea into something impactful.

What changes would you like to see to support more female entrepreneurs in these spaces? 

I’d actually like to see greater access to funding, mentorship, and industry networks for everyone supporting mental health and wellbeing, regardless of gender. For women particularly, creating more opportunities to lead and innovate in male-dominated industries would not only foster diversity but also drive meaningful change.

Have you faced any gender-based challenges in your journey, and what’s helped you push through?

Like many women, I’ve encountered moments where my expertise was underestimated or disregarded. Having a strong support system, staying focused on my mission, and proving my value through action has helped me push forward. 

TMN: For women looking to innovate in music, education, or mental health, what advice would you give them about turning an idea into a reality?

Trust your vision, stay curious, and surround yourself with people who believe in you. Innovation comes from persistence, so embrace challenges as part of the process and keep refining your approach until your idea becomes a reality.

What has been the most rewarding moment or achievement of your entrepreneurial journey so far?

Probably the overwhelming positivity and curiosity from professionals across music, technology, healthcare, and child-related fields. Seeing so many experts eager to support, collaborate, and find ways to be part of this project has reinforced the importance of what we’re building.

What’s next for InTonal? What do you hope to achieve in the next 2 and 5 years?

We are very excited to be launching Little Minds by InTonal this year, targeting 4-11-year-olds. This happened much sooner than expected thanks to our wonderful support network. Our next goal is to launch our app, as well as targeted programs for infants, teenagers and eventually, adults. But overall, what I really hope to achieve is a global shift towards positive mental health, beginning with our young people.