The incorporation of AI-powered applications into music education is becoming increasingly important, as these tools can extend practice support beyond the session and provide rapid performance feedback. The current study investigated whether an app-assisted learning technique improves pianists' performance skills and self-efficacy compared to traditional instruction. Participants were separated into experimental and control groups and given pre- and post-test assessments. The psychometric instruments used included the Practical Piano Performance Assessment and the Music Performance Self-Efficacy Scale. Statistical analysis, involving paired and independent t-tests, revealed that the experimental group showed significant improvements in piano performance (F = 113.528, p < 0.001) and in all four dimensions of self-efficacy-mastery experience (t = 7.031, p < 0.001), vicarious experience (t = 7.126, p < 0.001), verbal/social persuasion (t = 7.929, p < 0.001) and physiological states (t = 12.812, p < 0.001)-compared to the control group, which followed a standard curriculum. These findings highlight the practical value of AI-based applications that provide not only personalised real-time feedback but also interactive learning. Future research should explore the long-term effects of using this software and its potential in blended learning environments to optimise the curriculum.

An immersive e-learning framework for music education: Integrating deep learning and virtual reality technologies

ABSTRACT Contemporary educational approaches aim to ensure a high level of student engagement and motivation, which is particularly important in fields such as music education. One of the most widespread innovative models is the flipped classroom, which emphasises the development of student autonomy and active participation in the learning process. The purpose of this study was to examine the impact of the flipped classroom on students’ motivation to learn the violin from the perspective of educational psychology. The study involved 124 students from two Chinese universities. The participants, both undergraduate and graduate students, had an average of 6.3 years of violin training experience (SD = 2.1). Each participant received either traditional or innovative instruction. Data collection was conducted through surveys and interviews. From the practical standpoint, the findings establish the flipped classroom as an impactful instructional strategy that effectively enhances students’ intrinsic motivation, improves the educational environment, and contributes to the development of professional skills.

Introduction This study examines how 21st-century skills are conceptualized and applied in vocal pedagogy in response to increasing demands for reflective, technology-mediated, and culturally responsive approaches in music education. Methods A scoping review was conducted following Arksey and O’Malley’s framework and the Joanna Briggs Institute methodology. Literature published between 2014 and 2025 was systematically mapped from Scopus and EBSCOhost databases. Using PRISMA-based screening, nine studies met the inclusion criteria. Data were charted and thematically analyzed to identify conceptual definitions, pedagogical approaches, and implementation challenges. Results Findings reveal a shift from tradition-bound, repertoire-driven instruction toward more reflective, student-centered, and digitally supported learning environments. Integration of 21st-century competencies—such as critical thinking, creativity, collaboration, communication, and cultural literacy—occurs through strategies including AI-assisted feedback, microlearning, and cross-cultural pedagogical practices. However, challenges remain, including curriculum rigidity, insufficient teacher preparation, and limited professional development. Discussion The study proposes a conceptual framework positioning cognitive, creative, technological, emotional–social, and cultural dimensions as interdependent foundations of contemporary vocal education. This model underscores the need to cultivate reflective and adaptive learners capable of navigating complex artistic, digital, and intercultural contexts, with implications for curriculum innovation, teacher education, and future research.

ABSTRACT Interactive technologies offer a novel, innovative and exceptional way to structure students' learning experiences. Today, individuals are expected to possess attributes such as creative problem‐solving, the ability to navigate complex situations, teamwork, decision‐making and a strong sense of responsibility, all while proficiently utilising modern digital tools. This research aims to design an interactive online music education course and assess the influence of digital technologies on students' creative thinking abilities. The experimental study was conducted at a music school in China, using a questionnaire survey to collect data. The sample consisted of two music educators and 100 first‐year students enrolled in the newly developed online programme. Students participated in interviews both before and after the course. The findings indicate significant enhancements in students' creative thinking post‐course. Future research should explore effective e‐learning strategies, tools and activities to refine teaching methodologies in music education.

Today, diversifying the music curriculum is considered a matter of social justice. Although including non-Western and contemporary genres in education is seen as an obvious move, in the context of South African scholar education, the introduction of alternative musical practices has resulted in a misalignment between the curricular conceptual framework and the values of the musical practice. Social realist theorists argue that conceptual knowledge is important because it allows knowledge to be transferred by students. But this is only possible if students can integrate abstract understanding with their empirical experiences, a process described by Maton as semantic waving. Using document analysis, a senior secondary African music curriculum from South Africa is examined for the potential it offers for such integration and application of knowledge. The analysis reveals the complexities of musical knowledge and its articulation in published curricula. It concludes that issues of equity are complicated by curricular structures which do not provide conceptual coherence, and thereby constrain knowledge-building opportunities.

Drawing on the extensive resources of the International Library of African Music (ILAM) in Makhanda, South Africa, this article examines the African Musical Arts Programme at Rhodes University as a case study in decolonial music education. Established in 2017, the programme integrates the knowledge systems of African musicians and teachers with ethnomusicological scholarship to address the structural and epistemological challenges of transformation within higher education. Through a narrative qualitative approach, the study draws on data gathered between 2017 and 2024 from students, lecturers, and community musicians involved in the programme. It critically analyses the programme’s evolution, highlighting both its successes and ongoing challenges. The findings show how Indigenous Knowledge Systems (IKS) and community-based participation have been central to curricular design, teaching strategies, and assessment models. The programme demonstrates how embodied learning, participatory and performance-based pedagogies, and transgressive approaches can contribute to more sustainable and inclusive music education practices. At the same time, it reveals persistent institutional constraints related to the recognition of community knowledge holders, the development of African theoretical frameworks, and the implementation of non-traditional assessment methods. By situating the Rhodes University case within broader continental debates on sustainability, revitalisation, and decolonial pedagogy, the article contributes to the themes of the Mapping Africa’s Musical Identities special issue. It illustrates how locally rooted and globally relevant African musical arts education can challenge Eurocentric models while advancing the preservation and creative renewal of African musical traditions. In doing so, it offers a framework for sustainable knowledge transfer that supports the ongoing transformation of African music education in the 21st century.

ABSTRACT Students in higher education music institutions (HEMIs) struggle with a variety of health-related issues. However, qualitative explorations of their perspectives around their own health, particularly in Eastern Europe, are missing. This study explored students’ accounts of health and wellbeing in an Eastern European HEMI context. Forty-three semi-structured interviews were conducted with undergraduate, postgraduate, and recent graduates of HEMIs. Transcripts were analysed via template analysis. Identified themes span from individual behaviours to music education, the educational infrastructure, social support, the musicians’ role in society, and ideology. One of six themes is reported in this paper: The institutional culture: competition, bias, and constraints, with its three sub-themes: (1) Navigating individualism and institutional networks; (2) Authority and bias in educational relationships; and (3) Elitism and narrow focus in HEMIs. Students’ accounts of abuse, discrimination, and neglect depict environments steeped in competition, bias, and exclusion – directly challenging assumptions that higher music education is supportive or meritocratic. These practices shape professional identity while eroding wellbeing. To our knowledge, this is the first comprehensive qualitative study to examine musicians’ broader views of health and wellbeing in Eastern Europe.

The film Vermelho como céu, directed by Cristiano Bortone (2007), portrays a striking episode from the childhood of Mirco, an Italian boy who, after losing his vision in an accident, faces significant challenges and makes fundamental discoveries about himself and the world. Thistheoretical–conceptual article aims to analyze the film through the lens of thePiagetian perspective and contributions from constructivist Music Education. To this end, four excerpts from the film were selected and examined, focusing on moments that highlight the protagonist’s process of discovery and sound-musical creation, particularly in the exploration of sonic materials, theconstruction of narratives in sound, and the elaboration of meanings throughactive listening. The analysis prioritizes the ways in which engagement with sound-musical creation functions as a cognitive, symbolic, and affective device, enabling the protagonist to reorganize his schemes of action and meaning. Music,understood as a structuring ludic activity, emerges as a central axis of his development, directly connected to processes of learning, adaptation, andschool inclusion. By integrating the aesthetic dimension with a constructivist perspective, the article underscores the formative power of music as an active,creative, and cooperative experience in the construction of knowledge.

This study explores how music education enhances happiness among Chinese elderly women. Focusing on their lived experiences, the research involved 120 women aged 60-70 from twelve senior universities in nine Chinese cities. Data was collected via in-depth interviews and analyzed using grounded theory methodology through open, axial, and selective coding. This process yielded nine core categories and a theoretical model centered on "happiness construction." The findings reveal three primary pathways through which music education boosts well-being: First, it improves physical and mental states via emotional regulation and health promotion. Second, it shapes the external environment through social belonging, family influence, and economic conditions. Third, it stimulates intrinsic motivation through self-identity, cognitive stimulation, learning drive, and teaching feedback, thereby rebuilding self-worth and fostering a sense of achievement. This study confirms the role of social activities in elderly well-being and highlights the unique capacity of music education to integrate emotional, cognitive, social, and cultural functions.

Research on the acceptance of Chinese traditional music and student cultural identity differences under Chinese and Western music education models.

Musical self-concept as a key to unlocking performance potential: Relationships between the impostor phenomenon and performance anxiety among Chinese engaged university music students.

On the exponent power sine Lomax distribution with applications in the music education and radiation fields

A study on the mechanism of intrinsic motivation and performance state in deliberate practice of piano based on information entropy.

Patterns of singing culture, middle school students and music lessons form the core of current discussions in music education on how tomaintain adolescents’ vocal engagement. This article explores how the foundations of middleschool students ́ singingculture are constituted in general music education and considers singing culture as a holistic concept comprising several interrelated dimensions rather than simply being about the transfer of skills. The purpose is to identify what may achieve the statusof ‘foundations’for singing culture at this age and which lesson-based strategies serve them.The investigation is based on a systematic review ofliterature supplemented with qualitative content analysis and descriptive statistics. Fifty-twopapers from Russian, Kazakhstan and international literature met inclusion criteria and were coded according to a predefined analysis framework. The framework included context, conceptions of singing culture, music teachers' pedagogical approaches insinging and reported learning outcomes for students in lower secondary education.Thefindings reveal that the authors implicitly share at least four fundamental components of a culture of singing: vocal-technical, musical-aural, artistic-expressive and axiological and socio-communicative. But in both practice and research, vocal-technical factors suchas respiration, phonation and intonation is still foregrounded. A smaller but methodologically strong group of studies suggests level models and diagnostic instrumentswhich define the foundations of singing culture as accurate, healthy singing within a limited range, basic ensemble skills, simple expressive nuance and stable or non-anxious involvement in class singing. Effective lesson planning congregates in five categories:systematic vocal workouts, age-appropriate and culturally relevant repertoire policy, balance between group and solo work, the use of movement and body awareness, and opportunities for structured reflection and assessment.

In modern music education, the intersection of ecological awareness, primary school development, and traditional folk music is gaining significant traction. This paper investigates how elementary students can build a robust "ecological culture" through thestudy of folk songs in general music classes. Here, ecological culture is defined as a holistic blend of environmental facts, ethical values, emotional connections, and responsible actions. The core objective is to demonstrate how specific folk repertoires, combined with deliberate teaching strategies, can nurture early environmental stewardship grounded in cultural heritage.The research methodology involved a systematic review of academic literature, primary school curricula, and various song anthologies. To analyze this data, the authors applied a four-part framework to identify ecological knowledge, values, emotions, and behavioral cues hidden within song lyrics and educational models. A descriptive summary was then created to highlight the major trends and missing links.The findings reveal that much of the folk music already taught in schools is naturally rich in environmental wisdom. These songs often contain imagery of nature, stories about the human relationship with the land, and deep emotional ties to the environment. When educators use strategies like interdisciplinary connections, open discussions, physical performance, and linking songs to local geography, this content effectively fosters ecological culture. However, the study notes that translating this into actual behavior usually requires activities outside the classroom.Ultimately, the article argues that folk music serves as a vital bridge connecting a child's personal experience and cultural identity with environmental meaning. It calls for lesson plans that intentionally use tradition to cultivate ecological knowledge and values. The authors conclude by recommending future comparative research to further explore how music education can empower children to become agents of environmental change.

Abstract: This article explores the role of educational philosophy in voice pedagogy. Drawing from the Journal of Singing archives to connect with historic conversations, the author defines a philosophy of vocal education in juxtaposition with vocal function. Next, the author surveys music education literature and guides readers toward developing their own philosophy of vocal education. Finally, the author offers strategies for exemplifying a philosophy of vocal education and connecting theory with practice.

AI-driven emotional intelligence in piano education: Deep learning models for expressive performance coaching.

In the current era of multicultural integration, popular music has injected fresh vitality into traditional Music education with its advantages of being close to life and having strong infectiousness. Based on the policy orientation of the "Compulsory Education Music Curriculum Standards (2022 Edition)" and combined with the research data of the Music education Professional Committee of the Chinese Education Society in 2023 (covering 1,730 middle school students in 12 provinces and cities across the country), this paper explores its core values in activating learning interests, cultivating diverse artistic literacy, and inheriting cultural genes, and analyzes the current problems of insufficient teaching staff and imbalanced content screening in teaching. Based on literature research and case analysis, feasible practical paths are proposed from the dimensions of curriculum optimization, teaching method innovation, and faculty development to help the deep integration of the two and practice the aesthetic education purpose of "educating people through aesthetics". The experiment conducted by Chaoyang District Teaching and Research Center in Beijing shows that scientific integration can raise students' classroom participation rate by more than 40 percentage points, providing solid reference for Music education reform.

This paper examines the cognitive and emotional positive outcomes of the music education and their implications to the mental health of students. To be more exact, it examines the effects of music education participation on such cognitive abilities as memory, attention, and executive function, on emotional regulation and mental health outcomes. Mixed-method design was used, where the total number of secondary school students was 200 with 100 in music education group and another 100 in control group. The cognitions performance was evaluated by using the tasks that tested the working memory, selective attention, and executive performance. The levels of emotional regulation were measured with the help of the Profile of Mood States (POMS) and Social and emotional competence questionnaire (SECQ) and the GAD-7 and PHQ-9 were used to measure the level of anxiety and depression. Results showed that the music education group did far better compared to the control in all the cognitive measures. In addition, students with music education group were more able to control their emotions, and less anxious and depressed. It was discovered that in the qualitative interviews, the students viewed music education as a means that can be employed to express their emotions and overcome stress. All these results indicate that music education promotes cognitive and emotional growth that it may be a possible intervention that may enhance the mental health of students. This paper reveals the need to incorporate music education into the school curriculum that will enable them to contribute to cognitive and emotional development that leads to the well being and the overall school performance of the student.