Literature Review

Multimodal Learning

Research highlights the flexibility of multimodal learning in enhancing accessibility, motivation, and achievement, particularly for students from diverse backgrounds (Green, 2008; Partti & Westerlund, 2012; Irvine, 2020). During the pandemic, multimodal strategies proved their potential, enabling personalized and student-driven approaches that traditional models often lack. However, critics like Odendaal et al. (2013) caution against losing the collaborative essence of ensemble-based learning, underscoring the need for careful implementation.

Democratic Music Education

The integration of digital technologies has democratized music education, challenging hierarchical models and fostering inclusive learning environments (Partti & Westerlund, 2012; Väkevä & Westerlund, 2020). This aligns with Abramo’s (2015) emphasis on student agency and critical engagement, as well as Green’s (2008) informal learning strategies that draw from popular music practices.

Musicking and Identity

Christopher Small’s (1998) concept of musicking reframes music as an activity involving all participants, from performers to listeners, in a communal process of meaning-making. This perspective highlights the relational and identity-forming dimensions of music education, aligning with the proposed framework’s focus on student autonomy and cultural validation.

Decolonization and Intersectionality

Decolonizing music education involves dismantling the Eurocentric biases that have long shaped its curricula and practices (Hess, 2021; Koskela, 2022). This includes embracing non-Western musical traditions, challenging traditional hierarchies, and fostering culturally responsive pedagogy. Koskela’s work on pop music education and intersectionality underscores the importance of validating students’ diverse identities, while Wright (2010) advocates for critical pedagogy to empower marginalized voices.