Integrating Digital Technology Systems into Multisensory Music Education: A Technological Innovation for Early Childhood Learning

Abstract

This study examined how digital technology facilitated early childhood music learning in multi-sensory, engaging experiences. In a 16-week quasi-experimental, mixed-method study that used the Holistic Music Educational Approach for Young Children (HMEAYC) with 103 children and 36 pre-service teachers in Taiwan, sensor-based audio devices and responsive technologies were used instead of screens. Observations and video analysis showed that after an initial phase of adaptation, children exhibited growth in spontaneous and imitative musical behaviors, sensory integration, motor coordination, and creativity.

1. Introduction

With the advent of the digital age, relevant technology and digital information sweep the education scene, prompting preschool teachers to use digital technology to expand children’s learning methods, thereby enhancing learners’ sensory, cognitive, and emotional development [1,2,3,4]. Therefore, Taiwan’s Ministry of Education has established the Guidelines for Information Literacy and Ethics for Early Childhood Educators to enable them to use digital information and technology to enhance children’s learning [5]. With this wave of educational reform, early childhood education increasingly attaches importance to the core educational goals of learner participation, creativity, and the cultivation of all-round development [6,7]. Digital technology also affects multisensory learning, especially how we view music, and helps young children understand abstract concepts such as rhythm, high notes, and musical structure. It provides new learning methods through digital technology, which not only breaks the traditional music education model but also allows sound, movement, and vision to be combined with digital technology interfaces to stimulate new education [8,9]. If preschool education designs an application system that meets the needs of young children and combines it with digital technology teaching media, creating a highly interactive and immersive learning environment will help improve children’s cognitive and emotional development and encourage them to explore and learn [9,10]. In recent years, educational innovations have introduced a range of digital tools—such as interactive music mats, voice-activated lighting, and immersive multimedia systems—into early childhood learning environments [11,12,13]. The researcher’s long-standing Holistic Music Educational Approach for Young Children (HMEAYC) not only aligns with the Aesthetic domain of the national curriculum by integrating music, movement, and storytelling into holistic instruction, but also incorporates digital technology to support children’s diverse explorations. At the same time, the principles of the Guidelines for Information Literacy and Ethics for Early Childhood Educators are embedded into the training of pre-service educators, fostering a digitally enriched learning environment that integrates both software and hardware. Therefore, this study is grounded in the HMEAYC, emphasizing embodied learning, creative exploration, and child-initiated engagement through play-based music instruction.

Although the practical field increasingly emphasizes digital technology in education, research on how young children’s engagement with digital systems influences their musical participation remains relatively scarce in Taiwan. Overall, the Early Childhood Education and Care Curriculum Framework and the Guidelines for Information Literacy and Ethics for Early Childhood Educators do not mandate the use of technology from the very beginning of early childhood education. However, it is evident that Taiwan’s Ministry of Education expects kindergartens to find appropriate approaches to balance digital experiences with natural media and non-technological experiential learning. For example, the Guidelines for Information Literacy and Ethics for Early Childhood Educators state: “Teachers may use time-lapse videos to guide young children in observing the process of chicks hatching from eggs, and then use videos showing the conditions of chick rearing on a farm, enabling children to understand the growth and changes of chicks from different perspectives, so as to encourage teachers to use digital information and technology to enhance children’s learning outcomes.” In conclusion, Taiwan’s recent policies continue to emphasize limiting young children’s excessive screen time and supporting the careful integration of technology. The rich sensory, social, and experiential advantages that come with traditional music activities are intended to be preserved by this method. The laws controlling the use of digital technology in early childhood education are still being developed, and important topics—like using digital tools to enhance and support children’s learning—are regularly disregarded in both research and instructional strategies. This study explores how digital technologies can be smoothly incorporated into multisensory music curricula using a system-oriented action research methodology in order to close this gap. The aim is to not only improve learning outcomes for children but also empower educators with the skills needed to effectively incorporate and present information through digital platforms. This study was conducted in a preschool in Taiwan, using a technology-assisted action research approach for data collection. It aims to closely examine the dynamic relationships between engineered technology systems, musical behavior, and child development. The research also incorporates pre-service teachers’ perspectives to understand how they perceive the intersection and challenges of digital technology and ethical considerations in the context of early childhood education. Accordingly, this study examines the effects of integrating digital technology into multisensory music education on young children’s musical engagement and learning behaviors and analyzes their responses and adaptation across different stages of digital tool implementation. Grounded in the HMEAYC framework, the research integrates interactive digital media to assess impacts on spontaneous and imitative musical behaviors, sensory integration, and overall participation, aiming to propose developmentally appropriate and ethically sound digital teaching strategies for early childhood educators.

This study is guided by two research questions:

What are the observed impacts of digital-integrated music education on children’s engagement and learning behaviors?

How do different stages of digital technology implementation influence children’s behavioral responses and musical participation in early childhood classrooms?

By addressing these research questions, the study aims to contribute system-level insights for the design of pedagogically sound, ethically responsible, and developmentally appropriate digital innovations in early childhood music education.

2. Literature Review

2.1. Young Children’s Learning in Digital Contexts

Little children are naturally curious and often enamored by social, dynamic, interactive, and intentionally designed learning environments. Recent studies have suggested that appropriately designed educational apps can increase children’s problem-solving skills and sense of inquiry [14,15]. Touch screens, interactive digital displays, and similar applications are common in preschool education. These technologies stimulate a child’s sight, hearing, and touch at the same time, facilitating cognitive development and learning performance [16,17]. Simply put, educational technology applied within preschool contexts is related to overall development of young children. When teachers appropriately employ interface designs featuring adaptive qualities, children pay better attention, retain memories better, and are more motivated to learn [18,19,20]. Furthermore, children’s participation in digital practices in the classroom involves not just technological aspects, but also the quality of the instructional design in terms of being child-centered [16,17]. To ensure that children are actively engaged in learning and have equitable access to relevant developmentally appropriate resources, we require highly innovative technologies along with planned strategies for reform that facilitate the true integration of digital technology for early childhood education.

2.2. Music Education and Child Development

Music education is recognized by many people as an obligatory component for early childhood development and supports children in achieving balance and integration across the three main aspects of development: emotional, cognitive, and physical [21,22,23]. Longitudinal studies indicate that regular and increasingly persistent participation in musical learning experiences can support children’s developing neuroplasticity, improve auditory processing capabilities and language usage, as well as emotional regulation [24,25,26]. Moreover, music provides children with opportunities to learn hands-on while having fun, exploring through creative expression, and developing collaborative connections and interactions [27,28]. As a complementary area of study to early childhood education, music supports children’s learning and development by allowing them to change an abstract idea or content into a multi-sensory understanding through their constructive participation, which fosters more ongoing and integrated learning [29,30]. The Early Childhood Education & Care Curriculum Framework lays the foundation for music in Taiwan’s early childhood education. In the Aesthetic domain, learning dimensions include affection and art technology, the latter encompassing visual arts, music, and dramatic play. By officially incorporating music into the national curriculum, Taiwan aims to connect it with children’s life experiences to foster core competencies and prepare them for an ever-changing future [31].

2.3. Integrating Technology in Early Music Education

The introduction of digital technology brings new vitality into music education and greatly enhances the potential for children’s multi-sensory learning and creative participation [32,33]. Modern teaching aids such as interactive music mats, sound-controlled lighting systems, and multimedia platforms are widely used in early childhood education to support progress in rhythm imitation, body coordination, and auditory recognition [34,35,36]. These technological devices respond to children’s movements in real time. Through the combined effects of sound and sight, children can “see” and “hear” their own musical performance, helping reinforce body–sense connections and making learning more experiential [16,37]. However, for these technologies to be optimized, they must be developed with effective instructional design, algorithms that can sustainably regulate sensory inputs, and adequate active teacher facilitation, or the technologies may lead to overstimulation or cognitive overload [38]. Ideally, when combined with fun, game-based music-making activities, technology stimulates children’s curiosity about the world, promotes creative thinking, and develops children’s musical sensitivity and expression naturally [39,40].

2.4. Information Ethics in Early Childhood Education

Information ethics refers to the obligations and ethical principles that should be employed and adhered to when accessing digital content and technology; it involves respecting a person’s right to privacy, the right to intellectual property, and equal access to digital content [41]. In early childhood education, these issues are highly sensitive because young children may not have the capacity to comprehend abstract concepts such as data privacy, digital consent, or content ownership. According to [42] adults need to be intermediaries when children enter the digital world, and they must have ethical literacy to help children participate safely and responsibly. However, information ethics is often neglected in teacher training courses [43], leaving pre-service teachers unprepared to address ethical challenges in digital classrooms. An increasing number of studies highlight that to protect children’s rights in digital learning environments, schools and educational institutions must have robust systems in place, including information governance frameworks, ethical AI use standards, and digital ethics training for educators [44]. As digital technology is integrated into creative pedagogy like music education environments, we need pedagogies that support open dialogue about data protection, cybersecurity, and ethically appropriate use in ways that enable educators and children to utilize technological resources safely and consciously [8,45,46].

2.5. Holistic Music Educational Approach for Young Children (HMEAYC)

The Holistic Music Educational Approach for Young Children (HMEAYC) is a modular and integrative educational model designed to help young children further their development holistically through music, movement, and story. The theories are based on Piaget’s Cognitive Development Theory; Bruner’s Constructivist Theory; Vygotsky’s Sociocultural Theory; and Montessori Education Theory. Its fundamental characteristics reflect a comprehensive and integrative teaching philosophy in several aspects: Holistic Children, Holistic Method, Holistic Field, Holistic Faculty, and Holistic Senses [11]. The HMEAYC respects children’s needs as well as their potential so that it provides children with learning environments and teaching strategies that meet their developmental needs. Multiple teaching methods offer children the opportunity to learn music through different perspectives and sensory pathways, allowing for creative and musical perceptions. By integrating music education with all other domains, we extend children’s development. The Holistic Faculty feature encourages anyone with professional music training to become a music educator and invites parents to participate in family education. The Holistic Senses feature emphasizes the importance of stimulating and developing children’s full sensory experiences [11,13]. Its core concept comes from constructivist learning theory and multiple intelligences theory, emphasizing physical participation, multi-sensory integration, creative expression, and exploratory learning with children as the central focus. Over the past decade, HMEAYC has been continuously refined through teaching experiments and teacher training, establishing cross-disciplinary practicality and stability. It serves not only as a tool for music courses but also as an educational model that can be flexibly applied in diverse teaching contexts.

The Holistic Music Educational Approach for Young Children consists of nine activity components, each with its own specific objectives and significance, designed in accordance with the principles of musicology and pedagogy, as shown in Figure 1. The activities include:

Come and Follow Me: Trains Balance and Concentration, and Helps Adjust Children’s Emotions Before Class

Hello Song: A Welcoming Ritual Activity in the Music Lesson Aimed at Helping Children Transition into the Musical Atmosphere

Attendance Song: Primarily Helps Children Recognize Themselves and Their Peers, While Fostering Interpersonal and Social Interaction Development

Chanting & Singing: Guides Children to Experience and Explore Different Sounds

Musical Storytelling: Aims to Demonstrate Storytelling Techniques, Develop Related Curriculum Content, and Create Story Materials Needed by the Educator

Music Games: Uses Music and Games Based on Children’s Capability and Intended Learning Outcomes

Music Appreciation: Allows Children to Hear Enchanting Melodies, a Spectrum of Sounds, and Different Rhythms

Relaxation Time: Provides Massages for Children Accompanied by Music, Allowing Them to Relax Their Emotions to Gentle Tunes

Goodbye Song: Signals to Children that Hearing this Song Means the Music Class for the Day Is Coming to an End

This study uses HMEAYC as the primary framework to explore how digital technology can be integrated into multi-sensory music teaching. The course design presented below specifically illustrates how music, rhythm, and storytelling are combined in the HMEAYC model to support the holistic learning experience of young children in a multi-sensory environment.

By embedding technology into the model’s core components, educators aim to enhance children’s sensory engagement and musical growth while maintaining the developmental principles of the original approach. The

Table 1. Systemic Mapping of Digital Technology Integration in HMEAYC.

HMEAYC Core Component	Pedagogical Strategy	Digital Technology Integration
Holistic Children	Design inclusive music activities for children with and without special needs	Customizable input systems, adaptive music interfaces
Holistic Fields	Support physical, emotional, cognitive, and spiritual development through integrated music activities	Multisensory storytelling apps
Holistic Methods	Empower educators and families to become facilitators of musical learning	Teacher training platforms
Holistic Teachers	Combine traditional practices with innovative digital strategies for exploration and creativity	Interactive light-sound systems
Holistic Sensory Engagement	Create immersive environments where multiple senses are	Audio-visual responsive walls, sensory tunnels

below maps the logical correspondence between system components and digital technology integrations:

This research also engaged the Multisensory Music Classroom—a professional multisensory, technology-enhanced educational environment—that allows young children to be visually, haptically, aurally, and kinesthetically stimulated with specialized technology [47]. The researchers also had a long-term commitment commercially in music technology, acquiring music technology patents, including the Interactive Music Learning System and the Intelligent Evaluation Tool for Music Education, to expand content and pedagogy for HMEAYC. It is important now more than ever to connect music with technology to provide more breadth and higher interactivity in music learning opportunities for young children.

In conclusion, the HMEAYC model offers a scalable, inter-disciplinary system architecture that facilitates a blended learning environment for the integration of digital technology in early childhood music education, fostering embodied music-making that promotes holistic development through multisensory, creative, and culturally responsive practices.

3. Materials and Methods

This methodological framework adopts a situated learning paradigm integrated with design-based research (DBR) methodologies to systematically examine how technology-enhanced instructional interventions shape emergent musical engagement among young children in early childhood settings. The design intentionally incorporates iterative cycles of implementation, observation, and reflection to optimize both pedagogical outcomes and system-level integration.

3.1. Participants

The results of quantitative analysis show that as the teaching intervention progressed, the children’s learning performance showed staged changes (as shown in Section 4). The observation instrument used in this study was the HMEAYC Observation Scale [12]. Trained observers assessed each class using both on-site classroom observations and video playback, rating performance on a 5-point scale (1 = never, 5 = always). Trained observers independently evaluated classroom sessions both in real time and through video recordings, with discrepancies resolved through discussion to ensure inter-rater reliability. The average score for each class was then calculated and analyzed.

There were two groups of participants in this study. The first group consisted of 103 children aged 4 to 6 years old from a private kindergarten in central Taiwan that had systematically incorporated the whole-person music education model for early childhood (HMEAYC) into its curriculum. These children participated in a 16-week teaching activity designed to observe the impact of digital technology integration on their music learning, multisensory engagement, and expressive behavior. The second cohort was made up of 36 students from a university majoring in teacher training at a science and technology institution. As future educators, these individuals were not just passive onlookers but also acted as teachers and evaluators. They facilitated music sessions following the HMEAYC framework, documented children’s reactions, and evaluated their teaching methods. In order to enhance reliability, the pre-service teachers were organized into teams and placed on a rotating schedule across various classes. In addition, the general education classroom teachers participated in all the 30 min sessions. They helped with managing the classroom environment and monitored children’s behaviors, providing another layer of data. Their observations are added to the pre-service teacher’s documentation and the video recordings, creating trustworthiness for the observed class data in a triangulated form. All participants were recruited on a voluntary basis. Written informed consent was obtained from the children’s legal guardians as well as from the participating university students. The entire study adhered strictly to approved ethical protocols across all phases of implementation.

3.2. Research Design and Procedure

A quasi-experimental, mixed-method design was adopted to investigate how digital integration influences children’s multisensory engagement in early childhood music education. The intervention was conducted over a single 16-week semester within a kindergarten operating under the HMEAYC framework. A total of 32 teaching activities were arranged for this study, which were conducted twice a week for about 30 min each time. In the course design, we systematically integrated digital technology elements—such as animated visual music scores, interactive sound sensing devices, and systems with tactile feedback—into the core learning content of HMEAYC, including rhythm imitation, music story creation, and group improvisation, so that children can be more engaged and expressive in the multi-sensory learning experience. To support clarity of role distribution, we saw all 36 pre-service teachers trained in digital pedagogy, observation, and information ethics. They were teaching the activities while also conducting observations, using pre-determined observations to record children’s behaviors. Classroom teachers also provided classroom management support and conducted parallel observation. This arrangement served to keep the classroom operations functioning well, but it also helped to triangulate, in terms of differing observations of data. To control instructional consistency, the core curriculum content and musical materials were standardized according to HMEAYC benchmarks, with digital technology serving as the sole experimental variable. All 36 pre-service teachers took part in specific training related to digital pedagogy, information ethics, and, respectively, the protocol for observations prior to assessment and implementation. The training was intended to establish procedural fidelity and reduce variance by understanding the nature of the instructor’s differences in delivery. The research was conducted in three distinct phases: (1) Preparation Phase—co-designing sessions with the pre-service teachers and preschool educators to produce lesson plans that fused HMEAYC and digital tools; (2) Implementation Phase—over the course of 16-week program, conducting systematic observations and gathering information; (3) Reflection and Revision Phase—analyzing observations, discussing both ethical and pedagogical elements that arose, and modifying lesson approaches The study was organized into three operational phases:

Phase I (Weeks 1–4): Baseline Period, Where Only Traditional HMEAYC-Based Music Activities Were Implemented

Phase II (Weeks 5–8): Initial Introduction of Digital Instruments, Focusing on Children’s Adaptation and Responses

Phase III (Weeks 9–16): Consolidation Phase, Emphasizing Sustained Engagement in Music Activities with Digital Support

All sessions were video recorded, and behavioral data were concurrently collected using standardized, validated observation protocols. Weekly coordination meetings were held to monitor procedural adherence and ensure data integrity.

3.3. Data Collection Tools

Behavioral data were collected using a semi-structured observation instrument, developed specifically to align with the HMEAYC framework. The instrument underwent multiple rounds of pilot testing and iterative refinement and demonstrated high contextual reliability for arts-based early childhood learning environments. Two primary behavioral dimensions were captured:

What Are the Observed Impacts of Digital-Integrated Music Education on Children’s Engagement and Learning Behaviors?

How Do Different Stages of Digital Technology Implementation Influence Children’s Behavioral Responses and Musical Participation in Early Childhood Classrooms?

To operationalize these research questions, two behavioral indicators were defined:

Spontaneous Musical Response—Child Independently Creates a Musical Behavior (e.g., Body Movement, Singing, and Instrumental Play) Without Direct Teacher Prompts but Is Cued by Digital Tools (Light, Sound, or Visual)

Imitative Musical Response—Child Repeats (Imitates) Modeled or Instructed Behavior (e.g., Echoing Rhythm, Following Teacher Modeling on Digital Pad) in Response to the Same Digital Tool Cue

Clarifying “musical response/action”: In this study, “musical response” refers to observable behaviors related to rhythm, pitch, or movement patterns that indicate music engagement (e.g., clapping to a beat, moving to sound, producing tones on digital instruments).

Definition of “learning behaviors”: In this study, “learning behaviors” specifically refer to observable indicators of children’s musical learning and classroom engagement, with length of time on task would be looked at through (1) sustained attention on the digital tools and music activities, (2) one-to-one reproduction of modeled rhythms or melodies, (3) improvisations of sound or movement not contained in the initial model, and (4) appropriate turn-taking and cooperative actions during group tasks.

These indicators reflect children’s interaction with digital technology in the HMEAYC framework, emphasizing participation, multisensory engagement, and technology-mediated learning.

To support these dimensions, a range of carefully selected digital technologies was deployed (

Table 2. Digital Technology Teaching Tools Used in HMEAYC Intervention.

Name	Functional Purpose	Educational Application	Icon
Star Tunnel Hut	Provides multisensory light-tactile feedback; child-controlled star lighting system.	Encourages crawling, body awareness, sensory integration; supports self-regulation via calming rest positions.
Musical Jumping Pad	Color-coded floor mat with light-sound interaction and multiple preset modes.	Facilitates rhythmic movement, coordination, auditory discrimination, and rule-based turn-taking.
Khoros Musical Pad	Modular, reconfigurable light-up tiles with computer-linked audio feedback.	Promotes exploratory interaction, improvisation, and cause-effect reasoning in solo or group contexts.
Spacecraft	Touch-sensitive soundboard with ten interactive modes and environmental microphone input.	Enhances auditory attention, sound variation sensitivity, visual tracking, and dynamic environmental engagement.

), categorized according to their functional alignment with spontaneous or imitative behavioral facilitation. For example, the “Musical Jumping Pad” can guide young children to practice rhythm coordination through body movements, while the “Khoros Musical Pad” encourages children to improvise and explore cause and effect in games. These teaching aids can provide multi-sensory feedback through sound, image, and touch, making children feel interested and engaged in developmentally appropriate interactions. The observation process is conducted by trained prospective teachers in accordance with standardized procedures to avoid subjective errors as much as possible. All real-time observation data is also cross-checked with the video footage to ensure consistency and accuracy of the records.

Each technology was classified based on its dominant pedagogical mechanism: multisensory exploration or structured musical response, consistent with the dual behavioral axes of the HMEAYC framework.

3.4. Ethical Considerations

Before detailing the analytical approaches, it is important to describe the ethical principles that underpin this study and the broader research design. This provides additional important information for the reader about the ethical safeguards and systematic design on which the data analysis proceeded. All ethical standards were rigorously maintained. Written informed consent was secured from both child guardians and participating university students. Participants were fully informed regarding research objectives, procedures, and withdrawal rights. To ensure the privacy and data security of the participants, this study adopted a number of confidentiality measures: (1) all personal identifying information in all observation records, imaging data, and related documents has been completely removed; (2) all data has been anonymized and encrypted, and stored securely, with only authorized researchers having access to it; (3) this study has been reviewed by the China Medical University Central Research Ethics Review Committee (review number: CRREC-113-048).

In addition to the above-mentioned procedural protection mechanisms, we also place special emphasis on digital ethics training for prospective teachers, including: (1) how to use digital technology responsibly in early childhood teaching; (2) the privacy and protection principles of children’s personal data; and (3) the ethical judgment and decision-making framework required to integrate technology into teaching situations, to help prospective teachers establish correct digital ethics concepts and practical response capabilities.

These ethics training modules were fully aligned with contemporary information ethics frameworks, ensuring pedagogical integrity and safeguarding the developmental welfare of child participants.

3.5. Research Architecture Diagram

The research procedure of this study is illustrated in Figure 2.

3.6. Data Analysis

3.6.1. Coding and Data Preparation

The observation records were initially reviewed and coded to predetermined codes. Three central constructs were directly defined as the main variables of the study: (1) Spontaneous Musical Behaviors (uninvited singing, movements, or instrumental play), (2) Imitative Musical Behaviors (actions in response to actions modeled or instructed), and (3) Adaptive Responses to Digital Prompts (actions by the child triggered by sound, light or tactile responses).

Notably, these behavioral categories were used as proxies for larger constructs of children’s engagement and learning; for example, spontaneous behaviors were recorded as indicators of intrinsic engagement and creative learning, while imitative behaviors were noted as examples of guided participation and learning skills. Adaptive responses to digital prompts also illustrate children’s ability to incorporate external cues into meaningful musical actions. So, this direct verifying link assures that the coding framework is aligned clearly with goals of the research study in examining engagement and learning in digitally mediated contexts. The identified behaviors were systematically organized by engagement modality (e.g., sensory response, rhythmic imitation, instrument play), and frequency data were summed for aggregate analysis across sessions and participants. Because the primary purpose of the analysis was qualitative, no inferential statistical tests were conducted. Instead, descriptive use of counts and frequencies was used to demonstrate patterns of engagement. This qualitative content analysis allowed us to more systematically connect observable behaviors to the more theoretical constructs of engagement, learning, and adaptive interaction with digital tools.

Following the key constructions that were derived, validity was ensured by cross-coding with various trained coders, and all disagreements were resolved through discussion to reach a consensus.

3.6.2. Two-Phase Qualitative Content Analysis

Observation records were processed through a two-phase qualitative content analysis:

Coding Phase I: Raw Observation Data Were Reviewed to Extract Spontaneous and Imitative Behaviors as Operationally Defined in the Observation Protocols

Coding Phase II: Identified Behaviors Were Systematically Categorized According to Engagement Modality (e.g., Sensory Response, Rhythmic Imitation, Instrument Use), with Frequency Data Aggregated for Cross-Session and Cross-Participant Analysis

Video recordings serve as an inter-rater validation technology, resolving discrepancies and enhancing coding reliability. This multi-stage analytical protocol enabled a systematic interpretation of how various digital technologies mediated emergent musical behaviors in early childhood learners.

4. Results

This section presents the core empirical findings derived from systematic classroom observations, focusing on how the integration of digital technologies influenced children’s musical behaviors, sensory engagement, and developmental adaptation throughout the 16-week instructional intervention. Data were organized across three interrelated analytic domains: (1) musical participation and expression—measured through spontaneous and imitative musical behaviors, (2) adaptive interaction with digital technology—measured by children’s responses to digital prompts (light, sound, tactile feedback), and (3) pre-service educators’ ethical and pedagogical reflections—derived from their notes and post-session reflections, focusing on data privacy, classroom management, and digital ethics.

4.1. Research Timeline and Assessment Protocol

This teaching intervention activity started on 1 August 2024, and ended on 18 January 2025. A total of 36 prospective teachers who had studied the “HMEAYC” course participated in the whole process, and behavioral observations were conducted before and after the intervention, using standardized observation tools to record the children’s learning responses. The observation evaluation used a 5-point Likert scale to score each behavioral indicator: 1 point meant “never”, 2 points “rarely”, 3 points “occasionally”, 4 points “frequently”, and 5 points “always”. The greater the score, the more closely the child’s participation in music events and sensory interaction aligns with the intended learning objectives. The observation data for all participants were summarized and analyzed to determine the changing patterns of behaviors before and after the intervention, as well as the children’s patterns of participation and their learning performance at different points.

The study spanned over three instructional phases: baseline (Weeks 1–4, no digital tools), initial introduction (Weeks 5–8, digital instruments began being introduced), and consolidation (Weeks 9–16, regularized use of tools). Children’s musical engagement was assessed weekly using the Holistic Music Educational Approach for Young Children Observation Scale [12]. Two observers coded children’s engagement using a 5-point Likert scale (1 = never, 5 = always), based on classroom observations and video reviews.

4.2. Children’s Performance Across Intervention Phases

Throughout the study, children engaged in the HMEAYC curriculum within a fully English-language immersive environment. The introduction of digital instruments was phased in beginning in Week 5, allowing for a controlled examination of how technology-mediated tools influenced emergent musical behaviors. The instructional timeline was divided into three progressive stages:

Phase I (Weeks 1–4, Baseline Without Digital Tools): Children Engaged in Traditional HMEAYC-Based Activities. Engagement Scores Were Stable and Consistent Across Classes, with No Significant Variation Observed

Phase II (Weeks 5–8, Initial Introduction of Digital Instruments): Engagement Scores Fluctuated, Especially in Some Classes (e.g., Grape), Reflecting Children’s Adaptation Needs and the Novelty Effect. Qualitative Notes Recorded Excitement, Curiosity, and Exploratory Behaviors, but also a Need for Teacher Guidance in Following Instructions

Phase III (Weeks 9–16, Consolidation): Engagement Scores Gradually Stabilized. Children Adapted to Digital Tools and Demonstrated More Structured Behaviors, Including Rhythmic Imitation, Collaborative Improvisation, and Coordinated Instrument Use

Two primary observational indicators were employed to capture children’s developmental responses:

Spontaneous Responses: Unprompted Musical Expression Through Body Movements, Props, or Instruments that Illustrated Spontaneous Sensitivity to Musical Stimuli

Imitative Responses: Reproduction of Modeled Music Behaviors Responding Organically to Verbal Prompts and Models Provided by the Instructor

These assessments provided a fine-grained level of understanding into how children’s sensory motor, cognitive, and musical capacities matured in response to progressive exposures to various digital systems.

4.3. Data Analysis and Observed Trends

Digital instruments were integrated starting from Week 5 to explore the influence of technology on children’s engagement in the learning process. The instructional timeline was structured into three phases:

4.3.1. Performance Trajectories Across Phases

Figure 3 shows children’s average observation scores of musical engagements during instruction unfolded across all instructional phases. The x-axis represented weeks of instruction, including Phase I (Weeks 1–4: baseline without digital tools), Phase II (Weeks 5–8: initial introduction of digital instruments), and Phase III (Weeks 9–16: consolidation). The y-axis represented the mean engagement score (1 = never, 5 = always). Each line in the figure represented a different color, indicating a class (e.g., Grape, Apple). The figure documented the children’s engagement levels immediately after the first introduction of technology and how these leveled off as time progressed.

The overall trend was as follows: (1) Weeks 1–4 (baseline): the children undertook only traditional HMEAYC music activities; (2) Weeks 5–8 (usage of the music jumping mat): after initial exposure to the device, more pronounced and variable fluctuations were exhibited by some classes (e.g., the Grape class), which may have indicated that the children took a while to adjust or adapt to the novelty of interaction; (3) Weeks 9–12 (usage of the spaceship device): the scores further improved but were moderately variable, which meant that the children were at a phase of partial adaptation and still negotiating responses towards novel sensory and motor experiences; and (4) Weeks 13–16 (usage of Khor’s Music Pad and the Star Tunnel Hut): performance stabilized further and was characterized by a gradual increase, which meant that the children had achieved some stage of comfort and proficiency with the combined digital equipment.

Overall, findings showed (as shown in Figure 3) that experience with new digital tools was first intimidating to engagement with the music activities of the HMEAYC, yet the ability of the children to accommodate over time saw engagement and learning become better as the sessions went on.

The transient performance dips following each new device introduction may have suggested that factors such as novelty effects, learning curves, or individual variability in digital technology familiarity influenced initial response patterns. However, the overall trend toward improved engagement in later sessions indicated that adaptive learning mechanisms enabled children to eventually optimize their interactions with the technology-enhanced environment.

4.3.2. Qualitative Observations from Case Classrooms

To complement quantitative outcomes, contextualized anecdotal records were systematically documented across multiple classrooms, offering additional granularity regarding children’s real-time interaction patterns with the digital instruments:

Pomelo Class (27 November 2024): Similarly, one-third of children actively jumped on the Khoros pads, attending to the responsive lighting effects.

Strawberry Class (27 November 2024): All children exhibited focused attention, lowering their heads to closely observe illuminated tiles during active stepping.

Grape Class (30 October 2024): Upon instructor prompts (“Click softly click click”), eleven children replicated the motion while others tracked device indicator lights.

Cherry Class (27 November 2024): All children willingly entered the Star Tunnel Hut; one-fourth displayed active visual attention by pointing at projected star patterns.

Pineapple Class (13 November 2024): Eight children voluntarily initiated spontaneous play on the Khoros pad, while others observed without immediate physical participation.

Apple Class (30 October 2024): During initial Spacecraft sessions, approximately 75% of children successfully imitated the targeted actions following verbal instructions.

These qualitative observations revealed that children across different classes demonstrated diverse real-time interaction patterns with digital interactive devices, including focused observation, action imitation, spontaneous participation, and visual exploration. Although there was a brief adaptation period following the introduction of new devices, children’s engagement and interaction quality improved over time, indicating their ability to adapt and optimize through hands-on experience and observation.

The data provided evidence that, initially, the children’s engagement fluctuated following the introduction of digital tools, but it became increasingly stable once they were fully integrated into the established classroom practice. Overall, these findings indicated that some aspects of digital integration created a greater level of engagement for children, although there were time and adaptation costs associated with the implementation of digital technology. Ultimately, this answered the research questions.

5. Discussion

The findings of this study provide compelling evidence that the integration of digital technology within the Holistic Music Educational Approach for Young Children (HMEAYC) can meaningfully enhance children’s musical development, sensory engagement, and active classroom participation. Both quantitative and qualitative observational data consistently indicated progressive improvements in children’s spontaneous and imitative musical behaviors, particularly following acclimation periods during which children adapted to newly introduced digital technology.

The results of this study are consistent with past research, which indicates that as long as the use of technology is in line with the developmental stage of young children and has a clear teaching purpose, it can become an effective medium to stimulate children’s curiosity, cultivate physical coordination, and encourage creative expression [48,49]. In this study, it is particularly noteworthy that “multi-sensory participation” plays a key role in helping children learn through physical participation. Digital technology such as interactive music mats, sound-controlled lighting devices, and tactile teaching aids not only successfully attracted children’s attention, but also naturally guided them to explore the space, try different movements and sound creations, and interact with the environment in an interesting way. Such learning experiences can help children develop more comprehensively in cognition, language expression, and social interaction, and also echo the view emphasized by more and more research studies. A multi-sensory learning environment can effectively combine visual, auditory, and tactile stimulation to help children understand and enjoy music more deeply [20,32].

The overall outcomes indicated many positive effects, but found that there was a performance decline the first time the children engaged with unfamiliar digital instruments. This event reminds us, when encountering new technologies, children need ample time to adapt, and if there is inadequate support during the transition, it is likely that their confidence and participation in learning will be impacted. Thus, I have decided to add detailed directions and scaffolding strategies to the teaching design so the children can learn to interact with the new technologies effectively and consistently. This also highlights the key role that teachers play in digital teaching—not relying solely on technology itself, but through the guidance and companionship of teachers, so that children can find the rhythm in exploration and build confidence in learning. The success of teaching comes from the sensitivity to grasp the pace of children’s development and finding a balance between novelty and familiarity [37]. At the same time, the participation of prospective teachers in this study also brings out another important meaning. In the process of designing and operating digital music courses, these future educators not only learned how to make good use of technology but also began to face many ethical considerations related to digital teaching, such as data protection, children’s rights, and teaching responsibilities. Their growth experience reflects that teacher training cannot only focus on technology operation but also needs to integrate digital literacy and information ethics curriculum content [42,43] so that these future teachers can be adequately prepared to lead children to explore and learn meaningfully in the digital world.

Although this study provided valuable insights into children’s musical engagement and the ethical integration of digital tools, it must be acknowledged that the absence of a control group limits the ability to make direct causal inferences regarding the programmer’s effectiveness. The decision not to include a control group was based on the following ethical considerations in early childhood research: (1) The study adopted a quasi-experimental, action research design conducted in a natural setting within a single kindergarten to ensure the continuity and integrity of the curriculum. (2) From an ethical perspective, excluding some children from the digital music curriculum would result in unequal access to learning resources, which conflicts with the principle of “the best interests of the child”. (3) The curriculum was designed based on the Holistic Music Educational Approach for Young Children (HMEAYC), and all participating pre-service teachers received the same training in digital pedagogy and information ethics. Implementing a control group would require running two different instructional models simultaneously, creating substantial complexity in curriculum planning and teacher allocation. (4) The primary aim of the study was to examine changes in children’s musical behaviors and multisensory engagement at different stages of digital technology integration. As a result, a phased implementation design was employed for the purpose of allowing internal comparisons while reducing external confounding variables.

In conclusion, the research described in this study made a relevant point: when digital technology is used appropriately, and planned and integrated with ethical thinking, it can facilitate richer and more integrated learning experiences for young children. In music-based or game-based teaching situations in particular, technology has the potential to facilitate children’s creativity, self-expression, and sustain their engagement longer. To truly realize this potential, teachers’ continuous professional growth in digital teaching and ethical practice will be an indispensable and important force. Nonetheless, this research study has limitations, including a lack of control group and involving a single kindergarten environment, which could restrict generalizability. Future research could be undertaken with a view to obtaining more comprehensive feedback from participating pre-service teachers regarding their perceived benefits to their own learning and professional development, as well as children’s self-assessment in relation to their own experience in the digitally integrated music activities. This information could provide more vibrant representations of the benefits to both educators and learners and would provide important references for developing effective curricula in the future.

6. Conclusions

This study explored the impact of integrating digital technology into a multi-sensory music education framework, specifically the Whole-person Music Education for Young Children (HMEAYC) model, on children’s learning outcomes. In this 16-week course, children were provided with digital teaching aids such as interactive music mats, light and sound devices, and soundscapes, and the observation findings revealed that these technologies began to enhance children’s spontaneity and imitative behaviors in music activities and enhanced their sensory integration, motor coordination, and expression. While there were swings in the children’s learning performance, particularly in the early onboarding stages with the new technologies, over time, they became more accustomed to the learning process and began exhibiting increased curiosity, creativity, and active participation in the music activities. These findings demonstrate that technology, when developmentally appropriate and well thought out, can support children’s conception, emotional, and physical development, especially when the teaching context is hybrid games and art. Overall, the study identifies one critical aspect: when designing a digital environment and learning for children, the focus should be on the stimulation of children’s creativity and autonomy by teaching them inquiry, meaningful interaction, and participation. At the same time, teachers also need to have basic digital literacy and information ethics awareness to ensure that the use of technology tools is responsible and truly meets the development needs of young children. When technology is used appropriately, it is not only a technology to assist teaching, but also an important medium to create a happy, meaningful, and deep learning experience, helping children move towards the goal of all-round development.