Inclusive Music Education in the Digital Age: The Role of Technology and Edugames in Supporting Students with Special Educational Needs

Definition

Inclusive music education refers to the use of musical experiences and practices as tools for promoting participation, equity, and meaningful engagement among all learners, including those with Special Educational Needs (SEN). Music education has long been recognized not only for its value in emotional expression and cultural transmission but also for its cognitive and relational benefits. This entry examines the inclusive and transformative potential of music, highlighting how it can foster equitable, accessible, and culturally relevant learning environments. Drawing from pedagogy, neuroscience, and educational technology, the entry explores how music contributes to cognitive, emotional, and social development, with a focus on learners with SEN. It emphasizes the importance of early exposure to music, the strong connections between music and language acquisition, and the need to challenge persistent misconceptions about innate musical talent. The findings demonstrate that when supported by digital tools and educational games, music education becomes a powerful driver of inclusion, enhancing participation, relational dynamics, and cognitive engagement. The entry concludes by advocating for a reimagining of music not as a secondary subject, but as a foundational component of holistic and inclusive education, capable of building more empathetic, connected, and equitable societies.

1. Introduction

Music, since its most archaic origins, has accompanied humanity as a privileged form of emotional expression, symbolic communication, and social cohesion. Its educational implications, however, have often been associated with a role more connected to the creative sphere. In fact, a growing body of research in the pedagogical, neuroscientific, and anthropological fields has highlighted the educational value of music as a universal language, capable of stimulating the cognitive, affective, and social development of individuals from very early childhood.

In this framework, this contribution intends to offer an articulated reflection on the role of music education as an inclusive and transformative tool, analyzing its potential in promoting equitable, accessible, and culturally significant educational paths, with a particular focus on new technologies. Music is therefore explored not only in its aesthetic-artistic dimension, but as a didactic device capable of enhancing diversity and encouraging learners’ active and conscious participation, with particular attention to those who have Special Educational Needs.

2. The Importance of Music for Education

In the context of biological and cultural development and growth, as well as education, music has always taken on an important role. Music, in fact, has a significant impact on the development of the brain and cognitive abilities. Neuroscientific studies [1] show that exposure to music can improve brain plasticity, affecting skills such as memory, attention, and motor coordination. In addition, in children, music promotes the development of language and communication skills, and it helps to keep cognitive functions active and prevent neuronal decline in adults of all ages.

Music is also a central element in the cultural identity of every society. It passes on traditions, values, and stories through generations, strengthening the sense of belonging and community. Music, therefore, presents itself as a form of cultural expression that reflects the historical and social context in which it is produced [2]. In addition, globalization has favored the encounter between different musical genres, enriching the world’s cultural landscape and favoring intercultural dialogue. From an educational point of view, music education plays a fundamental role in the education of individuals, both in and outside of school [3]. Music stimulates creativity, discipline, and problem-solving skills, improving soft skills, and positively influencing academic performance in other disciplines, such as mathematics and languages. Music plays a crucial role in the development of a wide range of cognitive and personal skills that extend far beyond the artistic domain. Among these, creativity, discipline, and problem-solving abilities stand out as particularly significant, with a growing body of research highlighting the positive impact of music education on academic performance in other areas, notably mathematics and language learning. First and foremost, music stimulates creativity by encouraging students to explore, interpret, and sometimes even invent musical ideas. Whether composing a piece or performing an existing one, musicians engage in imaginative thinking, making novel connections between sounds and experimenting with expressive possibilities. This process fosters divergent thinking—the ability to generate multiple solutions to a problem—which is a valuable skill in both academic and professional contexts. Discipline is another key benefit. Learning an instrument requires consistent practice, goal setting, time management, and the patience to progress incrementally. These habits build a strong foundation for academic success, as students learn to approach challenges with persistence and structure. The routine of regular practice also helps students cope with frustration and develop resilience.

In addition, playing music involves continuous problem-solving. Musicians must identify technical or interpretative issues, analyze them, and apply strategies to improve. During ensemble playing, they also need to adjust dynamically to the group, listen attentively, and respond in real time, skills that directly translate into better analytical and collaborative abilities in academic and everyday life. Beyond these, music education enhances a range of soft skills. Participating in musical activities improves active listening, communication, teamwork, emotional regulation, and empathy. These interpersonal skills are increasingly recognized as essential in modern education and the workplace.

Moreover, the influence of music extends into core academic disciplines. For example, in mathematics, music fosters an understanding of patterns, ratios, fractions, and temporal organization. Reading rhythms and recognizing musical structures engage the same neural pathways involved in numerical reasoning, which helps strengthen mathematical thinking. Furthermore, in the context of language learning, music enhances auditory discrimination and phonological awareness, both of which are crucial for acquiring vocabulary, pronunciation, and grammatical structures. Memorizing lyrics and singing also support verbal memory and retention, making language acquisition more intuitive and effective. For these reasons, music education does not operate in isolation; rather, it enhances a broad spectrum of intellectual and emotional capabilities. By nurturing creativity, fostering discipline, and developing both cognitive and social skills, music provides students with tools that benefit them across all areas of learning. In addition, group musical experience develops social and cooperative skills, promoting respect and empathy between individuals. It turns out that music is not only an aesthetic experience but a fundamental tool for individual and collective development that affects biological growth, the construction of cultural identity, and educational training.

In particular, the scientific literature of reference places the musical element at the center of an interdisciplinary dialogue, in which it seems clear that music is not configured exclusively as a harmonic interweaving between notes, but rather as a protean instrument capable of assuming, from time to time, different potentialities [4,5,6].

The musical element, therefore, is to be considered in its broader connotation of sound, which is found in processes that are not exclusively executive, but communicative [7], expressive [8], and dialogical, and in which the sound itself assumes the role of intersystemic connection between the sender and the recipient. Moreover, it should be noted that the dimension of musical action takes on the same characteristics as communicative action, as it was created to transfer content, convey messages, as well as having the objective of satisfying the user from a strictly aesthetic point of view. In addition, it is interesting to underline that music, declined in the wider area of sound, assumes a vicarious function [9,10], capable of achieving multiple objectives even in the unity of the medium and the object.

Precisely for this reason, music has now become an ontological object of study in the educational field [11,12] and, more specifically, within inclusive education [13,14,15]. Its inclusive potential lies in the fact that sound is accessible to all, regardless of language, cognitive level, or physical ability, making it a universal medium through which participation can occur. Sound is attested as a means capable of promoting the full participation of everyone in activities, offering a multiplicity of training experiences that can be planned and implemented with others. In this sense, sound favors the full correspondence between the professional action of the teacher and the actual realization of what has been designed, according to a flexible mechanism of circularity praxis-theory-praxis [16]. The inclusive processes, which presuppose this circularity, find their significance in interaction [17], i.e., in common and organized work [18], and are fully verifiable in musical activities. They are focused precisely on doing, operating and acting together, restoring meaning to relationships, and favoring processes in and with music in which we witness the full realization of the take in care [19], an educational paradigm supported by numerous national and international norms [20]. These processes have taken the musical path as the possible way to exercise inclusion in a perspective that is also democratic [21], in which everyone is free to express themselves according to the forms most suited to them, attributing to the sound-musical component the space of recognition of the self and the other than oneself. For precisely this reason, the school highlights the centrality of working with music and keeping in mind the many declinations that music can have, taking care to encourage a suitable training for teachers that allows them to reflect during the action [22] and about their own strategies of didactic-musical intervention, following an operational perimeter capable of responding to the needs of the singularity and of the community itself [23].

Two essential structures should not be omitted: biology and the extension of the human mind, i.e., new technologies [24]. First of all, the biological element is rooted in the act [25], and therefore, in the musical exercise carried out when one interacts with others to make music and become sound. The musical exercise, in fact, presupposes the activation of specific biological and cerebral components which are capable of merging with the immaterial part of the self, and traceable in the culture that welcomes those who act and shape behaviors, orienting them. The exercise favors co-evolution according to a possible approach between materiality and immateriality [26,27]. Therefore, making music in an inclusive key implies an approach to research that follows the dual path of investigation, that is, that of music as a factor capable of promoting personal and interpersonal development, assuming the path of bioeducation as an epistemological posture. However, this approach requires a long look at the context and the mutability it assumes in relation to the changes inherent in the communicative modes in which the sound is placed. Today, in fact, thanks to the advent of new technologies, we are immersed in sound pervasiveness, which constitutes the space in which the learner is also able to express themselves and which can constitute the tool for operating according to a learner-centered approach [28].

In light of the evidence summarized above, it seems essential to improve and increase the musical training of teachers, which should not be limited to a theoretical knowledge of the discipline but include practical skills related to the musical language, its fundamental structures, and its didactic application. Only in this way will it be possible to provide learners with the tools to develop cognitive, relational, and active expression skills, while consolidating transversal skills useful for harmonious growth. Sabaino [29], in this regard, proposes a distinction between music-ποίησις, understood as the creation and discovery of new languages and meanings, and music-ἐπιστήμη, which is configured as more specific and sectoral musical knowledge, suitable for subsequent school levels. Both approaches, appropriately done, would allow music teaching to be adapted to the cognitive and intellectual abilities of evolving learners.

Further attention must be given to the persistence of naïve conceptions relating to music, such as the idea of musical predisposition or talent, which risk limiting access to music education only to individuals perceived as gifted. Gordon [30] openly criticizes this view, highlighting how excluding students considered less “predisposed” represents a significant waste of human potential. A deeper reading of the term “talent”, whose original meaning—τάλαντον—recalled the idea of measure and balance, suggests that it is not a necessary or sufficient condition for learning, but only an element that can facilitate it.

Finally, to overcome these problems—such as the marginalization of music in schools, the lack of adequate training, and the difficulty of integrating sound-based activities into inclusive educational practices—it is essential to promote the musical literacy of future teachers, as suggested by Comploi and Schrott [31]. Strengthening their musical competence not only enhances their confidence and ability to use music as a pedagogical tool, but also equips them to create more engaging, inclusive, and multisensory learning environments. These underline how the current training system lacks minimum requirements of musical competence, with about two-thirds of graduates lacking adequate preparation. To improve the musical educational landscape, therefore, it is essential to enhance both initial and in-service training of teachers while promoting the practice of sharing skills between teachers and the support of experts in the field [12,32]. Only through targeted interventions will it be possible to create a new generation of teachers capable of fully exploiting the educational potential of music.

Instead of talking about talent, therefore, it would be more correct to refer to musical aptitude. According to Somigli [33], this attitude is present in all boys and girls from birth, just as it is for language or mathematics. Leaving aside the idea that only the talented can learn music would allow us to offer a meaningful musical education to every child, making it an essential part of their cultural baggage. However, as Frabboni points out [34], scholastically, there is a risk of underestimating the formative and educational value of these disciplines, preferring teaching based on rigid instructions in educational contexts, and relegating music and other artistic expressions to mere recreational activities. Biasutti [35] adds that music is often considered secondary to linguistic or mathematical disciplines, rather than being recognized as a valuable resource that can enhance students’ educational potential. This perception tends to marginalize music within school curricula, treating it as an accessory rather than an integral component of holistic education. However, numerous studies have shown that music supports the development of key cognitive skills that directly benefit language and mathematics learning, such as auditory discrimination, pattern recognition, memory, attention, and abstract reasoning. For example, rhythmic training can improve reading fluency and phonological awareness, while engagement with musical structures strengthens numerical and spatial-temporal abilities. Therefore, rather than viewing music as separate from core subjects, it should be integrated as a complementary tool that enriches and supports interdisciplinary learning processes.

In schools, musical activities would often be perceived as moments of leisure, without planning that helps to achieve the educational objectives indicated in the national programs. This “recreational” legacy of music could be overcome by integrating the musical language in a more structured way, linking scientific discoveries with concrete models of educational intervention. The goal should be to promote inclusive educational experiences capable of enhancing diversity and promoting the development of listening and musical production skills in children. Music does not limit itself to teaching a communicative code, but broadens children’s horizons of growth. Damiano [36] points out that tools such as simulation games and dramatization, enriched by music, help children to identify with roles, to motivate themselves, and to live complete experiences that involve mind, emotions and body.

It is crucial to emphasize, however, that a well-structured music education does not end with the acquisition of technical skills, such as singing or the use of an instrument. Rather, it represents a vehicle of human formation, capable of fostering the development of existential skills [37]. Working with and for music with boys and girls implies a deep trust in their developmental abilities, as well as the belief that education can transform the world and that love for music is a key tool for human progress. Embracing this vision implies the belief that education—and music in particular—can trigger an emotional spark in young people, motivating them to contribute to changing the reality around them [38]. To achieve such an ambitious goal, it is necessary to understand the intimate connection between music and language. The ontological relationship between music and language is further confirmed by the hypothesis in musicolingua, before the birth of historical languages [39]. This concept explains the structural and semantic similarities between the two systems: just as each language has intonations, rhythms, and a specific character, so each musical composition has an articulated structure, minimal units of meaning, and emotional and communicative content. From this point of view, music can be considered an authentic language, endowed with its own morphology, semantics, and pragmatics.

Notes, as phonological units, form the basis of the musical system. Their combination generates musical motifs or phrases, which acquire meaning as real sound morphemes. Similar to verbal language, there are several musical languages, each based on its own alphabet of scales and tonalities, used to convey the composer’s message. To these are added the rhythm, the dynamic code—which regulates intensity and expressive accents—and the timbre, determined by the instrument used; all of these elements contribute to the transmission and interpretation of the musical meaning [40].

Gardner [41], in his analysis of musical intelligence, highlights further parallels between music and language. Music, like language, has levels of analysis and sensitivity that human beings perceive, assimilate, and manipulate. Individuals exhibit innate patterns for listening to and understanding music, predicting the continuation of a tune, and completing it in a meaningful way. This innate ability to interact with music not only allows us to understand its meanings, but also allows us to create new sound messages, further enriching the dialogue between individual and universal expression. In the light of these reflections, music education should be conceived not as a marginal or recreational activity, but as a pillar of integral education, capable of stimulating the cognitive, emotional, and cultural development of each individual, thus contributing to the construction of a more empathetic and aware society.

The peculiar affinities between music and verbal language have been the subject of numerous studies and reflections, including those that have inspired the development of the mother tongue method in the field of music education [42]. This approach is based on the awareness that musical learning follows dynamics similar to those of verbal language: a spontaneous process, supported by constant listening and active interaction with a context rich in musical stimuli. According to Chomsky, language acquisition is made possible by an innate schematism [43], a cognitive mechanism that allows children to absorb and reproduce speech acts present in their surroundings. In the same way, this natural predisposition can be applied to musical learning: every boy or girl possesses, from birth, the potential to understand and practice musical language, a potential that can be cultivated through conscious and methodical exposure.

The interaction between music and language is not only theoretical but is also reflected in neuroscience. As observed by Proverbio, early exposure to music favors the acquisition of language skills, including those related to the mother tongue and foreign languages. This synergy is due to the close interaction between the cortical areas responsible for music and language processing in the auditory cortex, particularly in the superior temporal gyrus [44]. A turning point over traditional methods of music education is the recognition that, just as children learn to speak before reading or writing, they can learn to play an instrument through listening and imitation, rather than through formal music theory or notation [45]. In this perspective, teaching scores and the rules of notation first, as often happens in traditional systems, would be analogous to teaching reading before speaking: an approach that can be counterproductive when compared to the natural, experiential way children learn. A compelling example comes from many autistic children who show remarkable musical abilities, particularly at the piano, despite having little or no exposure to formal notation. Their intuitive engagement with sound demonstrates how musical understanding and expression can develop independently of symbolic systems, highlighting the importance of privileging listening, imitation, and creative exploration, especially in inclusive educational contexts.

Mental plasticity and imitative instinct, typical especially of early childhood, are ideal conditions for an effective musical education. Akdeniz [45] emphasizes how precocity in musical learning is crucial for the development of musical and sensory skills, since this learning window progressively reduces with age. Imberty also highlights the fundamental role of voice and vocal play in the early stages of life, attributing to these elements an organizing value in emotional and cognitive development: “early musical education, in particular the education of vocal sensitivity and skills, can contribute to preserving and expanding the acquisitions of the first years of life” [46] (p. 3025).

As a result, early music education not only facilitates the development of musical competences but also contributes to strengthening linguistic, cognitive, and emotional skills. Immersing boys and girls in a stimulating musical environment [47,48] from the earliest years of life represents an essential educational investment that is capable of expanding the children’s expressive possibilities and enriching their personal and cultural growth.

Furthermore, arguing that it is possible to learn the language of music even in old age is not the same as denying the importance of early education. The human brain, thanks to its innate plasticity, retains the ability to adapt and learn even in the years following childhood, and it is not possible to identify a “critical period” beyond which the acquisition of musical skills is impossible [49]. Although it is possible to start studying music as an adult, achieving satisfactory results thanks to traditional methodologies, early music education offers unique advantages for the integral development of musical skills.

The main difference between traditional and early-childhood education methods lies not in the results, but in the cognitive, sensorimotor, and mnemonic processes that are involved during learning [45]. The motor, auditory, and cognitive skills of children are particularly malleable in early childhood, significantly facilitating the learning processes and the internalization of musical language. Brain plasticity, a key element of child development, is a precious resource that can be cultivated through targeted educational programs. Hyde et al. showed that, after 15 months of musical practice, the brains of the children involved in a longitudinal study showed significant structural changes, particularly at the level of the corpus callosum and motor cortex. The authors emphasize the importance of such findings, stating that “these findings on structural plasticity in the infant brain suggest that long-term intervention programs may facilitate neuroplasticity in children. Such an intervention could be of particular importance for children with developmental disorders and for adults with neurological diseases” [46] (p. 3019).

3. Music, Education, and Inclusion

To outline the relationship between musical education and inclusion, it is useful to start with the analysis of the concept of inclusion, i.e., the process through which a cultural openness capable of designating a condition of acceptance and accompaniment to the life of each subject is promoted, both in conditions of disability and not [47]. This action is supported by the desire to guarantee that everyone, regardless of their condition, is able to act independently in all contexts of life, enhancing their identity and becoming a citizen of the world in all respects. This leads to shifting the focus and analysis of intervention not only to people, but to contexts [48]. In the school field, it implies the ability to respond to the different needs expressed by learners during their school career, removing all barriers that hinder learning and encouraging the participation of all pupils in school life regardless of any situation of disability and linguistic-cultural diversity or economic-social disadvantage, with the goal of preventing the phenomena of marginalization and discrimination [49,50]. This implies a type of shared action [51] aimed at valuing all subjective differences, affirming the equality of rights, through professional action aimed at achieving the educational success of everyone [52].

From an inclusive perspective, therefore, music appears as a tool for communication between individuals [53,54] ready to share, through a song or a particularly well-known famous melody, patriotic ideals, or personal feelings, opening a channel of socialization capable of favoring individual free expression. It could be said that music generates a reciprocal relationship between those who produce it and those who receive it, also favoring an educational process [55] that capable of forging the personality, creating a continuous exchange between those who learn and those who teach [56]. The emotional, experiential, and formative interchange that emerges through music would lead to an even broader action, aimed at involving the environment, understood not only as an element external to the human being, but also as an internal one [57]. Music teaching, therefore, can be a discipline that helps students self-regulate, learn to modulate their feelings, and satisfy their emotional needs, overcoming situations of stress and tension [58] through the expression of themselves with others. This leads to the formation of a type of participatory culture [59] that is capable of forging minds through creative, interactive, and expressive processes, which gradually lead to a form of humanizing self-realization [60].

Recalling the same National Guidelines for the curriculum of kindergarten and first cycle of education [61], while describing the goals to be achieved at the end of the first cycle of education and analyzing the importance of music, the guidelines suggest to teachers that establishing training courses capable of connecting the expressive potential of music itself is necessary. These courses are understood as a unifier of the cognitive-cultural, linguistic-communicative, and critical-aesthetic spheres. Working didactically with music would favor the learner’s development from a personal, emotional, and physical point of view. Working with music would imply further work, through the body that generates it, with the involvement of all the physical structures of man, from the limbs to the voice. The body that generates music and the soul that attributes meaning are chrysalises of personal experiences. Music combines the physical sphere with emotionality, becoming an expedient for the improvement of singularity and diversity, and a support for learning for anyone who uses it, regardless of their peculiarities or limitations, offering opportunities for everyone. Therefore, starting from the construction of learning environments that give space and value to the contamination of the senses through interaction with music, could be a way to develop a subsequent understanding of the self along with an awareness of the peculiarities of each individual and his or her own culture [62]. Music teaching could offer such opportunities, since it is adaptable and, above all, characterized by both playful and practical-operational traits, according to typical laboratory studies [63]. Moreover, it is attested that Séguin [63], in defining an educational system for pupils defined as having particular educational needs, recognized music as the instrument capable of fostering interesting experiences, especially if it is fast, powerful, and devoid of references to verbal meaning. Music understood in a cooperative and collaborative sense, as well as a practical one, helped the author overcome loneliness and incommunicability, which are often preponderant obstacles in the presence of pupils and pupils with special educational needs. As well highlighted by Concina [28], knowledge, experimentation, and the use of music as a communication tool are essential elements for the full development of future generations. The ability to play an instrument, to express one’s emotions through singing, and to decode complex messages through listening to sound sequences constitutes a set of unique and distinctive skills of humans, closely linked to musical and communication skills [40]. Music, in addition, is a universal component present in every known human culture, characterized by continuous evolution and a deeply rooted role in the life of everyone. Even those who have not received formal musical training are inevitably exposed from very early childhood to the sound stimuli of the surrounding environment, which significantly shape and influence their development. Even before birth, the fetus meets the sound environment that surrounds it. Properly stimulated, it reacts to musical signals, synchronizing with the rhythm and showing movements that persist even after the music has stopped. As Music [64] (p. 27) observes, the child “learns to recognize the sounds that will later be his favorites”. Therefore, prenatal listening constitutes the first encounter of the human being with music and sounds, moments that are fundamental for development and will significantly contribute to the formation of the individual.

Many scholars have questioned the origins of music [65,66]. On the one hand, the evolutionist perspective, inaugurated by Darwin [65], interprets music as an adaptation selected in the context of sexual selection, comparable to the calls of birds or other animal species. On the other hand, the hypothesis emerges that music may represent a final development of a music language, a primitive form of sound and emotional communication that precedes articulated language. A distinctive aspect of human music, compared to bird songs, lies in its ability to convey emotions. As Ball argues [39], this emotional function makes music more akin to the sonorous calls of primates, such as the pant-hoot, emitted in situations of strong emotional involvement [67]. This interpretation suggests that, before the affirmation of an articulated language, human beings expressed themselves through a music language, capable of transmitting emotions and, in some cases, semantic meanings. The parallel evolution of music and language would later lead to their progressive independence, although traces of this primitive interconnection remain today, for example in the tonal languages and ritual songs of pre-literary cultures, used to codify relevant knowledge.

Among the main inclusive music pedagogies are approaches such as the Suzuki Method, developed by Shinichi Suzuki, which is based on the idea that music can be learned like a mother tongue, emphasizing listening, a supportive home environment, and repetition; Edgar Willems’ musical initiation, which focuses on sensory, emotional, and motor education to foster harmonious and holistic musical development; and the Kodály Method, created by Zoltán Kodály, which promotes universal music literacy through singing, folk repertoire, and the use of the body as the first instrument. Although these approaches originated in the last century, they remain highly relevant in contemporary educational settings due to their emphasis on accessibility, active participation, and the integral development of the individual.

Gardner [41] points out that, in the first months of life, babies show a natural predisposition to grasping the fundamental elements of music—such as tone, intensity and rhythm; in fact, they are more sensitive to this than to the central aspects of language. This phenomenon not only highlights the analogies between the processes of musical and natural language acquisition, but proves that infants are intrinsically more receptive to sound and singing stimuli than strictly linguistic ones. This early sensitivity could represent a further element of connection between the origin of music and that of language. A further distinctive feature of human music, which contrasts its purely adaptive interpretation, is its intrinsic collective dimension. Music, in fact, is configured as a group activity, capable of creating social cohesion, for example, in religious ceremonies, rituals, or community dances and songs. It thus acquires a relational and communicative value, as well as a sacred and ritual one.

Similarly to music, the first encounter with language takes place even before birth: “a relationship with language develops already in utero and [thanks to it] children begin to recognize sounds from the first months of life” [39]. Both languages, musical and verbal, represent privileged modes of interaction, especially in the mother-child relationship. Mothers (but also fathers and other caregivers) of all cultures spontaneously adopt a peculiar language, known in literature as materese or parentese. This communicative style, characterized by high tones, prolonged vowels, marked articulations, short pauses and numerous repetitions, is particularly effective in attracting the attention of newborns, who seem instinctively fascinated by ascending and descending sounds.

Finally, parents, in every cultural context, instinctively resort to music to regulate the emotions of newborns, for example through sweet melodies and lullabies. Such early exhibitions contribute to the formation of an individual music library that will represent the cultural basis for the interpretation of more complex social experiences, including language understanding and communication [54]. The importance of early parent-infant interactions is further confirmed by Dissanayake’s observations, who states: “Babies as young as eight weeks or younger are perfectly attuned to the musical narratives of their mothers and others. They are born expecting interaction and coordination with another person in a shared time frame—in other words, they are born ready to become musical. So music is in our nature. It has existed since the dawn of our species, more than a million and a half years ago, and is in our origins, at birth, as individuals” [68] (p. 3).

This statement emphasizes how babies and infants can perceive and progressively understand music. This interpretative capacity, if properly exercised from early childhood, brings significant benefits to the cognitive, social, interactional, and cultural development of the individual [29]. However, analyzing the evolution of Italian legislation and the ministerial programs dedicated to music teaching, a reality emerges characterized for a long time by a long-term marginalization of the discipline, often considered accessory and non-essential. Singing was only elevated to the rank of compulsory discipline after the Gentile reform [38]; it has maintained this prerogative, at least in the first cycle of education, up to the present day.

The National Guidelines for the Curriculum, already mentioned, finally restored greater dignity to music education, recognizing its educational value starting from Kindergarten, for example, in which music is explicitly mentioned within the field of experience of “Images, sounds, colors”. Objectives include the following: “[the child] follows with curiosity and pleasure shows of various types (theatrical, musical, visual, animation...); develops an interest in listening to music and enjoying works of art. He discovers the soundscape through activities of perception and musical production using voice, body and objects. Experiment and combine basic musical elements, producing simple sound-musical sequences. He explores the first musical alphabets, also using the symbols of an informal notation to encode perceived sounds and reproduce them [61] (p. 20). Similarly, in Primary School, the goals for the “Music” discipline include creative processing of sounds and rhythms, both individual and collective, aimed not only at promoting active listening skills but also at fostering an inclusive and collaborative climate in the classroom.

Although the regulatory framework seems to attribute increasing importance to music as an educational tool, its effective application in schools is often problematic. Among the main critical issues is the insufficient musical preparation of teachers in the first cycle of education. According to Ferrarese, “very often the teacher considers himself too incompetent and experienced to be able to organize musical activities appropriate to the class group and to the educational objectives of reference and, even more often, he gives up putting into practice his own “know-how” (even if limited) for fear of proposing something incorrect or insignificant” [32] (p. 30).

4. Music Education and New Technology for Inclusion

Music takes on a catalyzing function in the process of using inclusive technologies. An example of this is the synergy between musical elements and Edugames, which is able to enrich the gaming experience and deeply influence the player. Music is not only a means of entertainment, but becomes a real narrative and educational device, as it has the ability to convey emotions and create atmospheres, further intensifying the player’s immersion in the game’s plot [69]. A well-structured soundtrack can emphasize moments of tension or triumph, making the experience more immersive and memorable. For example, an epic melody can reinforce feelings of victory, while a melancholic musical theme can emphasize dramatic moments. Klimmt et al. [70] emphasize the importance of music as a narrative medium within video games, traceable in particular in recurring musical themes, or leitmotifs, which can be associated with specific characters, events, or settings, creating a narrative coherence and a unique sound identity for each game. In addition, video game developers often collaborate with composers to create interactive soundtracks that adapt in real time to the player’s actions, making the sound experience even more immersive and personalized [71].

Music is therefore not limited to improving gaming experience; it also takes on a didactic function thanks to its intrinsic characteristics and components, such as rhythm, melodies, and educational texts, which can convey complex concepts in an accessible and engaging way. According to Gower and McDower [72], the integration of music into edugames facilitates learning and memorization in learners with Specific Learning Disorders, transforming the educational process into a pleasant and motivating experience. This combination of music and play also promotes inclusive processes in toto, making the educational adventure accessible to different learners with different needs and learning styles. Morris and Powers [73] underline how music can increase the emotional involvement and narrative of an edugame, helping to create a stimulating and inclusive educational environment. The ability to customize the sound experience according to the player’s needs is particularly relevant for students with learning difficulties, who can benefit from sensory and concrete stimuli to improve their performance.

Video games, including edugames, integrate musical elements to enhance the storyline and overall experience. According to Fritsch and Summers [74], these elements include: soundtracks, i.e., composed of pieces of music created specifically for the game, which vary according to the setting, situations, and emotions to be evoked; sound effects, these include individual sounds that reproduce actions or events in the game, helping to create a more realistic and immersive experience; dialogues, where voices of the characters convey information and enrich the narrative; sound settings, such as background sounds that create an immersive atmosphere, such as the sound of rain or birds chirping; interactive music, which includes compositions that dynamically adapt to the player’s actions, making the sound experience more dynamic; finally, jingles and feedback sounds are short beeps that provide immediate feedback on the player’s actions.

These elements, harmonized with visual and narrative components, create a rich and personalized educational experience capable of responding to the specific needs of learners [75]. The aspect of personalization, i.e., the adaptation of the medium to the peculiarities inherent in children, is interconnected with the pedagogical-inclusive reflection of virtual accessibility. In the digital age, in fact, ensuring accessibility and inclusion is a key priority. One of the main challenges is to make content usable even for people with learning difficulties.

A first exemplary form of this process applied to digital and musical devices can be seen in speech synthesis, among which Balabolka is particularly interesting. Balabolka is a software that converts written texts into MP3 audio files, giving you the ability to adjust the speed, tempo, and volume of the narration. This feature is particularly useful in edugames, where the generated audio files can be integrated into the game’s narrative to support students in understanding the instructions. For example, in a game that requires you to complete an objective quickly, the player can choose the speed at which the instructions are played, adapting it to their needs. Herawati [76] emphasizes how tools such as Balabolka contribute to a democracy of language, making educational resources accessible to all, regardless of personal difficulties. This technology is particularly relevant for pupils with dyslexia, who can benefit from an audio medium for reading and comprehension of texts.

The interesting aspect that emerges in the use of the tool is the strong push towards the customization of content and game experiences. Technologies such as Balabolka, combined with musical and narrative elements, can be used to create tailor-made educational paths, responding to the specific needs of each student. This is because transforming written text into an MP3 audio file using text-to-speech introduces barriers related to inherent limitations, particularly when it is not possible to hire narration professionals or sound engineers who are experts in processing recorded audio. Because of this exact situation, it is useful to introduce and use conversion tools, which are easily accessible and do not require particular previous skills; Audacity is one of the most common tools. This open-source software offers advanced audio recording, editing, and production capabilities, ensuring easy access even for novice users thanks to its intuitive interface [77]. Audacity allows for advanced audio editing operations, such as sound amplification, background noise reduction, and pitch adjustment. These features are valuable when it comes to recording authentic audio content, perhaps aimed at possible inclusion in edugames, or perfecting supporting sound effects [78]. Accurate editing of audio files enhances the overall player experience, making it more engaging and motivating. In particular, the use of carefully recorded and modified sounds allows the user to create a realistic and immersive game atmosphere, favoring the integration of users into the narrative environment.

Sound effects, as pointed out above, play an important role in the in-game experience, as they not only contribute to the creation of realistic environments, but also promote total immersion in the game context [79]. For example, intense, rhythmic sounds can generate tension and suspense, intensifying the pathos of the story, as well as offering a way to explore and manage one’s feelings, both individually and in a group [80]. Well-designed sound effects amplify emotions, from the adrenaline of the action to the satisfaction of a victory, enhancing the overall gaming experience, acting directly on the dopaminergic system and intensifying its production.

Audio effects also can provide immediate feedback; when audio effects are associated with specific actions, such as pressing a button or completing a goal, confirmations are tangible and the sense of fulfillment increases [81]. This type of feedback is also essential to help players evaluate their actions and make more informed decisions during the game [82]. In addition, audio effects can help characterize characters and environments, enriching the narrative and stimulating the user’s imagination [83].

There are many free platforms, including freeSFX, Partners in Rhyme and PacDV, which offer a large archive of preset sound effects that can be used in educational video games. Sound effects take on an inclusive dimension when they are used to motivate and actively engage players [84,85] and, in particular, when they make it possible to encourage players to learn through action through sound sequences and musical riddles, which intervene on attentional work, consequently improving cognitive abilities [86].

Soundtracks are a powerful means of improving attention and stimulating memory. An iconic example is the Super Mario Bros. soundtrack, composed by Koji Kondo in 1985, which is still popular today for its emotional impact and ability to evoke memories. Another example is The Legend of Zelda, also the result of Kondo’s work, which demonstrated how music can become an integral part of the gaming experience [87]. In the 90s, while video game graphics were often limited, sound effects reached high quality levels thanks to the ability to record instruments and voices without significant compression. Works such as Opening Suite for Halo [88] and Arthas My Son for World of Warcraft testify to the evolution of sound in video games and its role in emphasizing emotion and dialogicity [89]. Over the past few decades, graphics and audio have reached a comparable level of development, creating balanced interactive experiences. Soundtracks such as Shadowbringers for Final Fantasy XIV and Here’s to You for Metal Gear demonstrate how sound can integrate seamlessly with the game’s storyline, contributing to stimulating and inclusive experiences.

To develop inclusive games, it is important to choose soundtracks that reflect cultural diversity and celebrate different life experiences [90]. Music can therefore be used as a connective element to foster collaboration between players from different backgrounds, promoting empathy and mutual understanding. Recent studies have explored the role of sound and music inherent in soundtracks, particularly in educational video games, highlighting their importance not only for entertainment, but also for the learning and inclusion of learners with Specific Learning Disorders. For example, Zhang and Zhao [91] examined how immersive audio can improve engagement in serious games, exploring the emotional impact of dynamic music in real time. According to Müller and Wulfl [92], the integration of custom audio effects into educational games can support specific learning needs, making content more accessible and understandable. Shaw et al. [93] have also shown that the use of realistic ambient sounds increases the perception of presence in virtual games, promoting greater participation and learning.

Another expanding field is represented by AI-based tools, such as those offered by Descript and Adobe Podcast, which allow you to quickly edit audio, correcting errors and improving overall quality [94]. The enhancement of the inclusive aspect in the field of music editing and the creation of soundtracks passes through the active involvement of composers and musicians from heterogeneous cultural backgrounds. This allows for broadening educational representation, giving voice to different musical perspectives and promoting greater artistic diversity. This approach involves a constant search for new teaching methodologies, capable of adapting the educational material dynamically and flexibly, helping to improve learning processes for learners with Special Educational Needs.

5. Conclusions

In the light of the reflections presented, it is clear that music represents much more than an artistic activity: it is a universal language capable of activating complex cognitive processes, promoting personal growth and fostering dynamics of authentic inclusion. The educational potential of music, if appropriately integrated into school contexts and supported by adequate teacher training, can be an important tool for breaking down cultural, social and cognitive barriers. It is necessary to overcome the still widespread conceptions that relegate music to mere entertainment, to recognize it instead as a fundamental component of integral education. An early, continuous and accessible musical education for all not only enriches individual development, but contributes to the construction of an active, critical, and empathetic citizenship. In addition, the integration between music and digital technologies opens up innovative scenarios for teaching and learning, making the educational experience more customizable, motivating, and inclusive. These synergies, if supported by a careful pedagogical vision and far-sighted educational policies, can represent a strategic lever for the renewal of the school and for the promotion of a fairer and more cohesive society, considering musical action a right and not a privilege, and an essential educational opportunity for every learner, so that music truly becomes an instrument of inclusion, expression and transformation.