Toward a transversal education model: a review of digital and artistic-musical competencies (2014–2024)

Arts Education Policy Review ISSN: (Print) (Online) Journal homepage: www.tandfonline.com/journals/vaep20 Toward a transversal education model: a review of digital and artistic-musical competencies (2014–2024) Yurima Blanco-García, Rosa M. Serrano & Oscar Casanova To cite this article: Yurima Blanco-García, Rosa M. Serrano & Oscar Casanova (10 Feb 2025): Toward a transversal education model: a review of digital and artistic-musical competencies (2014–2024), Arts Education Policy Review, DOI: 10.1080/10632913.2025.2459917 To link to this article: https://doi.org/10.1080/10632913.2025.2459917 © 2025 The Author(s). Published with license by Taylor & Francis Group, LLC. Published online: 10 Feb 2025. Submit your article to this journal Article views: 235 View related articles View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=vaep20 Arts EducAtion Policy rEviEw Toward a transversal education model: a review of digital and artisticmusical competencies (2014–2024) Yurima Blanco-Garcíaa , Rosa M. Serranob and Oscar Casanovab aFaculty of Education, university of valladolid, Palencia, spain; bFaculty of Education, university of Zaragoza, spain ABSTRACT This study explores the integration of digital and artistic-musical competencies in education, focusing on their potential to foster transversal competencies such as creativity, critical thinking, teamwork, and inclusion. A systematic review of 81 international scientific articles published between 2014 and 2024 reveals that while digital tools are increasingly used in music and arts education, their integration into interdisciplinary and transdisciplinary approaches remains underdeveloped. The findings highlight the benefits of combining technological and artistic competencies for enhancing student engagement, motivation, and skills development. Notably, the COVID-19 pandemic accelerated the adoption of digital tools in education, fostering innovative practices in artistic creation and collaboration. Key methodologies identified include technology-assisted collaborative learning, project-based learning (PBL), technology-assisted collaborative learning, gamification, and service-learning (S-L). However, challenges persist, including unequal access to technology, insufficient teacher training, and difficulties in evaluating competencies developed in integrated learning environments. To address these issues, the study proposes a transdisciplinary education model that integrates digital and artistic competencies into curricula while promoting transversal skills. This model emphasizes active methodologies, inclusive practices, teacher collaboration and holistic evaluation strategies to create an educational ecosystem that prepares students for the demands of a rapidly evolving digital world. The study underscores the need for ongoing teacher training, institutional support, and policy changes to ensure equitable access to resources and effective implementation of transdisciplinary approaches. By fostering creativity and innovation through the convergence of technology and the arts, this model aims to equip students with the skills necessary to navigate the complexities of the twenty first century. This paper explores the pressing challenges and opportunities in contemporary education by examining the integration of digital and artistic competencies. It highlights the increasing reliance on technology in classrooms and the simultaneous decline in arts and music education, which are critical for fostering creativity and innovation. Recognizing the growing demand for transversal competencies—such as creativity, critical thinking, and collaboration—in the professional world, the study investigates how these competencies can be cultivated through the convergence of digital and artistic education. To address these challenges, this paper proposes a transdisciplinary education model that integrates digital and artistic competencies into curricula to foster the development of transversal skills. This model is grounded in evidence derived from a qualitative literature review, as detailed in the methodological section. The findings are structured around three research questions outlined in the study. First, the review examines the integration of artistic-musical and technological languages in education (Q1). Second, it explores how this integration can support the development of transversal competencies such as creativity, inclusion, and teamwork, while also identifying effective methodological approaches (Q2). Finally, the study addresses how institutions and educators can foster a transdisciplinary model that combines music, technology, and the arts to promote these competencies (Q3). Literature review The field of education is currently facing a multitude of complex, interrelated challenges that affect educational quality and accessibility (Aróstegui etal., 2015; Yob & Jorgensen, 2020). Two significant issues are, © 2025 the Author(s). Published with license by taylor & Francis Group, llc. CONTACT yurima Blanco-García [email protected] Faculty of Education, university of valladolid, Ave. Madrid 50, campus la yutera, Palencia 34004, spain https://doi.org/10.1080/10632913.2025.2459917 this is an open Access article distributed under the terms of the creative commons Attribution-noncommercial-noderivatives license (http://creativecommons.org/licenses/by-nc-nd/4.0/), which permits non-commercial re-use, distribution, and reproduction in any medium, provided the original work is properly cited, and is not altered, transformed, or built upon in any way. the terms on which this article has been published allow the posting of the Accepted Manuscript in a repository by the author(s) or with their consent. KEYWORDS Artistic competency; digital competency; transversal competencies; music education; stEAM 2 Y. BLANCO-GARCÍA ETAL. on the one hand, the integration of technology, which necessitates significant methodological adjustments (Serrano and Casanova, 2022) and, on the other, the overall decline of general artistic and specifically musical education, both of which are essential for the development of children’s creative thinking (Aróstegui, 2016, 2017; Bath et al., 2020). The increasing reliance on technology in education has exacerbated digital inequities, with disparities in access to digital tools and resources among students from different socio-economic backgrounds (UNESCO, 2023). This digital divide affects not only the basic issue of information access but also students’ general capacity to fully participate in educational experiences (Cabero-Almenara & Ruiz-Palmero, 2018; Gómez-Trigueros & Yáñez, 2023). Moreover, many educational institutions have difficulty transitioning from conventional educational approaches to new student-focused models based on competencies. Many educators experience difficulties adapting their teaching methods to this new form of pedagogy; as a result, they often apply it inefficiently or incoherently (Kröner et al., 2021). Simultaneously, there is a general decline of the role played by music and plastic arts in primary and secondary education. The 2024 PISA report (the 2024 Programme for International Student Assessment, based on data gathered in 2022) does not yet include those two fields in its evaluations. However, it does now include an evaluation of creative thinking, defined as the capacity to generate innovative ideas, judge, and improve upon already existent ideas (CaberoAlmenara & Ruiz-Palmero, 2018; Gómez-Trigueros & Yáñez, 2023). This newly included field in PISA studies encourages all those involved in the educational field to encourage students’ creative thinking through education by promoting appropriate changes in educational policies worldwide (Ministerio de Educación, Formación Profesional y Deportes [MEFPD], 2024, p. 12). The aforementioned 2024 PISA report (MEFPD, 2024) reveals two key issues that need to be addressed: on the one hand, the undervaluation of musical and artistic training at the international level and, on the other hand, the need to promote the development of student transversal competencies. The importance of artistic and, more specifically, musical education has decreased: such subjects are increasingly perceived as irrelevant to a student’s future professional success, as they are not part of standard entrance exams (Fernández Navas et al., 2017), which tend to focus on the short-term impact of national education policies on a country’s economy (cf. Zamorano-Valenzuela et al., 2024). Arts subjects have thus become undervalued, leading to budget cuts and the elimination of arts programs in favor of “core” subjects such as mathematics and science (cf. Gregory, 2017). Politicians and the general population thus increasingly tend to view the arts not as essential components of integral education but as mere “icing on the cake.” For example, many schools in Spain lack course slots and budgets; moreover, artistic interventions, if they occur at all, tend to be poorly equipped (Calderón-Garrido etal., 2021). When university-level curriculums in the field of education are reformed, less and less priority is given to preparing future educators to teach music and the arts (Cremades-Andreu, 2023; Cuenca etal., 2021). Moreover, in the UK, Bath et al. (2020) analyzed government policies that tend to marginalize music education in British state-run schools; they identified typical symptoms, including “accountability measures, funding cuts, curriculum narrowing and erosion of the teaching workforce” (p. 443). Conversely, however, the modern market economy increasingly tends to value competencies developed through artistic and musical education: competencies such as creativity and innovative thinking (Samaniego et al., 2024). Holistic music education foments the intellectual, physical, and emotional development of children and youth within a more creative, reflective, and interconnected environment (Abril, 2023). The reduction of music and art as school subjects most probably adversely affects students’ ability to develop such crucial skills. In response to these challenges, there is growing recognition of the need for transversal competencies— skills like creativity, critical thinking, teamwork, and digital literacy—that are applicable across various life contexts, but such skills are not necessarily reflected in standardized tests such as PISA. Although many countries are working toward developing a more comprehensive curriculum promoting holistic competencies, no exhaustive list of such competencies has been established (Aróstegui, 2022). However, there is a consensus that competencies associated with creativity, entrepreneurship, critical thinking, teamwork, and digital skills are transversal: these are fundamental in helping individuals face future challenges as citizens and professionals (Aróstegui, 2022). UNESCO (2023) has identified ten essential abilities and competencies that enable individuals to navigate it: “Emotional Intelligence, Empathy; Creativity, Critical Thinking; Collaboration; Effective Communication; Complex Problem Solving; Digital Literacy; Learning to Learn; Perseverance or Resilience” (p. 19). These ARTS EDuCATION POLICY REVIEw 3 UNESCO recommendations underscore the relevance of developing generic competencies that can be applied in a wide variety of life situations and educational environments, transcending the barriers of specific school subjects. Such competencies are referred to as “transversal;” they have become a key training element in the educational, social, and professional spheres. Several current initiatives, including the R&D research project “Transversality, Creativity and Inclusion in School Music Projects: An Evaluative Research” (TCIEM, 2023), seek to promote a more integrated focus on transversal competencies by designing interdisciplinary school projects that promote those competencies’ development based on creativity, equal opportunity, digital competency, and an adventurous, entrepreneurial spirit. The convergence of digital and artistic competencies Digital competency is defined as the capacity to use technologies critically, safely, and creatively (European Commission, 2021). It not only includes the technical use of digital tools but also the comprehension of how such technologies can transform the way we learn, work, and communicate with one another (Falloon, 2020). Taking these ideas a step further, we regard digital competency as a transversal competency that involves IT alphabetization, communicative and collaborative capacities, the creation of digital content, knowledge about digital safety and protection, and the ability to apply the most appropriate digital tools to solve problems according to the current objective or requirement, as laid out in DIGCompEdu, the European Framework for the Digital Competence of Educators (Redecker, 2017). “Artistic competency” (often referred to as “cultural and artistic competency”) is the capacity to appreciate the importance of the creative expression of ideas, experiences, and emotions through a wide variety of channels, including music, literature, the visual arts, and the performing arts (Alsina & Giráldez, 2012). Artistic competency involves esthetic appreciation, creative expression, cultural understanding, divergent thinking, and the mastery of specific techniques associated with different forms of artistic expression. Artistic competency is a transversal ability that encourages creativity, critical thinking, and cultural sensitivity. Globally, digital and artistic competencies are becoming increasingly interconnected (Jandrić et al., 2018; King etal., 2017; Treß, 2024). This convergence requires students to merge both. While digital competency prepares students to function and contribute to an increasingly technological world, artistic competency fosters creativity and personal expression, both of which are crucial for innovation and personal and professional development. Interdisciplinary approaches encourage students to apply creative thinking alongside technical skills to solve real-world problems. Such integration not only enhances student engagement but also prepares them for future challenges by developing critical transversal competencies like collaboration and adaptability. This is why integrating digital and artistic competencies represents a transformative opportunity for modern education. By combining technology with creative expression through transdisciplinary methodologies, educators can cultivate well-rounded individuals equipped with the skills necessary for thriving in the twenty first century. An exemplification of this convergence between digital tools and artistic expression education is the STEAM model (Science, Technology, Engineering, Arts, and Mathematics) (Perales & Aróstegui, 2024; Provorova etal., 2023). It is an extension of the former STEM model, which did not include the arts (Leavy et al., 2023). According to Yakman and Lee (2012), the inclusion of Arts disciplines (with the letter “A”) in the STEAM model involves a series of areas associated with Language Arts (including music), Physical Arts (manual and athletic arts); Liberal Arts (Social) (i.e., education, history, philosophy, and politics), and Fine Arts (including aesthetics). The inclusion of the arts in the STEAM model reflects the increasing awareness that creativity and divergent thinking play a fundamental role in innovation and solving complex problems. By combining artistic methods with scientific and mathematical principles, students develop more complex thinking abilities and participate in innovation by looking for solutions to real-world problems. STEAM projects promote teamwork among students from different specialties, thus preparing them for diversified work environments; moreover, they provide students with a practical application of abstract ideas to concrete proposals with significant effects on real-life situations (Filipe etal., 2024; Perignat & Katz-Buonincontro, 2019). The current work environment requires versatile employees capable of approaching problems from various angles and suggesting solutions that transcend the limits of traditional barriers among disciplines. It is thus important to prepare students for a job market that values innovation and the capacity for adaptation. With its creative, holistic approach, the STEAM model is designed to help students develop essential transversal abilities. The progress of the STEAM model has been steady in recent years (Filipe etal., 2024; Perales & Aróstegui, 4 Y. BLANCO-GARCÍA ETAL. 2024; Perignat & Katz-Buonincontro, 2019), but there is still a long way to go. Aspects such as gender equality in STEAM projects and access of all demographic groups to digital competency are challenges that still require attention. A series of STEAM projects launched by the European Union have started to address these issues of gender integration and economic inequality (European Commission, 2020, 2021, 2024). Research methods This paper aims to answer the following research questions in relation to the integration of digital and artistic competencies: • Q1. What does the international scientific literature reveal about integrating artistic-musical and technological languages in education? • Q2. How can that integration help students develop transversal competencies (creativity, entrepreneurship, inclusion, socialization, equal opportunity, etc.), and how can that integration be methodologically grasped? • Q3. How can institutions and educators foment a transdisciplinary model based on the integration of music, technology, and the arts with the aim of encouraging the development of transversal competencies? To respond these research questions, a qualitative literature review was conducted, making a descriptive and comparative analysis of the source document data with the aim of obtaining the useful, necessary information to respond to our three research questions (cf. Flick, 2007). The search followed several phases. In the first, we analyzed documents published from 2014 to 2024. As we started to establish a bibliography of documents to review, we found them by entering the search keywords “Digital Competence” (OR Digital Skill OR ICT Competence) AND “Music Education” (OR Music) AND “Arts education” AND “STEAM”. We examined five multidisciplinary databases: (1) Web of Sciences (WoS); (2) SCOPUS; (3) European Reference Index for the Humanities (ERIH-Plus); (4) Education Resources Information Center (ERIC); and (5) the Arts & Humanities Database. In the screening phase, our inclusion criteria narrowed our focus down to studies that addressed the integration of digital and artistic competencies in educational contexts. Moreover, we applied further filters: document publication date (2014–2024), document typology (our search was limited to scientific articles), and document language (English and Spanish). Our screening phase led to the selection of 81 articles that were ultimately included in this literature review: 18 articles from WOS, 18 from SCOPUS, 14 from ERIH-Plus, 19 from ERIC, and 12 from the Arts & Humanities Database. In the subsequent qualitative literature analysis phase, we observed indicators associated with study contexts, educational level, methodological orientation, and an interdisciplinary orientation that included digital technology, artistic education, and musical education. Derived from this qualitative analysis, we established emergent categories designed to address our three research questions. In our final discussion phase, based on the data obtained in previous phases, we jointly elaborated the proposal of a transdisciplinary education model designed to encourage the development of musical, artistic, digital, and transversal competencies. This model seeks to create an educational ecosystem that supports the inclusion of artistic-musical and technological competencies in the student training process by encouraging students’ creativity, critical thinking capacities, problem-solving skills, and attitudes toward equal access and inclusion. Findings Our literature review revealed that only a few documents adopt interdisciplinary approaches to develop digital and artistic-musical strategies. The majority of the articles analyzed focused on digital competency, particularly in higher education and in the area of art and music teacher training. Of these, the majority focused on the use of technological tools and resources in the area of artistic and musical education with the aim of developing digital competencies of students or pre-service teachers. Further texts focused on the impact of COVID-19 in the transformation of teaching methodologies in relation to technology in the teaching and learning processes, in general, and music, in particular. A lesser number of documents referred to experiences based on the STEAM approach and the benefits it can provide in the areas of creativity, teamwork, educational inclusion, critical thinking, and training 21st-century citizenship. Our selection of 81 articles included documents from 16 countries: Australia, Azerbaijan, Bosnia and Herzegovina, Estonia, Germany, Italy, Portugal, Russian Federation, Spain, Ukraine, and the United Kingdom; from the Americas: Colombia, the United States, and Mexico; and from Asia: China and Hong Kong. Spain was the most highly represented country, with fourteen papers selected for our review. This abundance of texts stemming from Spain may be due to the ARTS EDuCATION POLICY REVIEw 5 emphasis of the current Spanish educational Act (LOMLOE) in the area of training key and transversal competencies in mandatory education and the concomitant repercussions on pre-service teacher training. In terms of researched academic level, most studies in our selection focused on higher education, particularly on pre-service teacher training and, more specifically, in music teacher training, in line with what Marín-Suelves et al. (2022) elicited. In second frequency of occurrence, our selection featured studies of primary and secondary education; the least quantity of studies was associated with professional teaching of music and non-formal educational environments. Our result analysis yielded three emergent categories: 1. Development of digital competencies and artistic competencies. 2. Development of transversal competencies and methodological approaches to achieve them. 3. Toward a model based on the goal of transversal education. Development of digital and artistic competencies Scientific publications in the field of education are displaying an increased interest in the integration of artistic-musical means of expression and technological skills in the teaching-learning process; not only ever since the dawn of the digital age but particularly more recently in the post-pandemic world (González-Zamar & Abad-Segura, 2021; Leavy etal., 2023; Marín-Suelves et al., 2022). Several studies point out the benefits of that convergence, which allows students to explore new means of expression (Kröner etal., 2021; Lavrentieva etal., 2023; Samaniego et al., 2024). The increasing incorporation of artistic, musical, and technological competencies in the curriculum also increases their motivation, participation, and engagement in the learning process, not only in formal educational contexts (Calderón-Garrido et al., 2019; Izquierdo & Fernández Maestre, 2020) but also in non-formal ones (Schols & de Haan, 2016). Artistic and musical competencies are thereby tangibly improved, and students can develop digital skills that are essential for the twenty first century (Kröner et al., 2021; Leavy et al., 2023; Mascarell, 2019; Papanastasiou et al., 2019). The convergence of these means of expression facilitates a more holistic and interdisciplinary orientation of the teaching-learning process, encouraging students to find connections among diverse areas of knowledge (Dragone & Rosa-Napal, 2021; Samaniego et al., 2024). Digital and artistic competencies in teacher training and professional development The articles we consulted shed light on teachers’ technological competencies in the context of integrating the latter with the arts. Studies conducted by Asad etal. (2021) and Calderón-Garrido etal. (2021) identified a considerable gap between teachers’ competencies and the technological competencies required for effective classroom integration. Teacher attitudes toward technology are essential on the road toward their effective adoption and integration (Bravo Villares & Fernández Sánchez, 2022; Colás-Bravo & Hernández Portero, 2014; Mateos-Moreno & Bravo-Fuentes, 2023). The latter studies showed that positive perceptions regarding the usefulness and ease of use of technologies are correlated with a greater integration of technologies in teachers’ day-to-day practice. The literature in our review identified a series of specific technological competencies that are necessary for the effective integration of artistic and musical education: knowing how to use audio and video editing software, familiarity with digital creator platforms and online collaboration tools (Colomo & Cívico, 2023; Morreale, 2022; Peñalver & Porta, 2021). The scientific literature also highlights the relevance of technological competencies in pre-service teacher training, particularly in the areas of artistic and musical education (Stojanović, 2023; Usca et al., 2024; Wan, 2022). Studies show that teachers with solid training in educational technologies are more likely to integrate these tools into their pedagogical practice. For example, research by Calderón-Garrido et al. (2021), Cheng etal. (2024), Cremades-Andreu (2023), Mateos-Moreno and Bravo-Fuentes (2023), and Palau et al. (2019) show a persistent gap between teachers’ recognition of the importance of technology in artistic education and their practical ability to implement it effectively. This gap is also attributed to a lack of specific training in using digital technologies to teach music and the arts. Indeed, the training of technological competencies should not be limited to mere technical knowledge; it should also include the capacity to integrate those tools effectively in day-to-day educational practice and pedagogy. University students should be given several occasions to try out different methodologies during their pre-service teacher training (Rizzi et al., 2023; Usca et al., 2024), because the mere use of digital resources in the classroom is not necessarily accompanied by methodological transformation. An effective integration of technology requires constant feedback 6 Y. BLANCO-GARCÍA ETAL. between technology, curricular content, and pedagogical methods (Serrano & Casanova, 2022). Continuous teacher training in the area of educational technologies is another critical factor for improving teachers’ digital competencies. Asad et al. (2021) and Bravo Villares and Fernández Sánchez (2022) demonstrate that well-designed professional development programs significantly improve teachers’ digital competencies, problem-solving abilities, and communication capacity (Leoste et al., 2022; Song, 2020). These programs also help bridge the gap between theoretical knowledge and practical application in real-world classrooms (Serrano, 2017). Digital and artistic competencies in the education of students Although research in this field remains limited, the scientific literature analyzed offers evidence that developing technological competencies in students is better achieved by combining artistic-musical means of expression with technological know-how (Mono Castañeda, 2023; Sáez-López & Sevillano-García, 2017). Such integration can help students improve their manner of searching, selecting, and managing information and how they deal with creating and editing multimedia content. It also encourages the development of computational thinking, online collaboration abilities, and the effective use of digital communication tools (Cremades-Andreu & Campollo-Urkiza, 2023; Rohotchenko et al., 2021). Further studies (e.g., Della Ventura, 2021) indicate that incorporating technology in the learning process helps music students find solutions they can apply to problems they encounter in their interpretation of instrumental repertoire. It also allows them to become active participants in the classroom. Despite these evident benefits, several challenges prevent on integrating artistic-musical and technological approaches. One significant issue is the persistence of inequalities in access to technology, which disproportionately affects students from lower socio-economic backgrounds (Cabero-Almenara & Ruiz-Palmero, 2018). Additionally, many educators lack the necessary training to design and implement meaningful proposals that integrate these competencies (Calderón-Garrido et al., 2021; Cheng et al., 2024). Another challenge lies in evaluating competencies developed within integrated learning environments. Dias-Trindade & Moreira (2020) observed that traditional assessment methods often fail to capture the multifaceted nature of competencies such as creativity and collaboration. Similarly, Suvorov et al. (2022) found that while students often exhibit high general digital competency, they frequently struggle with specific tasks related to creating and modifying artistic or musical digital content. The impact of COVID-19 Before the COVID-19 pandemic, scientific literature in our field was already showing an increasing interest in integrating arts, music, and technology in education. After that, the pandemic acted as a catalyst for digital reception and transformation in the educational field, accelerating the adoption of certain technologies and redefining the integration of music and the arts in the teaching-learning process. This phenomenon was widely documented in recent scientific literature (e.g., Biasutti etal., 2023; Domínguez-Lloria & Pino-Juste, 2021; Sabol, 2022). These articles noted the rise of digital platforms and digital artistic creation tools: these have become quasi-omnipresent and make it easier for users to find new means of artistic and musical expression. The need for flexibility led to an increase in the use of open-source educational resources and asynchronous learning platforms; this, in turn, allowed students to explore artistic and musical content at their own pace (in formal academic as well as non-formal educational environments). Thus, new forms of artistic and musical collaboration emerged online, encouraging creativity and virtual social connections. In addition to this increase of the implementation of digital tools, the systematic review suggests that the pandemic has likewise exerted a long-term impact on the integration of arts, music, and technology in education (Begić & Šulentić, 2023; Buchborn et al., 2022). Authors observed a tendency toward learning models that combine face-to-face and virtual situations (blended learning models), taking advantage of each one’s most useful characteristics. Adaptive technologies and artificial intelligence are being increasingly used to personalize artistic and musical learning experiences (Li, 2020; Marzal & Vivarelli, 2024). Virtual and augmented reality are also on the rise. These technologies are being adopted in musical and artistic education to create immersive experiences, leading to new forms of expression and esthetic appreciation (Cebrián et al., 2024; Innocenti et al., 2019; Papanastasiou et al., 2019; Soroko et al., 2021). Although the transition to online teaching presented a series of significant challenges, it also opened new possibilities for using numerous apps and for musical collaboration at a distance. Biasutti et al. (2023) and Cheng etal. (2024) noted the need for artistic education to maintain a balance between technological integration and traditional practices. In their studies, they concluded ARTS EDuCATION POLICY REVIEw 7 that although technologies present unique opportunities, they should not wholly replace practical, face-to-face experiences in artistic and musical learning. Development of transversal competencies and applied methodological approaches The development of transversal competencies Few studies focused on analyzing interdisciplinary proposals based on arts, music, and technology from the perspective of developing transversal competencies. Research by Usca et al. (2024) and Samaniego et al. (2024) highlights the potential of such approaches to enhance creativity, critical thinking, problem-solving, and personal development competencies. These studies also emphasize that transversal learning is studied more in secondary education than in other academic levels (Calderón-Garrido et al., 2021). The interdisciplinary focus inherent in the STEAM approach allows teachers and students offers significant advantages for developing transversal competences. Research by Filipe et al. (2024), Quigley and Herro (2016), and Sanz-Camarero etal. (2023) found that the integration of the arts in STEAM educational models promotes creative competency, empowerment, and decision-making, given that the STEAM methodology has proven more efficient in tackling problems and finding divergent solutions. This, in turn, foments the development of mental frameworks and improves comprehension expertise. Depending on authors, the STEAM proposal is viewed from an interdisciplinary or transdisciplinary angle; the latter is optimal for daily problem-solving (Lin & Tsai, 2021). Perales and Aróstegui (2024) point out the usefulness of projects such as Global Science Opera, The Imagineerium and GetWet as good examples of transdisciplinary projects where music and the arts are on a par with other areas. However, Sanz-Camarero etal. (2023) pointed out that few projects in preschool and primary education have authentically and significantly incorporated the arts into STEAM proposals. This underscores the need for educational policies that promote greater transdisciplinary integration based on music and the arts. Beyond STEAM initiative, other interdisciplinary artistic proposals mediated by technology have yielded comparable results in terms of creative development, critical thinking, and social interaction. For example: • Primary Education: Sáez-López and Sevillano-García (2017) analyzed the use of Scratch with sensors to combine computational thinking with arts education. • Secondary Education: Projects such as cultural e-snapshots (Colomo & Cívico, 2023) or interdisciplinary audiovisual productions (Dragone & Rosa-Napal, 2021) have shown positive outcomes. • Pre-Service Teacher Training: de Moya and Syroyid (2021) explored creating musical stories for didactic purposes. In non-formal education environments, further projects combining digital and artistic-musical competencies have improved student motivation, logical-mathematical thinking, and learning of musical concepts. Examples include the Bee-Bot educational robot (Torrejón & Ventura-Campos, 2019) and several iPad applications including Cubasis, Studio.HD, IMPC, Looptastic HD, and Loopy HD, all of which encourage creativity and immersion, leading to new curriculum perspectives (Order, 2015). Further integrative experiences use social media and platforms such as YouTube and X (Twitter) (Monreal-Guerrero & Herrero Gozalo, 2023), educational blogs (Carrión & Pérez Agustín, 2020), and augmented reality tools (del Moral etal., 2022) to develop not only digital/artistic competencies, critical thinking, and creativity, but also a series of communicative, social, and teamwork abilities. Although the literature on incorporating artificial intelligence in education is still scarce, certain studies have already noted positive results. One example is the project developed by Parada-Cabaleiro (2024), who used generative tools to encourage the co-creation of content emerging from a collaboration between children and an AI. This project encouraged an integrative development of those children’s digital and artistic competencies. Inclusion through arts and technology Technology, when incorporated into arts and music education, helps students develop social competency and a more inclusive attitude (Carrión & Pérez Agustín, 2020; Wellington etal., 2020). In what refers inclusion of students with special needs, the following experiences were found: • Moreno et al. (2023) used Accessible Digital Musical Instruments to provide inclusive access for children with cerebral palsy in Portugal. • Cano and Sánchez-Iborra (2015) demonstrated how PLAIME software supported students with disabilities in acquiring musical knowledge while enhancing their perceptual and social skills. • Hillier et al. (2016) reported an arts-and-technology experience with students on the autistic 8 Y. BLANCO-GARCÍA ETAL. spectrum which proved to reduce their stress and anxiety. • Chao-Fernandez et al. (2017) inquired programs for the inclusion of students with hearing deficiencies. She found that such programs favored their inclusion by supporting their motivation and integration. These inclusive initiatives underscore the potential of digital technology to create equitable opportunities for all learners while fostering empathy and self-regulation through multisensory learning experiences (Kastner etal., 2020;; Marín-Suelves etal., 2022; Usca et al., 2024). As for social inclusion, other projects combining music and technology encouraged the cultivation of social values, a greater acceptance of diversity, and a notable improvement in the general atmosphere in the classroom (Rodrigo-Martín et al., 2020; Rovithis et al., 2019). Methodological approaches and educational strategies The educational experiences documented in the literature coincided in that they used innovative methodological approaches based on active learning and promoting the use of digital technology as a key educational resource in teaching-learning processes, as applied both to art school subjects and to others of an interdisciplinary and transdisciplinary orientation. First, technology-assisted collaborative learning was one of the most commonly used methodological approaches in our sample. Palazón-Herrera (2021) demonstrated its efficacy in supporting high-schoollevel music students in building creative projects and as an efficient means for developing creativity and empowerment. Technology-assisted collaborative learning also improved student motivation, student social abilities, and academic performance; however, project length, organizational complexity, and previously preparing the group’s social skills were determinant factors for the improvement of results. Arriaga and Riaño (2017), Maheirie and Barreto (2019), and Murillo etal. (2019) all highlighted the social construction of knowledge and learnings through methodologies based on collaboration. Project-based learning (PBL) was another prominent methodology, particularly within STEAM-focused studies. Domènech-Casal (2018) identified the core components of PBL: (1) the teaching process derives from a particular context, situation, or problem; (2) contents are learned within that context’s framework and give rise to group activities; and (3) the teacher needs to pose a challenge that should be identified as such as and tackled by all participants. Several studies demonstrated positive results associated with the PBL approach: for instance, in collaborative work on audiovisual creation (Sáez López & Sevillano-García, 2017), in student autonomy searching for solutions in the area of musical interpretation (Della Ventura, 2021) and in activating children’s critical thinking in musical composition activities (Parada-Cabaleiro, 2024) following the application of interdisciplinary experiences. A third methodological approach identified was inquiry-based learning. It proved to be beneficial for students (Ortiz-Revilla et al., 2021) to seek creative solutions and ideas within the framework of scientific, technological, and/or artistic thinking. The STEAM model served as one of the points of reference. Fourth, studies also emphasized student-based learning (SBL) as a transformative strategy for fostering active engagement. Della Ventura (2021) examined the transformation from a more passive to a more active learning focus by applying technology in music instrument performance training. Shi (2023) explored ten mobile apps designed for vocal training; she highlighted the symbiosis between the area of music pedagogy and the technological domain, resulting in constructive feedback for students, leading to a more personalized approach to vocal training. In pre-service teacher training, de Moya and Syroyid (2021) presented the ecological approach as a teaching strategy combining music and an interdisciplinary orientation associating creativity, technology, and the human-oriented aspect in an audiovisual production experience. Fifth, gamification emerged as a motivational learning that entirely transform a reward system formerly focusing on grades (numerical scores) into a new type of challenge, the students must face throughout their learning process (Domínguez-Lloria et al., 2023). The implementation of digital apps in the area of music composition served as a motivational strategy for music learning, particularly for students who had no experience playing a musical instrument (Chen, 2020). Similarly, Slađana (2015) used online games and gamification tools to motivate children enrolled in an international arts program to learn music and dance in English; the apps increased equal access and motivation. Further types of synergies between technology and music can give rise to immersive experiences for adolescents who habitually use social media to create collective, interactive exchange experiences inside and outside the classroom (Domínguez-Lloria et al., 2023). ARTS EDuCATION POLICY REVIEw 15 ty towards a new generation of serious audio-only games. Electronic Journal of e-Learning, 17(2), 144–156. https:// doi.org/10.34190/JEL.17.2.07 Sabol, F. R. (2022). Art education during the COVID-19 pandemic: The journey across a changing landscape. Arts Education Policy Review, 123(3), 127–134. https://doi.org/ 10.1080/10632913.2021.1931599 Sáez-López, J.-M., & Sevillano-García, M.-L. (2017). Sensors, programming and devices in Art Education sessions. One case in the context of primary education. Culture and Education, 29(2), 350–384. https://doi.org/10.1080/11356 405.2017.1305075 Samaniego, M., Usca, N., Salguero, J., & Quevedo, W. (2024). Creative thinking in art and design education: A systematic review. Education Sciences, 14(2), 192. https:// doi.org/10.3390/educsci14020192 Sanz-Camarero, R., Ortiz-Revilla, J., & Greca, I. M. (2023). The impact of integrated STEAM education on arts education: A systematic review. Education Sciences, 13(11), 1139. https://doi.org/10.3390/educsci13111139 Schols, M., & de Haan, J. (2016). Teens @ Culture: The online communications of dutch high school teenagers on popular and highbrow culture. YOUNG, 24(4), 271– 289. https://doi.org/10.1177/1103308815619319 Serrano, R. M. (2017). Tecnología y educación musical obligatoria: referentes para la implementación de buenas prácticas. Revista Electrónica Complutense De Investigación En Educación MusicalRECIEM, 14, 153–169. http://dx. doi.org/10.5209/RECIEM.54848 Serrano, R. M., & Casanova, O. (2022). Toward a technological and methodological shift in music learning in Spain: students’ perception of their initial teacher training. Sage Open, 12(1). https://doi. org/10.1177/21582440211067236. Shi, Y. (2023). The use of mobile internet platforms and applications in vocal training: Synergy of technological and pedagogical solutions. Interactive Learning Environments, 31(6), 3780–3791. https://doi.org/10.1080/10494820.2021.1943456 Slađana, M. (2015). Online gaming to learn music and English Language in Music and Ballet School Solfeggio Education. Hellenic Journal of Music Education, and Culture, 6(2), 54. http://hejmec.eu/journal/index.php/ HeJMEC/article/view/58/54 Song, M. J. (2020). The application of digital fabrication technologies to the art and design curriculum in a teacher preparation program: A case study. International Journal of Technology and Design Education, 30(4), 687– 707. https://doi.org/10.1007/s10798-019-09524-6 Soroko, N. V., Soroko, V. M., Mukasheva, M., Ariza, M. M., & Tkachenko, V. A. (2021). Using of virtual reality tools for the development of STEAM education in general Secondary Education. Information Technologies and Learning Tools, 86(6), 87–105. https://doi.org/10.33407/ itlt.v86i6.4749 Suvorov, V., Skakalska, Z., Pyavka, M., & Dushniy, А. (2022). Theoretical and methodological aspects of the use of digital educational technologies in the process of musical-instrumental training of applicants for the higher education of the Future. Futurity Education, 2(4), 74–82. https://doi.org/10.57125/FED.2022.25.12.08 Torrejón, M. F., & Ventura-Campos, N. (2019). Enseñanza-aprendizaje músico-matemático utilizando robótica educativa. 3C TIC: Cuadernos de desarrollo aplicados a las TIC, 8(3), 12–37. https://doi.org/10.17993/3ctic.2019.83.12-37 Treß, J. (2024). Maker music education: Towards a post-digital, participatory and empowering music education. International Journal of Music Education, 1–11. https://doi.org/10.1177/02557614241259755 United Nations Educational, Scientific and Cultural Organization [UNESCO]. (2023). The Futures We Build. Abilities and competencies for the future of education and work. [MTD/ED/2023/PI/05]. https://unesdoc.unesco.org/ ark:/48223/pf0000386933_eng Usca, N., Samaniego, M., Yerbabuena, C., & Pérez, I. (2024). Arts and humanities education: A systematic review of emerging technologies and their contribution to social well-being. Social Sciences, 13(5), 269. https://doi. org/10.3390/socsci13050269 Wan, W. (2022). Digital technologies in music education: The case of Chinese students. Revista Música Hodie, 22, e70752. https://doi.org/10.5216/mh.v22.70752 Wellington, A., Easton, G., Davis, J., & Yeh, A. (2020). Beat and rhythm: Teaching science via integrated STEAM and digital technologies. Teaching Science, 66(2), 20–25. https://search.informit.org/doi/10.3316/informit.4120868 10972803 Yakman, G., & Lee, H. (2012). Exploring the exemplary STEAM Education in the U.S. as a Practical Educational Framework for Korea. Journal of The Korean Association For Science Education, 32(6), 1072–1086. https://doi. org/10.14697/jkase.2012.32.6.1072 Yob, I. M., & Jorgensen, E. R. (eds.) (2020). Humane music education for the common good. Indiana University Press. Zamorano-Valenzuela, F. J., Aróstegui, J. L., & González-Martín, C. (2024). Economic rationale shaping music teacher education: The case of Spain. British Journal of Music Education, 41(1), 103–113. https://doi. org/10.1017/S0265051723000219