There is a consensus between worldwide policy-makers on the impact that AI will have on the education sector long before ChatGPT opened pandora`s box (Giannini 2018). Since 2022 – with the ubiquitous availability of AI chatbots – the resulting implications for the general public have become tangible. How extensive the consequences can possibly be, has also been subject of expert discussions (Weßels 2023). Following these thoughts, it is hardly surprising that AI is pervading and will continue to pervade the field of music education. Within music education, the current guidelines and frameworks (e.g. for the use of digital media, AI etc.) have been undermined virtually overnight by the enormous power of AI, while it is becoming the new default setting of people's everyday worlds (Bade 2023) which in turn carries the potential for a great divide: The rapid development of partially deregulated markets contrasts with educational systems that tend to be rigid. Chaos seems to be inevitable here, since across different borders there might be ideas and concepts, but no AI regulation act yet to channel disparate flows of information, ideas, thoughts and developments or to give them a framework.

The paper seeks to channel different voices and concepts that have been presented so far (Holster 2024, Zhang et al. 2024, Qian 2023, Sánchez-Jara et. al. 2024, Arnecke et. al. 2024, Milakis et. al. 2024, Bade 2023) in a comparative study to gain an overview and deeper understanding of the various discourses circling around AI and music education. The aim is to reveal the different degrees of depth of human-machine interaction within the different case-scenarios and to make the respective role of human or non-human actors visible within what I call human-computer-interaction music education. Key takeaways should be a deeper reflectivity for music educators wanting to implement AI in their teaching.

Since the beginning of humankind, the use and development of technologies have played an essential role in enhancing human abilities and creating new possibilities for action and expression. As such, new technologies have captured the imaginations of (music) educational scholars and practitioners.

One of the latest developments in the evolution of digital (educational) technologies is the ability to enrich or "augment" reality with digital content, thereby establishing an "augmented reality" (AR). The integration of Augmented Reality (AR) into Music Education (MusEdAR) seems to have great potential due to its multimodal nature and modes of interaction. However, it is still in a nascent state.

In this presentation, I explain the need for a solid interdisciplinary knowledge base to advance and pedagogically anchor the design and use of MusEdAR (Nijs & Behzadaval, 2024). First, I critically discuss the current state of the art in MusEdAR. I then propose a pedagogical framework for designing and using new MusEdAR applications, and I provide concrete ideas on how to implement this framework.

In addition, based on the framework, I discuss gesture-based MusEdAR as a promising avenue, connecting it to the Internet of Musical Things, which involves an extension of the Internet of Things (IoT) paradigm to the musical domain (Nijs & Turchet, 2024).

Finally, I discuss the need for fundamental research on the use of movement and visuals, in view of their evidence-informed implementation into MusEdAR. I exemplify with an ongoing study, involving the use of different types of visualisation to support synchronisation with music (Behzadaval, Tekampe, & Nijs, in preparation).