This contribution presents the findings of a holistic, interdisciplinary approach integrating music and second language acquisition. Grounded in the Italian educational context, this research aligns with the European perspective on policies for the inclusion of newly arrived students (CoE, 2022).

It examines the potential benefits of music, song, creative and playful activities to second language acquisition, emotional well-being, and motivation (Sun, Yang, & Liang, 2024; Caon, 2023; Crawford, 2019; Denzin & Brown, 2015). Through a series of cooperative activities and layered processes, students collaboratively composed new lyrical sections for the songs, which they also performed. The author's original conception of songs and teaching materials considered students' characteristics (age and language level), learning objectives, guiding themes, and target phonemes. Central to this approach is the importance of the teacher-student relationship (Wentzel, 2012), the role of emotions (Swain, 2013), and the use of cooperative learning strategies (Martinez, López, & Seijo, 2020).

This study primarily uses a design-based research approach. Four case studies were conducted with lower secondary school students (ages 12–14), including groups of newly arrived students and multicultural/multilingual classes (15–22 students per group). The latter group’s activities were designed to address varying levels of Italian proficiency and to value multilingualism. Despite a diverse range of origins, particularly among second-generation students, the majority of migrant students came from Peru and Bangladesh.

Data collection involved audio-video recordings, participant observation, questionnaires, and interviews. Analysis, including transcription, coding, and thematic analysis, revealed the positive impact of music and creative activities on L2 development, emotional well-being, and motivation

In a social context where migration is both a present and future phenomenon, continuously evolving, the promising results of this study underscore the importance of further research into how music education can contribute, through innovative strategies, to the development of a democratic and inclusive education.

Nuri Harun Ateş is a versatile Turkish singer who fluidly crosses genres, including Western classical music, pop, and nostalgic tunes, singing in multiple languages such as Turkish, French, Italian, English, and Kurdish. Trained as a classical countertenor, Ateş skillfully navigates his vocal range, seamlessly transitioning between his high range and chest register to suit the song and genre. This fluidity is central to his artistic identity, not only in his voice but also in his genre-blending approach—such as fusing Habanera from Bizet’s Carmen with the Turkish classic Bağdat Yolu to create a unique oriental-pop fusion. His fluid artistry is equally reflected in his public persona, where his eclectic style choices—clothing, accessories, and hairstyle—challenge conventional boundaries. Amid Turkey’s traditional social climate, Ateş, a self-identified queer artist, uses styling choices often associated with femininity to encourage his audience to question established gender norms. His lyrics, which explore universal themes of love and relationships, subtly express his sexuality in lines like “I said I wear what I want / I say what I want / You can’t command the heart, that’s just how it is” and “Can somebody please tell me, what is this normal?”

Inspired by post-structuralist and queer theories, including Butler’s ideas on gender performativity and Doty’s “queer moments,”, this paper presents the early stages of an exploratory and descriptive study examining the complex intersections between music, gender, and language through the lens of Ateş’s voice and artistry. Using a case study approach, the research combines media analysis, music analysis, interviews, and live performance observations. These data are being analyzed through grounded theory principles, allowing themes related to music, gender, language and identity to emerge organically. The study aims to provide actionable recommendations for formal, non-formal, and informal music education contexts. This paper will discuss the relevance, methodology, and core research questions while presenting preliminary findings.