In the Italian context, the theme of intercultural education (Demetrio & Favaro, 2002; Alleman-Ghionda, 2009) entered the core of the pedagogical debate in the 1990s, when Italy began to experience new migratory flows. The Ministero dell’Istruzione issued specific guidelines on intercultural education (MIUR, 2006; 2014), and both teachers and music educators initiated studies and research in this field.

This paper presents a literature review on the topic of intercultural music education in Italy over the past decades. Italian publications on music education and pedagogy from the last 35 years were examined, with a focus on five editorial series and two journals, selecting articles and essays specifically addressing this theme.

The analysis highlights that the intercultural approach to music education is rooted not only in the broader framework of Italian pedagogical thought (Portera, 2013; Perucca, 2017), but also— and above all— in an anthropological perspective that redefines music beyond Eurocentric paradigms (Blacking, 1976; Piatti, 1994; Facci, 1998; Schippers, 2010; Spaccazzocchi, 2011; Disoteo, 2014). This theoretical orientation has inspired and documented a range of educational practices developed by teachers across various school levels throughout Italy.

Intercultural music education has evolved in close connection with other key themes, particularly identity (Disoteo & Piatti, 2002) and musical creativity (Piatti & Strobino, 2011; Strobino, 2022; Vitali, 2025).

We consider it crucial to bring the intercultural perspective back into the public and academic discourse, especially in light of the current resurgence of nationalist tendencies in Italy, which seek to reform the school system under the guise of a static and idealized notion of “Italian traditions.” The decades-long commitment to music education as a means of overcoming ethnocentrism represents the only viable path toward building an inclusive, free, democratic, and supportive society. This commitment must be narrated, renewed, and strengthened.

Emerging from a pedagogical context that prioritizes participation and intercultural dialogue, this paper outlines a collaborative ethnomusicological project conducted during the 2023–2024 academic year at the Department of Music, University of Prishtina, Kosova. Set within Kosova’s post-conflict, multi-ethnic cultural landscape, the project responded to the urgent need for inclusive and democratic educational practices that engage with diverse cultural narratives.

Undergraduate students from Albanian, Roma, Turkish, Gorani, and Bosniak backgrounds documented and analyzed traditional musical practices within their own communities. Kosova’s rich yet complex cultural tapestry provided both a dynamic foundation for exploration and a meaningful context in which music acted as a bridge between communities.

Grounded in participatory ethnomusicology and democratic pedagogies, the project positioned the classroom as a space for research, cultural exchange, and shared knowledge production. Using a community-based participatory approach, students acted as researchers within their communities, employing interviews, participant observation, and field recordings. The instructor facilitated research design, ethics, and analytical discussions, while students collaboratively analyzed data through transcription, contextual interpretation, and reflection. This collective process ensured that multiple perspectives shaped the outcomes, embodying participatory and democratic principles in both content and method.

The project strengthened students’ ethnomusicological research skills while fostering shared authorship, intercultural understanding, and active representation of cultural heritage. It also challenged traditional teacher–student hierarchies by involving students as co-researchers and cultural mediators. Activities included planning fieldwork, recording performances, transcribing and contextualizing musical materials, and co-producing a collective ethnographic video documentary. Outcomes included enhanced student engagement, strengthened intercultural competencies, and a multimedia ethnographic documentary, demonstrating ethnomusicology’s potential as a democratic and inclusive pedagogical space.

Textbooks remain a central medium through which music curricula are implemented and experienced by teachers and students. Beyond being pedagogical tools, they also reflect societal values, cultural hierarchies, and political agendas. In Kosovo, a country with a rich yet complex cultural heritage and diverse ethnic communities, music textbooks play a critical role in shaping young people’s understanding of musical traditions, identity, and belonging.

This paper critically examines the representation of diversity and inclusion in Kosovo’s music education textbooks. Drawing on my experience as a textbook author and curriculum developer, the study explores the extent to which minority musical traditions, gender perspectives, and diverse cultural voices are integrated—or marginalized—within current teaching materials.

The research employs content and discourse analysis to review textbooks used in primary and secondary schools, focusing on repertoire selection, language, imagery, and pedagogical framing. Complementing this analysis, qualitative data were collected through interviews and focus groups with music teachers and students to explore how they perceive the materials and whether they feel represented by the content.

Findings reveal that while some progress has been made in incorporating elements of cultural diversity, dominant narratives continue to privilege Western classical traditions and majority cultural perspectives. Teachers often feel constrained by rigid structures and limited resources, which hinder their ability to adapt materials to better reflect their students’ backgrounds and experiences.

The paper argues for a participatory approach to textbook development, where teachers, students, and communities are actively involved in co-creating inclusive educational resources. By rethinking textbook design, music education can move beyond mere transmission of knowledge to become a site of democratic dialogue, fostering mutual respect and social cohesion. Recommendations are offered for policymakers, authors, and educators seeking to create materials that truly reflect the diversity of Kosovo’s society.