Participant Reflections on the IncluMusic Training Programme
The recruitment of participants for the IncluMusic Course in Italy was carried out through a targeted institutional communication initiative promoted by Mr. Mauro Visconti, Director of the “A. Scarlatti” Conservatory of Palermo. Acting as the national coordinator for the project, the Director contacted all Higher Music Education Institutions across the country, thus ensuring a widespread dissemination of information. This dissemination strategy – grounded in direct inter-institutional dialogue and the formal endorsement of the initiative – significantly contributed to encouraging the participation of teachers, administrative staff, and various professional figures operating within conservatories.
The response obtained was particularly substantial, both in numerical terms and in relation to the diversity of participants’ professional profiles. This heterogeneous participation enabled the collection of multifaceted feedback, informed by a range of operational and experiential perspectives. Such feedback proved valuable not only for evaluating the training programme itself, but also for stimulating broader reflection on inclusive practices within music education institutions. Participants’ contributions highlighted not only strong interest in the topics addressed, but also widespread recognition of the urgent need to develop educational, relational, and organisational competencies capable of supporting systemic and sustainable inclusion processes over time.
In summary, the recruitment phase did not merely serve an informational purpose; it also represented an initial moment of awareness-raising and engagement within the academic community on the theme of inclusion in higher music education, laying the groundwork for ongoing dialogue and structured collaboration among the institutions involved.
IncluMusic Project has offered many participants a valuable opportunity to reflect on the real meaning of inclusion within music institutions, and on the role that each person—teacher, student, administrator, or staff member—can play in building an authentically welcoming learning environment. The reflections collected suggest a pathway that does not merely transmit theoretical content, but involves personal, relational, and professional dimensions. Inclusion is not presented as a set of procedures to apply, but as a living practice, shaped by attention, shared responsibility, and continuous transformation.
One teacher with a background in Music Therapy recognized in the course a strong reminder of a principle often taken for granted: artistic and pedagogical excellence cannot be separated from attention to the individual. Even in contexts where the pursuit of musical achievement is central, the educational environment must acknowledge the uniqueness, vulnerabilities, and strengths of each student. If a learner does not feel welcomed, recognized, and supported, music – no matter how technically well performed – loses part of its expressive power. While the course initially adopts an introductory approach to accommodate participants with diverse levels of familiarity, it opens important spaces for reflection on the need for educators to reconsider their relational practices: observing with greater awareness, adjusting communication strategies, responding to non-verbal cues, and adopting methods that are genuinely responsive to diversity.
The course’s focus on meditation, embodiment, and mindfulness practices was also highlighted as particularly meaningful. These approaches, increasingly present in both educational and artistic fields, can foster deeper forms of listening – to oneself and to others. In the future, they could become a core component for grounding inclusion not only at a formal level, but also as a shared sense of community.
Another teacher described the experience as transformative. Through case studies, dialogue, and practical tools, she gained a clearer understanding of how disabilities – both visible and invisible – shape students’ participation in institutional life. What emerged most strongly for her was the realization that creating inclusive environments does not always require major structural changes: small adjustments in communication, classroom organization, task flexibility, or processing time can significantly increase students’ ability to engage meaningfully. This insight led her to revisit long-held habits, examine her assumptions, and view inclusion as a continuous process involving attentive listening, adaptation, and mutual growth.
A member of the administrative staff also offered a particularly valuable perspective. For her, the course served as a new lens through which to view teaching and learning practices. She became more aware not only of the challenges faced by students with specific needs, but also of the complexities encountered by teachers and staff, who often must respond to such challenges without formal training. The course helped her better recognize her existing competencies while also highlighting areas for further development. This experience fostered a desire for future in-person learning opportunities – workshops, laboratories, and collaborative sessions – where inclusion can be experienced not only as content, but as a shared relational practice.
Across these reflections, a common message emerges: inclusion is not a final objective, but a shared journey. It requires time, practice, reflection, and the willingness to question established assumptions. It is not enough to possess tools; one must learn to apply them within real relationships, with all their nuances, limits, and possibilities.
IncluMusic, therefore, does more than provide instruction. It encourages a cultural shift. It invites participants to view music not solely as an artistic discipline, but as a relational space – a language belonging to everyone and capable of becoming a site of expression, care, and transformation.
Music is a shared good.
Inclusion is the act through which we choose to make this true.
Elide Scarlata, ConsPa
Funded by the European Union. Views and opinions expressed are however those of the author(s) only and do not necessarily reflect those of the European Union or the National Agency for Community Programs in the Field of Education and Professional Development. Neither the European Union nor ANPCDEFP can be held responsible for them.