Abstract:

How can access to music education in cyberspace be expanded without reducing music teaching to the mere digital delivery of content? Based on this problem, this paper examines the experience of Academia Arte de Toda Gente (AATG), a Brazilian public interinstitutional initiative linked to the National Arts Foundation (FUNARTE) and the Federal University of Rio de Janeiro (UFRJ), which offered online training in instrumental studies, music education for different contexts, and teacher education. Its objective is to analyze how its pedagogical architecture articulated human mediation, instructional design, and public conditions of access in a large-scale online music education experience. It thus addresses the following question: what pedagogical, technological, and organizational conditions support large-scale online music education committed to pedagogical quality? The study adopts a qualitative, descriptive-analytical approach based on the observation of the courses, pedagogical dynamics, the documentary analysis of their pedagogical organization and institutional materials, and the systematization of data produced and published between 2020 and 2025. It starts from the understanding that music education has important specificities in digitally mediated contexts, since it involves practical, procedural, embodied, sensory, and relational dimensions. This requires rethinking not only teaching resources, but the very notion of the music classroom in virtual environments.

The analysis indicates that the consistency of the experience did not result from technology itself, but from the articulation of continuous human mediation, multimodal instructional design, and public conditions of access. In this process, continuous human support, collaborative teaching teams, the combination of synchronous and asynchronous activities, the production of materials in different formats, pedagogical redundancy to address distinct learning profiles, accessible content, and strategies aimed at self-regulated learning proved to be central. The case also highlights the relevance of free public platforms for reaching learners historically underserved by in-person opportunities for music education, having engaged more than 31,000 participants, with nationwide reach across Brazil and participation from other Latin American countries.

It is concluded that, in the field of online music education, the virtual classroom cannot be understood as a mere transposition of the physical space, but as a pedagogical configuration in its own right. Its consistency depends on the articulation of musical mediation, intentional instructional design, accessibility, and self-regulated learning strategies.

Keywords:

Music Education, Digital Culture, Online Learning.