The recording process can be used as a dynamic, extracurricular learning environment in real-world music production conditions, significantly enhancing students’ musical knowledge and skills, fostering creativity, and promoting teamwork and self-assessment (Velikova & Radev, 2023). Through the music production process, students develop abilities related to the conception, organization, and refinement of artistic ideas (Clauhs et al., 2019). Alongside familiarization with the recording environment and understanding sound production, the students’ capacity to take artistic initiative is also recognized as essential (Kearney & Commins, 2018). The connection between technology and traditional music—a field not typically associated with modern media in the public mind—strengthens the ability of this genre to adapt and attract the interest of younger generations.

This study explores the use of recording as a tool for learning traditional music, focusing on the production of a music album by students at the “Chronis Aidonidis Archive of Musical Folklore” in Alexandroupolis. The participants were mostly minors, aged 7 to 18, who took part as singers and instrumentalists. They had the opportunity to experience the entire production process: from individual song learning, to group performance, and finally to studio recording in a specially equipped space. During this process, they gained valuable experience in using microphones, adjusting audio signals, and recording through a sound console.

A feedback process followed, involving the analysis of the audio rendering of their performance using Digital Audio Workstation (DAW) software such as Cubase. Alongside their familiarization with audio editing through digital tools, students identified errors and, in some cases, proceeded to re-recording. This process enabled them to experience music production in real-life conditions.

After the production was completed, a focus group was held in which students shared their reflections and lessons learned. Many stated that the experience helped them understand the production stages more deeply and improve their collaboration skills. Additionally, several expressed a strong interest in music technology—an area not traditionally associated with folk music but is now essential for its modern presentation and dissemination.

• Interdisciplinary approaches in music education
• Historical and cultural perspectives and contemporary educational practices
• Pluralism and musical multiliteracies

Eleni Fanioudaki graduated from the Department of Music Science and Art at the University of Macedonia in 2018 and from the Master's Program in "Local History" at the Democritus University of Thrace in 2022. She is a founding member of the ensemble "Emmeleia" (2016), with which she has performed in concerts and produced recordings, and has been teaching music since 2018. She has published an article in the collective volume "Gender-Based Violence - Violence Against Women" (2021). She has presented papers at domestic conferences organized by the Democritus University of Thrace and the National and Kapodistrian University of Athens (2022), as well as international conferences such as the SIEF Congress and the 7th European Congress of Modern Greek Studies (2023).

Nikos Effraimidis graduated from the Department of Music Science and Art at the University of Macedonia in 2017 and from the Master's Program in "Local History" at the Democritus University of Thrace in 2025. He holds a Harmony diploma (2011) and a Traditional Clarinet diploma (2024). He is the conductor and arranger of the ensemble "Emmeleia" (2016), with which he has performed in concerts and produced recordings. He teaches clarinet, music theory, and ensemble performance in conservatories and public education. He has published an article in the collective volume "Gender-Based Violence - Violence Against Women" (2021). Additionally, he is involved in sound engineering and music editing, utilizing software such as Cubase.