Music, especially singing, is an integral part of a child's life from birth (Niland, 2019). Contemporary literature on music learning and children's engagement with music places particular emphasis on experiences outside the school setting, highlighting the significant role of the family environment in informal music learning processes (Chitwood, 2018∙ Gibson, 2009∙ Ilari, 2018∙ Koops & Tate, 2021∙ Rodriquez, 2020). 

          Special reference is made on the impact of musical interactions at home on children's emotional, social, and cognitive development (Koops & Tate, 2021), demonstrating the significant benefits of informal music learning processes (Folkestad, 2006∙ Green, 2005∙ Linton, 2014). Although several studies focus on the use of music in family contexts by mothers, little research has been conducted that explores children’s musical interaction with other family members, such as fathers, grandmothers or grandfathers (Dosaiguas et. al., 2021). 

          The present research was a case study that focused on the way a grandmother interacted musically with her three grandchildren in a family in Cyprus, aiming to fill the gap in the literature as mentioned above. The interest in studying this specific case arose when I perceived something powerful and beautiful being experienced in a family of my students. I had empirically observed the importance of the social or extracurricular curriculum, the body of knowledge that these children brought with them to school (Kokkidou, 2015) and I wanted to examine in depth this specific family context, especially the interaction of these children with their grandmother. 

          The aim of this study was to describe how the informal teaching of songs takes place within a family, specifically from a grandmother to her three grandchildren, and to explore the role this process plays for the children. A qualitative research methodology was applied through the design of a case study. The data collection tools included semi-structured individual interviews, a reflective journal, focus groups, observations, and audiovisual material. The research began in September 2023 and was completed in February 2025.      

          Data analysis was conducted using thematic analysis, which resulted in the identification of three major themes: the grandmother’s informal music learning practices, the repertoire and the reasons for its selection by the grandmother, and the value of this interaction. The research findings demonstrated the way in which musical interaction within the family shaped children's identity in music, as well as music in the identity of the children. It also appeared that the musical communication, which was shaped and developed through the informal musical learning processes of the grandmother, was guided by her own musical identity, which gave meaning to the musical act. These findings can serve as a point of reflection for music educators who wish to connect students’ daily experiences with the formal curriculum. The teaching process in the school context can be enriched and strengthened by drawing on musical interaction practices that are used in family contexts, which manage to engage children in musical experiences with special meaning.

• Natural environments and awareness through music
• Music and sound education experiences, values, and practices
• Inclusion, marginalization, bullying and exclusion
• Music in special education
• Music education for social justice and equality
• Interdisciplinary approaches in music education
• Curricula and critical approaches
• Historical and cultural perspectives and contemporary educational practices
• Digital environment and music Education
• Digital social media platforms
• Alternative musical instruments
• Pluralism and musical multiliteracies
• Music and communities

Elena Fragkou is a music educator in Primary Education in Cyprus, a graduate of the Department of Primary Education of the University of Cyprus and a holder of a Master's degree in Music Pedagogy from the European University. She also holds a Piano degree from the National Conservatory of Cyprus. She has been working as a music educator since 2000, participating in the experiential music workshops of the Ministry of Education of Cyprus and the Cyprus Pedagogical Institute and in International Conferences and Music Days of the European University. She is particularly interested in music education in primary schools, the strengthening of the integration of children with special abilities in music lessons and informal music learning processes.