Music theatre, as a Gesamtkunstwerk (total work of art), combines multiple art forms such as music, acting, dance, scenography and literature (Salzman & Desi, 2008). In formal education, music theatre fosters experiential and multidimensional learning by integrating various expressive modes that enables all learners—regardless of abilities or skills—to participate actively (Baines, 2008; Pagliano, 2012). In non-formal and community settings—such as institutions, arts workshops, cultural and educational programs—music theatre functions as a medium of personal expression and empowerment. It creates space for self-expression, social interaction, and skills development. Through collective artistic engagement, participants cultivate creative abilities, communicate beyond linguistic or social barriers, and build a sense of belonging (Tsakiroglou, 2023).

This presentation proposes a pedagogical perspective on music theatre, viewing it as an inclusive educational tool, with a focus on its interdisciplinary nature and its potential integration into diverse educational and community-based environments. The presentation is based on a thematic literature review, using analytical criteria related to the application of the principles of Universal Design for Learning (UDL), multisensory education, and community arts within the realm of music theatre. Particular emphasis is placed on the interconnection of these principles with practices of inclusion, participation, and artistic expression. The proposed perspective involves the synthesis of these pedagogical and social theories through the lens of music theatre—not merely as a performing art, but as a dynamic tool of cultural democracy.

This study represents a personal, integrative interpretation of the three key parameters explored in the presentation, and aims to reconceptualize music theatre as a form of art that integrates the principles of UDL, multisensory learning, and community-based arts, and to examine how it operates inclusively across a range of formal and non-formal/community-based contexts.

In conclusion, the proposal highlights music theatre as a vehicle for social change and envisions it as a participatory, accessible, intercultural, and inclusive model that promotes creativity, empathy, and collective action.

• Music and sound education experiences, values, and practices
• Social musical settings
• Inclusion, marginalization, bullying and exclusion
• Music education for social justice and equality
• Interdisciplinary approaches in music education
• Meaningful musical experiences
• Music psychology and identities
• Music and communities

Tsakiroglou Christos holds a Master's degree in Music and Society with a specialization in "Music Education and Community Music," and is a graduate of the Department of Music Science and Art at the University of Macedonia, specializing in "Applied Music Studies - Music Education." He holds diplomas in opera singing, violin, and degrees in Advanced Music Theory. He has performed in Greece, Italy, Germany, and Belarus, and has attended conferences, workshops, and seminars related to music education, as well as masterclasses in choral conducting. His research interests include vocal music, community music, intercultural music education, and music identities. He is the General Secretary of the Greek Society for Music Education (GSME). He works as a music educator in secondary education and conservatories, while also maintaining an artistic career as a soloist and choir member.