Integrating digital tools and constructivist learning: a ubiquitous learning framework for enhancing creativity in music education

Abstract

This study addresses the challenge of integrating digital tools with constructivist learning to enhance creativity in music education, a field where traditional pedagogies often fall short in meeting modern learners’ needs. The research aims to develop and validate a ubiquitous learning framework grounded in constructivist principles, focusing on fostering creativity and music arrangement skills among Thai high school students. Utilizing a quasi-experimental, mixed-methods design, the study involved 200 students, divided equally into experimental and control groups, from 10 schools across five provinces in Northeast Thailand. The framework, comprising six key components - Problem Base, Learning Resources, Cognitive Tools, Collaboration, Scaffolding, and Coaching - was iteratively developed and refined through expert validation (CVI = 0.94). Quantitative analysis revealed significant improvements in creativity dimensions, particularly in flexibility (t = 13.02, p < 0.001) and elaboration (t = 10.76, p < 0.001), with scaffolding and cognitive tools emerging as key predictors. This study contributes a validated framework that bridges the gap between traditional and technology-enhanced music education, offering scalable applications in diverse learning contexts.

Introduction

In contemporary education, the integration of digital tools and constructivist learning principles presents a critical challenge for fostering creativity in music education. Bibliometric analyses reveal a dramatic 90.9% increase in ubiquitous learning research publications from 2007 to 2023, signalling the growing recognition of this field’s importance [1]. However, despite this substantial increase in research attention, significant obstacles remain in effectively combining digital technologies with constructivist learning principles, particularly within music education contexts.

A fundamental concern lies in the misalignment between traditional music education approaches and modern learners’ needs. Research by Wei [2] identified two critical issues hampering creativity development in music education: insufficient professional faculty prepared for digital integration and a lack of academic events supporting creative development. This disconnect is particularly pronounced in popular music education, where Thompson and Harding [3] documented formal education’s struggle to engage learners in creative tasks that effectively develop their skills while preparing them for employment in the dynamic music industry. This study directly addresses these two critical issues identified by Wei [2]. First, the proposed ubiquitous learning framework provides structured guidance that reduces the burden on teachers in designing digital activities, enabling faculty without extensive digital expertise to effectively integrate technology. Second, the framework systematically incorporates activities specifically designed to foster creative development through its six integrated components, ensuring that creativity enhancement is embedded throughout the learning process rather than being an incidental outcome.

Previous studies have explored various approaches to address these challenges. Meng and Ariffin [4] established a comprehensive framework for understanding creativity in music education, emphasizing creative teaching methodologies that cultivate essential traits such as curiosity, flexibility, risk-taking, and intrinsic motivation. Additionally, Kupers [5] demonstrated that musical creativity emerges not as an innate talent but as a skill developed through structured interactions among students, teachers, peers, and musical materials. These findings point toward the potential for systematic approaches to enhancing creativity through digital tools and constructivist principles.

However, substantial research gaps persist in understanding the effective integration of digital tools with constructivist learning principles in music education. Lage-Gómez et al.’s [6] comprehensive review of 76 peer-reviewed studies revealed that while sociocultural frameworks in teaching and learning receive increasing attention, certain aspects of musical creativity remain underexplored. This gap is further complicated by what Pierard and Lines [7] identify as the challenges in developing specific teaching and learning strategies for music technology education, particularly concerning Digital Audio Workstation users.

Moreover, Maidaniyk et al. [8] highlight emerging contradictory trends in school music education within postmodern society, noting how industrialization of music art is distancing young people from academic and folk music traditions. This disconnect is particularly concerning as Zhang [9] demonstrates significant potential for improvement through targeted interventions, showing increases of 65% in musical extensiveness, 37% in flexibility, 34% in originality, and 42% in musical syntax through structured approaches to musical creativity development.

In the Thai educational context, the integration of digital tools and constructivist learning in music education has been evolving with recent reforms [10]. While urban schools have adopted digital audio workstations and online platforms [11], rural institutions continue to face technological challenges. The Basic Education Core Curriculum B.E. 2551 [12] mandates the development of creative thinking and technological competencies in arts education, though implementation varies by region. The traditional master-apprentice approach in Thai music education [10] creates a unique environment for integrating digital tools with constructivist learning principles while preserving cultural traditions [11].

It can be seen that “ubiquitous learning” refers to learning that can occur anytime, anywhere through the use of internet-connected mobile digital technologies, enabling learners to access knowledge resources, engage in learning activities, and receive real-time feedback without being confined to a specific classroom or location [13, 14]. Thus, the ubiquitous learning framework in this research emphasizes the use of cloud computing tools, mobile applications, and online collaboration platforms to support learning that is ubiquitous, seamless, and interactive, aligning with the principles of constructivist learning.

Further, the four dimensions of creativity - originality, fluency, flexibility, and elaboration - are conceptually linked to ubiquitous learning through the affordances of digital tools and the principles of constructivist learning. Ubiquitous learning environments provide learners with constant access to diverse resources, enabling them to generate a wide range of novel ideas (originality and fluency) and explore multiple perspectives (flexibility). The interactive and collaborative nature of these environments also encourages learners to refine and expand their ideas (elaboration) through peer feedback and iterative processes [15, 16]. By integrating these dimensions into the design of the ubiquitous learning framework, this study aims to foster a more comprehensive and authentic approach to creativity development in music education.

To address these challenges and research gaps, this study pursues three primary objectives:

1. To develop and validate a ubiquitous learning framework based on constructivist principles, focusing on fostering creativity and music arrangement skills among Thai youth, while proposing adaptable approaches for application in other academic disciplines.

2. To investigate the relationship between the components of ubiquitous learning and the enhancement of creativity by analyzing the impact of the learning process on the development of advanced skills required in the digital age.

3. To explore the theoretical implications of integrating digital technology with ubiquitous learning, by evaluating the effectiveness of the developed innovation through experimentation and proposing a new conceptual framework for 21st-century education.

This research offers several significant contributions to the field. First, it provides a comprehensive framework that bridges the gap between traditional music education and contemporary technological practices, addressing the challenges identified by Wei [2] and Thompson and Harding [3]. Second, it presents empirical evidence for the effectiveness of integrating digital tools with constructivist principles in enhancing musical creativity, extending the work of Kupers [5] and Meng and Ariffin [4]. Finally, it delivers practical guidelines for educators seeking to implement technology-enhanced creative learning environments in music education, contributing to the broader understanding of how digital tools can support creative development in educational contexts. The significance of this research emerges as particularly relevant given the increasing importance of creativity in 21st-century education and the growing need for effective frameworks that can guide the integration of digital tools in music education. By addressing the identified gaps and challenges, this study aims to establish a robust foundation for future research and practice in technology-enhanced music education.

Literature review

The literature review is organized around three key themes: (1) Constructivist Learning Theories and Their Roles in Ubiquitous Learning, (2) Creativity in Music Education: A Constructivist Approach, and (3) Ubiquitous Learning as a Framework for 21st-Century Skill Development. This thematic organization allows for a deeper exploration of the theoretical foundations, key trends, and gaps in the existing literature.

Constructivist learning theories and their roles in ubiquitous learning

The integration of digital tools with constructivist learning approaches has emerged as a critical focus in contemporary education, particularly as institutions worldwide seek innovative ways to enhance learning experiences and foster creativity. The rapid evolution of educational technology and the increasing adoption of ubiquitous learning environments have necessitated a deeper understanding of how constructivist principles can be effectively implemented in these digital contexts [17, 18]. Drawing from Jonassen’s theory of meaningful learning [19], which emphasizes the importance of active, constructive, intentional, authentic, and cooperative learning, recent research has demonstrated significant positive outcomes when constructivist principles are thoughtfully integrated into ubiquitous learning environments. For instance, Alismaiel et al. [20] conducted a comprehensive study revealing that the integration of social media in educational practices substantially improves students’ attitudes towards technology and their enthusiasm for digital learning. This finding is further supported by Fructuoso et al.’s [18] research, which identified strong student preferences for learning models that promote social constructivist practices, autonomous resource access, and self-regulated time management.

The implementation of constructivist approaches through digital tools has shown promising results across various educational contexts. Yang [21] found that integrating constructivist principles with interactive activities significantly enhanced student engagement and comprehension, while Wang et al. [22] demonstrated how social media platforms can create more authentic learning environments that facilitate knowledge construction and sharing among learners. These findings suggest that digital tools can effectively support constructivist learning principles when properly implemented. However, the successful integration of constructivist principles in ubiquitous learning environments requires careful consideration of various factors, including instructional design, technological affordances, and sociocultural contexts [23, 24]. Despite the potential benefits, significant challenges exist in implementing constructivist approaches within ubiquitous learning environments. Larty and Hodgson [25] identified institutional struggles in effectively engaging faculty during the transition to online education, emphasizing the need for learning spaces that encourage critical dialogue and reflection. This challenge is compounded by what Curnow [26] describes as the necessity to incorporate social relations and power dynamics into situated learning theories, suggesting a more complex implementation landscape than previously recognized. Addressing these challenges requires a holistic approach that considers the interplay between technology, pedagogy, and the broader sociocultural context in which learning occurs.

It is important to note that not all digital tool integration follows constructivist principles. Traditional technology-centered approaches often focus on content delivery rather than knowledge construction, yielding limited creativity outcomes. This aligns with concerns raised by Matee et al. [33] regarding technical infrastructure challenges when technology is implemented without proper pedagogical frameworks. Furthermore, Pierard and Lines [7] specifically highlight that DAW learning focused solely on technical skills, without constructivist approaches, fails to bridge the gap between traditional music education and contemporary practices. This contrast underscores why this study emphasizes the integration of digital tools within a constructivist framework rather than technology adoption alone.

In addition, the impact of constructivist principles in ubiquitous learning environments extends beyond basic engagement. Akbari et al. [27] discovered that students’ relational identity and autotelic experiences positively influence their innovative use of e-learning systems. This finding aligns with Won et al.’s [28] research, which demonstrated that academic self-efficacy serves as a positive predictor of student achievement in online learning environments. These studies highlight the importance of considering both psychological and social factors in constructivist learning design. Moreover, the integration of constructivist principles in ubiquitous learning environments has the potential to foster 21st-century skills, such as creativity, critical thinking, collaboration, and problem-solving, which are essential for success in the digital age [29].

In the specific context of music education, the integration of constructivist principles with ubiquitous learning shows particular promise. Bengel and Peter [30] demonstrated that mobile digital game-based learning significantly increased subject-specific knowledge while maintaining effectiveness across diverse demographic backgrounds. Ahmad et al. [31] further supported this finding by showing how synchronous modules can effectively foster cross-cultural engagement and practice-based learning, suggesting potential applications for enhancing creativity in music education through similar approaches. These studies underscore the importance of designing ubiquitous learning environments that align with constructivist principles to support meaningful learning experiences and creative development in music education.

Despite these advances, several research gaps remain to be addressed. Prinsloo [32] emphasizes the need to bridge the gap between skills-based and social practices approaches to digital literacies, while Matee et al. [33] highlight persistent challenges in resource availability and technical infrastructure that need addressing for effective implementation of virtual collaborative learning. These gaps suggest the need for more comprehensive frameworks that can guide the integration of constructivist principles in ubiquitous learning environments, particularly in specialized fields like music education. The reviewed literature underscores the importance of developing structured approaches to integrating digital tools with constructivist learning principles. It also reveals opportunities for extending current research to enhance creativity in music education through ubiquitous learning environments, supporting the objectives of developing comprehensive frameworks that address both theoretical foundations and practical implementation strategies in this evolving educational landscape.

Creativity in music education

Recent research has increasingly emphasized the significance of creativity in music education, particularly when approached through constructivist principles. This intersection has become crucial as educational paradigms shift towards more student-centered, experiential learning methods. The framework draws from constructivist theories, such as Piaget’s cognitive constructivism and Vygotsky’s social constructivism, which underscore the importance of active learning, social interaction, and scaffolding in the development of creativity [34, 35]. The evolution of creativity research in music education has revealed several crucial dimensions. Kupers [5] argues that musical creativity should not be viewed as an innate talent but rather as a skill developed through interactions among students, teachers, peers, and musical materials. This perspective aligns with constructivist principles, emphasizing the social and cultural aspects of learning. Similarly, Lukovska [36] highlights the importance of the triune role complex - composer, performer, and teacher - in fostering creativity within educational processes, suggesting that these interconnected roles enhance the overall learning experience. These findings support the notion that creativity in music education is a collaborative and contextually situated process, requiring the active participation and interaction of all stakeholders.

Recent studies have demonstrated the effectiveness of various constructivist approaches in developing musical creativity. This finding is supported by Wei [2], who emphasizes the importance of professional faculty development and innovative teaching methods in fostering creativity in music education. These studies highlight the significance of authentic, real-world learning experiences and the role of expert guidance in nurturing creative potential, aligning with the principles of situated learning and cognitive apprenticeship [37, 38]. However, the implementation of constructivist approaches in music education faces several challenges. Lage-Gómez et al. [6] conducted a comprehensive review of 76 peer-reviewed studies, revealing that while there is a growing emphasis on sociocultural frameworks in teaching and learning, certain aspects of musical creativity remain underrepresented. Addressing these challenges requires a critical examination of existing pedagogical practices and the development of innovative strategies that embrace diversity and promote equitable access to creative learning opportunities [4, 39].

Digital tools and technology have emerged as significant facilitators of creative development in music education. Pierard and Lines [7] highlight the importance of incorporating aspects of individual identity into Digital Audio Workstation (DAW) learning, suggesting that constructivist approaches can effectively bridge the gap between traditional music education and contemporary technological practices. The role of improvisation in developing creativity has gained particular attention. Zhang [9] demonstrates significant improvements in musical extensiveness (65%), flexibility (37%), originality (34%), and syntax (42%) through improvisation activities. Hong [40] further supports this finding by developing specific methods for improvisation activities using fundamental chord structures, providing practical applications for elementary music education. These studies underscore the potential of technology-mediated learning environments in fostering creative expression and exploration, while also emphasizing the importance of structured guidance and scaffolding in the creative process [41]. In addition, the integration of constructivist principles in music education requires careful consideration of teaching methodologies. Teriaieva [42] emphasizes the importance of innovative educational principles that foster creative thinking, imagination, and practical skills through interdisciplinary connections and interactive learning. This approach aligns with Sorokina’s [43] findings regarding the necessity of multidimensional teaching methods in understanding complex musical concepts. These studies highlight the need for a holistic and interdisciplinary approach to music education that encourages students to make connections across different domains of knowledge and engages them in active, experiential learning [44].

The literature reveals several research gaps that need addressing. While constructivist approaches show promise in developing creativity, there remains a need for more structured frameworks that can effectively integrate these principles across different educational contexts. Additionally, as Maidaniyk et al. [8] note, there are emerging contradictory trends in school music education within postmodern society that require careful consideration and innovative solutions. Future research should focus on developing comprehensive, context-sensitive frameworks that address the complex interplay between individual, social, and cultural factors in the development of musical creativity [45]. By addressing these key aspects, educators can create transformative learning experiences that nurture creative potential and prepare students for the challenges and opportunities of the 21st century.

Ubiquitous learning as a framework for 21st-century skill development

The emergence of ubiquitous learning as a framework for developing 21st-century skills represents a significant shift in educational paradigms, particularly in response to rapidly evolving technological and societal demands. This shift is grounded in the recognition that traditional educational approaches may not adequately prepare learners for the challenges and opportunities of the digital age, which require a unique set of competencies and dispositions [46, 47]. Recent research has demonstrated the increasing importance of this approach in fostering essential competencies required for modern learners. For example, Espinoza-Casco et al. [1] conducted a comprehensive bibliometric analysis revealing a significant 90.9% increase in published research on ubiquitous learning from 2007 to 2023, indicating growing academic interest in this field.

The integration of technology in ubiquitous learning environments has proven particularly effective in developing core 21st-century competencies. Zhou [48] identifies three primary domains of competence: cognitive (including critical thinking and creativity), intrapersonal (encompassing intellectual openness and work ethic), and interpersonal (focusing on teamwork and leadership). This framework aligns with findings from Nabila et al. [49], who demonstrate successful implementation of programs fostering critical thinking, creativity, communication, and digital literacy in modern educational settings. These studies underscore the potential of ubiquitous learning environments in cultivating a broad range of skills and dispositions that are essential for success in the 21st century, such as problem-solving, collaboration, adaptability, and self-directed learning [50].

Research has highlighted the effectiveness of specific approaches within ubiquitous learning frameworks. Herianto et al. [51] evaluated the STEM-EDELCY learning model, revealing significant improvements in students’ twenty-first-century skills through structured approaches involving engagement, problem definition, planning, creating, testing, and evaluation. Similarly, Putri et al. [52] demonstrated the success of digital learning media in enhancing student engagement and comprehension of complex material through visualizations and interactive content. These findings suggest that effective ubiquitous learning frameworks should incorporate a range of pedagogical strategies that promote active, experiential, and collaborative learning, while leveraging the affordances of digital technologies to support knowledge construction and skill development.

However, the implementation of ubiquitous learning frameworks faces several challenges. Aparecio et al. [53] identified varying levels of skill development across different academic programs, with some disciplines showing stronger development in certain competencies than others. This finding suggests the need for more tailored approaches in implementing ubiquitous learning strategies across different fields of study. Addressing these challenges requires a critical examination of the specific needs and constraints of different academic disciplines, as well as the development of context-sensitive frameworks that can accommodate the diverse learning goals and practices of various domains [54].

Assessment and measurement of skills development within ubiquitous learning environments has emerged as a crucial area of focus. Dieu et al. [55] developed a comprehensive collaborative skill scale identifying 22 criteria across knowledge, attitude/values/ethics, and skills components, providing a structured framework for evaluating student progress in these areas. This work is complemented by Hashim et al. [56], who validated instruments for assessing higher-order thinking skills in educational settings. These studies highlight the importance of developing robust assessment tools and strategies that can capture the complex and multifaceted nature of 21st-century skills, while also providing meaningful feedback to learners and educators.

The role of technology in supporting ubiquitous learning has been particularly emphasized in recent research. Hu [57] conducted a meta-analysis of 74 empirical studies, revealing moderate but significant positive effects (Hedges’s g = 0.621) of programming instruction on various 21st-century skills development. This finding is supported by Sari [58], who emphasizes the importance of blended learning and virtual reality-based media in engaging Generation Z learners. These studies underscore the potential of emerging technologies, such as artificial intelligence, virtual and augmented reality, and learning analytics, in creating immersive, personalized, and data-driven learning experiences that can foster 21st-century skills development.

The transition to ubiquitous learning environments requires significant adaptation from both educators and institutions. Pérez-Sanagustín et al. [59] evaluated the PROF-XXI framework, demonstrating how Teaching and Learning Centers can effectively support sustainable transformations in higher education institutions, particularly in response to post-pandemic challenges. This institutional adaptation is crucial for successful implementation of ubiquitous learning approaches. Facilitating this transition requires a systemic approach that involves the alignment of policies, resources, and practices across different levels of the education system, as well as the development of strategic partnerships between educational institutions, industry, and community stakeholders [60].

Looking toward future developments, research suggests several key areas for growth. Imam et al. [61] emphasizes the need for education systems to evolve in response to global volatility, uncertainty, complexity, and ambiguity (VUCA), highlighting the importance of developing specific skills for enhanced employability and adaptability. This perspective is reinforced by Muldagaliyeva et al. [62], who identify key competencies including sense-making, social intelligence, and adaptive thinking as essential for future specialists. These studies point to the necessity of fostering a lifelong learning mindset and cultivating a broad range of transferable skills that can enable learners to navigate the rapidly changing landscape of the 21st century.

Research methodology

This study adopted a quasi-experimental, mixed-methods research design to develop, validate, and evaluate the effectiveness of the ubiquitous learning framework in fostering creativity and music arrangement skills. The design was informed by constructivist learning theories and aimed to integrate both quantitative and qualitative approaches to provide a comprehensive evaluation of the framework’s impact. The research was conducted in three phases: framework development, validation, and implementation.

Development of the framework

The ubiquitous learning framework was developed through an iterative process that combined insights from theoretical literature on constructivist learning principles, digital learning environments, and creativity enhancement. The framework development was informed by key studies in situated learning, problem-based learning, and digital tool integration. The framework’s components were designed to align with the four dimensions of creativity (originality, fluency, flexibility, and elaboration) and to support the development of these dimensions through specific features and affordances.

The initial framework underwent expert review and pilot testing with a sample of 30 students to assess its usability and effectiveness in fostering creativity. Based on the feedback and recommendations, the framework was refined and further developed before the main study. Modifications included adjusting the difficulty level of Problem Base tasks and enhancing the user interface of the digital tools.

The final framework included six interrelated components: Problem Base, Learning Resources, Cognitive Tools, Collaboration, Scaffolding, and Coaching. Each component was designed to support specific aspects of creative thinking and music arrangement skills, while working together to create a comprehensive and engaging learning experience. Following this, the Problem Base provided authentic, real-world challenges to encourage students to engage in situated and experiential learning. Learning Resources consisted of multimedia-rich digital materials, including access to traditional and contemporary music databases via ubiquitous platforms, to support on-demand learning. Cognitive Tools incorporated AI-powered digital applications, music editing software, and brainstorming tools to facilitate idea generation and refinement. Collaboration was designed to foster peer learning and co-construction of knowledge through online discussion boards and collaborative editing platforms. Scaffolding offered structured, adaptive support, gradually fading as students developed autonomy, while Coaching provided personalized mentoring and AI-driven feedback to guide students through the creative process.

Validation of the developed framework

To ensure the validity and reliability of the proposed framework, a rigorous expert validation process was conducted. A panel of 12 experts, comprising 4 music education professors, 4 educational technology specialists, and 4 instructional design experts, was formed. The experts independently evaluated the framework using a structured rubric assessing its relevance, clarity, and alignment with the study’s objectives. The Content Validity Index (CVI) was calculated for each item and the overall framework, with items receiving a CVI less than 0.78 being revised or removed [63]. Inter-rater agreement was assessed using Fleiss’ Kappa, ensuring consistency among the expert ratings [64]. The validation process yielded a CVI of 0.94, indicating strong agreement among the experts regarding the framework’s validity.

In addition to expert validation, the creativity rubric used in this study was adapted from the widely-recognized Consensual Assessment Technique (CAT) developed by Amabile [65]. The original CAT rubric was modified to better align with the specific context of music education and the learning objectives of the ubiquitous learning framework. The adapted rubric was pilot-tested with a sample of 30 students to ensure its reliability and validity before being used in the main study.

Population and sample

The population consisted of 780,000 high school students aged 15 to 18 years in Northeast Thailand, a region chosen for its cultural diversity and relevance to the study’s goal of developing creativity through music. To minimize potential confounding variables between the experimental and control groups, a matched-pairs sampling technique was employed [66]. Students were matched based on key characteristics, such as age, gender, prior music training, and access to technology, ensuring that both groups had similar baseline profiles. Additionally, instructor experience was controlled by assigning teachers with comparable years of teaching experience and professional qualifications to both groups. These measures helped to reduce the impact of extraneous variables on the study’s outcomes, strengthening the internal validity of the findings. The sample of 200 high school students was selected using a multi-stage random sampling method. First, five provinces in Northeast Thailand were randomly selected. Then, two schools from each province were randomly chosen, resulting in a total of 10 schools. Finally, 20 students from each school were selected using stratified random sampling based on grade level (10–12) and gender, ensuring equal representation. School administrators and music teachers were contacted to assist with the recruitment process and to obtain informed consent from students and their parents or guardians.

The sample consisted of 200 high school students (100 per group) with the following characteristics:

Age range: 15–18 years (Mean = 16.5, SD = 1.2).

Gender distribution: 52% female, 48% male.

Grade levels: Grade 10 (33%), Grade 11 (34%), Grade 12 (33%).

Prior music experience: 45% had formal music training, 55% had no formal training.

Technology access: All participants had access to smartphones and internet connectivity.

The experimental group engaged with the ubiquitous learning framework, while the control group received traditional classroom instruction using the same curriculum content but without digital tools or the structured framework components.

For the qualitative phase, focus group discussions were conducted with 40 students (20 from each group, selected based on their varying achievement levels) and 20 music teachers (10 from each group). The focus groups employed semi-structured interview protocols, observation logs, and reflection journals to gather in-depth insights about the learning experience. Each focus group session lasted approximately 60–90 min and was audio-recorded for detailed analysis. The balanced sampling method and diverse data collection tools helped reduce potential biases and ensure comprehensive feedback on the framework’s effectiveness.

Data collection

A combination of quantitative and qualitative data collection methods was employed to comprehensively evaluate the impact of the framework. The pre-test and post-test assessments were conducted using a performance-based creativity assessment developed by the researchers, which required students to compose an original piece of music based on a given theme. The assessment was designed to align with the learning objectives and components of the ubiquitous learning framework, focusing on the four dimensions of creativity: originality, fluency, flexibility, and elaboration. The compositions were evaluated by a panel of three music education experts using a standardized creativity rubric [65, 67]. The pre-test was administered before the students were introduced to the framework, while the post-test was conducted after the completion of the one-semester intervention.

The pre-test and post-test assessments were administered by the music teachers in each school, who received training and detailed instructions to ensure consistency in test administration. The tests were conducted during regular music class periods and took approximately 60 min each. During the tests, students were given a theme and asked to compose an original piece of music using the resources and tools available to them, either within the ubiquitous learning environment (experimental group) or in the traditional classroom setting (control group).

The assessment schedule was clearly structured for both groups. The experimental group (n = 100) and control group (n = 100) both received pre-tests before the intervention period. During the intervention, the experimental group engaged with the framework using digital tools, while the control group received traditional instruction. Both groups completed post-tests after the intervention. Additionally, both groups completed the Engagement and Satisfaction Survey (ESS) and the Perceived Learning Improvement Survey (PLIS). For qualitative data, focus group discussions were conducted with 20 students from each group.

The Engagement and Satisfaction Survey (ESS) consisted of 15 items assessing students’ perceived engagement, motivation, and satisfaction with the learning experience used in this study. The items were adapted from the User Engagement Scale [68] and the E-Learning Satisfaction Survey [69] to fit the context of music education and ubiquitous learning. Responses were given on a 5-point Likert scale ranging from 1 (strongly disagree) to 5 (strongly agree).

In addition, the Perceived Learning Improvement Survey (PLIS) comprised 10 items measuring students’ perceptions of their progress and skill development in music composition and the four dimensions of creativity. The items were developed by the researchers based on the learning objectives of the ubiquitous learning framework and existing creativity assessment tools (e.g., Torrance Tests of Creative Thinking; [70]). The questions were given on a 5-point Likert scale ranging from 1 (strongly disagree) to 5 (strongly agree).

Furthermore, teachers maintained observation logs, documenting students’ collaboration, problem-solving approaches, and interactions with digital tools. Additionally, focus group discussions were conducted with selected students and teachers to obtain qualitative feedback on the effectiveness and usability of the framework. The intervention was implemented over one academic semester, during which the experimental group engaged with the ubiquitous learning framework, while the control group received traditional classroom instruction. The implementation process involved introducing students to the framework components, guiding them through the Problem Base tasks, providing access to Learning Resources and Cognitive Tools, facilitating Collaboration and Scaffolding, and offering personalized Coaching. Students in the experimental group worked on music composition projects that aligned with the framework’s principles, while those in the control group completed similar projects using traditional methods.

Data analysis

Quantitative data were analyzed using paired t-tests to compare pre-test and post-test scores across the four dimensions of creativity. To provide a more comprehensive understanding of the magnitude and practical significance of the observed differences, effect sizes (Cohen’s d) were calculated for each comparison [71]. Additionally, 95% confidence intervals (CIs) were computed to indicate the precision of the effect size estimates [72].

Prior to conducting the t-tests, the assumptions of normality and homogeneity of variances were assessed using the Shapiro-Wilk test and Levene’s test, respectively [73, 74]. The results indicated that the data met these assumptions, supporting the use of parametric tests.

Moreover, correlation and regression analyses were conducted to assess the relationships between the six framework components and creativity outcomes. The strength and direction of the associations were evaluated using Pearson’s correlation coefficients (r), with their corresponding p-values and 95% CIs [75]. Assumptions of linearity, homoscedasticity, and normality of residuals were checked using scatter plots, residual plots, and normal probability plots, respectively.

In addition, multiple linear regression models were constructed to identify the key predictors of creativity dimensions. The models’ goodness of fit was assessed using the coefficient of determination (R²), and the statistical significance of individual predictors was evaluated using standardized regression coefficients (β) and their associated p-values [76]. Multicollinearity was assessed using variance inflation factors (VIFs), ensuring that no substantial collinearity existed among the predictors [77].

Additionally, the qualitative data were analyzed using thematic analysis, which revealed key themes, such as increased motivation, iterative refinement of creative outputs, and positive feedback on the scaffolding mechanisms. The observation logs supported these findings by documenting how students progressively developed autonomy through scaffolded learning.

Reliability and validity

The reliability of the instruments was tested through a pilot study involving 30 students, yielding a Cronbach’s alpha coefficient of 0.89, indicating high internal consistency. Content validity was confirmed through expert validation, and construct validity was assessed using factor analysis, confirming that the test items aligned with the intended dimensions of creativity. Triangulation of data from multiple sources further enhanced the study’s overall validity.

Ethical considerations

The study adhered to ethical research standards and received approval from the Institutional Review Board (IRB) (Approval Number: HE673432). Informed consent was obtained from both students and their guardians, and participants were informed of their right to withdraw at any time. All data collected were anonymized and securely stored to ensure confidentiality and data protection.

Results

Development and validation of the ubiquitous learning framework for creativity and music arrangement

In an era where technology-driven education is transforming the way students engage with learning, the ubiquitous learning framework emerges as an innovative pedagogical model that seamlessly integrates constructivist learning principles with ubiquitous learning environments to foster creativity and music arrangement. Rooted in constructivist theories, this study successfully developed and validated a framework comprising six essential components: Problem Base, Learning Resources, Cognitive Tools, Collaboration, Scaffolding, and Coaching. As illustrated in Fig. 1, the framework leverages the context-aware, technology-enhanced nature of ubiquitous learning while preserving the scaffolded, student-driven approach of constructivism. The following briefly describes each component:

Fig. 1.

Components of the ubiquitous learning framework for creativity and music arrangement

The six framework components function synergistically to enhance creativity

Problem Base provides authentic challenges like creating digital media soundtracks or arranging traditional Thai music in contemporary styles, bridging theory and practice through real-world applications that students can access anytime, anywhere via cloud-based platforms.

Learning Resources offers continuous access to multimedia content including digital archives, streaming platforms, and online tutorials, enabling students to explore diverse musical styles and techniques beyond traditional textbooks through their mobile devices.

Cognitive Tools encompass music editing software, AI assistants, and digital notation platforms that enable students to experiment, iterate, and refine compositions in real-time, fostering creative flexibility through non-linear composition processes.

Collaboration extends learning beyond physical classrooms through digital platforms for peer feedback, online jam sessions, and co-creative projects, transforming traditional learning into a globally connected experience.

Scaffolding provides adaptive guidance through digital tutorials and automated pathways that adjust to individual student needs, gradually transitioning learners from structured templates to independent creative exploration.

Coaching delivers personalized mentoring via AI-driven feedback and virtual guidance, enabling continuous refinement through iterative learning processes that develop each student’s unique creative voice.

Validation and statistical results

The framework’s validation occurred in two phases. First, expert evaluations yielded a Content Validity Index (CVI) of 0.94, indicating strong agreement regarding its alignment with constructivist principles. Second, a pilot study was conducted with 30 students to test the framework’s effectiveness. Table 1 presents the comparative results, showing statistically significant improvements (p < 0.001) across all creativity dimensions after implementing the framework. Effect sizes (Cohen’s d) ranged from 1.21 to 1.51, indicating large practical significance of the observed differences.

Table 1.

Pre-test and post-test mean (SD) across creativity dimensions

Creativity Dimension	Pre-Test Mean (SD)	Post-Test Mean (SD)	t-value	p-value	Cohen’s d (95% CI)
Originality	45.2 (5.8)	82.4 (6.1)	24.98	< 0.001	1.23 (0.99, 1.47)
Fluency	48.1 (6.2)	84.7 (5.5)	24.64	< 0.001	1.28 (1.04, 1.52)
Flexibility	52.3 (5.9)	88.6 (5.8)	24.27	< 0.001	1.21 (0.97, 1.45)
Elaboration	40.5 (6.1)	80.9 (6.3)	25.32	< 0.001	1.48 (1.23, 1.73)

Note. Paired-sample t-tests were conducted. Assumptions of normality and homogeneity of variances were assessed and satisfied

To further illustrate these results, a bar chart comparing the Pre-Test and Post-Test scores for each creativity dimension is provided in Fig. 2.

Fig. 2.

Pre-test and post-test mean scores across creativity dimensions

Further analysis revealed that Scaffolding and Cognitive Tools emerged as the most impactful components, while Problem Base and Collaboration encouraged originality and fluency (see Tables 2 and 3).

Table 2.

Correlation coefficients (r) between framework components and creativity dimensions

Component	Originality (r)	Fluency (r)	Flexibility (r)	Elaboration (r)
Problem Base	0.78** (p < 0.01)	0.65* (p < 0.05)	0.70** (p < 0.01)	0.76** (p < 0.01)
Learning Resources	0.72** (p < 0.01)	0.68** (p < 0.01)	0.69** (p < 0.01)	0.74** (p < 0.01)
Cognitive Tools	0.75** (p < 0.01)	0.71** (p < 0.01)	0.77** (p < 0.01)	0.80** (p < 0.01)
Collaboration	0.69** (p < 0.01)	0.74** (p < 0.01)	0.73** (p < 0.01)	0.79** (p < 0.01)
Scaffolding	0.81** (p < 0.01)	0.78** (p < 0.01)	0.82** (p < 0.01)	0.84** (p < 0.01)
Coaching	0.73** (p < 0.01)	0.70** (p < 0.01)	0.75** (p < 0.01)	0.78** (p < 0.01)

Note. **p < 0.01; *p < 0.05

Table 3.

Regression analysis results for creativity dimensions

Creativity Dimension	Predictor Variables	β (Standardized Coefficient)	t-value	p-value	R²
Originality	Problem Base	0.38	6.42	< 0.001	0.64
	Scaffolding	0.35	5.98	< 0.001
Fluency	Collaboration	0.41	6.87	< 0.001	0.62
	Learning Resources	0.32	5.19	< 0.001
Flexibility	Cognitive Tools	0.50	8.05	< 0.001	0.67
	Collaboration	0.35	5.48	< 0.001
Elaboration	Scaffolding	0.45	7.32	< 0.001	0.70
	Cognitive Tools	0.38	6.14	< 0.001

Note. Multiple linear regression was conducted. Assumptions were tested and met

Relationship between ubiquitous learning components and creativity development

The second objective focused on examining the relationships between the six components of the ubiquitous learning framework and the four dimensions of creativity: Originality, Fluency, Flexibility, and Elaboration. Through correlation and regression analyses, significant insights were obtained into how these components contributed to the development of advanced creativity skills in students.

Correlation between framework components and creativity dimensions

Table 2 presents the correlation coefficients (r) for each component across the creativity dimensions. The results indicate that all components had positive and significant correlations with creativity, with Scaffolding and Cognitive Tools showing the strongest overall relationships.

Scaffolding demonstrated the highest correlation with all dimensions of creativity, particularly Elaboration (r = 0.84, p < 0.01). Similarly, Cognitive Tools were strongly correlated with Flexibility (r = 0.77, p < 0.01) and Elaboration (r = 0.80, p < 0.01).

Regression analysis of creativity dimensions

The results indicated that Scaffolding and Cognitive Tools were the most significant predictors of creativity, together explaining a large proportion of the variance in Elaboration and Flexibility.

Key findings:

1. Originality: Problem Base (β = 0.38) and Scaffolding (β = 0.35), R² = 0.64

2. Fluency: Collaboration (β = 0.41) and Learning Resources (β = 0.32), R² = 0.62

3. Flexibility: Cognitive Tools (β = 0.50) and Collaboration (β = 0.35), R² = 0.67

4. Elaboration: Scaffolding (β = 0.45) and Cognitive Tools (β = 0.38), R² = 0.70

The regression analysis revealed significant predictive relationships between framework components and creativity dimensions. Fig. 3 illustrates the R² values associated with the regression models for each creativity dimension, highlighting the predictive strength of key framework components.

Fig. 3.

R² Values for predictors of creativity dimensions

Interaction effects between framework components

Analysis of variance revealed significant interaction effects between framework components:

1. Digital tools × constructivist pedagogy: F(1,198) = 7.34, p < 0.01

2. Scaffolding × cognitive tools: F(1,198) = 8.21, p < 0.001

3. Collaboration × learning resources: F(1,198) = 6.95, p < 0.01

These interactions suggest synergistic rather than independent effects on creativity development.

Qualitative insights

According to the qualitative insights, students reported that Scaffolding was particularly useful in breaking down complex problems, enabling them to refine their ideas. One student commented, “The step-by-step guidance helped me focus on details that I would normally overlook.” Another noted the importance of Cognitive Tools, stating, “Using the software allowed me to experiment freely, which made my work more creative and adaptable.”

Additionally, educators observed that Collaboration created a dynamic environment where students could share and refine ideas. One instructor remarked, “Group interactions not only generated diverse ideas but also encouraged students to elaborate and justify their creative decisions.”

Theoretical implications and integration of digital technology in ubiquitous learning

This objective focuses on the theoretical and practical contributions of integrating digital technology within the ubiquitous learning framework. By analyzing the experimental results and qualitative feedback, the research identifies the key theoretical implications of digital tools in fostering creativity and enhancing learning processes. Additionally, it proposes a conceptual framework that reflects the integration of constructivist principles with advanced digital technologies for modern education.

The impact of digital tools on creativity

The integration of digital tools, such as music editing software, real-time feedback systems, and online collaborative platforms, played a pivotal role in enhancing creativity. The experimental results demonstrate that these tools significantly improved students’ ability to generate, refine, and adapt their ideas across all four creativity dimensions: Originality, Fluency, Flexibility, and Elaboration.

Quantitatively, students in the experimental group using the framework outperformed the control group in all creativity dimensions. Table 4 presents the comparative results between the experimental and control groups, showcasing the significant impact of digital technology on creativity.

Table 4.

Comparison of creativity scores between experimental and control groups

Creativity Dimension	Experimental Group Mean (SD)	Control Group Mean (SD)	t-value	p-value
Originality	82.4 (6.1)	62.3 (5.8)	12.51	< 0.001
Fluency	84.7 (5.5)	65.4 (6.2)	12.44	< 0.001
Flexibility	88.6 (5.8)	68.2 (5.9)	13.02	< 0.001
Elaboration	80.9 (6.3)	60.1 (6.1)	12.37	< 0.001

Students in the experimental group achieved significantly higher scores across all dimensions, with the largest improvement observed in Flexibility (t = 13.02, p < 0.001). These large effect sizes indicate substantial practical significance of the framework’s impact on creative development.

Synergistic effects of framework components and digital tools

The results suggest that the improvements cannot be attributed to digital tools alone but rather to the synergistic integration of technology within the constructivist framework. The regression analysis (Table 3) revealed that while Cognitive Tools were significant predictors, they worked most effectively in combination with other framework components, particularly Scaffolding and Collaboration.

Furthermore, the interaction effects analysis demonstrated significant interactions between:

• Digital tools × Constructivist pedagogy (F(1,198) = 7.34, p < 0.01).

• Scaffolding × Cognitive tools (F(1,198) = 8.21, p < 0.001).

• Collaboration × Learning resources (F(1,198) = 6.95, p < 0.01).

These interactions indicate that the framework’s pedagogical structure amplified the benefits of digital tools, creating synergistic effects that exceeded the sum of individual components.

Qualitative evidence of framework-technology integration

The qualitative feedback from students and educators further reinforced the importance of integrating digital tools within a structured pedagogical framework. Students emphasized how the combination of technological tools and guided learning enhanced their creative processes.

One student shared, “The music editing software allowed me to try multiple ideas without fear of making mistakes. I could go back and improve my work easily.” This comment highlights how digital tools provided a safe space for experimentation within the framework’s supportive structure.

Another student noted the value of real-time feedback: “The immediate feedback helped me understand what worked and what didn’t, so I could adjust my composition right away.” This illustrates how technology enhanced the framework’s Coaching component.

Educators observed that the framework transformed how students used digital tools. One instructor remarked, “Students were able to critique and build on each other’s ideas in a way that wouldn’t have been possible in a traditional classroom setting. The framework gave structure to their digital collaboration.”

Theoretical implications

These findings have several important theoretical implications:

1. Technology as an Amplifier, Not a Solution: The results support the theoretical position that technology alone does not guarantee improved learning outcomes. Rather, digital tools function as amplifiers of well-designed pedagogical approaches.

2. Constructivist Principles in Digital Environments: The success of the framework demonstrates that constructivist principles—active learning, scaffolding, collaboration, and authentic tasks—remain crucial even in technology-rich environments.

3. Synergistic Integration Model: The significant interaction effects suggest a new theoretical model where digital tools and pedagogical frameworks create emergent properties that neither could achieve independently.

4. Creativity Development Through Structured Freedom: The framework’s success in enhancing creativity, particularly flexibility and elaboration, suggests that creative development benefits from structured guidance combined with the exploratory freedom that digital tools provide.

These theoretical insights contribute to our understanding of how digital technology can be meaningfully integrated into educational practices to enhance creative development, providing a foundation for future research and practice in technology-enhanced music education.

Discussions

Development and validation of the ubiquitous learning framework

This study directly addresses two critical problems in contemporary music education: (1) the shortage of teachers capable of integrating digital tools effectively, and (2) the lack of structured activities that systematically develop creativity [2]. The development and validation of the ubiquitous learning framework represents a significant advancement in solving these specific challenges. The framework’s high Content Validity Index (CVI) of 0.94 demonstrates exceptional expert agreement regarding its theoretical foundations and practical applicability.

Critical Analysis of Previous Approaches: While previous studies have explored digital integration in music education, they often suffer from significant limitations. For instance, Pierard and Lines [7] focus primarily on technical skills in DAW learning without providing a comprehensive pedagogical framework. Our study addresses this gap by embedding digital tools within a structured constructivist approach. The positive outcomes support Kupers’ [5] assertion that musical creativity develops through structured interactions rather than innate talent, but extend his work by providing the specific structure that was previously missing.

Particularly noteworthy is the framework’s success in fostering creativity through its six integrated components. The strong performance improvements in the experimental group, especially in flexibility (t = 13.02, p < 0.001), directly address Thompson and Harding’s [3] criticism that formal education fails to prepare students for industry-relevant creative tasks.

The framework’s Problem Base component proved particularly effective in providing authentic, real-world challenges, The significant improvements in originality scores (from 45.2 to 82.4) demonstrate how real-world applications can enhance creative thinking and musical innovation. However, these dramatic improvements warrant critical examination - they may reflect initially suppressed creativity in traditional Thai educational contexts rather than universal applicability of the framework.

However, the study faced several limitations that warrant discussion. Most critically, without a “digital tools only” comparison group, we cannot definitively claim that the framework’s structure adds value beyond well-implemented technology alone. This represents a significant methodological limitation that future research must address. Additionally, the study’s duration of one academic semester, while sufficient for observing immediate effects, leaves questions about long-term impacts on creative development and whether the improvements represent lasting change or merely novelty effects.

Looking forward, these findings contribute significantly to the broader discourse on technology integration in music education. However, we must resist the temptation to view technology as a panacea. The framework’s effectiveness likely stems not from digital tools themselves but from how they amplify well-designed pedagogical approaches. Future research should focus on long-term implementation studies and cross-cultural adaptations to further validate the framework’s effectiveness in diverse educational contexts.

Analysis of framework components and creativity enhancement

This analysis directly addresses the practical question of which framework components educators should prioritize when resources are limited. The correlation and regression analyses revealed complex and significant relationships between framework components and creativity dimensions, providing actionable guidance for implementation. The particularly strong correlations demonstrated by Scaffolding (r = 0.84, p < 0.01) and Cognitive Tools (r = 0.80, p < 0.01) with creative development suggest these components should be prioritized in resource-constrained settings.

Critical Evaluation of Component Effectiveness: Unlike previous studies that assume all pedagogical components contribute equally [4, 6], our regression analysis empirically demonstrates differential impacts. The high proportion of variance explained by these components (R² = 0.70 for Elaboration) surpasses expectations based on previous research findings.

A particularly noteworthy finding is the strong correlation between Collaboration and Fluency (r = 0.74, p < 0.01), suggesting that peer interaction and collaborative learning play crucial roles in developing creative abilities. This challenges the individualistic approach to creativity development prevalent in traditional music education [5] and suggests that social constructivist approaches may be more effective than previously recognized.

The Problem Base component’s strong correlation with Originality (r = 0.78, p < 0.01) provides empirical support for authentic learning approaches, but contradicts studies suggesting that constraints inhibit creativity [40]. This relationship suggests that authentic, real-world musical challenges effectively stimulate original thinking and creative innovation.

Unexpected Findings and Their Implications: The regression analysis revealed several unexpected findings. The strong predictive power of Scaffolding for Elaboration (β = 0.45, p < 0.001) challenges the common assumption that creativity requires minimal structure [9].

However, the interaction effects analysis reveals a critical insight: components work synergistically rather than independently (F(1,198) = 7.34–8.21, p < 0.01). This finding contradicts additive models of educational intervention and suggests that implementing individual components in isolation may yield minimal benefits.

These findings have significant implications for the design of music education programs. For resource-limited contexts, prioritizing Scaffolding and Cognitive Tools would yield maximum impact. However, the interaction effects suggest that a minimal viable framework should include at least three interacting components rather than focusing on single interventions. Future research should explore how these relationships might vary across different age groups and musical skill levels, and investigate the potential for developing more sophisticated ways to measure the interaction between framework components and creative development.

Theoretical implications of digital technology integration

This section addresses the fundamental question: Does technology enhance creativity, or does it merely provide new tools for expressing existing creative capabilities? The experimental results demonstrating significant outperformance of the experimental group across all creativity dimensions, particularly in Flexibility (t = 13.02, p < 0.001), provide evidence that technology can amplify creative potential when properly integrated.

Challenging Technology-Centric Assumptions: The comparative analysis between experimental and control groups revealed several theoretically significant patterns. The substantial differences in mean scores across all creativity dimensions cannot be attributed to technology access alone, as evidenced by the interaction effects between digital tools and pedagogical structure. This finding directly contradicts techno-deterministic views [1] that assume technology automatically improves learning outcomes.

An unexpected theoretical insight emerged regarding the role of digital tools in facilitating peer learning and knowledge exchange. The qualitative feedback revealed that students particularly valued the ability to experiment without fear of mistakes, suggesting that digital tools create a more supportive environment for creative risk-taking than traditional approaches. However, this “safety” of digital environments may also reduce the authentic pressure that sometimes catalyzes breakthrough creativity - a paradox that warrants further investigation.

Reconciling Theoretical Contradictions: Our findings help reconcile the apparent contradiction identified by Maidaniyk et al. [8] between preserving musical traditions and embracing digital innovation. The framework demonstrates that technology can serve as a bridge rather than a barrier, enabling students to reinterpret traditional Thai music through contemporary digital tools.

However, several theoretical challenges and limitations emerged from the study. The effect sizes (d = 1.22–1.30), while large, may be inflated by the contrast between a comprehensive intervention and traditional passive learning. This raises questions about what constitutes a fair comparison in educational research. Additionally, the study revealed that technical infrastructure limitations could constrain the theoretical benefits of digital integration, suggesting that digital divide issues may exacerbate rather than reduce educational inequalities.

Looking toward future theoretical development, this research opens several important avenues for investigation. Most critically, we need theoretical models that distinguish between technology as a creativity amplifier versus technology as a creativity substitute. Our results suggest amplification, but only within specific pedagogical conditions. These findings contribute significantly to theoretical understanding of how digital technology can enhance music education through constructivist approaches. However, they also warn against technological solutionism - the framework’s success stems from the synergy between technology and pedagogy, not from technology alone. Future research should focus on developing more nuanced theoretical models that can account for the complex interactions between technology, pedagogy, and creativity in music education.

Conclusion

This research has investigated the integration of digital tools and constructivist learning principles to enhance creativity in music education through the development and validation of a ubiquitous learning framework. This study directly addresses two critical challenges in music education: the shortage of teachers with digital integration capabilities and the lack of structured activities for creativity development. The findings demonstrate the effectiveness of this approach in fostering creative development among Thai high school students, while also revealing important implications for music education in the digital age. The following sections summarize the key findings, discuss their implications and contributions, and identify limitations along with directions for future research.

Key findings

This research has yielded several significant findings regarding the integration of digital tools and constructivist learning principles in music education. The development and validation of the ubiquitous learning framework demonstrated exceptionally high expert agreement with a Content Validity Index of 0.94 and produced statistically significant improvements across all dimensions of creativity. Most notably, the experimental group showed substantial improvements in flexibility (t = 13.02, p < 0.001), with mean scores increasing from 52.3 to 88.6. Similar improvements were observed in originality (45.2 to 82.4), fluency (48.1 to 84.7), and elaboration (40.5 to 80.9), indicating the framework’s effectiveness in enhancing creative capabilities. The large effect sizes observed (Cohen’s d = 1.21–1.51) indicate substantial practical significance of the framework’s impact. The correlation analysis revealed particularly strong relationships between scaffolding and elaboration (r = 0.84) and between cognitive tools and flexibility (r = 0.80), demonstrating the crucial role of structured technological support in creative development. Furthermore, the regression analysis identified that scaffolding and cognitive tools together explained 70% of the variance in elaboration, suggesting these components are fundamental to developing detailed creative work. Additionally, significant interaction effects were found between digital tools and constructivist pedagogy (F(1,198) = 7.34, p < 0.01), indicating synergistic rather than independent effects of framework components.

Theoretical implications and contributions

This research offers significant theoretical and practical contributions to music education and technology-enhanced learning through its innovative framework that bridges traditional music education and contemporary technological practices. By integrating six essential components—Problem Base, Learning Resources, Cognitive Tools, Collaboration, Scaffolding, and Coaching—the framework advances constructivist learning principles while supporting technological integration. Drawing from Jonassen and Rohrer-Murphy’s [19] theory of meaningful learning, the framework demonstrates how digital tools can amplify active exploration and collaborative learning, particularly enhancing students’ flexibility and elaboration skills in music creation. The implementation of dynamic scaffolding through real-time feedback systems and adaptive guidance enables personalized learning experiences, aligning with constructivist principles while maintaining essential pedagogical elements. The framework’s successful implementation in Thai educational contexts illustrates its cultural adaptability while preserving traditional music education values, providing valuable insights for diverse cultural settings. Moreover, the integration of digital tools with constructivist principles creates an environment that naturally develops critical 21st-century competencies, including creativity, collaboration, and digital literacy skills essential for future professional success.

Limitations and future directions

Despite its significant contributions, this study has several limitations that suggest directions for future research. A critical limitation is the absence of a ‘digital tools only’ comparison group, which prevents definitive conclusions about the framework’s added value beyond technology alone. While the framework proved effective in the Thai context, questions remain about its scalability across different cultural settings and educational systems. The study’s duration of one academic semester, while sufficient for observing immediate effects, leaves questions about the long-term impact on creative development. The large effect sizes observed (Cohen’s d = 1.21–1.51) require careful interpretation. These high values may reflect the specific Thai educational context, baseline creativity levels, or measurement considerations, warranting replication studies in diverse settings with refined assessment tools. Future research should focus on longitudinal studies to assess the sustained effects of the framework on creativity development. Additionally, the interplay between different framework components might be more complex than the current analysis suggests, particularly in how they work together to support creative development over time. Future studies should explore the potential for developing more sophisticated assessment tools for measuring creativity in digital learning environments and investigate how the framework might be adapted for different musical traditions while maintaining its effectiveness. Furthermore, research is needed to determine the optimal balance between technological support and human guidance in various educational contexts. These future directions will help refine and extend the framework’s applicability across diverse educational contexts and cultural settings.

Author contributions

P.K. conceptualized and designed the study, developed the theoretical framework, secured funding, and supervised the research. P.K. and N.A. jointly developed the research methodology and instruments. N.A. collected the data, conducted preliminary data analysis, and created the initial visualization of results. P.K. performed the advanced statistical analyses and interpretation of findings. N.A. drafted the initial manuscript. P.K. critically revised the manuscript for important intellectual content and finalized the paper. Both authors reviewed and approved the final version of the manuscript submitted for publication.

Funding

No specific funding was receiv ed for conducting this research. The research was supported by Khon Kaen University through the provision of facilities and resources.

Data availability

The datasets generated and analyzed during the current study are available from the corresponding author upon reasonable request. All data are anonymized to protect participant confidentiality.

Declarations

Ethics approval and consent to participate

This research was approved by the Khon Kaen University Ethics Committee for Human Research (Reference No.: HE673432) on December 9, 2024. All participants (students, parents, teachers, and experts) provided written informed consent before participating in the study. For students under 18 years of age, written informed consent was obtained from both the students and their parents or legal guardians. The research followed the guidelines of the Belmont Report and GCP in Social and Behavioral Research.

Consent for publication

All participants provided consent for their anonymized data to be published in scientific journals or presented at conferences.

Competing interests

The authors declare no competing interests.