In this paper, we share experiences of using the methodology pure Question-Based Learning (pQBL, [1]) and technology for interactive sound in browsers WebAudioXML (WAXML, [2]). Combined, the two provide novel, accessible, and effective tools for addressing broader learning outcomes than what we typically can do today. This approach bridges technical and artistic education while making collaboration across institutions easier.

Courses in sound processing, music production, acoustics, perception, interactive composition, and related topics require thoughtfully designed learning activities to engage students with audio material. Lecture rooms offer poor listening conditions for group activities unless site-specific technologies are employed. After the recent shift to fully online teaching, educators have embraced the advantages of off-campus pedagogical practices. Online learning has also shown democratic benefits, making education more inclusive for students with social anxiety, attention difficulties, or those unable to attend in person. However, this shift highlighted the need to support students not only with limited access to technology but also those with hearing impairments, neurodiverse conditions, and other structural inequalities.

WAXML allows activities ranging from user-friendly interfaces for sound and music exploration to coding and data analysis, accommodating a diversity of students, whether they lack programming or musical backgrounds. The interactive material motivates to train curricular skills [5]. Additionally, inclusion considerations, such as hearing diversity [3] and accessibility [4], require an adaptive environment that WAXML can provide.

pQBL is a highly adaptable methodology that supports the creation of differentiated learning materials and activities. Combined with WAXML, it empowers students to flexibly explore music, engage in active listening, and train essential analytical abilities. A significant advantage of pQBL is its ability to integrate AI to automate the generation of tailored questions and learning materials. However, such an approach must carefully balance meeting individual needs with achieving overall learning objectives.

Inclusive education must not only address structural inequalities but also recognize and value situational inequalities, such as diverse preferences and experiences. It should support various learning styles tailored to individual interests, skills, and openness. Teaching materials must encourage free expression without reinforcing stereotypes or biases, such as gender stereotypes, where research reveals differing expectations, assessments, as well as gendered perceptions of genres and instruments [6]. Tackling stereotypes and developing unbiased teaching materials are crucial for ensuring inclusion and equality [7].

References:
[1] Bälter, Glassey, & Wiggberg, 2021. Reduced Learning Time with Maintained Learning Outcomes. doi:10.1145/3408877.3432382
[2] Lindetorp & Falkenberg, 2022. Evaluating Web Audio for Learning, Accessibility, and Distribution. doi:10.17743/jaes.2022.0031
[3] Drever & Hugill, 2022. Aural Diversity. doi:10.4324/9781003183624
[4] Frid, 2019. Diverse Sounds. http://kth.diva-portal.org/smash/get/diva2:1377483
[5] Kerchner, 2021. Music Listening. doi:10.1007/978-3-030-67704-6_9
[6] Trollinger, 2021. Sex/gender research in music education. Visions of Research in Music Education, 16(5).
[7] Graßl & Fraser, 2024. Girls Rocking the Code. doi:10.1145/3639474.3640075

Keywords: Personal Learning Environments, Technology-Enhanced Learning, Pedagogical Innovations, Inclusive Learning, equality, sound and music computing.