This paper introduces music performance as an innovative form of communication that extends beyond verbal

and textual language, positioning it as a valuable pedagogical tool in education. While conventional teaching

methods often prioritise spoken and written expression, music offers a non-verbal system of semiosis through

rhythm, phrasing and dynamics. By drawing parallels between musical and linguistic structures, this paper

proposes music as language, embodied in a framework for enhancing creativity, empathy and intercultural

understanding. The key innovation lies in reframing performance as a communicative practice that develops

learner sensitivity to nuance and their capacity for non-verbal literacy. This approach highlights how

Education is often realised by verbal and textual communication, with the focus on speech and writing as the

primary means of knowledge transfer. Effective as it can be, this emphasis risks neglecting alternative

literacies that promote creativity, embodiment and intercultural sensitivity (Cope and Kalantzis, 2009). As

classrooms increasingly prepare students for globalized contexts, there is value in exploring non-verbal

systems of communication that foster adaptability and inclusion.

Music, both art and social practice, offers the same system but with different perspectives. Scholars have long

noted structural and functional parallels between music and language (Patel, 2008; Small,1998), suggesting

that performance may operate as a communicative practice in its own parallel, beyond its aesthetic value.

expression. On the brighter side, music education is the potential to bridge this gap, even when performance is

often framed exclusively as artistry or technical skill rather than as communication. Consequently, students

may miss the opportunity to develop non-verbal literacies, such as sensitivity to nuance, collaborative listening

and intercultural dialogue. Therefore, there is a need to reframe performance practices across instruments in

this

case, piano and jazz guitar as communicative modes that extend beyond words. This emphasis could position

education as a performative and interactive process, cultivating skills that are transferable across disciplines

and professional contexts.

1. Propose a framework for understanding music performance as a communicative mode in education

conversational dialogue, and this is realised when a guitarist responds to another phrase with a complementary

idea, it mirrors turn-taking and negotiation in spoken conversation (Berliner, 1994; Seddon, 2005). A pianist

highlights intonational nuance, where dynamics, voicings, and rubato would parallel shifts in tone or as

emphasis in speech, shaping meaning and emotion (Juslin and Sloboda, 2010). Together, these examples

illustrate the performance potential as a dialogic system, cultivating learners’ capacity for non-verbal literacy

and intercultural sensitivity.

Although report of pilot workshops, participant feedback, or measurable outcomes is not stated, the

methodology is pre-conceptualised and framed as proposed future work, with a practice-led and conceptual

approach that may guide development (Candy, 2006) of comparative analyses that theorise parallels between

linguistic and musical structures; syntax versus phrasing, and prosody versus dynamics. Guitar and piano

Students may become more attuned to non-verbal nuance and responsive dialogue, echoing real-world

communication demands (Kramsch, 2006). This may be achieved by using improvisation and interpretation

that requires listening across differences, potentially cultivating intercultural competence in diverse

classrooms. By positioning education as performance, it may potentially encourage learners to see knowledge

as co-creation, promoting adaptability and empathy

In higher education, this framework could be commercially developed into a structured curriculum through its

potential adaptability across educational and professional sectors, utilising workshops and masterclasses that

integrate performance-based communication into music, language and intercultural studies. Beyond academia,

professional corporate development, cultural exchange programs and global education innovation. Table 1

shows the parallels between musical performance and linguistic communication.

The novelty of this proposed concept lies in its reimagining of music performance not merely as aesthetic

packages for education, offering value for language learning, leadership training and globalised workplace

preparation Also, commercialization could be balanced with a candid discussion of limitations such as costs,

teacher training, and adaptability across contexts.

A sincere appreciation to Dr. Siti Nur Hajarul Aswad Shakeeb Arsalaan Bajunid for her invaluable guidance,

encouragement and intellectual support in the development of this concept paper. Her insights and expertise

have been instrumental in shaping the theoretical framing and academic direction of this research initiative.

1. Berliner, P. (1994). Thinking in jazz: The infinite art of improvisation. University of Chicago Press.

2. Candy, L. (2006). Practice based research: A guide. Creativity and Cognition Studios Report.

6. Juslin, P. N., & Sloboda, J. (Eds.). (2010). Handbook of music and emotion: Theory, research, applications.

Oxford University Press

7. Kramsch, C. (2006). From communicative competence to symbolic competence. The Modern Language

https://doi.org/10.17763/haer.66.1.17370n67v22j160u

9. Patel, A. D. (2008). Music, language, and the brain. Oxford University Press.

10. Seddon, F. (2005). Modes of communication during jazz improvisation. British Journal of Music Education,

22(1), 47–61. https://doi.org/10.1017/S0265051704005984

11. Small, C. (1998). Musicking: The meanings of performing and listening. Wesleyan University Press.