Embracing digital technologies: instrumental guitar teaching and student engagement Open Access

³Music education plays an important role in developing students' social skills, cognitive abilities, wellbeing, and cultural appreciation (Collins et al., 2020; Varner, 2024). It contributes to academic performance, cognitive functioning, and supports mental health (Shaw, 2022). The emotional and social benefits of learning music (Sala and Gobet, 2020) provide a sense of community through group activities with technologies making this accessible for ensembles, performances and collaboration (Lee et al., 2018).

Generally, when students undertake classroom music or individual lessons, learning has traditionally been based on the master-apprentice approach, centring the teacher as the expert and keeper of knowledge (Daniel and Parkes, 2019; Yuen, 2024). The intrinsic value of music education is grounded in appreciating music as art-from that is rich in tonal, and expressive nuance impacted by technical abilities, which has historically been challenging to learn in isolation (Daniel and Parkes, 2019; Pozo et al., 2022). This has reinforced the master-apprentice approach where expertise can be used to transmit nuance through replication and technical mastery (Yuen, 2024). While it is defensible for objective truth in technical skills such as posture and technique in music, musical expression and interpretation is far less grounded in objectivity. As such, a critique of this approach is concerned that it is overly rigid and based within a positivist paradigm, which tends to position expression and interpretation as fixed and objective according to the master (Pozo et al., 2022). Response to this criticism has led to shifting towards student-centred approaches through a constructivist lens with methodologies such as Musical Futures, Suzuki, and the flipped-approach (Huang, 2023; Spears, 2024). Whilst it is beyond the scope of this paper to discuss the different styles and pedagogies in guitar teaching, such as classical, rock, jazz, we do acknowledge that each may require different pedagogical approaches, for example, Trinity College and AMEB. Student-centred approaches place greater emphasis on student agency and creativity by engaging with informal learning (e.g. learning by ear), out-of-lesson learning opportunities, and authentic and culturally relevant repertoire choice (Gubbins, 2024; Liu et al., 2024; Weiger, 2021). Additionally, learning independently through self-reliant learning, together with friends through collaborative learning and group learning (Davis, 2013; Green, 2010, 2012). The shift to student-centred approaches aligns closely with motivational theory such as Self-Determination Theory (SDT), which places importance on autonomy, competence and relatedness as key drivers of student motivation (Evans, 2015; Ryan, 2023; Ryan and Deci, 2017). Student-centred approaches utilise digital technologies to deliver opportunities, though there are calls to explore this more in-depth from a guitar teaching perspective (Rodriguez and Marone, 2021; Lee et al., 2018).

Digital technologies offer student-centred pathways to learning guitar and instrumental music, creating opportunities to compose, gamify learning, and monitor practice progress through broad music digital tools such as notation and composition software, digital audio workstations (DAWs), practice tracking applications, and online platforms and resources (Aras and Can, 2023; Gayretli, 2023; Lee et al., 2018; Merrick and Joseph, 2023; Wen, 2024; Zhukov, 2015). Informal learning approaches offer opportunities for guitar teacher pedagogical resources, where the internet enables access to recordings, tablature and instructional materials (Harrison, 2017). Guitar specific technologies offer further tools that focus on enabling guitar learning through the likes of Guitar Pro, a tablature notation application offering visual aids, live playback, and interactive functionality, which carries close integration with the immensely popular online guitar learning platform Ultimate Guitar (Hidayatullah et al., 2024; Lee et al., 2018; Ultimate Guitar, 2025). True Fire, a guitar specific digital learning platform offers interactive digital guitar lessons and online resources, applications such as Gitarist and digital amplification technologies (e.g. AmpliTube and Neural DSP) offer further opportunities, however, there is limited research on the impact of the latter on learning (Aras and Can, 2023; Herbst, 2018; IK Multimedia Production, 2025; Neural DSP, 2025; True Fire, 2026). These tools may offer potential opportunities for both contemporary and classical guitar styles by being adaptable resources despite the pedagogical split between the traditional notational approach of classical guitar and the more informal approach to contemporary guitar (Can et al., 2025; Lee et al., 2019; Rodriguez and Marone, 2021). Primary and secondary school-aged students have developed a proclivity for using digital technologies, making it a potentially powerful tool for driving positive interaction with learning, a key aspect to student engagement (Berry, 2022; ABS, 2018; ACMA, 2020; Feeley, 2018; Kemp, 2024; Lu, 2024; Thomas et al., 2025). In Australia, recent legislative changes proposing restrictions on social media access for individuals under 16 have added complexity for teachers and parents to navigate (eSafety Commissioner, 2026). Combining how teaching has changed with the proclivity of students' technology usage and the popularity of the guitar provides opportunities for engaging and motivating students that warrant thorough investigation.

Instrumental teachers are often faced with resourcing issues that affect student access and equity including availability of staff, access to communities of practice, and general learning resources (Carroll and Harris, 2023; Feeley, 2018; Lee et al., 2018). Technology may be an effective medium to motivate student engagement by creating resources and lowering barriers to access (Li and Wang, 2024; McPherson et al., 2015; Merrick and Joseph, 2022). The result of which may allow students to realise the cognitive, social, and wellbeing benefits of studying music, and guitar per se (Collins et al., 2020; Varner, 2024).

The authors are music educators working in Australia, where music is at the centre of their lives. Author One (instrumental educator) has taught guitar at seven schools in Melbourne and is currently a studio guitar teacher, and Author Two (tertiary music educator) works in initial teacher education (ITE) programs at a metropolitan university. They are concerned about how teachers employ ICT to motivate students and enhance engagement. In this paper, they undertake a literature scoping review to investigate ways in which instrumental teachers (guitar) use digital technologies to motivate students and enhance engagement by answering the question “In what ways do guitar teachers use digital technologies to motivate students and enhance engagement?”.

This research is grounded in interpretivism; it draws upon the subjective experiences of a wide audience of guitar teachers, researchers, and students to determine how they interpret and engage with the use of digital technologies (Ryan-Blackwell, 2018). Additionally, this study draws upon constructivist and heuristic principles to account for the subjectivity and personalised experience of guitar teachers and students by considering their thoughts, feelings, beliefs and values (Moustakas, 1990). A qualitative research approach (Creswell and Creswell, 2023), a systematic search method is employed to map the breadth and depth of research on a broad topic (Hadie, 2024; Verdejo et al., 2021). It is particularly useful for examining key concepts, evidence available, and identifying gaps in the literature (Verdejo et al., 2021). This makes it well-suited to research fields that may be under-researched and interdisciplinary (Hadie, 2024). Given the broad interdisciplinary nature of the topic under study (guitar, music education, literacy, ICT), this allowed us to explore and clarify the range of current practices, effective technological implementation and teaching strategies, and identify gaps where further research or pedagogical development may be required (Hadie, 2024; Munn et al., 2018).

Though a scoping review draws upon existing literature, there is an ethical responsibility to respect and convey the original context presented in each piece of literature, including avoiding misuse of participant voices (Suri, 2020; Yadav, 2023). To address ethical matters, the systematic literature search process has been clearly defined to ensure it is replicable, adding transparency to the data collection process of this article (Hadie, 2024; Suri, 2020). Selection bias has been considered in this process by outlining explicit inclusion and exclusion criteria (Krupinski, 2019).

A transparent and explicit search strategy were used and illustrated in a PRISMA flow diagram (see Figure 1) (QUT, 2025), which included two multidisciplinary databases Google Scholar and ProQuest (Verdejo et al., 2021; Hadie, 2024).

The search strategy employed two major steps and principles to guide the scoping reviews as outlined by CSU (2025), Hadie (2024), UA (2025), and USA (2025):

1. Initial search of literature based on research question population (guitar teachers and students), concept and context (ages ranged from 6-year-olds to adults) elements (PCC). Scan and identification of key terms based on initial literature search.

2. Refined search of literature utilising key terms with use of Boolean operators and brackets.

An initial search using Google Scholar and ProQuest of guitar teachers using digital technology to motivate students from 2015–2025 resulted in N = 17,000 and N = 15,304. Using key terms (teaching, instruction, class, guitar lesson, context technology, digital learning, AI, ICT, student outcomes, motivation, and engagement), a follow-up searches generated millions of results. This led to using search strategy guides, quotation marks, parentheses, Boolean operators AND/OR to refined search (CSU, 2025; UA, 2024; USA, 2025):

The refined search based on the above key terms from the last 10 years resulted in N = 959 and N = 655 (Google Scholar and ProQuest) with a total of N = 1614. Following this, N = 220 duplicate records were removed, resulting in N = 1394 records identified. A screening process of these results based on clearly defined inclusion and exclusion criteria was then employed (CSU, 2025; Hadie, 2024; USA, 2025).

The inclusion criteria outlined below (see Table 1) were identified to target PCC elements from the research question based on recommendations in Cacchione (2016) and Hadie (2024).

Exclusion criteria were based on perceived relevance to research question with clear justification to acknowledge and address potential bias (see Table 2) (Cacchione, 2016). From this, an overall emphasis was placed on studies that had guitar at the core of the research.

Using both inclusion and exclusion criteria, a screening process to remove ineligible literature took place based on steps and principles outlined for scoping reviews (CSU, 2025; Hadie, 2024; USA, 2025). This initial screening resulted in the omission of N = 1,275 records. The remaining N = 119 records underwent full-text screening. Each record was independently reviewed twice to assess eligibility against the predefined inclusion and exclusion criteria. This resulted in the removal of N = 102 records. Most of these records were excluded as they did not relate to guitar teaching or using technology in guitar lessons. Upon a final scan of the N = 17 eligible texts reference list, no additional eligible records were found that met the inclusion and exclusion criteria. This resulted in a total of N = 17 records included (see Figure 1).

Once eligible records were included, based on recommendations in Hadie (2024), a data extraction table was constructed drawing on literature from Aras et al. (2023), Ayala (2018), Ayyıldız and Zahal (2023), Can et al. (2025), Del Rio-Guerra et al. (2019), Feely (2017), Finney (2017), Gayretli (2023), Hidayatullah (2024), Lee (2019), Merrick and Johnson (2024), Rodriguez (2019), Russell and Evans (2015), Shu et al. (2025), Tuisku and Ruokonen (2017), Yilmaz and Zahal (2023), Yungul and Can (2018).

Drawing on Braun and Clarke (2022), Thematic Analysis (TA) data were analysed and coded to generate overarching themes. TA offers flexibility and opportunity to develop rich and nuanced findings while also aligning with datasets obtained in scoping reviews (Munn et al., 2018). Additionally, TA supports the underlying interpretivist research philosophy and hermeneutic circle which acknowledges how the dataset as a whole impacts its individual parts and vice versa.

The six phases of thematic analysis were utilised both sequentially and iteratively (Braun and Clarke, 2022) to analyse and code the data. These phases include familiarisation with the dataset, initial coding, collation of codes to search for themes, review of themes, defining and naming themes, producing results and findings from developed themes (Braun and Clarke, 2022; Pearson et al., 2025). We started by coding all data manually through repeated readings of the dataset and exporting key data, such as major findings and limitations, to a data extraction table where initial codes were developed and clustered to form emergent categories and three overarching themes (see  Appendix).

In this section, we discuss three overarching themes (technology and student engagement, guitar pedagogy: teacher challenges, classroom practice: challenges and opportunities). Following data analysis and interpretation, to overcome biases in interpreting the literature and ensure objectivity, the full manuscript was provided to three expert and highly regarded guitar teachers in Australia who provided feedback for critical review. (Comstock, 2013; Suri, 2020). Their evaluative feedback regarding its clarity, feasibility, and overall quality indicated that some sections were overly lengthy, redundant, or rhetorical in nature. In response to this feedback, revisions were undertaken to remove redundancies and improve conciseness and coherence.

It was evident from the literature that digital single tools that may assist guitar, single-specific guitar tools included: Artificial Intelligence (AI) Augmented Reality (AR); and Gamification applications; Guitar Pro and Rocksmith. Studies tended to focus on development and implementation, examining the benefits, limitations, and opportunities these tools offered (Aras and Can, 2023; Del Rio-Guerra et al., 2019; Hidayatullah et al., 2024; Shu et al., 2025). However, in one case, the use of Rocksmith was explored for its community and social element of the online support forum for the application (Rodriguez, 2019). Additionally, digital technologies were also explored by integrating several broad scope technologies, such as video and online content (e.g. YouTube, Guitar tablature) (Can et al., 2025; Gayretli, 2023; Merrick and Johnson, 2024; Yilmaz and Zahal, 2023), video conferencing and recording (Ayyıldız and Zahal, 2023; Finney, 2017; Tuisku and Ruokonen, 2017; Yungul and Can, 2018), mobile learning (Ayala, 2018; Can et al., 2025) and social media (Lee et al., 2018; Rodriguez, 2019).

This category typically drew on teaching approaches as a means of organising what, how, and when the multiple digital technologies were incorporated; examples of this included the flipped-approach (Can et al., 2025; Lee et al., 2018; Yilmaz and Zahal, 2023) and Web-Based Distance Education (WBDE) (Yungul and Can, 2018). Notably, this research category typically did not explicitly draw upon or refer to specific guitar tools, which would have been more beneficial for student engagement. The multiple approaches in researching this topic indicate that research on single tools is necessary for the development of novel technologies, but also for exploring the strengths and limitations of specific tools such as Guitar Pro, AR, AI, and gamification applications.

Consistently across the scoping literature, it was found that the improved engagement through digital technologies overall enhances lesson time quality, provides practical engagement and overall improves student retention rates. This demonstrates that technology can have positive impacts on student engagement under certain circumstances. Consistent factors to facilitate engagement were emotional support and feedback – to encourage perseverance through challenges and provide insight and corrections to assure students (Ayala, 2018; Can et al., 2025; Finney, 2017; Yilmaz and Zahal, 2023), and engaging students through well-structured technology design and use – through effective sequencing of tasks and level scaffolding, incorporating fun and to a lesser extent rewards. (Aras and Can, 2023; Gayretli, 2023; Merrick and Johnson, 2024; Shu et al., 2025; Tuisku and Ruokonen, 2017).

While the above studies provide an understanding of what impact digital technology has on motivating student engagement, the literature points to enabling student autonomy and competency through self-regulation and confidence. This was particularly evident when incorporating emotional support and feedback through the use of video recording content with notation also incorporated into the video (Can et al., 2025; Gayretli, 2023), and students self-recording their practice performances for immediate self-regulated feedback (Feely, 2017). The use of digital technology also created new affordances for students to receive external feedback and support quicker, and at more effective points in real time, for example, during home practice from the teacher through the flipped approach (Can et al., 2025) or through active response from AI (Shu et al., 2025). This resulted in students not feeling alone during their guitar practice (Can et al., 2025). These examples align with the key characteristics of motivational theory SDT, where autonomy and competency are enabled through support and feedback by improving a student's ability to learn autonomously during practice and persevere through challenges to gain competence (Ryan, 2023; Ryan and Deci, 2017).

An additional layer to the motivational improvements provided by support and feedback is social and peer interactions, connecting to the relatedness characteristic of SDT (Ryan, 2023; Ryan and Deci, 2017). Social and peer interactions were evident across multiple studies acknowledging its importance to engagement and motivational outcomes for guitar students (Finney, 2017; Rodriguez, 2019). Ayala (2018) highlighted that the social aspect was important as it provided inspiration and encouraged accountability. This was also evident in Lee et al. (2018) and Tuisku and Ruokonen (2017) studies, where they found that students must become more accountable for their learning in the digital world. Rodriguez (2019) investigated the social element through an online support forum, finding that it offered a safe place for guitar students to learn from one another, providing humour and fun. This social element highlighted students' need for support and feedback from peers, parents, and the community, which can be facilitated through digital technologies such as social media and learning/education management systems (LMS/EMS) (Ayala, 2018; Merrick and Johnson, 2024; Yungul and Can, 2018). This theme captures insights into how students were motivated and engaged with digital technologies effectively, using a combination of single digital tools for guitar (e.g. Guitar Pro) and broad scope technologies more holistically in conjunction with pedagogical approaches (e.g. video content delivered with the flipped approach). These technologies enhanced engagement through providing improved emotional support and feedback, and structuring content delivery, leading to positive interactions with learning, whilst enabling student autonomy, competency and relatedness to motivate students.

Ayyıldız and Zahal (2023) found that teachers acknowledge the importance of technology integration into their lessons, but a lack of guitar teacher awareness and experience in using digital technologies, such as video conferencing technology for distance learning, potentially hinders implementation. A concern raised by Lee et al. (2018) is the fear that by using technology in guitar lessons, students will abandon traditional lessons with guitar teachers, leading to teacher redundancy.

When examining the breadth of literature, most sources required teacher intervention in integrating digital technology effectively. The flipped-approach requires a heavy reliance on digital technology and teacher presence throughout the learning process (Can et al., 2025; Yilmaz and Zahal, 2023). There were some instances where teachers were not present; rather, students used AI and AR as an instructor. However, the literature showed that the technical and feedback accuracy of AR and AI technology still required teacher intervention (Del Rio-Guerra et al., 2019; Shu et al., 2025). More explicitly, findings across the literature did not support the notion that digital technology could replace teachers. Instead, the research revealed that teachers play a vital role in digitally enabled guitar lessons (Del Rio-Guerra et al., 2019; Tuisku and Ruokonen, 2017)

The lack of awareness over how and what digital technologies should be used appears to be a root concern for guitar teachers (Lee et al., 2018). These concerns are not unfounded, as the literature revealed; rather, significant upskilling and ongoing professional development of teachers is required to address skills and knowledge deficiencies using technology (Ayyıldız and Zahal, 2023; Gayretli, 2023).

Findings amongst the literature indicated that teachers used these technologies to enhance demonstrability of details such as fingerings and technical details, though limitations with nuance and musicality were observed (Ayyıldız and Zahal, 2023). Further use was to provide feedback between lessons through interactions such as comments, reflections, and videos facilitated through YouTube, social media and LMS/EMS (Ayala, 2018; Gayretli, 2023; Merrick and Johnson, 2024; Yungul and Can, 2018).

The above overall presents the purpose of the teacher in digitally supported guitar lessons to organise, scaffold, and support the use of digital technology resources to tailor the progression according to student needs, deliver meaningful and timely feedback, ensure quality, and prevent overwhelming use of digital technology (Del Rio-Guerra et al., 2019; Hidayatullah et al., 2024; Tuisku and Ruokonen, 2017). This forms a meaningful connection with findings in Theme one, where engaging and well-structured technology design and use, in addition to emotional support and feedback, were important considerations for student engagement and developing student autonomy for motivation (Ryan, 2023; Ryan and Deci, 2017). It can now be seen that teachers as curators, content creators, and support are crucial role players in the learning context.

The integration of digital technology in the context of guitar instruction has transformed traditional pedagogical approaches, giving students more autonomy with a focus on richer and deeper learning opportunities using technology between lessons to support their practice. From the literature, it was apparent that digitally supported guitar lessons resulted in a change from the traditional teacher-centred approach to a student-centred approach with teachers and students sharing responsibilities and more learning occurring outside of lesson time (Can et al., 2025; Feely, 2017; Lee et al., 2018; Tuisku and Ruokonen, 2017). With the accuracy limitations of support technology such as AI, this raises concerns about whether using digital technology in guitar lessons supports teachers (Aras and Can, 2023; Shu et al., 2025).

While the benefits of digital technology were evident for student engagement and the potential enhancements to lesson quality, a common issue was technical support and set-up time, where teachers were required to spend significant time setting up equipment, and providing support for students when technology failed (e.g. internet connectivity issues) (Ayyıldız and Zahal, 2023; Merrick and Johnson, 2024). This also connects closely to digital literacy skills from both a student and teacher perspective, where teachers are then required to provide technical support for students, especially students with lower digital literacy. This is a cause for concern when it was established in Theme two that teachers already require significant upskilling in technology awareness and use (Gayretli, 2023; Lee et al., 2018) Furthermore, if digital technology is to be used to enhance the quality of lesson time as established in Theme two, this potentially creates a barrier to realising this benefit by reducing the effectiveness of the lesson.

Observable challenges for teachers that arose, such as the considerable amount of time required to create content and the increased interaction, potentially generate additional work for teachers (Gayretli, 2023). Moreover, defining effective quality guitar education differs across population contexts, such as types of schools, private studios, adult or adolescent students, due to varying priorities and key contextual differences. The literature highlights this challenge through generalisation of findings across populations, which presents potential opportunities for future studies (Del Rio-Guerra et al., 2019; Finney, 2017; Tuisku and Ruokonen, 2017; Yungul and Can, 2018).

In a flipped-approach, technology is reliant for learning outside of the class or lesson environment to enhance the teaching time, with the consequence that students experiencing technical issues may not be able to learn effectively outside of class to reap the benefits of the flipped-approach. This emphasises the importance of support outside of class time and the importance of the teacher's technical knowledge using digital technology (Ayyıldız and Zahal, 2023; Merrick and Joseph, 2022).

Can et al. (2025) and Hidayatullah et al. (2024) expressed the cost barrier as a significant issue that emerged with digital technology use, factoring in the initial cost of tools and the ongoing cost for licencing. This was also illustrated in the populations and limitations of the studies, where many were in specialised schools or universities with access to adequate funding to facilitate the use of digital technologies, while acknowledging challenges with generalisation across other populations (Ayyıldız and Zahal, 2023; Can et al., 2025). This barrier speaks to the equity of digital technology in guitar lessons. In saying this, free tools such as Guitar Pro, YouTube, and social media are readily available (Hidayatullah et al., 2024; Gayretli, 2023).

While barriers exist, the most notable opportunities were that accessibility was greatly enhanced through asynchronous delivery and flexible access over distance (Yungul and Can, 2018; Finney, 2017). Asynchronous delivery created further opportunities for support and feedback and provided convenience to provide students with the freedom to learn and practice, thus maximising learning time potential (Ayyıldız and Zahal, 2023; Feely, 2017; Hidayatullah et al., 2024).

This small-scale qualitative research focused on instrumental guitar teachers; therefore, generalisations to other instruments and instrumental teachers cannot be made. Though the limited sample size is interpretive in nature and breadth, it was evident that guitar teachers can effectively use digital technologies to motivate student engagement across all educational contexts. Implications from the findings suggest that single digital tools are insufficient for effective student engagement; rather, guitar teachers should strategically combine multiple software and music tools through a supportive pedagogical approach, such as the flipped approach to teaching and learning.

The use of digital technology supporting guitar lessons signifies a shift to richer learning experiences across lesson content delivery and practice time by enabling feedback and support from peers, community, and teachers. The role of the guitar teacher is not made redundant by employing digital technology; instead, it is redefined to that of curators, content creators and support for students. This implies that guitar teachers consider the time allocation of these roles and be conscious to go beyond simple content delivery and factor in feedback and support in the application of digital technologies. More broadly, the growing affordability of digital technologies, coupled with the rapid delivery and dissemination of resources, has the potential to reshape pedagogical practice by increasing accessibility. This shift may challenge traditional notions of lesson length and delivery, reducing reliance on physical lesson time and length, placing greater emphasis on independent student engagement and teachers' abilities to successfully scaffold learning outside of classes. As such, beyond technical development and analytics, the inclusion of music educators in the trialling phases of emerging digital technologies is critical to pedagogical alignment. This could be mutually beneficial in approach by offering pre-commercial access to schools to evaluate the effectiveness, which could be particularly beneficial in low socio-economic contexts, where financial constraints may restrict adoption. This approach may reduce existing inequities in practice by broadening access to emerging technologies.

Our recommendations for teaching practice may be useful to all teachers, for example: use freely available and affordable digital tools and resources that will positively impact the depth of students' learning. Undertake professional learning to improve skill sets using technology and be mindful of students' needs and abilities when using multiple digital technologies. Using digital technologies such as AI also means keeping abreast of child safety regulations and changes to social media access. By using LMS or communication software, teacher-to-student and peer-to-peer discussions and feedback can be facilitated. This could also work when communicating with parents through video conferencing and recording technology. In the case of music lessons, the use of video and streaming technology means students can engage with professional guitarists in masterclasses.

We recommend that further studies be undertaken across different sociocultural groups and different types of school contexts (metropolitan, regional and rural areas) that may offer new and effective pedagogical approaches across a range of populations and geographical locations regarding best practice using digital technologies to motivate students and enhance their guitar learning. Whilst the literature revealed a gap in the use of specific guitar tools (e.g. Guitarist and AI), further studies in this area may provide a clearer understanding of effective implementation and assessment strategies, particularly in relation to teacher presence. To enhance the transferability of these recommendations, future research should extend beyond the guitar to encompass a broader range of orchestral instruments, particularly those with differing pedagogical traditions and instructional approaches. Additionally, further investigation within classroom music contexts is warranted to examine how factors such as differentiation, resource availability, and group learning dynamics may influence the applicability and effectiveness of these recommendations. In Australia, legislation banning social media for adolescents under the age of 16 and the potential to include resources such as YouTube remains unknown. Only time will tell the impact of such legislation on how guitar teachers can effectively use digital technologies to motivate students, enhance engagement and improve their practice.