Self-esteem is a core construct in social and educational psychology, commonly defined as an individual’s overall evaluation of self-worth—a sense of self-acceptance and value rather than superiority or perfection (Mruk, 2013). Research has shown that self-esteem is a key predictor of mental health and academic achievement (Kärchner et al., 2021), closely related to positive affect and self-efficacy (Zuffianò et al., 2023), while low self-esteem is often associated with depression, anxiety, and academic burnout (Zapata-Lamana et al., 2021). In educational contexts, students’ self-esteem influences motivation and classroom engagement, underscoring its developmental significance (Acosta-Gonzaga, 2023). Theoretically, Shavelson et al. (1976) multidimensional, hierarchical model posits that self-esteem derives from self-concepts across specific domains, which together form global self-esteem. Global self-esteem refers to individuals’ overall evaluation of self-worth, a relatively stable and broad psychological trait predictive of a wide range of behaviors and adaptive outcomes (Hattie, 2014; Turner and Onorato, 1999). Measurement tools reflect these orientations: for instance, the Rosenberg Self-Esteem Scale assesses general self-worth (Monteiro et al., 2022), whereas the Coopersmith Self-Esteem Inventory incorporates academic, social, and familial domains, reflecting a multidimensional perspective (Coopersmith, 1981; Ozturk and Acikgoz, 2022).

Recent scholarship has refined multidimensional models of self-esteem and highlighted the importance of domain-specific approaches in education (Marsh et al., 2018; Rentzsch et al., 2021). In the context of music education, beyond global self-esteem, music self-esteem refers to individuals’ evaluations of their musical skills, performance, and learning outcomes, reflecting both subjective value and perceived competence (Culp, 2016). Empirical evidence further links musical self-esteem to social competence, music preference, and well-being (Fancourt et al., 2022; Saragih and Rahmatulloh, 2024).

Musical self-esteem is increasingly conceptualized as a multidimensional construct that integrates self-perceptions of ability, social recognition, and personal aspirations—dimensions closely tied to skill development, motivation, belonging, and sustained engagement (Sandgren, 2019; Oliveira et al., 2021). This perspective not only clarifies the distinction between global and domain-specific self-esteem but also provides a stronger theoretical basis for examining how music education contributes to students’ self-worth and psychological development.

Music instruction refers to structured courses and learning activities aimed at developing students’ musical skills and knowledge (McPherson et al., 2012). By contrast, music education encompasses a broader scope, including not only musical skill acquisition but also cultural understanding, emotional expression, social interaction, and holistic development (Reimer, 2022; Váradi, 2022). Music instruction can therefore be regarded as a core component within the wider framework of music education.

Research on self-esteem in the music context has recently attracted increasing interest. It has been demonstrated that music is a valid method for enhancing self-confidence, thus fostering feelings of happiness and contentment (Creech et al., 2014). Additionally, music has been shown to affect individuals’ self-esteem, alleviate burnout, and further enhance self-confidence (Sharma and Jagdev, 2012). In the context of music education, studies have shown that among college-level music students, self-esteem is significantly and negatively correlated with music performance anxiety, indicating that students with higher self-esteem tend to experience lower levels of performance anxiety (Otacioglu, 2016). Both low self-esteem and music performance anxiety are believed to lead to depression in musicians (Sickert et al., 2022). Moreover, Rickard et al. (2013) found that including more music classes in schools had a positive effect on children’s social skills and self-esteem.

Music education holds distinctive advantages over other art forms in fostering self-esteem. Even passive music listening, through melody, rhythm, and emotional content, can trigger emotional regulation and positive affect, thereby enhancing both explicit and implicit self-esteem (Elvers et al., 2018). Beyond listening, active engagement in music learning promotes self-efficacy and self-esteem through skill development and mastery experiences (Jiang, 2024). Moreover, collaborative practices such as choir and ensemble playing strengthen social self-esteem and a sense of belonging (Verneert et al., 2021). Collectively, these mechanisms underscore the unique potential of music education—distinct from other art forms—in promoting self-esteem.

Lawendowski and Bieleninik (2017) were the only researchers to review studies on self-esteem in the field of music therapy prior to 2017. They examined the psychological processes associated with specific musical practices that influence how individuals perceive themselves and their self-esteem, which, in turn, can affect their overall sense of personal identity. However, no systematic synthesis has yet examined the relationship between global and music-specific self-esteem in the context of music education. This gap limits comprehensive understanding and constrains the generalizability and applicability of existing findings across diverse contexts.

This study synthesizes research conducted between 1970 and 2023, systematically evaluating the methodological rigor and key findings to inform future directions. In addition to summarizing the relationship between music education and self-esteem, the review offers empirical insights that contribute to cross-cultural educational practice and policy development, underscoring its theoretical and practical significance. By identifying existing limitations, the review emphasizes the need for more robust research designs and a greater diversity of participant samples to foster a comprehensive understanding of how music education influences self-esteem.

This review is guided by the following research questions:

RQ1: What are the key research trends in music education and self-esteem from 1970 to 2023?

RQ2: What methodologies, research designs, and participant populations have been utilized in this field?

RQ3: What self-esteem indicators and measurement tools are applied in music education research?

RQ4: What is the methodological quality of the studies included, and what strengths and limitations can be identified?

RQ5: What are the key findings regarding students’ self-esteem in music education across diverse contexts?

By addressing these questions, this review highlights the significance of the topic and identifies critical areas for future research, particularly the need for more diverse study designs and participant populations.

This systematic review followed the PRISMA guidelines (Moher et al., 2010) and was structured according to the Population, Exposure, and Outcome (PEO) framework (Caparros-Gonzalez et al., 2021). The review process comprised four main steps: (a) conducting a systematic search and rigorous screening of relevant literature; (b) examining the influence of demographic variables (e.g., gender, age, cultural background) and methodological features (e.g., research design, measurement tools, sample size) on outcomes; (c) assessing the methodological quality of the selected studies using the Kmet et al. (2004) criteria; and (d) situating findings within multidimensional self-esteem theory to explore the connections between global and music-specific self-esteem. Additionally, (e) key gaps in the literature were identified, including the lack of cross-cultural research, limited validation of measurement tools, and the scarcity of intervention and longitudinal designs, highlighting priorities for future investigation. The review primarily focused on observational studies but also included studies with intervention-like characteristics when relevant. The term “exposure” was broadly defined to encompass any structured music-related activity or curriculum, including music therapy sessions with pedagogical aims.

The outcomes of the review were twofold: (a) publication metrics of the included studies, such as their number, bibliometric performance, and quality; and (b) the psychological and educational effects of music instruction on students. By integrating both domains, the review emphasizes the academic contributions of music instruction research while underlining its positive impact on students’ self-esteem. Despite the diverse research designs and typologies employed, such as quantitative surveys and qualitative case studies, each study type offered valuable insights. Quantitative studies provided broad statistical findings, while qualitative studies offered in-depth contextual understanding. The combination of both methodologies strengthened the review by incorporating a range of perspectives on the relationship between music education and self-esteem.

Although this review was not pre-registered on PROSPERO, it adhered strictly to the PRISMA guidelines, with transparent reporting of search strategies, inclusion and exclusion criteria, data extraction, and analytic procedures. This adherence ensures the reproducibility and rigor of the review, enhancing its credibility (Page et al., 2021; Cumpston et al., 2019).

This section provided a comprehensive overview of the outcomes, including data features and themes. By analyzing the themes in each study and examining the content of each topic, one can gain a comprehensive grasp of the themes and identify the recurring patterns throughout the studies to uncover shared themes (Thomas and Harden, 2008). Table 1 provides an overview of the studies, including authors, methodology, participant details, major findings, and other relevant aspects, enabling readers to compare the results and contributions of each study. More detailed information is available in Supplementary material 1, which includes the research objectives, design, methods used (such as surveys and diaries), and other relevant aspects.

This review sought to deepen understanding of students’ self-esteem in music education by analyzing literature from 1970 to 2023. We evaluated the methodological quality of the studies, focusing on trends, methodologies, and outcomes. Despite a gradual increase in research output, the number of studies remains limited, indicating that this field is still developing. The distribution of studies is heavily skewed toward the United States and Europe, with U. S.-based research representing 45.4% of the total. This imbalance restricts the generalizability of findings to non-Western contexts, emphasizing the need for more culturally diverse studies (Henrich et al., 2010). Additionally, the prevailing self-esteem frameworks are rooted in Western individualist perspectives, which may not adequately address collective identity and social harmony present in non-Western cultures. Future studies should aim to bridge these theoretical gaps and enhance cross-cultural validity.

The sample size in many studies was small, with 11 studies involving fewer than 100 participants. Small samples undermine statistical power (Maxwell, 2004) and limit representativeness, particularly for cross-cultural comparisons. Although small samples can provide exploratory insights, they are insufficient for drawing broad conclusions (Dwan et al., 2008). Future research should prioritize larger, more diverse samples to improve the robustness and external validity of findings.

Most studies employed quantitative methods, with few incorporating qualitative or mixed-methods approaches. While quantitative data are useful, they may not capture the complexity of self-esteem as a construct. We recommend more qualitative and mixed-methods studies to deepen the understanding of self-esteem in music education (Eyisi, 2016; Heyvaert et al., 2013). Such studies would enhance data interpretation by offering both statistical trends and deeper contextual insights. The methodological quality of qualitative studies was often low, mainly due to insufficient transparency in data analysis and lack of researcher reflexivity (Levitt et al., 2017). To strengthen future qualitative research, standardized reporting procedures, such as the COREQ checklist (Tong et al., 2007), inter-rater reliability testing (McHugh, 2012), and triangulation (Fusch and Ness, 2015), should be more rigorously applied.

Meta-analysis was not feasible due to the heterogeneity of study designs, populations, and measurement tools. However, future reviews should consider effect size analysis once a larger body of methodologically comparable studies becomes available. Additionally, more cross-cultural randomized controlled trials (RCTs), longitudinal designs, and intervention studies with rigorous blinding procedures would significantly enhance the robustness and generalizability of findings. Further validation of music self-esteem measures (e.g., SEMA) is also crucial for accurately capturing the mechanisms through which music education influences psychological development.

Several studies relied on single-source surveys, introducing the risk of common source bias (Blair et al., 2013). To mitigate this, future research should employ more rigorous designs, such as field experiments and causal models, and consider longitudinal studies to capture deeper insights (Pearl, 2009). Moreover, intervention studies often lacked post-intervention follow-ups, which are essential for assessing the long-term effects of music education on self-esteem (Hagger and Luszczynska, 2014). Future studies should address this gap and investigate whether improvements in self-esteem are sustained over time.

Although global self-esteem is frequently measured in music education research, the tools used to assess it often lack validity testing, potentially leading to measurement errors (Kimberlin and Winterstein, 2008). The few studies that used the Self-Esteem of Music Ability (SEMA) scale failed to report reliability and validity tests, further reducing the accuracy of results (Abbasi et al., 2024). Future research should prioritize the use of validated tools and thorough reliability testing to enhance data quality (Lewis et al., 2005).

Intervention studies are essential in exploring the impact of music education on self-esteem (Freitas et al., 2022). However, the current review revealed a lack of such studies in the music education context. Given the positive impact of interventions in other fields, future research should investigate specific music education interventions and their effects on self-esteem. Furthermore, to improve the quality of these studies, researchers should ensure proper blinding procedures and employ randomized controlled trials (RCTs) whenever possible (Deeks et al., 2023).

This review highlights the complex relationships between self-esteem development and factors such as demographic characteristics, psychological traits, and student group dynamics in music education. While music instruction consistently boosts self-esteem, especially among marginalized groups, more research is needed to explore these interactions in greater detail. According to self-efficacy theory (Bandura, 1999), key mechanisms like mastery experiences and social persuasion can strengthen students’ self-belief and, consequently, their self-esteem. These effects are particularly significant for disadvantaged students, where musical achievement and positive feedback can foster greater self-efficacy.

Demographic factors, including gender, age, and socio-economic status, also influence how music education impacts self-esteem. For example, gender differences are evident in self-esteem levels, with females often reporting higher self-esteem during adolescence (Bleidorn et al., 2016). These differences may be attributed to greater participation by females in emotionally expressive music activities such as choir, which in turn fosters social belonging and emotional well-being (Milošević, 2024). Age and socio-economic status also shape how music education influences self-esteem, with adolescents and disadvantaged groups benefiting most from music instruction.

Psychological traits, such as self-efficacy, play a key role in shaping self-esteem. Students with higher self-efficacy are more likely to derive benefits from music education, which enhances their mental well-being (Marra, 2019). These findings emphasize the importance of both psychological traits and social engagement in supporting self-esteem growth.

This multi-dimensional interaction between demographic and psychological factors underscores the need for future research to explore how various student characteristics mediate the effects of music education on self-esteem. More studies should focus on non-professional learners and diverse educational settings, including both formal and informal music learning environments (Hallam et al., 2012). By doing so, we can gain a fuller understanding of the ways music education fosters self-esteem across different populations and contexts.

Although this review provides valuable insights into the impact of music education on self-esteem, several limitations need to be addressed in future research. Methodologically, the review primarily relied on studies published in English, which may introduce language bias. Future research should incorporate multilingual sources and adhere to pre-registration procedures to minimize potential biases.

Substantively, future studies should explore how different types of music, such as traditional and popular music, may foster identity, belonging, and self-worth in various cultural contexts. The evidence in this review indicates that the effects of music education vary according to educational stages, program types, and cultural factors, but further research is needed to understand how these factors differently influence outcomes.

In terms of research methodology, more mixed-methods and qualitative research is needed to capture the complexity of self-esteem. Future studies should focus on larger, more diverse samples, as small sample sizes and single-source surveys have limited the generalizability of many findings. Additionally, more intervention studies, especially those with post-intervention follow-ups, will help assess the long-term effects of music education on self-esteem.

Finally, further validation of self-esteem measurement tools, including the Self-Esteem of Music Ability (SEMA) scale, and the integration of global and multidimensional self-esteem indicators are crucial for improving the accuracy of research on this topic. Longitudinal studies and cross-cultural randomized controlled trials are recommended to better understand the long-term and cross-cultural effects of music education on students’ self-esteem.

This review systematically synthesized research on students’ self-esteem in music education from 1970 to 2023. The findings demonstrate that music education generally exerts a positive influence on self-esteem, with particularly strong benefits among specific and marginalized groups. However, methodological limitations, restricted cultural coverage, and insufficient theoretical integration remain key challenges.

The review adhered to PRISMA procedures, ensuring transparency and reproducibility in the search and evaluation processes. The evidence indicates that the effects of music education vary across educational stages, program types, and cultural contexts, with stronger outcomes observed in primary school interventions and among marginalized populations. The construct of music self-esteem provides a valuable lens for distinguishing global and domain-specific dimensions and clarifying the mechanisms through which music education promotes self-worth and social connectedness.

In sum, this review updates the research landscape and emphasizes the importance of designing learning environments that intentionally foster self-esteem. Educators and psychologists can adapt elements of music education into targeted interventions, thereby strengthening the evidence base for its role in supporting students’ psychological well-being and social adaptation.