Phenomenological research has been utilized in music education as a methodology, analytic tool, and philosophical lens to understand the essence of music learning and teaching across various sociocultural contexts. However, phenomenology is often distinguished from other qualitative methodologies due to unique philosophical characteristics inherent to phenomenology itself, particularly as developed by Husserl and Heidegger. Phenomenology originated as an alternative to positivist paradigms, addressing limitations of quantification in exploring unique qualitative aspects of human experience. Edmund Husserl developed transcendental phenomenology, emphasizing that phenomena should be explored objectively by achieving transcendental subjectivity through bracketing natural attitudes, focusing on pure description without causal explanations or theoretical interpretations. In contrast, Martin Heidegger developed hermeneutic phenomenology, which seeks to interpret meaning of everyday experiences within human existence, taking an ontological approach that acknowledges preconceptions and emphasizes interpretive perspectives and intersubjectivity.Despite these distinct philosophical foundations, recent reviews identified a significant issue: numerous studies labeled "phenomenological" do not explicitly define or specify the nature of their phenomenological inquiry, potentially lacking genuine phenomenology. This systematic literature review synthesizes phenomenologically informed research published between 2016-2025, examining how transcendental (descriptive) and hermeneutic (interpretive) phenomenology differently construct understanding of lived experiences in music learning and teaching.Following PRISMA screening procedures, this review searched five databases (ERIC, RILM, Music Periodicals Database, Web of Science, and Sage Publications) for peer-reviewed English journal articles published between 2016-2025. Search terms included: (SU: music education) AND (phenomenol*) OR (transcendent*) OR (hermeneutic*) in title, keywords, abstract, and main text. Inclusion criteria required: explicit statement of phenomenology as primary qualitative methodology or theoretical framework; clear specification of transcendental (Husserlian) or hermeneutic (Heideggerian) approach; demonstrated methodological application of phenomenological procedures such as interviews, data analysis, bracketing, epoché, or phenomenological reduction. Exclusion criteria eliminated: books, chapters, literature reviews, theoretical papers, non-empirical articles; studies not identifying established phenomenological traditions; studies lacking essential phenomenological procedures; and mixed-methods studies where phenomenology was not primary. Data analysis employed thematic synthesis method to synthesize how different philosophical foundations construct understanding of lived experiences.Preliminary findings from identified studies reveals distinct philosophical orientations. Transcendental phenomenology studies emphasize descriptive essence analysis through bracketing, investigating phenomena like musical enjoyment and improvisation confidence. Hermeneutic phenomenology studies focus on interpretive understanding within sociocultural contexts, examining teacher identity, intercultural dialogue, and marginalized experiences. Research topics cluster around teacher development, student learning, social justice, specialized contexts, and pedagogical approaches, demonstrating how phenomenological philosophy fundamentally shapes conceptualization and interpretation in music education.