This paper presentation presents a range of cross-continent, stakeholder experiences (musicians, academics, students) of an undergraduate music composing with technology course that foregrounded pluralist values and musics, opening the space for new intercultural creativities (Burnard et al., 2017) at the intersection of western art music (WAM) and Hip-Hop, collaborative and inclusive practices, poetry, and engaging with diverse technological tools and genres. Across twelve weeks, students stepped beyond curricular expectations to collaboratively compose original pieces through guided online model work (briefs), where they combined composition and sound design using DAWs, instrumental performance and unfamiliar poetic and songwriting strategies. Guest artist-tutors joined students from overseas, adding further layers of interculturality and cross-disciplinarity to the project. The paper explores students’ learning pathways during and beyond the course as they gradually became co-researchers with their tutors across three cycles of reflective collaborative autoethnographic data collection, analysis and presentation (Chang, et. al, 2016). The first cycle (2023) collected data from the delivery and assessment of the coursework, such as student portfolio submissions, including original compositions and reflective writing. The second (2024) collected post-course reflections and (re-negotiated) creative work during an international conference, while the third (2025), through student-tutor focus group discussions, explored the evolving learning opportunities, collaborative experiences and creative tensions across the cycles. Finally, through reflective voice memos, student-researchers further provided feedback to ongoing data analysis. Analysis revealed “Collaboration” as the first strong theme throughout the dataset, across all three cycles, i.e. the tensions and challenges that featured in stakeholders’ creative collaboration and project-based work, the personal connections that were forged, as well as democratic and leadership skills developed. “The Course” - the impact of its design, content and form of delivery- was a second prominent theme, i.e. tensions between theory and practice and discussions around inclusion of student voice and acceptance of diversity in higher education courses. A third theme revealed “Creative Processes”, i.e. the stimuli provided by the visiting tutor-artists; nuanced consideration of traditional art music compositional processes against new, technological affordances. Implications discuss bridge-building experiences across diverse genres, educational technologies and pedagogical innovation in higher music education curricula. Examples are presented of specific pedagogical approaches that resulted in “discomfortable” (Boler, 1999; Hess, 2018) yet transformative learning experiences, including a range of online and in-person collaborative modes (Bauer, 2020), unknown (sometimes othered) musical cultures and associated values (Randles & Burnard, 2023; Kruse & Gallo, 2020), and the centring of technology-based creative practices.