Improving access to music education for vulnerable groups and individuals affected by social marginalization is a central current challenge in both contexts, music education and related research. The intention is not simply to adopt diversity and inclusion as rhetorical or symbolic practices (Fautley & Daubney, 2018). Rather, growing complexity of inclusive approaches is to be acknowledged, critically examined, and meaningfully incorporated into music education discourses (Chiba & Hebert, 2025; Draper, 2022). Regarding this, this submission addresses questions of diversity sensitive practice in inclusive music education by a methodical approach that bridges research and music education but also different fields of music education itself.Our framework employs a qualitative, triangulated research design that bridges different research traditions to generate layered data encompassing spoken, embodied, and reflected knowledge. It establishes a dialogical research-practice interface in which practitioners in all their diversity not only participate but also actively co-interpret and shape research processes, fostering co-development of inclusive music practices across various settings.Those interconnected approaches are:1. Interviews, capturing the articulated perspectives and beliefs of music educators working in inclusive contexts (Mueller, 2019)2. Videography, documenting interactional processes in music lessons (Knoblauch et al., 2014)3. Focused interviews (Merton, 1987), using selected video excerpts as stimuli for reflective dialogues with practitioners, enabling critical engagement with one’s own actions (Fukkink et al., 2011)A distinctive feature of this design is the integration of a participatory transfer phase, in which researchers, practitioners, and students work with data and empirical findings. In facilitated dialogues, they co-develop inclusive workshop models and professional development resources. This transfer process operationalizes the research insights while simultaneously generating new pedagogical and theoretical questions, thereby dissolving rigid boundaries between research and practice. The presented design is currently used in different fields of practice:· Music lessons at inclusive and special schools· Inclusion-oriented teaching at music schools· Non-formal music education/community music-based programsWe argue that such methodical bridging is not only methodologically robust but epistemologically transformative (in terms of Mueller, 2019) by addressing inequities and the production of knowledge that supports equitable and inclusive practice. Our approach contributes to rethinking of research-practice relationship in music education by engaging practitioners as co-constructors of scientific knowledge. It opens possibilities for participatory knowledge production that responds to the complexities of diversity in music learning environments.