Music education is often conceived primarily as the transmission of repertoire, skills, or technical knowledge. Such an approach risks marginalizing children’s lived musical worlds, including their engagement with popular music, improvisation, and self-directed composition (Lucy Green, 2008), which frequently unfold beyond formal curricula. Drawing on a hermeneutic-existential trajectory derived from Martin Heidegger, and in dialogue with contemporary educational philosophy that foregrounds subjectification and a world-centred understanding of education (Biesta, 2021; 2023), this paper reconceptualizes music-making as a mode of Being-in-the-world. Heidegger’s notions of dwelling and the Fourfold, read alongside Urie Bronfenbrenner’s ecological systems theory, frame children’s singing, improvising, and composing as ontological practices—ways of enacting identity, relation, and care within everyday life. From this perspective, music is a lived event through which children encounter the world as situated, relational beings. Within this framework, music allows learners to experience themselves as beings-in-the-world, with singing as a privileged site of musical dwelling; as Heidegger notes, a song is a fact of existence. The study adopts a philosophical-hermeneutic methodology in which empirical case illustrations function as exploratory studies and as sites of interpretive inquiry rather than objects of measurement. These cases do not claim exhaustiveness or generalisability; rather, they indicate a way of connecting theory to practice and returning from practice to theory in a recursive movement of reflection. Two Italian cases are discussed. Bianca, age four, engages in vocal improvisation with her father’s responsive beatboxing; analysis of her improvised lyrics through the Fourfold reveals images of Earth, Sky, Mortals, and Divinities that articulate an authentic mode of musical dwelling and co-dwelling. Michelle, age seven, composes a pop-inspired song by integrating informal learning practices, digital platforms such as YouTube and TikTok, and Italian and global musical traditions. Her composition emerges as an Ort—a gathering place where heritage and global culture, analogue and digital practices, individual creativity and communal meaning converge. These cases illustrate how a philosophical approach can illuminate the existential dimensions of children’s musical experiences while pointing toward the need for further inquiry. Singing and popular music appear not simply as skills to be acquired but as acts of presence, connection, and meaning-making embedded in everyday life. Music education is thus reimagined as a dialogical practice of co-dwelling, in which teachers and learners participate together in a world-centred educational encounter that nurtures identity, belonging, and children’s flourishing across diverse musical contexts.