Context: Musical practice and listening have been shown to contribute positively to psychological well-being, including reductions in anxiety and pain perception. They can also elicit a wide range of subjective experiences, reflecting a rich experiential present that may underlie observed individual outcomes. Gabrielsson and Wilk (2003) proposed an initial categorization of subjective experiences lived in a context of strong musical experiences. However, no comprehensive framework has yet been developed to account for the full range of musical experiences, which vary in intensity and occur across diverse contexts and circumstances. A systematic qualitative analysis remains necessary to support the development of such a framework.Objective: The primary objective was to map the range of subjective experiences associated with musical playing and/or listening. The secondary objective focused on characterizing the methodological features of qualitative studies in the field, including geographical distribution, analytical approaches, participant profiles, and the nature of musical activities examined.Methodology: This review was conducted in accordance with the JBI methodology. A systematic search of seven databases across three interfaces identified peer-reviewed qualitative studies published in English between 1970 and 2024. Two independent reviewers performed study selection and extracted methodological data, resolving discrepancies through consensus. Study quality was assessed using the Critical Appraisal Skills Programme (CASP). A thematic synthesis, guided by an inductive approach, was undertaken to map subjective musical experiences and identify recurring patterns. Coding and theme development were conducted in QDA Miner, allowing for the emergence of both descriptive and analytical themes beyond predefined categories.Results: A total of 2,510 articles were identified through systematic searches across seven electronic databases. Of which, 76 studies met the predefined inclusion criteria. Key methodological and contextual characteristics of these studies were examined and synthesized. Through inductive thematic synthesis, seven distinct domains of subjective musical experience were identified—Sensory-Perceptual, Emotional/Affective, Behavioral, Cognitive, Personal, Relational, and Transcendence/Spiritual—along with several sub-dimensions. Together, these domains form a comprehensive framework that captures the richness and complexity of musical engagement from a subjective perspective.Conclusion: This new categorization provides a valuable framework for deepening our understanding of the subjective experiences elicited by music, offering a foundation for future research on active musical engagement and its impact on well-being and health. In the context of music education, these insights can inform pedagogical approaches that prioritize the full range of experiential dimensions, fostering more holistic and meaningful engagement for learners.