To further advance education and teaching reform and explore a new model of cross‑integrated talent cultivation, the College of Digital Music Industry at Sichuan University of Culture and Arts (SCUCA) invited three top Italian music experts to deliver a series of masterclass lectures at the Mianyang Campus. Centered on demonstrating holistic curriculum reform, the event has brought an innovative, growth‑empowering music practice feast to all teachers and students by innovating teaching formats, deepening disciplinary integration, and clarifying collaborative mechanisms, breaking away from traditional teaching models.

This series of masterclasses was fully organized and supervised by Li Chenjie, Dean of the College of Digital Music Industry, and was held from March 31 to April 3, lasting four days. To ensure teaching effectiveness and practical depth, the event provided intensive, high‑quality professional training, bringing teachers and students a systematic and solid artistic learning experience.

With curriculum reform as the core theme, the masterclass series completely broke the inherent model of traditional music teaching. In the opera‑themed masterclasses, Professor Maria Paola Viano, opera director from the Milan Conservatory, and Claudia Mariano, renowned répétiteur from Italian opera houses, thoroughly reformed the traditional one‑way instruction model and built an immersive, interactive new classroom form. Following the whole process of opera creation, the courses connected directing, vocal music, piano accompaniment and other links. Through closed‑loop teaching featuring group collaboration, scenario simulation and two‑way interaction, teachers and students were immersed in the complete creative process from script interpretation to stage presentation, truly achieving a major transformation in teaching form.

In terms of teaching content, the masterclass fully demonstrated the practical achievements of in‑depth multi‑major integration. Taking opera as the core carrier, the two experts integrated knowledge systems and skill requirements across opera directing, vocal performance, piano coaching and other majors. In class, teachers and students from various majors collaborated and complemented each other around the same opera work: directing majors focused on stage movement and dramatic interpretation, vocal majors concentrated on singing skills and emotional expression, and piano majors were responsible for score refinement and accompaniment coordination. Instead of existing in isolation, all majors formed a close “creative community”, vividly showing the fruitful results of interdisciplinary integration.

Meanwhile, using classic opera works as examples, the two experts deeply analyzed the integration logic and practical paths between individual majors and other disciplines. They carefully explained core issues such as how directing majors should design stage presentation based on the emotional core of vocal works, how vocal majors should match the rhythm of piano accompaniment, and how piano majors should accurately align with the stage rhythm of directing and the singing demands of vocal performance. Through case analysis, on‑site demonstration and interactive discussion, they helped teachers and students clarify the connection logic of different majors and master the methods of cross‑border integration, providing an implementable and replicable practical model for interdisciplinary teaching in music majors.

At the same time, Ettore Leccese, a famous Italian trumpeter and lecturer at the Conservatory of Pavia, held an advanced trumpet performance and ensemble masterclass in Complex 1–13. Focusing on “performance skills and repertoire analysis”, he delivered targeted training on core abilities such as breath control, tone shaping, and articulation for trumpet performance. Meanwhile, based on classic trumpet works, he analyzed the integration logic of instrumental performance with ensemble, stage presentation and music creation, helping students break through technical bottlenecks and understand the positioning and value of instrumental majors in the whole chain of music creation, providing a new perspective for teaching reform and cross‑border integration of instrumental majors.

The successful implementation of this curriculum reform demonstration has not only built an international professional exchange platform, but also promoted the school to explore a new teaching path of “cross‑border integration and collaborative education”. In the future, the school will continue to deepen teaching reform, introduce high‑quality educational resources, and create more innovative classrooms to help cultivate versatile music talents with professional literacy, cross‑border capabilities and international vision, and promote the high‑quality development of the college’s music disciplines.