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In this paper, I advocate for the use of explicit language for discussions of race and call for music education to move out of terminal naivety (Vaugeois 2013) toward a heightened consciousness of political issues and racial oppressions. Employing critical race theory (CRT) as a theoretical framework, this paper examines race-related silences and the importance of using direct language to identify structural and systemic racism. I offer practical suggestions for initiating “race talk” in school music, in postsecondary music education, and in music education scholarship. These practical implications emerge from the experiences of four Toronto teachers who participated in a multiple case study on social justice and anti-racist work in music education (Hess 2013), the literature on race and silencing inside and outside music education, and my own experiences as a former public school music teacher and music teacher educator. With the surge of hate crimes and unmasked white supremacy in the United States following the election of Donald Trump,1 being explicit about race is urgent. In this paper, I put forward ways that music educators can center issues of race and racism in daily praxis.

Equity and Music Education: Euphemisms, Terminal Naivety, and Whiteness