Are there qualities of sound and the experience of listening that educators can extrapolate to inform the philosophy and practice of music education? In this essay, I imagine a music education where sound--how it behaves and how we experience it--serves not only as the subject of study, but generates the framework of the pedagogy. A sonic music education is not automatic because ocularcentrism privileges the vision and influences the listening and educational experiences, often in unrecognized ways. I explore two qualities of sounds: they are, first, impermanent and continually changing and, second, diffuse--seemingly inside and outside our bodies. These qualities contrast with the visual experience, which makes objects appear permanent, fixed, and separate from our bodies. Pedagogies based on sound might present truth as impermanent and their aims as multidirectional and might employ social constructivist epistemologies and democratic education. A music education based on sounds may be a corrective to ocularcentric banking pedagogies where knowledge is fixed and progress is unidirectionally measured.