In a time that some have argued is "postracial" following the election and reelection of Barack Obama (see Wise 2010, for discussion), this paper argues that antiracism is a crucial theoretical framework for music education. I explore three areas of music education, in which such a framework can push toward change. The first area speaks directly to positionality and recognition of where students are situated in the matrix of domination (Collins 2000). Secondly, anti-racism encourages multicentricity and readily allows for multiple epistemologies or ways of knowing the world, in a manner quite contrary to a more ensemble-based paradigm. Finally, this critical theoretical orientation enables the pursuit of an equity agenda in the actual practice of teaching. In order to give practical context to these ideas, I draw on research from a multiple case study of four elementary music teachers in a large Canadian city. To varying extents, all four teachers employed an anti-racist orientation in their teaching. I use examples from three teachers in the field to illustrate how teachers used this orientation to implement differential recognition, encourage the use of multiple epistemologies, and pursue conversations about equity.