In this fifth installment of what has become a series of essay reviews of books that raise issues important to music education and relevant to the ideals of the MayDay Group, the author turns his attention to a topic rarely considered or discussed in conjunction with music education: race. Race, assert Radano and Bohlman, is a specter that lurks in the house of music; indeed, music is "saturated with racial stuff". If race haunts music's house, surely that same spirit frequents music education's. "How can that be?" For according to the view they advance--quite persuasively, one might add--music's very nature is such that it works hand in glove with the racial imagination. This article does not say that all music is inherently racial. In fact, while music has the remarkable capacity to "become" or embody different racial significations, it also has the capacity to occupy spaces "between" races. This fluidity or hybridity, however "does not signal a move away from racialized metaphysics, but rather "serves to reinforce that metaphysics". That is to say, the very idea of hybridity, the life-blood of musical growth and development, often derives from presumptions of pure types from which it constitutes a departure. Thus, to bring this part of the discussion closer to home for music educators, the notion of musical/cultural authenticity has deep roots in beliefs that there are natural musical practices, to which their educational practices evince varying degrees of veracity--veracity by which the educational validity of their instructional efforts can be gauged. (Contains 8 notes.)