This paper begins with a premise that each person's musical education is made of multiple and diverse experiences that occur in settings both in and out of school (Campbell 2002, 2003, 2008; Green 2002, 2005; Jaffurs 2004, 2006). Nevertheless, when speaking and writing about music education, one often restricts the kinds of music, ways of music transmission, and spaces for music education that are considered. Practitioners engage in a process of legitimating music education: privileging particular musics, such as those of bands, orchestras and choirs, along with one approach to knowing music--western notation. Other kinds of music, such as dance, ritual, and popular music are limited or non-existent in discussions, and the value of aural transmission and embodied ways of knowing is often diminished. Effects of this legitimation on music makers, whether they are teachers or students, can include alienation from music, and from others in social relationships of music making. How does one understand the effects of this legitimation and engage as teachers, practitioners, and researchers in re-visioning the field to be more relevant, inclusive and understanding of multiple ways of knowing and experiencing music? It can begin with a process of answering who the educators are; what they know and understand music to be; and how they experience and transmit this knowledge and understanding. Educators can consider the tools for communicating meaning both implicitly and explicitly within and outside their classrooms. They can consider language and music as social goods, holding certain significance and enacting certain social, cultural, and historical activities and realities. They can consider how their tools of communication impact identities and relationships; and how those tools can be used to connect, make relevant, and privilege different ways of knowing and believing. In short, they can analyze their discourse.