Abstract
In consideration of white music educators' perceptions of and engagement with matters of race and music, the purpose of this qualitative study was to problematise the acceptance and valuation of Hamilton, and possible hypervaluation of Whiteness through the perceptions and experiences of eight White music educators who were fans of the show. The research was guided by the following questions: (1) Does this acceptance of Hamilton reflect the repertoire and cultures included in their music curricula?; (2) Does Hamilton function as propertized Whiteness thereby deeming it worthy of inclusion in music education settings?; and (3) Does the experience that is Hamilton pass as white, therefore making it feel comfortable and accessible to white music educators commonly uncomfortable with rap music? Interviews were analysed using a framework of whiteness as property including: rights of disposition, rights to use and enjoyment, reputation as property, and the absolute right to exclude.