Inclusive music education in Germany remains unevenly conceptualized and implemented despite increasing classroom heterogeneity. This paper investigates how future music educators conceptualize “inclusion” and the conditions under which they consider inclusive music teaching feasible. Drawing on sociological theories of inclusion and exclusion and qualitative individualism, a mixed-methods paper-pencil survey (n = 73) with five vignettes adapted to music-specific contexts (linguistic comprehension, physical challenges, behavioral difficulties, socioeconomic disadvantage, prior musical experience) was conducted. Closed items used a 7‑point suitability scale; open responses captured rationales. Quantitatively, attitudes ranged widely (M ≈ 3.7, SD ≈ 2.6, 1 = suitable, 7 = unsuitable), indicating general openness influenced by contextual factors on a systemic level (need for training, co‑teaching, external support). Qualitatively, many participants associated “inclusion” primarily with students with a diagnosed disability. Social inequality and unequal cultural participation were rarely connected to inclusive efforts in the music classroom. The findings suggest that music‑teacher education should (a) embed sociological foundations of inclusion and exclusion, (b) broaden the inclusion construct beyond special education to encompass socioeconomic and cultural factors, and (c) provide structured practice for multisensory, access‑rich lesson design. In this paper, implications shall be given for future music teacher education, arguing that structural entry points to participation (curriculum, materials, interaction norms) are prerequisites for sustained inclusion in music classrooms.Keywords: inclusive music education; music teacher education; inclusion and exclusion; sociological theory; vignettes; Germany