The racial and ethnic diversity of the United States has shifted away from a White majority (NCES, 2023), although preparing educators to teach Latine, Pacific Islander, Indigenous, Black, and Asian students has not become the norm (Paris & Alim, 2017). Students of such diverse musical backgrounds may find the Eurocentrism prevalent in music education to be oppressive, leading to cultural assimilation, silencing, and marginalization (e.g., Hess, 2017).Preservice choral educators are often trained to emphasize bel canto vocal technique and Western classical music, and change is needed in order to prevent adverse impacts on students (Good-Perkins, 2021). Multimusical choral educators, however, who have experiences beyond the Eurocentric paradigm, are likely to engage their proficiencies to support their students’ varied musical identities and enact culturally sustaining pedagogy (CSP; Paris, 2012) wherein a plurality of cultures and languages are valued.In this presentation, I share the findings of a multiple case study exploring multi-musical choral educators’ enactments of CSP and how their students viewed the teaching and learning in the classroom. The study examined three high school programs: one private school with a predominantly White student population and two public schools with predominantly Black student populations. Participants included three choral educators (two Black, one White) and thirteen students identifying as Latine, Black, Indigenous, and White. Data were collected through classroom observations and interviews.The findings suggest that broadening musical experiences in chorus had mixed results. Some students reported increased confidence from engaging with diverse musical cultures, and others experienced epistemological dissonance when these experiences conflicted with their own musical knowledge. Furthermore, there were several student participants from the public schools with high rates of free or reduced lunch who expressed feeling intimidated by unfamiliar musics, underscoring that culture and class identities are factors in determining perceptions of music education. In the classrooms in which Eurocentric traditions were emphasized, tension between students’ natural singing styles and bel canto was more likely to lead to epistemological dissonance. The teacher participants aimed to balance their preference for Western classical music and bel canto technique with the incorporation of contemporary commercial music and global musics that might resonate with students’ cultures of reference. The teachers’ incorporation of music with which students identified validated students’ music preferences, encouraging open discussions about various music styles. The findings are consistent with similar studies (e.g., Good-Perkins, 2021) and indicate implications for teacher education that embraces multiple musical cultures and CSP.