All education is fundamentally engaged in the pursuit of epistemic aims (Carter & Kotzee, 2013; Goldman, 1998, 1999; Peels, 2023). Often that aim is the development of new knowledge for learners. Music educators’ focus on propositional knowledge or the development of specific skilled performance reflects this knowledge-aim. While important, this focus on knowledge risks overlooking the potential of other epistemic aims for music education. This short philosophical paper explores the implications of reframing music education by centering the deliberate development of Epistemic Virtues (EVs). Education that centers the development of epistemic virtues focuses on developing EVs that allow a student to be a good knower (Curren, 2019; Kotzee, 2013; Pritchard, 2013) someone who displays epistemically virtuous qualities, e.g. conscientiousness or curiosity, that allow them to know more about their world. We ask: what might it mean to be a good knower of music? And what might music education gain from adopting that goal? This paper contends that a "good knower" in music is not merely someone who possesses information or skill, but one who consistently demonstrates dispositions toward musical knowledge essential for lifelong, responsible engagement with diverse musical worlds. These traits are rooted in epistemic virtues like intellectual curiosity, open-mindedness, attentiveness, humility, and intellectual courage (Baehr, 2016; Kidd, 2015). Music education focused on epistemic virtue may require a redesign. To illustrate the possibilities of this reframing, this paper uses the International Baccalaureate Diploma Programme (IBDP) music curriculum (International Baccalaureate, 2020) as an example. The International Baccalaureate organization was the first program to make explicit use of the term “International Mindedness” as an educational goal, establishing it as a core element of the program in the 1960s (Hill, 2012). International mindedness is a composite of epistemic virtues including open-mindedness and curiosity (International Baccalaureate, 2020). The IBDP offers a relevant real-world example of a music curriculum that centers intellectual virtues (International Baccalaureate, 2020). Ultimately, this paper envisions a music education that deliberately fosters epistemic virtues and uses a current example to illustrate the potential benefits and potential pitfalls of centering the development of epistemic virtue over knowledge in music education. Keywords: Epistemology; International Baccalaureate Diploma Programme; Curriculum