This panel highlights the work of creative music education scholar-practioners from across the globe (Canada, US, Ecuador, Spain, Germany) who are unified in their commitment to inclusive and socially just pedagogies via their active engagement with sound. Panelists will draw attention to the ways sonic waves reverberate across spaces, places, and people unifying, disrupting, (dis)/(re)orienting, and challenging ocular centric and linear perspectives of music teaching and learning. Drawing from the interdisciplinary fields of sound studies (Bull, 2020; Gershon, 2018; James, 2019; LaBelle, 2018, 2010; Sterne, 2012), critical studies in improvisation (Fischlin, Heble & Lipsitz, 2013; Heble & Stewart, 2023; Lewis & Piekut, 2016; Siddall & Waterman, 2016), and curricular inquiry (Clandinin & Connelly, 1998), scholars in this panel share ways sound and improvisation act as a catalyst for “creative critical consciousness” (Author, 2023). Through sound walks, sonic narrative journals, sound collages, sound installations, and much more, this growing cohort of music educators have curated and facilitated inclusive curricula activities encouraging students to actively and deeply listen to the world around them, or what Odland & Auinger (2009) call, the “Sonic Commons”. It is through such “deep listening” (Oliveros, 2005) that students sharpened their skills of “sonic sensibility” (Voegelin, 2014) activated their “discovery drive” (Voegelin, 2010) and responded concretely to some of the most pressing issues currently facing society (e.g. climate justice, xenophobia, police brutality, solastalgia). In a world seemingly becoming more disillusioned, disconnected, and discordant, panelists offer viable and practical pedagogical strategies that open spaces for students and teachers to raise their collective and unified voices above the clamor of conflict towards a more sustainable, dialogical, and just future. Through case studies (Stake, 2005; Yin, 2018), phenomenologies of lived experience (Van Manen, 1990; 2014), and sound arts-based research (Gershon, 2020), and more, panelists demonstrate the value a “pedagogy of sound” (Abramo, 2014) in music education can have in everyday teaching and learning spaces. By “de-centering music” (Recharte, 2019) and adopting “sonic thinking” (Cox, 2017) in their classroom practice, teachers open opportunities for their students develop sonic tools enabling them to become better listeners, musicians, and engaged cultural citizens (Benedict & Schmidt, 2015; Silverman, Elliott, & Bowman, 2016). This panel also serves as a continuing chronicle of concentrated efforts by some in the field of music education who are centering sound within music education spaces. Two ISME symposia (2022 & 2024) spoke to the significance of sounding (in)visible voices and sustaining resonance by reorienting our relationship to music and music education via sound and sensuous practices. In 2021, the emerging organization Sound, Meaning, Education (SME) organized its first conference featuring leading figures in sound studies (Nina Eidsheim, Robin James, Jonathan Sterne) and music education (Pamela Burnard, David Elliott, Matthew Thibeault). Since then, two biennial conferences have convened in Canada and the United States inviting scholars and practitioners across fields of acoustic ecology, molecular biology, music cognition, sensory and embodied perception, and more into meaningful conversation about the ways artistic and scientific disciplines may work collaboratively in realizing pedagogies of sound. Through collective and unified efforts this panel seeks to build upon the significant work already being done by extending and strengthening an international team of music educators invested in building bridges for all who wish to listen and respond to the world via sound and embodied ways of sensing, knowing, and being. Panel 1 explores sound as a medium for collective reflection and ecological restoration. Building on prior research on environmental identity, it examines young adults’ soundscapes inspired by 2025 protests in Cuenca, Ecuador to protect water sources, revealing how sonic representations of protest and place foster awareness, environmental consciousness, and social action.Panel 2 shares how students’ experiences of co-created space of the classroom impacts soundings and silences via a case study of Pauline Oliveros’ text score One Sound Once (2013) . By exploring listening positionalities and learnings (Robinson, Cheng, Feld, LaBelle), authors share co-written critical practitioner reflections (Richardson & St Pierre) towards broadening educator perceptions of student sounding, safety, agency, and access.Panel 3 explores how releasing the imagination through listening can transform our ways of being in the world—as part of nature and interconnected with non-human creatures. He seeks to develop a concept of eco-critical literacy that unites self-critical reflection with a deepened sense of social and ecological responsibility.Panel 4 explores a “pedagogy of sound” (Abramo 2014) in action through case studies which highlight projects that engage college music students, the wider campus community, and K-12 schools with social justice issues through creative practice. They will share how community soundscape creation can engage diverse musical communities and large ensembles with these critically important topics.