Perhaps in response to the rising diversity of students in the United States, divisive concepts legislation in many states has emerged to oppress students of color. These laws and policies can engender feelings of job insecurity for educators if they teach music that merits discussion of systemic racism (Salvador et al., 2023a, 2023b; Salvador and Shaw, 2024). With the vast majority of US states enacting regulations that effectively prohibit educators from engaging in discourse with their students on the topic of racial injustice, music educators have become apprehensive (Bylica et al., 2024; Salvador et al., 2023a; 2023b). To ease that apprehension, they are likely to focus on Western Music traditions and avoid engaging with students on social issues. This environment may lead to students of color experiencing increased marginalization (Gustafson, 2008; Hess, 2018).To teach ethically and with the intent of furthering antiracism in this challenging sociopolitical landscape, educators can work within the limitations imposed upon them while promoting fairness, encouraging freedom of expression, and centering the needs of students. Drawing upon the work of Regelski (2012) and the tenets of antiracism (Dei, 2000), Ethical Voice Teaching (EVT) (Author, 2021) provides practical approaches to support students of the global majority through this time of sociopolitical upheaval and oppression.The data explored in this presentation were generated during a case study of the perspectives of music education students who took a vocal pedagogy course in a state that had recently implemented laws designed to inhibit discussions of race in K-12 classrooms. Interviews, a researcher journal, and participant observations were analyzed utilizing both antiracist and ethical lenses. The findings underscore the need for increased discourse on anti-racism in higher education. Teachers, especially those in the White majority, confronting their own identities, biases, and privilege would prepare them to engage in race-related conversations and situations. The participants’ discussion of cultural appropriation highlights that in order to develop and demonstrate respect for unfamiliar musical cultures, increased awareness of the importance of the original intent and context of musics from cultures that are unfamiliar to them was required. Moreover, the participants revealed a commitment to equity in their visions of their future teaching. They were also planning to employ multicentricity by teaching from diverse perspectives such as using culturally appropriate transmission (e.g. aural), thereby challenging the dominance of Western classical music that is traditional in music education. The participants intentions for their future teaching could serve to mitigate the silencing and cultural assimilation of students of color.