East Asians comprise the largest pan-ethnic group in Vancouver, Canada, representing over a quarter of the city’s population; government projections indicate that the number of East Asian immigrants will continue to rise over the next two decades (Government of Canada, 2022). Despite this demographic growth, the music learning content and contexts of East Asian immigrants are rarely reflected in Canadian school music (Tuinstra, 2019). Scholars working within Asian critical theory further argue that Asians are often marginalized through racial stereotypes, microaggressions, and dominant narratives of race, racism, and racialization in Western societies (An, 2017; Museus, 2014).The purpose of this multiple-case study is to investigate the music learning and making experiences of East Asian immigrants in Vancouver, Canada through the lens of Asian critical theory. Three East Asian immigrant musicians with diverse backgrounds—across gender, ethnicity, age, music education, and years of residence in Vancouver—participated in this study. Data were collected through (a) observations, (b) semi-structured interviews, and (c) documents and artifacts over a 14-week period from late April 2025 to mid-July 2025. This qualitative inquiry was guided by three research questions:1. How did music learning content and context in the participants’ home and host nations shape their musical experiences?2. In what ways did the tenets of Asianization and intersectionality in Asian critical theory manifest in the musical experiences and practices of East Asian immigrant musicians in Vancouver, Canada?3. What aspects of Canadian school music education contributed to East Asian immigrant musicians’ (dis)empowered learning experiences in relation to their racial identity?Findings reveal that participants commonly experienced invalidation of their musical work, linguistic barriers, and social isolation within Canadian school music and mainstream music scenes. They also encountered racial stereotypes, systemic racism, and limited music learning and making opportunities, often resulting in feelings of exclusion and frustration. The participants noted similarities between school music content in Vancouver and that of their home countries. Two participants reported moments of empowerment in Canadian secondary schools, particularly when supported by caring and attentive teachers. The study concludes that East Asian immigrant musicians grapple with dominant narratives of race, racism, and racialization in Canadian school music and broader musical contexts. The findings suggest the need for more inclusive practices and stronger support systems to affirm and empower East Asian immigrant students in Canadian school music education.