In music education, scholars have forwarded the term “multiphilosophical”: an approach to music education philosophy “that takes into consideration diverse philosophical sources regardless of their political, cultural, national, racial, gender, or any other divisional association, one that does not privilege particular philosophical traditions” (Fung & Tan, 2024a, p. 104). However, while the term has appeared in the philosophical literature, there is scarce research on its practical implications—the “so what.” Furthermore, there is limited work on how it can bridge the chasm between theory and practice, and how it can bring diverse philosophical and musical cultures together.In this philosophical paper, we examine how multiphilosophical approaches to music education can build bridges between theory and practice, and across cultures. Although philosophical in nature, the innovative aspect of our paper lies in exploring how philosophical ideas can be used in practice—as pragmatist philosopher William James might say, the “cash value” of philosophical ideas (James, 1978, p. 32). Our guiding questions are: (1) What are the key distinguishing features of a multiphilosophical approach to music education? (2) How do multiphilosophical approaches to music education differ from other philosophical methodologies in music education? (3) How might multiphilosophical approaches bridge theory and practice? (4) What are some of the ways in which multiphilosophical approaches might build bridges across cultures? To address the questions above, we critically analyse selected philosophical literature in music education (principally Elliott, 1995; Elliott & Silverman, 2015; Fung & Tan, 2024b; Guan, 2013; Jorgensen, 1990; Reimer, 1970, 1989, 2003) and draw on them as sources of inspiration to develop fresh ideas for music educators to bridge theory and practice.Our philosophical theorizing leads us to a new three-pronged approach through which music educators may move from philosophy to practice, namely, (1) multiphilosophical consciousness, (2) multiphilosophical learning, and (3) multiphilosophical practice. Using diverse philosophical ideas rooted in Asia (Fung & Tan, 2024b) and elsewhere as illustrative examples, we show how music education practitioners can use this new approach to bridge theory and practice—and across cultures—thereby transcending barriers, promoting inclusivity, and move towards “boundarylessness” (Fung & Ma, 2024). Bridges are built across diverse philosophies and musical practices, making the boundary-crossing so easy that it feels as if there were no boundaries.