This paper explores how music teacher-educators come to understand, apply, and model liberatory praxis (LP) in undergraduate music teacher education. LP as a pedagogical framework places emphasis on the role that bodies, intersectional lived experiences, and emotions play in the learning process, and focuses on an affirmative vision of education (Breunig, 2009; Ellsworth, 1989; Lather, 1995). A teacher applying LP recognizes the complex power relations manifested in the embodied intersectional experiences of race, gender, ability, and class, and seeks to counter them through the creation of learning communities that centre hope, love, and humanity as main pillars of educational change-making (hooks, 1994, 2003; Ladson-Billings, 2014; Love, 2019).In music education, LP can include, but is not limited to, assuming an anti-racist, decolonizing, and liberatory stance in all aspects of teaching and learning; de-centering Western art music and fostering culturally relevant, sustaining, and affirming materials and pedagogies (Hess, 2019a, 2021; Ladson-Billings, 2021; Palmer et al., 2021); applying trauma-informed and healing, justice-centered approaches (Bradley & Hess, 2021; Price, 2022; Salvador & Culp, 2022; Walzer, 2021); and facilitating welcoming spaces for gender and sexuality variant students (Bergonzi, 2009; Stiegler, 2008; Wheatley, 2022) as well as for students with disabilities (Bell et al., 2020; Broderick & Lalvani, 2017; Churchill & Bernard, 2020). While singular aspects of LP have been researched in K-12 classrooms, presented under various labels, including music education for social change, activist music education, and, in some instances, multicultural music education, no research had yet examined the intersectional approaches of LP in the context of music teacher education (Smith, 2025).The findings of my multi-case analysis provide a snapshot of how eleven Canadian music teacher-educators understand and practically engage with LP in their undergraduate classrooms. Data were collected through syllabus analysis, semi-structured interviews, classroom observations, and follow-up interviews. I created detailed case descriptions and then conducted cross-case analysis, attending closely to participants’ lived experiences and pedagogical approaches.Notable findings include: definitions and examples of culturally sustaining pedagogy from a Canadian perspective, including ways participants engaged with Indigenous musics; approaches to fostering welcoming classrooms for LGBTQ2IA students, specifically in choral settings; examples of teacher educators who facilitate student-led classroom communities inclusive of neurodiverse and physically disabled learners; and assessment structures that aim to empower students through authentic engagement, differentiation, and non-punitive measures. Taken together, these cases highlight the intersections of liberatory approaches and the ways they converge to support transformative teacher education.This study demonstrates current practices which have the potential to move music teacher education beyond common token gestures of inclusion. While grounded in the Canadian context, the findings hold broader implications for international music education by offering concrete examples of how teacher-educators might model, teach, and apply liberatory practices in their own contexts.