Music education is rooted within Western European cultural traditions (Bradley, 2014, 2017; Hess, 2015, 2021), which “reinforce certain ways of thinking, of identifying, and of relating to others, including ways that comply with different forms of oppression (including racism, sexism, classism, heterosexism, colonialism, and other ‘isms’)” (Kumashiro, 2024, p. 11). The rootedness of music education within Western European cultural traditions is directly tied to ongoing colonization and coloniality. Coloniality is an “encompassing phenomenon . . . all control over sex, subjectivity, authority, and labor are articulated around it” (Lugones, 2016, p. 16), which upholds the gender binary through heteronormativity and cisnormativity (the ways in which heterosexuality and cisgender identities are structurally upheld, embodied, and lived without question). Decolonisation is the fight to strip colonial power and influence from every aspect of life (Smith, 2021; Tuck & Yang, 2012), and the process of decolonization also calls for a more complex understanding of gender (Aguirre, 2024).Colonialism has been, and continues to be, proliferated throughout music education across the globe, and this colonization extends to how gender has been positioned within music education, including through the ways in which the gender binary is upheld. More recently, there has been some discussion about the ways in which choirs can become more inclusive for trans and gender-expansive (TGE+) members (Garrett & Palkki, 2021); however, much of the discussion around gender within music education remains rooted within a colonial binary understanding of gender as “male” and “female”—including the gendering of instruments within orchestras and bands (Hallam et al., 2020), the gendering of roles within popular music ensembles (Powell, 2024), and the gendering of different types of music ensembles (Challacombe et al., 2024). These discussions do not address the underlying issue of coloniality and the colonization of gender within music education, and the impact that this has on music education. Any efforts to decolonize music education should extend beyond which types of songs are included in the classroom to encompassing the decolonization of all structures and elements of music education. In this presentation, I will outline the frameworks of decolonization and trans+ studies, examine the ways in which colonization impacts gender, and explore what it might mean to decolonize gender within music education.