This phenomenological study explores the lived experience of music teacher educators with diverse musical soundscapes. I define a soundscape as the aural vista always present in one’s consciousness. This study is grounded in the phenomenological underpinnings of Hans Georg-Gadamer, Martin Heidegger, Maurice Merleau-Ponty and Max van Manen, as well as the living, breathing world of varied musics that play themselves out not only in our own minds and hearts but also intersubjectively with the soundscapes of those with whom we come into contact. I begin with my own personal soundscapes as a gateway to naming this phenomenon and then continue by bringing those soundscapes to life as they appear in my musical life as a teacher, composer, listener, and performer. In the exploration of the phenomenon, I employ etymologies of key words, metaphors, music, poetry, literature, and art as a means of poetizing the experiences. I use particular multi-hued musical experiences in order to uncover a general felt sense that music educators and others can unconceal through their interaction with the text. Through the vivid, lived language of the philosophers named above as well as others, I then usher in the soundscapes of my five participants. I draw on the guidelines Max van Manen offers for phenomenological methodology. By reflecting on essential themes that come out of our conversations, I bring the reader into the world of diverse musics as we are emotionally and bodily moved by the often-volatile mix of a plethora of musics. The essential themes I explore reveal the ordinary to truly be extraordinary. For example, places in which my participants experience music, whether in the home, in the concert hall, or with fellow musicians, reveal themselves to be alive with embodied memories and links to parts of each participant perhaps never imagined. Uncomfortable and dangerous places where evil slithers are also opened up to further reveal the fullness of my phenomenon. Participants undergo a metamorphosis as soundscapes twist and turn on the way to a constant “becoming” that can be shared with their students. Sympathetic vibration evinces service and caring and further unconceals the music that participants love, revealing a complicated yet rich relationship with the classical canon that has been the bedrock of musical academe for so many years. A fascinating and dynamic interplay lives in the rocking back and forth between “required” music and the many sonic explorations made by participants in their own sacred aural universes. Finally, the essential theme of recapturing the joy of music in communal spaces is explored. A deep interaction with the text admits readers into worlds both instrumental and sung that are not often shared. Music itself, as the aural protagonist, invites participants, their students, and readers of this text to experience the constant dance of intersubjective musical life that nourishes each of us. In the final chapter, I reflect on what this phenomenon has done with me as a current music teacher and educator in general. I explore a living classroom ethics that can be present in every class if carefully nurtured by an abundance of tact on the part of each music teacher or music teacher educator. I offer insights for music educators on ways in which they can, through atypical sources, elicit felt responses to their own and their students’ soundscapes. I offer a final charge to “take the world by surprise” as educators courageously open themselves to the Other in a heartfelt willingness to embrace the new soundscapes and lifescapes that await us with each new generation of musickers occupying our classrooms.