Although media and technology are offering teachers and students richer and more diverse musical opportunities than ever before, hands-on music making and performance are still often promoted as the ideal for meaningful learning in schools. Whereas performance in schools once equated to the choral singing of national and religious repertoires (Keene 1982; Pajamo 1976), such narrow definitions of what was seen as musically good have largely been replaced by multicultural repertoires and ideals. For example, in Finland, the recently introduced National Core Curriculum for Basic Education (Finnish National Board of Education 2014) emphasizes the role of music instruction in guiding pupils to attain an appreciative and inquisitive attitude towards cultural diversity and the multiplicity of musical meanings (Finnish National Board of Education 2014, 141). In learning about cultures and difference through performance, music has increasingly been considered not as an artifact to learn about, in terms of its history or in terms of cultivating an aesthetic appreciation among students, but as social action. As such, the performance of different musics has been seen as one way to bring together students of different musical, ethnic, cultural, and religious identities and backgrounds. However, taking into account the inherent diversity of school populations, the social character of musical performance means that there is a heightened, or at least more explicit, potential for tensions and conflicts to arise between the values and beliefs embedded in students’ identifications and those legitimized through the selection of school repertoires.