In his recent monograph, Chris Higgins (2011) offers a remarkably original, thoughtful, and provocative argument for "an ethics of professional practice" for teachers. His study brings together a wealth of ideas and authors not often discussed in relation to each other, and it draws out elusive themes and ideas often overlooked in most analyses of teaching. From the outset, the author admits his interest about both sides of "the two main discourses about teacher motivation--the inspirational and the suspicious" and thus about (a) music teaching as a "noble service" provided to students, society, and culture; and (b) the problematic "hidden springs of self-interest" that can challenge, even compromise, any assumption of an altruism of music teaching. Music education is unique regarding both motivations, especially due to the "sacralization" of classical music that has transpired since the rise of the public concert in the 19th century and the virtuoso composers, performers, and conductors who have become its gods--with aesthetic theories becoming the holy texts of this fundamentalism, and teachers serving as the clergy who promote "good music" and evangelize "music appreciation" in schools (public or private, mandatory or voluntary). In this article, the author begins with a survey of virtue ethics, then considers some implications of selected issues raised by Higgins for music education. Along the way he offers some cavils that he argues qualify some of Higgins' conclusions about "the good life of teaching." (Contains 54 notes.)