It is the goal and the purpose on which the utopia is based that merit attention. As such, in this paper, the author engages in what Gilroy (in Shelby & Gilroy, 2008) referred to as a "utopian exercise" in order to think through one's "romance with" music as "part of the core curriculum" and as "balanced, comprehensive, and sequential". She further builds on Gilroy's suggestion that such a romance could be a representation of one's "complicity with an unsustainable social and political order in the world". In this instance, Gilroy spoke of the racially oppressed, but his point that oppression could very well "bind [one] even more closely to a particular sense of the relationship between identity and property" is one that the author follows throughout this paper. And although racial oppression certainly does not apply to the discipline of music education, a certain perception of one's status within the public institution of schooling, as made manifest externally in scheduling and space and funding allocation, can foster goal-directed activities toward the protection of these limited resources, in effect rendering music educators broken and demoralized. (Contains 5 notes.)