During the past several years a variety of issues related to multiculturalism in music education have been extensively discussed in literature. Music educators, researchers and scholars have successfully convinced themselves that the musical sounds created by the planet’s human inhabitants have a right to exist in our classroom. However, many theorists tend to disregard the fact that multiculturalism suggests the multiplicity of the instructional approaches, as well. The diversity of music teaching practices, which constitutes a notable social and cultural phenomenon, has not been perceived as a multicultural issue, and has been excluded from the discussion (Sprikut & Bartel, 2010, 29th ISME World Conference, Beijing). Not infrequently, internationally trained music educators are culturally isolated from the music education mainstream in host societies around the world. While professional flexibility is commonly perceived as a necessary prerequisite for a successful pedagogical adaptation process, internationally educated music teachers often seek to preserve and reaffirm their pedagogical cultural identity. This discrepancy not infrequently results in their inability (and reluctance) to participate on an equal basis in both the educational discourse and educational process. In this paper, I discuss certain aspects of culture that pertain to the realm of music pedagogy, and explore some of the factors that further the process of cultural separation. In order to find a common ground for the discussion, I offer a working definition of music pedagogic culture. The aim is to facilitate meaningful democratic dialogue, which would assist in bridging the gap between diverse music pedagogic traditions and practices that coexist in a contemporary society. The paper concludes with the suggestion that deeper understanding of the cultural factors and processes that shape music pedagogic practices will greatly benefit not only music education profession but also a society as a whole.