White hegemony is pervasive in and through music education, demanding that teachers and scholars take deliberate social and political actions in order to address racial injustice. Such actions are often built upon propositional knowledge or knowledge that can be evaluated by conceptual reason and verified as true or false (Perry and Shotwell 2009; Shotwell 2011). The purpose of this philosophical inquiry is two-fold: to problematize the prioritization of propositional knowledge when engaging in antiracist efforts and to suggest the need for more holistic accounts of antiracism that combine propositional knowledge with affective understandings. I argue that solely propositional approaches can foster disingenuous antiracism rather than substantive action and dialogue. Poet Audre Lorde emphasized the importance of synthesized understandings, and poetry and literary works such as Toni Morrison's "The Bluest Eye" engage with both propositional concepts and affective experiences, which can lead to deeper understandings for the reader. I suggest that synthesized understandings are also possible in music education. Using preparing for a performance of Joel Thompson's choral work "Seven Last Words of the Unarmed" as an example, I offer sharing multiple narratives, recognizing the importance of affect, and taking actions based on synthesized understandings as considerations for antiracist pedagogy. These considerations may encourage the affective depth characteristic of substantive antiracism.