Criticism of the foundational whiteness of western classical music's socio-cultural heritage remains relatively rare, and the field continues to export a prestigious self-image of cultural and technical superiority. Building on Ben Spatz' epistemology of practice, I argue that the foundational whiteness of western classical music is principally and most tenaciously "embodied" within its training and practices, and as such scholarly criticism must also address the transmission of embodied technique. I demonstrate how this foundational whiteness relates to philosophies of transcendence and mind-body dualism, focusing on the case of vocal pedagogy. I analyse pedagogical literature and methods to reveal racialised frameworks and powerfully interpellating practices that require student-practitioners to excise aspects of their identity as the price of entry to their field. In light of this, I propose moving beyond the tokenism that takes the field's superiority for granted, towards a more serious reckoning of its value.