To develop a sociological perspective in music education, we first examined social and economic inequality and injustice through various sociological approaches. When establishing a sociological basis for music education, we have taken into consideration the functionalist theory, the conflict theory, symbolic interactions, and bureaucratization. These theories and approaches were used to evaluate education sociology, thus allowing us to make sociological assessments regarding music education. The functionalist theory requires that "institutions work together in harmony;" it can be said that this is also necessary in music education. By contributing to the continued existence of music as a social entity, music education also contributes as a tool of reproduction to the legitimization and approval of the dominant ideology and system of values, and to their adaptation within the system. Ideas put forward within the frame of the conflict theory were more based on how the current system could be rendered fairer and more equal, rather than just ensuring the continuity of the current system. As such, when evaluating music education according to the conflict approach, we considered how cases of inequality and injustice in music education could be identified and resolved. With regards to symbolic interactions, we focused on the one-to-one interactions relationships that emerged within the frame of everyday life. These interactions could recreate inequality, or carry them over to different areas. Using labels such as successful or unsuccessful in music education further reinforces the inequalities that stem from the environment and the family in which children are raised. Bureaucratization, on the other hand, confers a rather bureaucratic characteristic to music education through the implementation of written rules and principles that shape course content, class notes and class meetings; the mandatory nature of music education for every student, which reduces the appeal of this class at a personal level; and the employment of music instructors based on a set of technical qualities, rather than a more comprehensive approach.