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How and why did three PhD fellows become feminist posthumanist scholars within the field of music education research? Drawing on Karen Barad's theorising of phenomena, not pre-existing entities, as the primary ontological unit and on Rosi Braidotti's concept of the nomadic subject, we explore our research subjectivities as they are becoming in and through relations within the phenomenon of Western music education. Through the figuration of 'voice', we trace how and why our research voices stretch and crack as we go through a scholarly voice change transitioning from humanist to feminist posthumanist scholars. We tell performative stories that intra-actively take part in the ongoing re-configuring of the world, making matters such as children, care responsibilities, and 'feminist killjoys' become issues of music educational importance. Our aim is to offer companionship to others be(com)ing posthumanists, and to stretch the boundaries of music education research and practice.

Although encompassing a variety of research approaches, qualitative research in music education shares the assumption that reality is socially constructed; it takes this construction to be based on the specific perspective of the individual human; and it considers epistemology and ontology to be different fields of study. The posthuman theory of agential realism, on the other hand, argues that the world is becoming through intra-actions; it decentres the individual humanist subject; and it studies onto-epistemology -- practices of knowing-in-being. Considering these fundamental differences, the quality criteria of qualitative research are not applicable to posthuman music education research. Nevertheless, posthuman research is concerned with the ethics of research and how to response-ably and ethically take part in the world's becoming. Thus, the emerging field of posthuman music education research must develop other ways of evaluating research beyond the quality criteria found in qualitative methodologies. This paper argues that diffraction -- both as a physical and musical phenomenon and as a philosophical concept -- might be a fruitful approach. By reading quality criteria diffractively through the agential realist concept of response-ability, it poses critical and creative questions, moving us towards evaluating the quality of posthuman music education research on its own terms.