The editors begin the book by introducing themselves, situating their academic lives in relation to nascent ideas about “global musicology” and “global music history.” Different from the frequent conflation of the two terms, Hsieh and Wolkowicz make a clear distinction between global musicology (centered on peoples and scholarly communities) and global music history (as a subject of study). They grapple with the optimism and pessimism that have emerged from musicology’s “global” turn, considering questions of value, positionality, and inclusion and exclusion. Perhaps counterintuitively, the editors advocate using English—albeit in its world, “bad,” and “misbehaved” non-pedigreed varieties—to do global musicology instead of favoring a multilingual coexistence. Where the editors wish to lead readers is a place of pragmatic scholarship, enacting granular change with a critical awareness of our world’s institutional flaws and inequalities.