Although there seems to be an essential relationship between scholarship and performance of the Lied, the process by which scholarly inquiry and practices of performance mutually benefit one another can seem mysterious and undefined. In this introduction to The Lied at the Crossroads of Performance and Musicology, the editors trace the state of research touching these issues, including the role of the “performative turn” in Lied scholarship, historical performance practice research in the genre, and the tradition of scholars’ guides for performers. They then summarize how the essays of the collection model new ways in which scholarship can contribute to new performance experimentation in the genre, and how reflecting on performance can continue to lead to new research perspectives.