One moment from the much-discussed 2017 curriculum reform in the Music Department at Harvard University has stuck with me and transformed the way I approach teaching music in higher education. In one of the meetings leading up to the revision, graduate students in the department led an activity in which attendees—who included undergraduate students, graduate students, and faculty alike—got into small groups and discussed the relative merits of three hypothetical models for the new undergraduate curriculum. Each of the models involved decentering to some extent the existing curriculum's emphasis on the history of Western European music and dominant music theoretical approaches to it. After a short while, we all gathered back together and one person from each group shared a bit about what had transpired. From the circle of desks nearest the door, an undergraduate student rose to speak and expressed enthusiasm for a broadening of curricular coverages. But, they said, their group also had some reservations about jettisoning the overall focus on Western European concert music altogether. “We still need to learn about our history,” they said, while a faculty member nodded behind them.