In this discussion, I reflect on how the lens of “musical infrastructure” provides a productive site for situating my current research and teaching in and about a “globally-connected” Taiwan. One segment of my archival research examines the publication of translated and locally-created choral scores and song books during 1950-1960s Taiwan, based on the personal collection of a primary school music teacher working in Eastern Taiwan at the time. Educators connected with the Normal School system were active in promoting music education through singing, based on the legacy of Chinese Xuetang Yuege and Japanese-mediated Western music, sanctioned by the KMT’s ideology of cultivating a strong nation through collective song. These educators’ pedagogy and practice shaped the networks of music publishing on the island, as well as sonic imaginaries of “the world” on the “meso level” (Irvine 2025).  In contrast to the focus on how Western music was localized in research, my musicallythemed general education classes at a Taiwanese university seek to broaden students’ deeply embedded Western conceptions of music by introducing different social contexts and ontologies of musicking around the world, as well as the historical processes that changed musicking in Taiwan. My English-medium courses attract a high ratio of international exchange students. “Listening discussions” among local and international students on topics such as shoka education and colonial modernity in the pop songs of 78-rpm gramophone records in Taiwan aided students in thinking about global flows and disconnections through these musical infrastructures. Research and teaching mutually inform my understanding of the ways that musical education and production at different levels shape, and are shaped by, public knowledge and ideologies of the time.