In a global Korea, what is at stake in teaching Korean music to students outside the fields of music and musicology? As a specialist in Korean music, I have continually reflected on how to convey diverse nuances of its cultural representations to both non-Korean students and ethnic Korean students. Working within the infrastructure of higher education in South Korea and the United States, I have drawn on resources from the University of Michigan and Dongguk University to engage in community outreach and provide students with access to various materials. At Dongguk University in Seoul, international students had more chances to attend concerts on Korean music and my priority in teaching those students was to introduce fundamental concepts and musical genres of traditional Korean music. In the United States, my strategy has been to contextualize musical meanings in ways that resonate with contemporary social and cultural experiences.  Drawing on Rosaldo’s (1989, 26) understanding of culture as a concept that integrates postmodern and postcolonial perspectives–embracing everyday experiences and the learning for future generations–I examine how the meaning of “culture” for Korean music has been generated, circulated, and deployed within Anglophone-centered education systems. I analyze the historical usage of “culture” in US higher education and position Korean music as a component of multicultural education. Then, I explore how Korean music has become a global hub that attracts international students to South Korea. This talk will also address how to understand musical globalism as a way of connecting to the postcolonial state of South Korea within East Asia.