In considering the potential of world music in music education, we might imagine ways to think about musics in cultural context or on their own terms. Engaging musics on their own terms involves embracing epistemological diversity; different epistemological frameworks accompany different musics and treating musics ethnocentrically is both an injustice and effectively an epistemological colonization. In considering how to engage musics and their accompanying sociohistorical and sociopolitical contexts on their own terms, I put forward Mikhail Bakhtin's work on dialogism as a theoretical framework to examine the encounter, drawing also upon Sara Ahmed's conceptualization of the "strange encounter" and Megan Boler's "pedagogy of discomfort" to consider pedagogical possibilities for fostering ethical encounters in music education and critical and mindful engagement in any musical encounter.