Interest in world music began to emerge in the early 2000s, understood as a result of the globalization of Korean society in its process of change into a multicultural society. Interest in world music has grown as part of multicultural education. Based on the need for systematic education and for basic instructional materials on world music, this study examines Worlds of Music, a world music textbook which has been widely used in institutions of higher education in the U.S. for over half a century. The distinct features of Worlds of Music as a textbook are as follow. First, in covering the music cultures of the world, the contents and quantity of information in the textbook are enormous. It seems that the textbook was composed in accordance with the depth of learning ability of undergraduate students in the U.S.A.; a short version of the textbook is also available to allow instructors choice in accommodating their particular school system. Second, its substantiality as a textbook is complemented with sound materials for student listening, and various teaching materials are provided for instructors. Third, a diverse range of pictures, music scores, sound sources, and listening-guide diagrams are arranged, and a map of assigned geographical locations and learning objectives are included in each chapter, motivating learners toward increasing their interest in the topic. Fourth, the book will provide a performance-learning effect to students, which goes beyond the lecture-appreciation structure of classroom teaching by encouraging students to participate in first-hand field research projects, and to write their own ethnography. As regards the characteristics of the textbook, first, the contents suitably embody the diverse music cultures of humanity as contents are organized based on ethnographies from the perspective of ethnomusicology, and since people’s music-makings are illustrated in their historical context. Second, it exhibits the concept of the decolonization of music. Deviating from the imperial manner of explaining musical elements only against the concept of Western classical music, the book helps learners understand that each music culture is structured according to its own musical language and world view. Third, each chapter was written by a specialist in its given musical area, fully providing their expertise and field experience. Fourth, as the textbook is primarily used in the U.S., the contents are prepared for American students by including the music cultures of Native American, Black American, the popular music of North America, and the Arab world, which are closed related to the people or which have received widespread interest. Fifth, each chapter of the textbook properly includes the traditional, popular, and world music of the particular musical culture. The following are suggestions for designing a Korean-version of a world music textbook based on the review of Worlds of Music. First, the textbook should include music cultures that correspond to Koreans’ sensitivity and social circumstances. Just as Worlds of Music includes the music of Native and Black Americans, and the popular music of the U.S., it is necessary to include contents that reflect the interests and unique cultural factors of Korean society. Second, the cultivation of various cultural perspectives derived from ethnomusicology and the reconceptualization of musical elements affected by de-colonization are required in order to maintain a pluralistic attitude and to understand music through historical and cultural contexts, circumventing the imperialistic musical viewpoint that perceives music as “sound” with a focus on Western art music alone. Lastly, incorporating a field research project into the curriculum using the textbook would provide students with an opportunity to experience the various music cultures of Korean society and to build the foundations for cultural diversity.