The editors of this volume view the many challenges of its title as an opportunity, not a problem. Although musical culture that could be understood as “Czech” makes up a significant portion of this book, the volume does not exclusively focus on supposedly “Czech” music.1 Additionally, the regions often referred to as “Czech lands” acquired many titles in various languages throughout history and sometimes held radically different meanings, including “the Czech Republic,” “Czechia,” “Bohemia, Moravia, and Silesia,” “Čechy, Morava, a Slezsko,” “Böhmen, Mähren, und Schlesien,” and “the Bohemian crownlands,” among other possibilities. In his landmark essay “Where is Central Europe?”, Historian Lonnie Johnson explains that even seemingly neutral descriptions of geographic spaces like these are actually deeply subjective and instable, redefined time and time again by notions of religion, empire, monarchy, kingdom, ethnicity, race, region, sub-region, ordinal direction, nation, state, historical narratives, victimhood, belonging, “otherness,” culture, homogeny, democracy, exclusion, and genocide.2 And while this list is in no way exhaustive, its challenges are only intensified by the possibilities of combination and negation: notions of a multiethnic monarchy, for example, or heterogeneous post-communist nation. That is, Johnson reminds us that even at the level of geography, understandings of boundaries are not stable; instead, they are stories. And these stories, just like supposed “histories” themselves, are always cultivated, curated, and, by extension, incomplete and partial.