The purpose of this study is to research the music of Geonyong Lee (이건용), one of the most recognized active Korean composers, while determining Lee's intent to compose with influences from both Western and traditional Korean music. This paper analyses Lee's violin works Rhapsody for Piano and Violin and Heoten Garak, and explains the cultural and historical significance surrounding both works in terms of traditional Korean music. Lee asserts that his primary influence Rhapsody for Piano and Violin was Nongac (농악), a traditional form of Korean farming music. Similarly, Heoten Garak displays a distinct influence of traditional Korean music genres, Heoten Garak and Pansori. By analyzing Geonyong Lee's compositional style and approach to the violin, one learns how his musical philosophies combine Western and traditional Korean music practices into a unique compositional approach. The study concludes by summarizing not only Western and traditional Korean style as evident in his music, but also the conceptual approach by which the composer attempts to bring a unique combination of these influences to his audience.

Geonyong Lee, the composer of Mass for AILM, is a well-known composer in Asia whose main interest lies in choral music. He has composed numerous choral works which are highly diverse in their nature. This study introduces the choral composer Geonyong Lee to the West. The significance of Geonyong Lee's Mass for AILM is the display of Asian inflection in a traditional setting of the mass ordinary. Lee's Mass for AILM employs melodic and rhythmic aspects of traditional Philippine folk songs, a Japanese mode, traditional Korean music, and various Asian percussion instruments. This study explicates these Asian influences and how Lee utilized them in his Mass for AILM.