Isang Yun employed several contrasting methods to achieve the combination of two different musical worlds, Eastern and Western, in his Tänzerische Fantasie für Großes Orchester, Muak. In presenting Eastern elements, he adopts Taoism as his musical philosophy, describes the Korean traditional dance motion Chun-Aeng-Mu (Dance of the Oriole), and applies Korean traditional performance practice in the use of Western instruments. Showing the influence of aspects of Western music, he employs a musical form similar to that of the Baroque Concerto Grosso, evokes Igor Stravinsky’s rhythmic mood and tension from Le Sacre du Printemps (The Rite of Spring), and even uses his own compositional technique Hauptklangtechnik within the format of Western orchestration. In its analysis of Muak, this research project addresses how Korean performance practice can be applied to the modern Western symphony orchestra. This research project also provides insights regarding the sounds of instruments in the Korean tradition and explains how it is possible to create those sounds with modern instruments in order to make Yun’s dream sounds possible. This study provides several examples and describes various performance techniques that appear in Korean traditional music. It provides indications to orchestras and conductors, assisting them to arrive at effective basic performance ideas for the performance of Muak.