Young Ja Lee (b. 1931) is regarded as one of the most important living female composers in Korea. She leads and contributes to the Korean classical music society as a gifted composer and a dedicated educator. This study focuses on how she has combined Western compositional techniques with elements of Eastern traditional music in some of her compositions, in particular, her Variations pour piano "Umma ya, Nuna ya." An interpretation of her Variations pour piano "Umma ya, Nuna ya" reveals that the composition features many of the particular and sublime aspects of Western compositional techniques in conjunction with traditional Korean music style. This study is an investigation of the interaction and assimilation of these disparate elements. The results of this study may inspire further research into traditional Korean music and bring recognition to important Korean composers, as well as encourage music educators to teach Korean composers' compositions.

Eak Tai Ahn is not only the first generation of Korean musicians, composers and conductors to have studied Western music and given successful musical performances in Western countries, but also is among the first to introduce the music of Korea to the West utilizing the Western music system. Korea Fantasy is an important work that helped Ahn win international acclaim. Korea Fantasy is an orchestral piece that evolved along with Ahn's unique life experiences shaped by the state of his native country. The piece is programmatic, depicting the history of Korea, which utilizes musical devices, such as rhythms and quotation that are distinctive musical elements of Korea. This document discusses the political and social history of Korea during Ahn's life time, offers an overview of Ahn's education and musical footsteps, and describes the premiere and reception of Korea Fantasy. Moreover, a discussion of his compositional traits and a musical analysis of Korea Fantasy are presented.

Jihoon Park (b.1973), a South Korean composer with over 500 compositions spanning multiple genres, is treasured in his motherland as the most noteworthy composer of his generation. This study provides an in-depth introduction of the gagok (Korean art songs) of Park to Western teachers and students of singing, discussing his compositional techniques and their application to the interpretation of his selected songs. Moreover, the introduction to International Korean Phonetic Alphabet (IKPA) to supplement the traditionally used International Phonetics Alphabet (IPA) serves as the foundation and model for further exploration into Korean art song literature by Western scholars.

Korean composer Young Jo Lee (b.1943) is considered a precursor of Korean fusion music. In his works, he interlaces elements of traditional Korean music with compositional styles and performances techniques from western musical traditions. This dissertation provides an analysis of Lee's Dodri for Cello and Janggo (1995), one of his most representative works of fusion music. As indicated by the title Dodri (which in Korean means a "movement back and forth"), Lee intended to showcase a friendly interplay of the janggo and the cello, with each instrument playing a leading role that helps bring out the essence of traditional Korean traditional music. In this piece, Lee writes a number of melodies and uses traditional Korean performance techniques for the cello intended to imitate the sound and sentiments of traditional Korean instruments, all while preserving its inherent nature. This kind of fusion, where different musical elements are merged with each other but remain separate enough to maintain their own uniqueness, is significant to Lee's philosophy. This dissertation also describes Lee's efforts to preserve the integrity of traditional Korean music within fusion music and lend new insights regarding traditional Korean musical practice to musicologists, composers, and audiences. Furthermore, this study is intended to serve as a performer's guide for professional cellists new to Lee's music so they may approach Dodri with a greater understanding of the composer's original intentions when first learning the work.