ABSTRACT
This chapter focuses on Korean traditional music in relation to jazz centring on collaboration with jazz musician, Simon Barker. Prior to the case study, it explores the history of Korean jazz and identification of ‘Koreanness’ in the history. This investigation provides a historical and analytical context where Korean traditional elements have been facilitated in trials within local and international spheres. The chapter explores the formation of Korean jazz between the late 1970s and the present day from three different perspectives, namely: Korean jazz musicians living in Korea, Korean musicians trained and educated in traditional music, and transnational Korean musicians living and working outside Korea. It investigates how, in the process of music making, flow theory can help transcend the boundaries occurring at the performers’ individual level, and at the community level which is relevant to transnational and trans-genre projects.
