Dasom Baek is well-known for playing traditional Korean instruments such as daegeum, sogeum, danso, and saenghwang. She is also a composer and improviser who sculpted her path in contemporary music. Although Baek plays traditional instruments, she beautifully combines new sounds with traditional music. Ahead of the Korean Music Festival, where she will perform alongside Cellogayagum at King’s Place in London on October 6th, we sat down with the artist and discussed her career and love for music. 

Embracing Tradition and Modernity

Baek’s venture into music began with a deep appreciation for traditional Korean instruments. “My music revolves around traditional musical elements. I found contemporary music interesting when I came into contact with composers. Modern or contemporary music composition is intriguing as it allows the freedom to express the emotions and thoughts of the composer. These two musical forms have become a part of me, and by mixing traditional music in a contemporary way, I have more freedom to tell my stories”, she shares. For Baek, the beautiful sounds of traditional and modern instruments provide the building blocks of her compositions. She highlights the unique aspect of wind instruments, stating, “The charm of wind instruments is that their sound is based on how you breathe. Depending on the playing technique, you can make a note sound like a warm embrace or like a sharp stab to the heart. Basically, one can breathe life into the instrument and create wonderful sounds”.

Preserving Tradition as a Cultural Treasure

As a Certified Master of Important Intangible Cultural Asset, Baek holds a prestigious title within the traditional Korean music scene. She highlights the significance of this recognition, saying, “Korean traditional music is kind of my identity, and I believe it is my responsibility to uphold this tradition in the future. The best way to do that is to play our ancient Korean traditional music in the present so that it survives in the future”. Baek emphasises that, while exploring new creative horizons, her dedication to preserving her cultural heritage through music is a paramount task.

Academic Journey and Artistic Development

Baek’s academic background, including degrees from the Korea National University of Arts and an ongoing pursuit of a PhD at Seoul National University, has played an important role in her artistic development. “Pursuing these diplomas helped me open my horizons and gave me exposure to the world. The casual and serious conversations with my seniors, teachers, and professors helped me shape my career and inspired me a lot. More than the degree, it is the experience with the people at the university that has helped me immensely”, she notes.

The Power of Collaboration

Baek’s career is also marked by collaboration, both with fellow ensemble members and international artists. “Before collaborating with an artist, I tend to have casual conversations with them and listen to their music to understand their interests. It is a two-way process, and they do the same for my music and tastes as well”, she shares. These collaborations have allowed her to explore different musical traditions and instruments, further enhancing her artistic palette. Baek believes that the key to successful collaboration lies in effective communication and the sharing of creative energies.

Themes and Inspirations Behind Her Music

Baek’s debut album, 무(無): Nothingness, released in 2020, reflects her philosophical approach to music. “Nothingness is the title piece of my album, and in Korean traditional music, the Ssitgim is a Jeolla Namdo province shamanic ritual that washes the spirits of the dead and sends them to Heaven. These dead do not exist in the real world, though. This piece is filled with various musical elements, yet in the end, it consists of ‘nothing’. This is the reasoning behind the album”, she explains. Baek also tells me that, “As a composer and solo player, I have immense liberty to showcase my feelings and stories. I used to play others’ music on the stage but did not have the means to do it alone in search of perfection. I kept composing pieces for a few years, silently. Once I found strength later, I put all my efforts into making this album by using some pieces from previous compositions as well”.

Combining Traditional and Contemporary Elements

Baek’s album, Mirror City, introduces electronic elements alongside traditional sounds. She shares her creative vision for the album, stating, “I feel the need to grow as a musician, and I believe that the right mix of traditional and contemporary music composition is a powerful tool to express thoughts”. Mirror City depicts the dynamic nature of urban life, presenting the intricate interplay between acoustic and electronic sounds. And while Baek elaborates on the album, she also adds that, “As a soloist, I found it creative to use a loop station, which creates layers of music from my instruments or sounds. Adding layers helps me communicate my stories effectively and express complex thoughts. Mirror City stems from my belief that although we live in a city, the city is made up of various tangible as well as intangible elements that we all collectively create, regardless of our individual characteristics. I created this project, Mirror City, so that people can relate to themselves through the city they live in”.

Traditional Korean instruments, like the daegeum and sogeum, also play a central role in Baek’s work. Balancing to preserve the essence of these traditional sounds while infusing them with contemporary and experimental elements can be complex at times. However, Baek tells me that, “The power of music allows us to express things that are difficult to express in words: the things I’ve experienced, my innermost feelings. The stories I’ve kept in my mind breathe into the instruments; they become music. That music can then touch other people’s hearts. That process is so attractive to me that I spend all my time with my instruments. The different layers of contemporary or traditional music depend on that particular piece, and the key point is that the overall music is strongly influenced by Korean traditional music”.

A Vision for the Future

As Baek prepares to perform at the K-Music Festival in London, she anticipates a collaborative performance with Cellogayageum, promising a stunning mixture of traditional and contemporary Korean music.  “At this year’s K-Music Festival, I will be sharing the stage with Cellogayageum, and we will be arranging our music in a collaborative way. I will be playing my solo album pieces, which have traditional and electronic music. The part with Cellogayageum mixes traditional music with Western contemporary music. We aim to create a deep and truly intercultural artistic experience for the audience”, Baek explains. 

Advice for Aspiring Musicians

Before ending our interview, Baek leaves aspiring musicians with a heart-warming piece of advice: “Every individual is different, and every person has a different way of thinking. Music gives us freedom of expression, and I would like musicians to express themselves freely, and just believe in themselves, and do what they want to do without much noise from the outside”.

Don’t forget to book your ticket to the K-Music Festival!

Written and interviewed by Maggie Gogler

Featured image © Ushin Cheon

_{View of the Arts is a British online publication that chiefly deals with films, music, and art, with an emphasis on the Asian entertainment industry. We are hoping our audience will grow with us as we begin to explore new platforms such as K-pop / K-music, and Asian music in general, and continue to dive into the talented and ever-growing scene of film, music, and arts, worldwide.}