Q: You are very well known to us at The Commonwealth Resounds, but for those who may not have met you, can you describe your career so far? Tell us about your early influences in music and what led you to pursue a career in composition?

Ka Youn Yoo: My musical role model was my mum, a professional Daegum (Korean bamboo flute) player. Watching her performances as a child inspired me deeply. I joined an art troupe where I performed traditional Korean dance and songs, and touring 16 countries with them really sparked my passion for music. It was through watching international dramas that I decided to become a composer. Moving to the UK at 17 to study at The Purcell School transformed my journey, giving me the freedom to explore my creativity and develop my musical identity in a way that was not possible in Korea.

Q: How did your experience studying for a master’s degree in Composition for Screen at the Royal College of Music influence your approach to composition?

Ka Youn Yoo: Studying at SOAS before the Royal College of Music allowed me to explore a variety of instruments from around the world, such as the Gamelan, Tabla, and Chango. This exposure influenced my desire to incorporate these sounds into my compositions. At the Royal College of Music, I honed my skills in using technology and DAWs, which helped me develop my voice as a film composer, integrating traditional instruments into modern scores.

Q: Can you share some highlights from your studies, such as significant projects or collaborations that have been particularly impactful for you?

Ka Youn Yoo: One of the highlights was creating “K-Folklore: Past, Present, Future,” a showcase that encapsulated my journey as a musician. This project, performed at the Korean Culture Centre in the UK, combined traditional and modern Korean music and dance, and art. It was my first professional project with proper funding and a venue, and it aimed to provide a platform for emerging Korean artists. The full house and positive reception made it a particularly rewarding experience, and a documentary about the project is currently in production.

Q: Your works have been premiered in prestigious venues worldwide, including Cadogan Hall and the National Gugak Centre. Which of these performances stands out to you the most and why?

Ka Youn Yoo: The performance at Cadogan Hall with the Purcell School Orchestra stands out the most. They premiered my orchestral piece “Taepyeong,” which means “Peace.” It was my first orchestral commission and the first time I incorporated both Western and Eastern influences. Bringing together Korean rhythmic cycles within a Western orchestral setting allowed me to freely explore my identity as a composer.

Q: Can you describe the creative process behind one of your most acclaimed pieces?

Ka Youn Yoo: For “Fairytale Lullaby,” which was recorded at Angel Studios, I started with a solid piano sketch. The fun part is expanding this sketch for a full orchestra. Hearing the transformation from a simple piano line to a full orchestral piece felt like magic—a truly fairy tale experience.

Q: How do you balance your creative aspirations with the practicalities of working as a composer in today’s music industry?

Ka Youn Yoo: Balancing creativity and practicality often involves collaboration. It’s essential to be open-minded and willing to discuss ideas with commissioners and collaborators. This collaborative approach helps resolve many challenges and leads to successful projects.

Q: How has technology influenced your approach to composition, especially in creating works for screen?Are there any technological advancements or tools that you find particularly exciting for the future of music composition?

Ka Youn Yoo: Technology has opened up many possibilities in composition, especially for screen. Recording and sampling non-Western instruments, for example, allows me to integrate diverse sounds into my work, even when traditional notation is not feasible.

AI tools like iZotope, which assist in mixing and mastering, are very exciting. They allow composers to produce high-quality work more efficiently, enhancing the creative process.

Q: How can audiences and fellow musicians support your work and your broader aims to foster cultural exchange through music?

Ka Youn Yoo: Supporting my concerts and following my work on social media is a great start. Additionally, I aim to build an initiative to represent artists based in Europe, promoting Korean traditional works and creating a space for young creatives to express their thoughts. Paying attention to cultural events and supporting emerging artists can make a significant difference.