The first part of the book outlines the historical background of the taegÅ­m. The author illuminates the potential future of the Korean flute in a globalised world through the analyses of three musical works for taegÅ­m. The second part of the book draws on approaches of Practice Research within musicology and sociology to examine the ways in which the taegÅ­m tradition interacts with, and responds to, different genres in performance. Documenting collaborative encounters with musicians from three musical cultures: jazz, Western art and electroacoustic music, the result is an innovative exploration of the musical and social relationships between composers, performers and audiences in intercultural performances, contrasting traditional uses of the taegÅ­m with perspectives on its use today.

The first part of the book outlines the historical background of the taegum. The author illuminates the potential future of the Korean flute in a globalised world through the analyses of three musical works for taegum. The second part of the book draws on approaches of Practice Research within musicology and sociology to examine the ways in which the taegum tradition interacts with, and responds to, different genres in performance. Documenting collaborative encounters with musicians from three musical cultures: jazz, Western art and electroacoustic music, the result is an innovative exploration of the musical and social relationships between composers, performers and audiences in intercultural performances, contrasting traditional uses of the taegum with perspectives on its use today.