This paper examines the Jeonju International Sori Festival (전주세계소리축제) in South Korea, focusing on how it embodies the concept of “musicking” to realize forms of musical participation and curatorial practice that transcend traditional modes of spectatorship. According to Christopher Small’s (1998) the ory of musicking, music is not merely a performative act but a social and cult ural practice—a process of ongoing interaction and connection among performer s, audiences, spaces, and sounds. Within its curatorial practice, the Jeonju Festi val translates this concept into concrete strategies through spatial design, progra m organization, and mechanisms for audience participation, thereby creating im mersive and interactive sound environments where audiences become active part icipants in the making of music. From the perspectives of curation and cultural governance, the festival demonstrates a balance between institutional structure and creative innovation. Co-hosted by local government and cultural organizatio ns, it maintains a high level of coordination between administrative and curator ial teams to ensure effective resource allocation, venue management, and audie nce engagement. This structured collaboration forms a governance model rooted in institutional support, enabling both the implementation of curatorial concept s and the negotiation of tensions between cultural preservation and innovation. As Claire Bishop (2012) points out, the success of contemporary art festivals d epends on the collaborative relationship between curators and administrative tea ms, whose joint efforts sustain the ongoing development of the artistic ecosyste m. The Jeonju Festival, by breaking through the traditional performer–audience dichotomy, exemplifies how applied musicology can foster cultural transformatio n and critique through practice. Using the 2025 edition of the Jeonju Internatio nal Sori Festival as a case study, this paper explores how the integration of m usicking and cross-genre curatorial approaches constructs a dynamic field where traditional and contemporary performances coexist. It further considers how, w ithin the context of global sound culture, the festival presents the multiplicity a nd openness of Korean musical identity. Thus, contemporary sound festivals serve not only as platforms for cultural display but also as sites of social interact ion and cultural regeneration.