Since its foundation in 1946, the Darmstädter Ferienkurse für Neue Musik has served as one of the central laboratories of postwar musical modernism. Initially devoted to reconstructing a European avant-garde language after 1945, the Ferienkurse gradually evolved into a site of intercultural dialogue, where non-Western aesthetics began to challenge and enrich dominant paradigms of compositional thought. Within this process, Korean musicians played a distinctive and increasingly visible role. This paper examines the reception and integration of traditional Korean music at the Darmstädter Ferienkurse from the 1950s to the early twenty-first century. The first significant figure in this trajectory was Isang Yun, whose participation in the 1950s and 1960s introduced an early awareness of East Asian musical thought to Darmstadt. In 1970, Yun proposed to festival director Ernst Thomas the inclusion of the Nationales Hofmusikensemble Seoul in the Ferienkurse and the Donaueschinger Musiktage. Although the project—linked to the ensemble’s European tour—was not ultimately realized, it revealed an emerging institutional interest in presenting Korean traditional music within avant-garde frameworks. During the following decades, composers such as Younghi Pagh-Paan and the percussionist Young-Cher Park deepened this intercultural dialogue. Park, active at Darmstadt from 1996 onward, became instrumental in introducing Korean percussion idioms and ritual gestures into contemporary performance contexts through numerous concerts and collaborations. A decisive moment came in 2002, when under Solf Schäfer’s direction, the Ferienkurse dedicated a special focus to Korea. This included lectures, workshops, and concerts featuring shamanic ritual performers (Park Hwen-young and Park Pyong-chon) and works by Pagh-Paan and Yun. Pieces such as Ta Ryong IV – Die Rückseite der Postmoderne and Ajaeng Sanjō exemplified a dynamic synthesis between Korean traditional idioms and Western experimentalism. By situating these interactions within broader frameworks of transcultural modernism and intercultural aesthetics, this paper demonstrates how the Darmstädter Ferienkurse became a key site for mediating Korean musical identity within global avant-garde networks.