In reference to the expressions of musical ereation, appropriatiOl~ and transfonnation, what kind of individual or theoretical narrati,'cs "'" connected with tha concept of intercultural cnCOUIlters? How"'" distinCi musical pattern" furms, and stnJ<:tUres, musical instruments, and pcrl'orrnance practices of the "own" or '111e forcignH cross-culturally tran.ferred, imitated or creativety .ppropriated? On the basis of exemplary discourse linked to intercultural exchanges between musical exp=ions

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... f Korean and "Western" music styles, the article illustrates how individual composers "'" and interpret themselves. k an example of this intercultural exCh'lIIge, the performance allist Dohee explains her composition lfonBiBaek San (The Ritual of the White MOlllltain, 2011) as a fusion of Korean-shaman vocal tones with electronic sOIllld pattems and the Wcstern-oriented post-dassical string q1J<1l1el Elhel. A rath(!r poly-cultural-kian approach is articulated by Kim Jin-JIi in her reflection on the ll'anscultuml dance-/IlllSic-drama Dragon Bond Rile (1997) in which Indian, Korean, J.panese and Balinese drums and dances are interh';ned. In contrast to thi" a l)'pe of bi-a.ltural concept i. ]l\IfSUed by the comJ>l.l""T Christian Utz (born in Munich) with his intercultural composition logeiller ((aparl (2001). He intentionally employs Wcstcm and Korean musical instruments and clements to express a compositional "alterity" in the comexl of modem comemporary music. 'The self_interpretation of composers locates, On an ongoing_basi.. cultural origin as well as individual and persooal memories in the CQJ]te,t of bringing togC!her distinct concepts of musicals styles of different culIDres. In the majority of cases. composers differentiate bem~ thc "own" and the "foreign" and the intercultural and poly-<:ultural forms of expression. Bm ;n a trnnscultural concept -as in Reinhard Flati,chler's project \1:egadnmlS, for example, where mo.,iciallS from differem parts of the world perform together and employ a variety of drums of the world -the identific.lllon of the cultural origin of illStruments and styles is no longer of significance. What exclusively coonts ill thcir subJe«ive narratives is the creative presence of a virtual plurality, way beyond the question of proven:mce and originality, since the musicians themselves refer dire«ly to a C{Jrnmon bond of music--making. Alnmst in a "spirirual experiment" the performers of Megadrums explain their sound performance as "music with no ego" by lettiIJg go and in1pf<lvising_ AI a rule, cultural studies try to summarize and b'CJ\cralize such individual self-interpretatiollS of composers illld theiT "rubjective" reality concepts. By objectifying these subjective realities from an outsider perspective, cultural theoty hos developed different =-eultural narratives as, for e""mplc, the narrative of "cultural memory" by Jan Assmann, the narmtive of interculturality by Adam R Mall/Hamid Reza You,d;, the narrative of transculturality by Wolfgang Welsch, illld thc narrative of hyperculturality by Han Byung-OIUI. Han and Assmann give, for example, quite contradicting inteIpretations of the "objective" reality_ On the one hand Han Bytrng·Chul, born in Korea. refers to the thesis of llyp<rculruraUty that nas no reference to a historical memory; on the other hand the German Jan Al;smann represents the thesis of the "cultuml memory" of modem man who is still rooted in his or her cultural history.