This chapter explores the influence of Confucian and Buddhist thought on Korean traditional music, emphasizing how these philosophical traditions have shaped its aesthetic and ethical dimensions. Engaging with Kathleen Higgins’ critique of the Eurocentrism embedded in global aesthetics, the chapter examines how Korean music reflects a synthesis of Confucian moral cultivation and Buddhist spiritual contemplation. A key example is pungnyu 風流, a concept deeply rooted in Confucian ideals of self-cultivation and harmonious living, which frames traditional Korean music as a means of refining character and fostering communal ethics. At the same time, the Buddhist influence is evident in Yeongsanhoesang 靈山會相, a court and temple music suite symbolizing the Buddha’s sermon at Vulture Peak, evoking meditative transcendence through its flowing, cyclical melodies. By analyzing these musical traditions, this chapter challenges dominant narratives in aesthetic theory and calls for a broader, more inclusive framework that acknowledges the philosophical depth and cultural specificity of non-Western musical traditions.