The influx of Western music that began at the end of the nineteenth century has left a significant impact on the music of Korea. Korean composers have been constructing their own musical world while contemplating their identity between the new Western musical culture and Korean traditions. From a historical perspective, in the early twentieth century, the tendency to actively accept Western music was dominant, but gradually emerged nationalist tendencies as criticism of one-sided acceptance of Western music. In other words, Korea's contemporary music has formed a new musical culture by meeting Western and Korean elements and forming various relationships such as assimilation, integration, conflict, and coexistence. So, in the global era of the twenty-first century, how did Korean composers incorporate Western art music and the Korean situation into their works? With this awareness in mind, this paper seeks to examine the major trends in Korea's recent contemporary music from the perspective of interculturality. The reason why “interculturality” was set as a central keyword to explore Korean contemporary music is because this concept approaches music in a cultural context and reflects recent changes in society. Since Korean contemporary music emerged by embracing heterogeneous Western culture on the basis of traditional Korean culture, the relationship of cultural influence provides a core framework for viewing Korean contemporary music. In addition, considering that music is an art that reflects and influences society, the dynamic flow of modern Korean history has influenced music, and there is a need to examine cultural connections. The main research subjects are “Dancing Sanjo” (2008) by Jun-hee Lim (*1959), “Requiem” (2014) by Tae-bong Chung (*1951), and “Mashup” (2014) by Ye-seung Oh (*1976). These works are fascinating pieces that show the encounter between Western and Korean cultures from different perspectives, such as “modern transformation of tradition,” “musical embodiment of Korean social events,” and “quotation of reflection of the times in Korean popular music.” In addition, all three composers with Korean origin are currently active, and share the fact that they systematically studied the diction of Western music and later showed a strong interest in the characteristics of the Korean culture to which they belong. Indeed, I will examine how the relationship between the two cultures was artistically embodied in their works, and through this, this paper will discuss the characteristics of intercultural aesthetics in twenty-first-century Korean contemporary music.