I have recently had the opportunity to interview Professor Moong Young Ha, a visiting assistant professor in the Music Department. Ha is originally from Seoul, South Korea, and he holds a PhD in music from New York University. Ha’s works surround the use of novel technology for music, with recent projects emphasizing sustainable music technologies. Ha elaborated on his experience of pursuing his academic career in a foreign country and the relationship between his research and humanities at large in this interview.
What are some challenges that you experience as a Korean composer living and teaching in the U.S., especially in a rural setting like Maine?
This is an interesting question, and it brings me back to my experience when I first came to the University of Illinois at Urbana-Champaign for my undergraduate studies. At that time, being a Korean composer and student was quite challenging. Korea was more widely known for the Korean War, and many people I encountered were not familiar with Korea or even where it was located. However, over time, I’ve seen a significant shift. Now, even in rural areas, people are more aware of K-culture, and this has greatly transformed my experience. I feel fortunate to say that there are fewer challenges now as a Korean composer living and teaching in the U.S. However, being an artist can come with its struggles, and as a foreign artist in the U.S., there are still some challenges that come with that identity. But in general, the landscape has changed in a positive direction, especially with the growing global recognition of Korean culture.
How is music taught differently at Colby compared to other universities, conservatories, or what you have experienced growing up in Korea?
I’ve had the opportunity to teach at various institutions, including Dartmouth College, Molloy University, City University of New York–Kingsborough Community College, and New York University, where I also earned my PhD. These diverse teaching experiences have exposed me to students of all different levels. One thing that stands out to me is that many students today have varied levels of musical experience, no matter what course I’m teaching. This reflects the current trend in music education, where it’s more optional than it used to be, and students often come to class with different backgrounds.
I believe in supporting all students who are eager to learn music, even if they don’t have formal training. I’ve seen many students improve significantly when they are committed and put in the time and energy. At Colby, I’ve been enjoying teaching my students, especially because they are genuinely interested in music, particularly in the courses I teach that focus on theory and technology.
What I try to do here is a bit different from the approach I would take in a music conservatory setting, where the focus is more on traditional music materials. At Colby, I emphasize a broader approach to learning. I want students to not just apply theory to specific examples but to think critically about what we are studying. This approach allows them to view music as a more open and dynamic art form. When they need to delve deeper into a particular area, they can do so with a wider, more holistic perspective.
How does music, especially your research in electronic music and sound, contribute to the humanities at large?
I view music and the arts as profoundly personal endeavors, reflections of our instinctive human behavior and emotional responses. For me, creating art is about crafting shared experiences that enable deep emotional connections. At the same time, I believe artists have a responsibility to meaningfully contribute to the world.
In my electronic music projects, I prioritize sustainability by building my own electronic devices using salvaged components and repurposed materials, rather than contributing to the growing crisis of e-waste. A recent example is my collaboration with Korean-Canadian artist Jinjoo Yang on Coming Home—a 4-channel video and electronics installation. For this project, I designed handmade oscillators using recycled transistors, resistors, capacitors, and LED lights sourced from old devices. The work explores the expanded concept of stolen artworks and their preservation, where reclaiming and repurposing materials serves as a metaphor for themes of theft, loss, and recovery.
This approach mirrors the global exploitation of minerals from resource-rich countries to produce electronic components, drawing parallels to how powerful countries “steal” from weaker ones. This influence shaped both the materials I used and the sound design of the project.
Some may argue that my efforts are modest and unlikely to spark sweeping change—and in many ways, they are right. However, I believe my process and philosophy resonate with my audience. Even small contributions can inspire others to adopt sustainable practices. As artists, we have the power to amplify the efforts of others, creating a ripple effect of creativity and awareness. In this way, I believe my work in electronic music contributes to a broader, ongoing conversation within the humanities.
~ Benjamin Ha `27
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