Sound-Centered Listening and the Transfer of Sonic Perception : An Analysis of Works by Pierre Schaeffer and Isang Yun

In today’s society, the experience of art increasingly takes place within a multisensory environment. In particular, the proliferation of image-based cultural content-such as film, media art, and games-means that music is no longer viewed as a standalone art form but is instead redefined as part of a complex sensory experience. In light of these changes in the cultural landscape, listening to music must be understood as more than mere reception; it is a cognitive process in which the meaning of sounds is interpreted and the experience is reconstructed. This study aims to reinterpret music listening from the perspective of understanding-centered education and, through the analysis of contemporary musical works, to examine how a sound-centered listening experience emerges. In particular, the concrete music of the French composer Pierre Schaeffer and the music of the Korean composer Isang Yun are analyzed as case studies to examine the characteristics of the sound-centered listening experience in contemporary music. Literature analysis and work analysis were employed as research methods. First, the cognitive nature of music listening was examined theoretically using understanding-centered education and transfer theory; subsequently, through the analysis of Schaeffer’s “Bilude” and Isang Yun’s “Five Pieces for Piano”