The present paper attempts to construct a concise history of electroacoustic music in Korea. It will be shown that this history is best represented as the conflicting ideals of what constitutes electroacoustic music. Drawing on the interviews with key figures from the past and the present, active in both academic and ‘underground’ scenes, the socio-political nature of the history is excavated. This discourse, in the Foucauldian sense, makes it possible to contextualise electroacoustic music in Korea in its relation to not only East Asia but the Western world.