My dissertation postulates that an intercultural music composition is inherently a fragmented entity. I explore particular problems of intercultural performing and listening, but I also analyze the liberating potential of the intercultural composition project. More specifically, my dissertation examines the unsettling and unsettled identities of intercultural music composition, and previously understudied problems of intercultural performing and listening. This research is based on the work of American composer and improviser Elliott Sharp, and his composition THEN GO. This piece is written for P’ansori, a Korean traditional vocal music, and intonarumori, the very first noise instrument invented by Italian Futurist Luigi Russolo at the beginning of 20th century. My methodology is interdisciplinary, involving formal score analysis (for both notated and graphical score elements), spectrographic analysis of three performances which I reconstructed for the project, and a listener-response questionnaire taken by a range of listeners with different cultural backgrounds; this data was then studied through a focused lens of contemporary musicological criticism. In the end my dissertation theorizes the complex issue of intercultural music-making, grasping the positive creative possibility of making new musical identities within a global context. I successfully presented this research at the 2014 SEM (Society for Ethnomusicology) Conference in Pittsburgh along. Following this research, I composed Wind and Stone II for piri/senghwang (Korean cylindrical double-reed bamboo oboe/Korean free reed mouth organ), percussion, and electronics received two performances, by Gamin and Satoshi Takeishi, one at Flushing Town Hall and the other at Spectrum NYC in 2014.