Biography
Woody Pak is a Korean American composer whose multifaceted career bridges film scoring, musical theater, concert music, and immersive multimedia. Drawing from his upbringing in Hawai‘i, Korean heritage, and an eclectic palette of musical influences—ranging from classical to hip-hop, rock to Korean traditional music—Pak crafts emotionally resonant, genre-fluid scores that tell compelling stories across mediums.
Pak’s music has appeared in a wide array of international projects including Waikiki (BMI Film Music Award), Jeanette Lee Vs. (ESPN 30 for 30), Planet B-boy, Seoul Searching, and The Grace Lee Project, as well as numerous acclaimed musicals such as The Wedding Banquet, Making Tracks, and The Devil (Best Composer, Korea Musical Awards). He has collaborated with Grammy-winning and genre-defining artists including Ultra Naté, BTS, DJ Spooky, Kang Eunil, and Mark O’Connor. Whether composing for feature films, XR/VR experiences, or Broadway-bound stages, Pak approaches each project with curiosity, emotional depth, and an ear for the global and the contemporary.
Equally at home with emerging technologies, Pak sees digital tools not as ends in themselves, but as powerful means to deepen human expression and connection. His work in areas such as metaverse-based storytelling, telematic performance, and data sonification reflects a belief that technology, at its best, can amplify our shared humanity. Collaborations with digital artist Bosul Kim—including Vital Signs, Invisible Touch, and Hybrid Nature—explore the intersections of art, science, and immersive experience. Pak is also deeply engaged with the creative potential and ethical challenges of AI, approaching this rapidly evolving field with curiosity, responsibility, and a commitment to meaningful artistic exploration.
Pak holds degrees from MIT (B.S.) and Juilliard (M.A.), and is currently completing his Ph.D. in Korean Traditional Music Composition at Hanyang University. He served as professor of applied music at Seoul Institute of the Arts for nearly a decade and is now Associate Professor of Screen Scoring at Berklee College of Music. His commitment to mentorship and interdisciplinary collaboration continues to shape his artistic work and pedagogical approach.
Teaching Philosophy
As an artist and educator, I view myself as a perpetual student. My classroom is not a one-way transmission of knowledge, but a shared space of discovery, vulnerability, and transformation—for my students and for myself. Every teaching moment is an invitation to re-examine ideas, question assumptions, and grow together through curiosity and collaboration.
My goal as a teacher is to prepare students not just for careers, but for sustainable, fulfilling creative lives. I want students to leave my classes with a clearer sense of who they are, what they want to say, and how to say it with confidence. To that end, I encourage exploration across genres and mediums—from film scores and commercials to musical theater and experimental media. My own career has spanned these worlds, and I use that experience to connect with students from all creative backgrounds.
Artistry is identity, and developing one’s voice is a deeply personal journey. That’s why I begin every course by asking my students: Who are you? This question isn’t rhetorical—it opens the door to understanding their creative motivations, building trust, and making the classroom a safe, inclusive space where all voices can be heard and nurtured.
I challenge my students to take risks and embrace failure—not quietly, but spectacularly. Momentum matters more than perfection. Our greatest breakthroughs often come from the boldest missteps. With that in mind, I balance practical mentorship with creative encouragement, aiming to cultivate not just composers or producers, but thoughtful, fearless artists who are ready to collaborate, adapt, and lead in a constantly evolving field.
Above all, I believe teaching is a collaborative act. I listen as much as I speak, and I’m constantly refining my approach based on student feedback and lived experience. In that ongoing dialogue, I’ve watched students grow from mentees to colleagues—and that is the highest honor I know as an educator.