PARK In-young won the Gold Medal (2nd prize) at the Yoo Jae-ha Music Contest (famous for being a gateway for aspirant songwriters to enter the industry) in 1990 with a piece titled “The New World”. She then composed music for a 1992 production of Arnold WESKER’s play <Letter to a Daughter> and quickly made her name in the pop music industry as a composer specialized in string arrangements. After a first credit for the song Poster (1997) by the band Zoo, she notab...
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PARK In-young won the Gold Medal (2nd prize) at the Yoo Jae-ha Music Contest (famous for being a gateway for aspirant songwriters to enter the industry) in 1990 with a piece titled “The New World”. She then composed music for a 1992 production of Arnold WESKER’s play <Letter to a Daughter> and quickly made her name in the pop music industry as a composer specialized in string arrangements. After a first credit for the song Poster (1997) by the band Zoo, she notably contributed to LEE Soo-young’s “I Believe”, Psy’s “Champion”, H.O.T’s “Outside Castle”, BoA’s “My Name”, KIM Yoon-ah’s “Nocturne”, Red Velvet’s “Wish Tree”, Gain’s “Carnival (The Last Day)”, Taeyeon’s “Secret” and IU’s “Dear Name”. In 2008, she left for the US to do a master’s degree in film scoring at the New York University, and she has since then been working between Los Angeles, London and Seoul. In 2010, through the recommendation of one of her teachers, Ron SADOFF, she composed a piece for two pianos for the 1908 silent film <Hôtel électrique>, which was performed at the National Gallery of art in Washington DC. It was through a producer based in New York that she received her first work as a movie scorer, in the KIM Ki-duk-produced <Poongsan> (2011). She then composed for KIM’s own films <Pieta> (2012) and <Moebius> (2013) and won Best Music from the Women in Film Korea for <Pieta>. With <Venus Talk> (2014) and <The Target> (2014), she moved to more commercial fare, with more recent titles including <The Phantom Detective> (2016), <MY ANNOYING BROTHER> (2016) and <The Mayor> (2017). In 2018, she was commissioned by the Korea Copyright Commission to provide the first rearrangement to South Korea’s national anthem in 23 years that would be free to use by anyone, as opposed to previous ones. For <Rampant> (2018), she conducted the London Symphony Orchestra at the Abbey Road Studios.
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