Ray Seol Image

Ray Seol

Associate Professor
Affiliated Departments
Professional Music
jazz music
rseol@berklee.edu
Telephone
617-747-6392
Personal Websites
Ray Seol's Website

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Dr. Ray Seol is an associate professor of professional music, as well as a distinguished jazz bassist and producer. He began shaping his musical identity at The New School’s School of Jazz and Contemporary Music in New York City, studying under legendary bassists Reggie Workman and Buster Williams.

His ability to fuse sound and color through synesthesia led to pioneering work in sonic visualization, developed during his master’s studies in music technology at New York University. This concept evolved into Interactive Jazz: Jazz as a New Visual Art, showcased in galleries across New York and Seoul.

Since 2007, he has released five studio albums and performed at major international jazz festivals, collaborating with artists such as Jason Moran, Marta Gómez, Scott Robinson, Art Hirahara, and Takuya Kuroda. He also participated in the Latin Grammy–nominated album Yeah Won, the first Korean album recognized in the Música Popular Brasileira category.

Dr. Seol pioneered K-pop as an experiential learning platform, founding student idol groups X-Change and B-Girls. His signature course, K-Pop and Beyond, ranks among Berklee’s most popular offerings, accompanied by the annual K-Pop and Beyond Conference featuring guests such as Kenzie, Andrew Choi, Adrian McKinnon, Jae Chong, Chris Lee, Chikk, and EJAE. He has presented his K-pop research at Uppsala University, the Museum of Fine Arts, and Wellesley College, and continues to publish scholarly work on global music pedagogy.

Career Highlights
  • Fulbright Scholar
  • Freelance jazz bassist, composer, and producer
  • Founder of Interactive Jazz: Jazz as a New Visual Art, a sonic visualization project
  • Interactive jazz project Seu Aprendiz was ranked No. 1 on the Roots Music Report’s Top 50 World Song Chart and No. 2 on the North American College and Community Radio Chart (2021)
  • Performances with prominent jazz musicians, including Marta Gómez, Art Hirahara, Takuya Kuroda, Jason Moran, and Scott Robinson
  • Professional experiences in the entertainment and music technology industries
  • Leadership and career development program expert
Awards
  • Recipient of the Excellent Community Jazz Education Service Award from Tumen City, China
  • Contributed to Latin Grammy–nominated album Yeah Won as project manager
  • Arts Administration Scholarship Recipient, Columbia University
  • Jazz Fellowship Recipient, School of Jazz and Contemporary Music, The New School
  • Mass Cultural Council Grants for Creative Individuals
  • Dean’s Award for Global Presence and Engagement
  • Fulbright Scholar Award
Education
  • Northeastern University
    Massachusetts
    Doctor of Education (EdD)
    Education
  • Columbia University in the City of New York
    New York
    Master of Arts (MA)
    Business Administration/Management
  • New York University
    New York
    Master of Music (MM)
    Music Production, Technology Innovation
  • The New School
    New York
    Bachelor of Fine Arts (BFA)
    Jazz Studies
In Their Own Words
Throughout my education, I have encountered multiple mentors who exemplified their expertise both within and beyond the confines of the classroom. These individuals were truly inspirational figures who reshaped my perception of the interplay between self and the world. One of the most invaluable lessons I gleaned from them pertains to the manner in which educators guide students to collaboratively generate knowledge, enabling them to internalize and apply it to real-world contexts. They assumed the role of humble facilitators of learning, openly acknowledging their perpetual status as learners themselves. This profound encounter has undeniably laid the foundation for my pedagogical philosophy.

My aspiration is for students to acquire the proficiency to collaboratively foster knowledge and assist one another in its practical application within real-world scenarios. My intention extends beyond the mere transmission of information to them. I wholeheartedly advocate for their autonomy in discovering their own distinct pathways to learning. My contentment will stem from witnessing them uncover the authentic essence of life through this academic expedition.
I am fascinated by the interdisciplinary approach to understanding phenomena. My extensive professional experiences across industries and my interdisciplinary research background help me formulate the right questions and answer them practically and philosophically. For example, I began playing the double bass at the age of 27, which is considered relatively late to master an instrument. I initiated this journey by compiling relevant information from various disciplines, ranging from neuroscience to adult learning theory, in order to contextualize my learning processes. I then applied these insights to address very specific questions about mastering the instrument.

My music serves as a prime illustration of an interdisciplinary approach. I use different foreign languages to convey musicians’ unique interpretations of stories, making my music a vivid example of this multifaceted methodology. This interdisciplinary approach will naturally manifest itself in my teaching style, and I am very excited to create the best learning experience for students in my classes.
Additional Related Links
Sounds of Berklee: To Make Art from Grief, Ray Soul Needed a New Language
Contemporary Fusion Reviews: Ray Soul, 'Seu Aprendiz'