This paper explores the relationship between the state sponsorship of traditional Korean music and the creation of ‘official’ memory among traditional musicians in the Republic of Korea (ROK)－a relationship shaped by domestic Cold War politics. Between Korea’s independence from Japan and the foundation of the ROK (1945-48), debates on national culture revolved around notions of popular appeal. After the establishment of the ROK (1948), the state expropriated these debates, giving priority to legitimating so-called “cultural assets” that had been recognized by Japanese colonial authorities and pressing select traditional musicians to become emblems of the nation through nationalistic activities, including placements in the army-base concerts during the Korean War. This state-derived enforcement helped to form a self-same national subjectivity, in addition to disassociating traditional music from lowbrow entertainment. I examine this development by analyzing the autobiographical narratives of traditional musicians, especially those who served the North’s People’s Army during the war and subsequently settled in the ROK. Their testimonials capture the pressure and contours of the nationalist discourse as they actively align with the state-enforced credentials. Particularly, I focus on Lee Yun-ran, a state-designated “human treasure.” According to her statements during my interview, she was abducted during the war by the People’s Army and forced to offer her musical talent for the communist party－activities that she describes with an exaggerated contempt. Her recollections represent themes common to similarly positioned musicians－abduction, forced musical labor, escape, postwar nationalistic activities, and Christian conversion－and provide a basis for gauging the contours of official memory.