This practice-led multi-media study reveals how methodologies for cross-domain creative engagement and influence with Korean traditional rhythm enabled the discovery of common procedural methods between musicians from different backgrounds (Korean and Australian), and inspired the development of original techniques and instrumental concepts for the bass guitar. A theory of cross- domain creative engagement and influence proceeds from the concept of Creative Exaptation, whereby deep structures of musical process underlying Korean traditional rhythm are interpreted as amenable for application in new creative contexts. Methodologies arising from this theory adopt a practitioner lens of analysis to interpret Korean traditional drumming principles; leading to the exaptation of deep structures including, i) the streaming of numbered rhythmic subdivision groupings, ii) archetypal rhythmic forms, and iii) body- movement principles. The thesis uses first person narrative text, video and audio to document the developmental processes pertaining to two separate but related streams of new music making. Stream 1, called Ritual Diamonds, focuses on compositional strategies for a collaborative recording/performance project with traditional Korean changgo drummer Woo Minyoung. The thesis documents the development of core rhythmic strategies behind compositions; namely shared structural codes and rhythmic surface patterning from both Korean and Australian sources. Stream 2, called Bass Hohŭp, documents the creation of original movement and rhythm techniques for bass guitar practice based on interpreted concepts of hohŭp, the breath-inspired movement system of Korean drumming. Detailed analyses and presentations of Korean traditional contexts appear throughout, along with a range of new creative outcomes in the form of concert performance excerpts, recordings and developmental materials.