This study illuminates the vocal text of the representative composers who migrated from Korea to Germany, and their social meaning. Some view points about ‘generation’ and voice will be introduced as reference for the study. The potentiality of bilingual genre by Isang Yun (1917-1995) for example Memory (1974) and Younghi Pagh-Paan (1945-) for example Hwang-To [yellow earth] as well as the coexistential process of the voice and the instrumental sound by Un-Suk Chin (1961-) for example Akrostichon [word game] (1993) are considered. In the excursus performing Chinese Hieroglyph by Nam-June Paik (1932-2006) will be briefly mentioned. Unlike the other composers, Il-Ryun Chung (1964-) organizes the vocal text in Birnen Blüten Regen [Pear Blossoms Rain] (2009) both for the Korean and German. The last section focuses on the dichotomous generation of Korean Changjak Ŭmak ‘inside’ of Korea and its relationship to the vocal text of the composers working ‘outside’ of Korea - in this case Germany -. It came to the conclusion that the both are generatively connected.