EXAMPLE TESTING

Example 1. Principal oppositions in Yun’s Glissées (pub. 1971)

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Example 2a. Glissées I, main movement, bb. 1–18

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Example 2b. Glissées I, main movement, bb. 1–56

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Example 3. Double structure of Glissées

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Example 4. Glissées, double structure with relation to register

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Example 5. Excerpt from “Yi Saenggang’s Taegŭm Sanjo” (Heo 2002, 93)

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Example 6. Yun, Etüden für Flöte(n) solo I, mm. 1–9

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Example 7. Yun, Königliches Thema, final variation, mm. 1–9

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Example 8. Yun, Glissées I, bb. 22–40

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Example 9. Glissées I, bb. 1–8, repetition within a series presentation

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Example 10. Glissées I, bb. 9–21, invariants G♯, B, A used to extend main-tone B

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Example 11. Glissées III, bb. 51–79, invariants A, C, C♯, B♭/A♯ used to extend main-tone A

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Example 12. Glissées I, graph of principal main-tones and implied sonata form

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Example 13. Glissées I, bb. 24–39, active elements of the main-tone E

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Example 14. Glissées I, bb. 98–111, main-tone D

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Example 15. Glissées II, bb. 41–44, an approximate pitch

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Example 16. Glissées IV, bb. 185b–93a, groups of approximate pitches

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Example 17. Glissées III, bb. 125–43, evocation of kŭmun’go ornamentation

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Example 18. Glissées I, bb. 140–50, the evocation of the taegŭm

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Example 19. Yi Saenggang’s Taegŭm sanjo, excerpt (Heo 2002, 102)

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Example 20. Glissées I, bb. 1–13 and II, bb. 1–5, parallel rhythmic patterning

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Example 21. Glissées III, bb. 1–33 (rhythm only), flexibile rhythmic patterning

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Example 22. Glissées IV, bb. 26–70 (pitch and rhythm only), flexible rhythmic patterning

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