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This paper explores cultural hybridity in Isang Yun’s Glissées pour violoncelle seul (1970) using a framework based on ideas from the philosophy of Deleuze and Guattari. The discussion centers on five principal oppositions in the work: Taoist-inspired coalescence/dissolution and the Austro-German sonata cycle; Hauptton and twelve-tone techniques; the evocation of traditional Korean ornamentation and the concept of fixed pitch; the evocation of traditional Korean instruments and the cello timbre; and changdan rhythmic cycles and twelve-tone prose rhythms. Conclusions drawn from the consideration of each opposition then serve as the basis for comments regarding effective performance, using a framework based on ideas from conductor Markand Thakar.
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