JEENHEE CHUN 9/21/26 JEENHEE CHUN 9/21/26

HOW RUBINSTEIN TAUGHT ME TO PLAY

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JEENHEE CHUN 9/21/26 JEENHEE CHUN 9/21/26

NIKHIL BANERJEE INTERVIEW

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JEENHEE CHUN 9/17/26 JEENHEE CHUN 9/17/26

Boulez in 1945: From <Trois Psalmodies> to <Douze Notations>

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JEENHEE CHUN 9/17/26 JEENHEE CHUN 9/17/26

Pulsating Bass

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JEENHEE CHUN 9/16/26 JEENHEE CHUN 9/16/26

Le Cas Messiaen

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JEENHEE CHUN 9/16/26 JEENHEE CHUN 9/16/26

INA GRM vs IRCAM

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JEENHEE CHUN 9/16/26 JEENHEE CHUN 9/16/26

Studio d’Essai

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JEENHEE CHUN 9/16/26 JEENHEE CHUN 9/16/26

Alain Daniélou

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JEENHEE CHUN 9/15/26 JEENHEE CHUN 9/15/26

Boulez and Cage: Between Control and Chance

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JEENHEE CHUN 9/15/26 JEENHEE CHUN 9/15/26

Boulez in Occupied Paris: 1943

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JEENHEE CHUN 8/11/26 JEENHEE CHUN 8/11/26

When Structure Can No Longer Be Heard

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JEENHEE CHUN 7/25/26 JEENHEE CHUN 7/25/26

Adoption of Twelve-Tone Technique and the Formation of His Critique of Schoenberg

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JEENHEE CHUN 7/25/26 JEENHEE CHUN 7/25/26

250726

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JEENHEE CHUN 2/16/26 JEENHEE CHUN 2/16/26

The Disjunction Between Writing and Music

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