Hemispheres for Wind Ensemble by Joseph Turrin: A Critical Analysis Page: 22
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This rhythmic pattern is later used in a fragmented form at measures 164-166 in hocket. The only
instruments that have the entire line are the third and fourth horn shown below:
Theme C' Genesis [Example #17]
Hon M hiF_
-L-
5I -i L L I - Li -
The excerpt above was reentered in Finale Notepad for this dissertation.
When Theme A' [Example #13] accompanies the return of Theme B [Example #9] at
measure 170, its rhythmic structure is now presented in retrograde.'5
Theme A2 Genesis [Example #18]
The excerpt above was reentered in Finale Notepad for this dissertation.
In measures 170-179 Turrin uses the bassoons and horns in a presentation of this theme to
accompany the melody with the piano still creating dissonance. Theme A2 is further developed
in measures 203-220 through dramatic leaps in timbral register. Another brief development of
this theme and a significant homorhythmic gesture occurs in measure 221. The primary
'" Phone interview with Joseph Turrin, April 19, 2005.22
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deAlbuquerque, Joan. Hemispheres for Wind Ensemble by Joseph Turrin: A Critical Analysis, dissertation, August 2005; Denton, Texas. (https://digital.library.unt.edu/ark:/67531/metadc4886/m1/29/: accessed July 17, 2024), University of North Texas Libraries, UNT Digital Library, https://digital.library.unt.edu; .