HEARING HISTORY: MUSICAL BORROWING IN THE …
HEARING HISTORY: MUSICAL BORROWING IN THE PERCUSSION ENSEMBLE WORKS, DUO CHOPINESQUE AND CHAMELEON MUSIC, TOGETHER WITH THREE RECITALS OF SELECTED WORKS OF GEORGE CRUMB, MINORU MIKI, ALEC WILDER, ERIC EWAZEN, RAYMOND HELBLE, AND OTHERS Stephen L. Fulton, B.M.A., M.M.
Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS
UNIVERSITY OF NORTH TEXAS December 1999
APPROVED: Robert Schietroma, Major Professor Deanna Bush, Minor Professor Joseph Klein, Committee Member William May, Dean of the College of Music C. Neal Tate, Dean of the Robert B. Toulouse
School of Graduate Studies
Fulton, Stephen L., Hearing History: Musical Borrowing in the Percussion Ensemble Works, Duo Chopinesque and Chameleon Music. Doctor of Musical Arts (Performance), December 1999, 108 pp., 8 tables, 26 illustrations, 61 titles.
Duo Chopinesque by Michael Hennagin and Chameleon Music by Dan Welcher represent two of the most significant percussion ensemble compositions written in the last twenty years. Both works are written for the mostly mallet type of percussion ensemble wherein the keyboard instruments predominate. However, the most unique aspect of these two pieces is their use of musical quotation. Duo Chopinesque borrows Chopin's Prelude in E minor in its entirety, while Chameleon Music borrows portions from four Mozart Sonatas. This paper places each work within the history of the percussion ensemble, and in the larger history of musical quotation in the twentieth century. In addition, the compositional characteristics of both works are examined with particular emphasis on each composer's use of borrowed material from the music of Mozart and Chopin. Particular attention is paid to the relationship between quoted material and newly composed rhythmic motives.
Tape Recordings of all performances submitted as dissertation requirements are on deposit in the University of North Texas Library.
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