{"id":{"repo_id":"unt","oai_identifier":"info:ark/67531/metadc2250"},"canonical_url":"https://search.dev.ndltd.org/etd/unt/info:ark/67531/metadc2250","repository":{"repo_id":"unt","name":"University of North Texas","base_url":"https://digital.library.unt.edu/oai/"},"display":{"title":"Hearing History: Musical Borrowing in the Percussion Ensemble Works, Duo Chopinesque and Chameleon Music","abstract":"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.","abstract_html":"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.","abstract_has_math":false,"creators":["Fulton, Stephen L."],"institution":"University of North Texas","degree_name":null,"degree_level":null,"degree_discipline":null,"degree_department":null,"school":null,"contributors":["Schietroma, Robert","Bush, Deanna D.","Klein, Joseph, 1962-"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":1999,"date_issued":"1999-12","date_published":"1999-12","updated_at":"2026-07-24T05:34:52Z","subjects":["Hennagin, Michael. Duo Chopinesque.","Welcher, Dan. Chameleon music.","musical quotation","percussion ensemble"],"languages":["English"],"rights":["Public","Copyright","Fulton, Stephen L.","Copyright is held by the author, unless otherwise noted. All rights reserved."],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier","label":"Identifier","values":["oclc: 47248977","untcat: b2302347","https://digital.library.unt.edu/ark:/67531/metadc2250/","ark: ark:/67531/metadc2250"],"render_values":[{"text":"oclc: 47248977","href":null,"code":true},{"text":"untcat: b2302347","href":null,"code":true},{"text":"https://digital.library.unt.edu/ark:/67531/metadc2250/","href":"https://digital.library.unt.edu/ark:/67531/metadc2250/","code":true},{"text":"ark: ark:/67531/metadc2250","href":null,"code":true}]}]},"links":{"outbound_url":"https://doi.org/10.12794/metadc2250","outbound_label":"DOI","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Schietroma, Robert","Bush, Deanna D.","Klein, Joseph, 1962-"]},{"key":"dc:creator","label":"Author","values":["Fulton, Stephen L."]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["1999-12"]},{"key":"dc:publisher","label":"Institution","values":["University of North Texas"]},{"key":"dc:type","label":"Dc Type","values":["Thesis or Dissertation"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Hennagin, Michael. 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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."]},{"key":"dc:format","label":"Dc Format","values":["Text"]},{"key":"dc:title","label":"Title","values":["Hearing History: Musical Borrowing in the Percussion Ensemble Works, Duo Chopinesque and Chameleon Music"]}]}],"canonical_facts":{"dc:contributor":["Schietroma, Robert","Bush, Deanna D.","Klein, Joseph, 1962-"],"dc:creator":["Fulton, Stephen L."],"dc:date":["1999-12"],"dc:description":["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."],"dc:format":["Text"],"dc:identifier":["oclc: 47248977","untcat: b2302347","doi: 10.12794/metadc2250","https://digital.library.unt.edu/ark:/67531/metadc2250/","ark: ark:/67531/metadc2250"],"dc:language":["English"],"dc:publisher":["University of North Texas"],"dc:rights":["Public","Copyright","Fulton, Stephen L.","Copyright is held by the author, unless otherwise noted. All rights reserved."],"dc:subject":["Hennagin, Michael. Duo Chopinesque.","Welcher, Dan. Chameleon music.","musical quotation","percussion ensemble"],"dc:title":["Hearing History: Musical Borrowing in the Percussion Ensemble Works, Duo Chopinesque and Chameleon Music"],"dc:type":["Thesis or Dissertation"]},"updated_at":"2026-07-24T05:34:52Z"}