The accompanied clarinet works of Eugene Bozza : descriptive analysis and performance guide with emphasis on the clarinet concerto

Cardinal Scholar

Show simple item record

dc.contributor.advisor Koriath, Kirby Lawrence, 1941- en_US
dc.contributor.author Locke, Scott A. en_US
dc.date.accessioned 2011-06-03T19:28:17Z
dc.date.available 2011-06-03T19:28:17Z
dc.date.created 1996 en_US
dc.date.issued 1996
dc.identifier LD2489.Z62 1996 .L63 en_US
dc.identifier.uri http://cardinalscholar.bsu.edu/handle/handle/177798
dc.description.abstract French composer Eugene Bozza (1905-1991) has made significant contributions to the repertoire of wind instruments in the twentieth century. Not least among his compositions are the clarinet concerto, the eleven works for clarinet and piano, chamber works involving the clarinet, and numerous etudes for clarinet. Information gathered throughout the course of the study demonstrates why the concerto is a significant work for clarinetists, demanding from the performer technical prowess, tonal control, and mature musicianship. The additional works for clarinet and piano are mostly sectional pieces written in a morceau de contours vein challenging the performer's lyrical and technical playing.This study reveals through analysis a number of compositional devices used by the composer that are stylistic threads running through virtually all the works for clarinet. Harmonically, these devices include extended tertian chords used in succession, parallel chord movement, and quartal and quintal harmonies. Melodic resources include diatonic scales, chromatic scales, some transposed modes, and a limited use of whole tones. The composer prefers homophonic textures, but uses countermelodies and the occasional use of the unaccompanied soloist for contrast. Bozza uses the element of rhythm dynamically, featuring rhythmically-charged motives throughout much of his composition. Numerous expressive modifiers are included in the works, but leave the performer enough latitude for supplementary dynamics and rubato.In addition to analyses of the concerto and the works for clarinet and piano, the study addresses the orchestration of the concerto. This discussion shows the ways in which Bozza uses orchestral colors and alerts the performer to discrepancies between the orchestral score and the piano reduction. Few of the changes from the score to the reduction are significant. Many changes are cosmetic involving the deletion of color effects and short countermelodies in the reduction to allow for idiomatic piano writing.The study offers the performer recommendations for the successful performance of the concerto and the works for clarinet and piano. The recommendations include supplemental expressive modifiers, fingering choices, additional phrasing choices, and practice techniques. As an introduction to the study, biographical information was gathered to provide the reader with a concise sketch of the life and style of Eugene Bozza. Correspondence received from Alphonse Leduc gives additional information on Bozza's works for clarinet. en_US
dc.description.sponsorship School of Music
dc.format.extent xi, 138 leaves ; 28 cm. en_US
dc.source Virtual Press en_US
dc.subject.lcsh Concertos (Clarinet) en_US
dc.subject.lcsh Clarinet music -- 20th century -- History and criticism. en_US
dc.subject.other Bozza, Eugene, 1905-1991 -- Criticism and interpretation. en_US
dc.title The accompanied clarinet works of Eugene Bozza : descriptive analysis and performance guide with emphasis on the clarinet concerto en_US
dc.description.degree Thesis (D.A.) en_US
dc.identifier.cardcat-url http://liblink.bsu.edu/catkey/1026699 en_US


Files in this item

Files Size Format View

There are no files associated with this item.

This item appears in the following Collection(s)

  • Doctoral Dissertations [3121]
    Doctoral dissertations submitted to the Graduate School by Ball State University doctoral candidates in partial fulfillment of degree requirements.

Show simple item record

Search Cardinal Scholar


Browse

My Account