A Research and Performance Interpretation of Eugène Bozza’s Concerto for Clarinet and Chamber Orchestra

• Main Authors: Ya-Yun Cheng, 鄭雅云
• Other Authors: Dr. Min-Ho Yeh
• Format: Others
• Language: zh-TW
• Published: 2011
• Online Access: http://ndltd.ncl.edu.tw/handle/42860543868689895474

碩士 === 國立高雄師範大學 === 音樂學系 === 99 === Eugène Bozza was one of the most important French composers in 20th century. His composing style was principally influenced by Impressionism and Neo-Classicism. His music had clear, clever melody line, and variant harmonic colors that was different from the strict form and heavier sounding of German and Austrian music. To confront the crash of New Music in the middle 20th century, Bozza insisted on his style that mainly paid much attention to the melody. He persistently composed chamber music and works for wind instruments. He had lots of contributions in expanding new repertoire for wind instruments and chamber ensembles. Bozza’s composing style mixed the classical forms and modern elements. Moreover, he understood the clarinet’s characteristics, so that he could totally display the features of the clarinet in his music. Although Bozza had a large number of instrumental works, he only composed concertos for the cello and the clarinet, which shows Bozza’s special preference for the clarinet. The purpose of this thesis is to generalize Bozza’s music style by understanding the composer’s background, exploring his composing technique, analyzing the formal structure of this work, and providing suggestions for interpretations. Chapter One is the generalization of this thesis. Chapter Two gives an overview of Bozza’s life and introduces the development of Bozza’s composing style. Chapter Three gives suggestions for interpretation on two aspects: analyzing the formal structures of the three movements of this concerto and discussing the characteristics of music sections. Chapter Four focuses on the composing technique that was used in this work. Chapter Five is the conclusion.