A study of compositional technique and influence in three bass trombone pieces by Eugène Bozza

Prélude et allegro (1953), Allegro et finale (1953), and New Orleans (1962) by Eugène Bozza (b. Nice, 1905; d. Valenciennes, 1991) are the composer\u27s most important contributions to the bass trombone repertoire. These three pieces showcase numerous techniques that Bozza used throughout his career and offer compelling evidence as to who his influences were. Bozza\u27s compositional style was consistent throughout his career, and there are numerous identifiable traits that can be discerned, including the use of extended chords, parallel harmonic motion, imitative counterpoint, stock melodic and rhythmic motives, and octatonic and whole-tone scales. These three pieces show first and foremost that Bozza should properly be considered a Neo-classic composer, consistently using elements from several pre-Romantic musical languages. His style is largely founded on the juxtaposition and combination of these elements as well as elements of Impressionism and jazz. This document makes the argument that Bozza was influenced by one or more specific composers in each style: J.S. Bach for the Baroque, Claude Debussy for Impressionism, Darius Milhaud for jazz, and both Milhaud and Igor Stravinsky for Neoclassicism. The first chapter of this document provides a discussion of the aims of this paper as well as a review of extant Bozza scholarship. Chapter two covers his biography. Chapter three covers hallmarks of Bozza\u27s style and compositional technique, while chapter four discusses his influences. The three pieces are analyzed individually in chapters five through seven. The concluding chapter provides a summary