On The Piece Of Music Sound Presentation - Comparative Study Of Different Pianist Played Mozart Tenth Piano Sonatas (k330)

In a classical sense of music performance, sonic showing manner is a crucial link, which is a cause to make every music performance of the same music work different. And it is the different sonic showing maimers that embody the unrepeatability of music performance that fully presents the inexhaustible music artistic charm. Centralized by discussing the sonic showing manner of music work, the article uses the experience from ethnomusicology applying it to face the real sound directly, and taking Mozart抯 Piano Sonata K330 as an example to do a thorough comparison between the sonic showing manners of Vladimir Horowits, Glenn Gould, Claudio Arrau, Ingrid Haebler and Andras Schiff according to their performance recordings. Based on the above comparison, the article continues to discusses the forming reason of sonic showing maimers in chapter 3 and 4 from the aspects of written text of music and individual factor of the performer. For one thing, the score can not definitly mark sonic showing manner, thus resulting in its vacancy and multiple meanings, and the sonic showing manner is subordinated to the combination of given pitch and rhythm, therefore, to accept and comprehend the combination of given pitch and rhythm becomes a premise of obtaining a reasonable sonic showing manner. For the other thing, talking about the acceptance activity, it is inevitable for an acceptor to participate in a practise of acceptance and comprehension with his/her individual factor. Yet it is the participation of individual factor of a performer that makes him/her obtain a reasonable sonic showing manner within the possible range that combines the hinted given pitch and rhythm in the coincident way of his own. In the meantime, similarity of individual factor of the performer results in some parts of similarity of sonic showing manner. So, the forming of sonic showing manner is a result of joint action of the score and individual factor of the performer. In chapter 5, the article discusses the reasonableness of diverse sonic showing manners in term of theory from both the side of music work and the side of individual factor of the performer, and make a conclusion by saying: if the provided sonic showing manner is based on the combination of specific pitch and rhythm and is within the range of the hinted combination of specific pitch and rhythm, and its varying scope also is accepted by the physiology and psychology of the appreciators, the sonic showing manner is reasonable. In the end, the article points out that any forming of reasonable sonic showing manner would be a result of which performers excavate the score and their own individual factor, it also embodies the unity of the performer and the score. And it is through every excavation that the meaning of the music work would be realized in a greatest degree and the music charm would be vastly presented.