The Study Of Performance Expressiveness In The Piano Concerto No.3 In C Minor By Ludwig Van Beethoven

The expressiveness in musical performance exhibits performer-following deviation ru les,musical syntax and performing volume(power of finger tap).This expressiveness foc us more on the degree of the techniques and artistic rules which performer exploit in re-cre ation of the same work.In this essay,the author will analyze the performance expressiveness of the Piano Concerto No.3 in C Minor,the origin of which can be dated all the way back to the Theory of Imitation by Aristotelian.Then,after several stages of development,including the Rule of Deviation by Carl Emil Seashore,most of the studies applied computer to researching into details,mainly from a psychological point of view.Among all the studies,Bruno H Repp's is most representative.First,starting with expressiveness in musical performance,this essay summarizes the history of expressiveness study and analyzes the latest studies of computer modeling details.Then,this essay pays studies and compares the videos of the same concerto played by three artists,Zimmermann,Barenboim and Mitsuko Uchida by selecting the imperative music clips in the second exposition of the first movement and the first music clip of the second movement.After that,the author exploits both programmatic and manual way to analyze and to conclude,from the rules of deviation in specific performance,that the three artists,even when playing the same concerto,slightly adjusted the speed and power of play in different ways to perform its expressiveness.Finally,from the aesthetic point of view,this essay studies the three artists' various body language and facial expressions to more directly understand the performance expressiveness of the Piano Concerto No.3 in C Minor,then to deeply interpret the entire performance.