Music performance is not only a manifestation of the performer's skills, but also a manifestation of the performer's overall quality. The famous French composer Berlioz once said: "A composer is different from other writers in that he often needs a mediator between him and the masses. Some of these mediators are smart, some are stupid, and some are lifeless. Some can add a layer of brilliance to a work from beginning to end, while others can ruin the work or even completely destroy it." It can be seen that music performance is the intermediary link between music creation and appreciation. Crucially, any musical work must rely on musical performance to realize its aesthetic value. It is the medium and bridge between the composer and the audience. Its mission is to turn a series of musical symbols into flesh-and-blood music by playing musical scores, to appreciate the connotation of the work, to explore the emotions that the creator poured into the work, and to inject its own understanding and passion, giving the musical work new life. An excellent music performer should not only have good physical qualities to adapt to the needs of performance skills, but also have good psychological qualities. Therefore, how to cultivate good psychological quality in music performances and better interpret works is particularly important.

Music performing art is an art of time, non-repetitive, and a fleeting, one-time process. Emotion is a subjective psychological activity based on physiology. The player's emotions directly or indirectly affect the player's normal performance. Although the body parts required for playing are normal, when the player's psychology has emotional abnormalities, it will be difficult to successfully complete the performance task. Nervous psychology will affect the performer's normal psychological activities and the brain's control of the body. It will hinder the flexibility of human brain activity and mental thinking, and interfere with the performer's technical performance and musical performance. The core issue in overcoming nervousness during performance is to allocate attention reasonably. If the player's attention control is out of control, it will affect the movement of the fingers and the expression of the music, thus affecting the coherence and accuracy of the performance. If you want to show your best results in every performance, minimize your mistakes, and achieve the expected performance results, you must consciously cultivate your concentration and concentrate on your daily practice. A good psychological quality that focuses on the music performance itself without any other interference or concern. Research shows that the more a person focuses on a certain object, the more blurred his observation of other objects will be. If a performer focuses all his attention on the performance of the music, he will ignore the interference of other non-performance things. This will both It ensures the performer's normal technical performance and controls the nervousness caused by external environmental stimulation. Mature musicians will concentrate all their attention when playing and maintain rich emotional investment in the performance of music from beginning to end. This is the best psychological state for performance.

In addition, excessive attention to external evaluation of one's performance can also cause nervousness and stage fright, causing the performer's energy to be dispersed on things unrelated to the performance, causing the performer to be unable to perform normally. . In psychology, Freud divided the personality structure into three types: the unconscious layer, the subconscious layer and the conscious layer. In our normal performance, there are two aspects: "conscious" control and "subconscious" control of movements by the brain. The former has a certain purpose, while the latter is a habit that becomes natural. Because the performance activity is a combination of multiple actions, it is a process of completing multiple activities at the same time. And we know that human consciousness can only adjust and complete one action, but cannot complete more than one action. As people often say, "You can't do two things with one mind." When we notice something, it becomes the center of attention, and other related and unrelated objects are either on the edge of attention, or outside the scope of attention, so that they are not aware of it or are relatively vaguely aware. Therefore, when performing activities, we can only use our conscious mind to deal with the main movements, while other movements rely on "subconscious" control. We must scientifically understand this psychological characteristic during performance, and do not worry too much, otherwise we will focus on one thing and lose the other. Some performers are very panicked when performing on the spot, and many worries occupy their brains, such as fear of making mistakes, lack of confidence in technical difficulties, etc. It can be said that they are full of worries. He focused entirely on the movement of his hands and had no time to care about emotional expression and aesthetic expression. A skilled and excellent performer, without any psychological burden and concentrating on playing, will play as he pleases and thus be able to devote more attention to the music. Performers must realize that music performance is a noble art. During music performances, performers must put aside all distracting thoughts with full enthusiasm and concentrate their energy on the musical expression and performance of the music. Only in this way can they Make the performance reach the artistic realm of perfection.

Clear purpose and building confidence are essential psychological guarantees for successful performance. As the saying goes: People with good skills are bold, and proficient skills are a prerequisite for having good psychological quality. Good emotions and state of mind contribute to the performer's musical performance and enable the performer to play passionately, while bad emotions can inhibit the excitement of the nervous system and hinder the normal performance of performance technology and musical performance.

Be fully prepared before the formal performance. On the basis of solid basic skills, through hard work, scientific and effective practice methods, and a deep understanding of the performance works, you can prepare the basic work and be able to perform well. Only by being "well-prepared" and "prepared" can you enhance your on-site psychological endurance. Performers use their performance skills to accurately and fully display their inner aesthetic experience with flowing sound, which depends on the good coordination of the performer's various psychological systems such as hearing, memory, imagery, synesthesia, emotion, vision and mental strength. The second half of the sentence "The bolder is bolder" not only illustrates the importance of good psychological quality, but also clearly points out that good psychological quality is the key to success. Therefore, performers should pay attention to psychological maintenance during performance and avoid adverse stimulation of the brain by annoying things in life. Performers should rely on their own will and perseverance to eliminate the troubles caused by bad emotions and use strong self-control to eliminate nervousness. , stabilize emotions and adjust mentality, so that the brain can effectively regulate and control all parts of perception, ensuring that the body and mind are in a comfortable, relaxed, natural and harmonious unified state, and achieving the best state of the player's physiological and psychological activities.

"The state of unity between piano players" may be the highest state that every player pursues. From the perspective of performance psychology, this is a kind of "natural expression", that is, the so-called "the unity of the piano player and the player lies in the natural state." To achieve this state, performers are required to put their true emotions into the music performance, so that they can truly and vividly convey and reproduce the emotional connotation in the music. Any artistic performance without the element of emotion has no real value. If you want your performance to move the audience, you must have the ability to mobilize your emotions and invest in the performance. The emotion invested in a musical performance must be based on the experience of the emotional connotation of the performance. It not only requires performers to be good at mobilizing their usual emotional accumulation and evoking real emotional memories, but in more cases it also requires performers to consciously experience things they have never experienced or have insufficient experiences. However, it is The emotions required for artistic expression. This requires the help of imagination, so that people can form a new musical image through splicing and reshaping based on the original perceptual understanding of music. Only in this way can the performer's own emotions be well mobilized, controlled by reason, and the connotation of the artistic work reproduced. In the process of music performance, what people often need is an artistic emotion, which sublimates realistic, personal, and concrete emotions into some common form that can be enjoyed by everyone, and is reflected in the audience and the audience. There is a buzz between the works.

In short, music performance is a comprehensive psychological activity composed of multiple elements. It is a complex psychological activity of performance. Only when the performer perfectly combines performance practice with "psychology" and performs it repeatedly over a long period of time Only by cultivating psychological quality, technical training and practical stage training, learning to adjust the mentality before and during performance, and responding to various emergencies tactfully can we complete high-quality performances and successfully step onto the brilliant stage of our own.