Music performance is not only the performance of performers' skills, but also the embodiment of performers' comprehensive quality. The famous French composer Berlioz once said: "Composers are different from other writers. Between him and the masses, a media person is often needed. Some people in this media are smart, some people are stupid, some people are lifeless, some people can add a layer of brilliance to a work from beginning to end, while others, on the contrary, handle the work badly or even completely. " It can be seen that music performance is very important as an intermediary link between music creation and appreciation. 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 task is to turn a series of music notation into flesh-and-blood music by playing music scores, appreciate the connotation of the works, tap the emotions that the creators poured into the works, inject their own understanding and passion, and give new life to the music works. An excellent musician should not only have good physical quality to meet the needs of playing skills, but also have good psychological quality. Therefore, how to cultivate good psychological quality in music performance and better interpret the works is particularly important.

Music performance art is an art of time, which is unrepeatable and a fleeting one-off process. Emotion is a kind of subjective psychological activity based on physiology. The mood of the performer directly or indirectly affects the normal performance of the performer. Although all parts of the body needed for performance are normal, it is difficult to successfully complete the performance task when the psychological mood is abnormal. Nervousness will affect the normal psychological activities of the performer and the control of the brain over the body, thus hindering the flexibility of human brain activities and the speculative nature of the mind, and interfering with the technical exertion and music performance of the performer. The core problem of overcoming performance tension is to allocate attention reasonably. If the player's attention control is unbalanced, it will affect the movement of fingers and the expression of music, thus affecting the consistency and accuracy of performance. If you want to show your usual best performance in every performance, reduce your mistakes to the lowest point and achieve the expected performance effect, you must consciously cultivate your good psychological quality of concentration and investment in music performance itself in your usual practice without any other interference and concerns. Research shows that the more a person pays attention to one object, the more blurred his observation of other objects will be. If the player concentrates on the performance of music, he will ignore the interference of other non-performance things, which not only ensures the normal technical play of the player, but also controls the tension caused by the external environment stimulus. Mature musicians will concentrate all their attention and keep their rich emotions in the performance of music, which is the best psychological state of playing.

In addition, paying too much attention to the external evaluation of their own performance results will also cause nervousness and stage fright, which will distract the performers from things that have nothing to do with the performance and lead to their failure to play normally. In psychology, Freud divided personality structure into unconscious layer, subconscious layer and conscious layer. In our normal performance, there are two aspects: conscious control and subconscious control of the brain. The former has a certain purpose, while the latter is that habit becomes nature. Because the performance activity is a multi-action combination, it is a process of completing various activities at the same time. And we know that people's conscious mind can only adjust and complete one action, but can't complete more than one action, just as people often say, "one mind can't do two things at once." When we notice something, it becomes the center of attention, while other related and unrelated objects are either on the edge of attention or outside the scope of attention, so that they are not realized or blurred. Therefore, when playing activities, only conscious thinking can be used to deal with the main movements, and other movements must be controlled by the "subconscious". When we play, we must realize this psychological feature scientifically, and don't worry too much, otherwise we will lose sight of one thing and lose sight of another. Some performers are very flustered when performing live, and many worries occupy their brains, such as fear of making mistakes and great grasp of technical difficulties, which can be said to be full of worries. He is completely absorbed in the movement of his hands and has no time to care about emotional expression and aesthetic expression. And a skilled and excellent performer, without any psychological burden, concentrates on playing, and the concert will follow one's inclinations, so he can pay more attention to music. Players should realize that music performance is a noble art, and must put aside all other thoughts and concentrate on music performance and performance with full enthusiasm. Only in this way can the performance reach the perfect artistic realm.

Clear goals and confidence are the essential psychological guarantee for a successful performance. As the saying goes, artists are bold and cautious, which is the premise of having good psychological quality. A good mood and mental state are helpful to the player's music performance, which can make the player play with passion, while a bad mood will inhibit the excitement of the nervous system and hinder the normal play of playing techniques and music performance. Make full preparations before the official performance. On the basis of solid basic skills, through hard practice, scientific and effective piano practice methods, deep understanding of playing works, and good preparation for basic work, the performance can be "prepared" and "prepared" Only in this way can we enhance the psychological endurance of the scene. Performers accurately and fully show their inner aesthetic experience with flowing voice through performance skills, which depends on the good coordination of various psychological systems such as hearing, memory, image, synaesthesia, emotion, vision and heart. The second half of the bold sentence: Boldness is higher, which not only shows the importance of good psychological quality, but also clearly points out that good psychological quality is the key to our success. Therefore, performers should pay attention to psychological maintenance in the process of performance to avoid the bad stimulation of the brain by interfering things in life. Performers should rely on their own will and perseverance to eliminate the interference of bad emotions on their emotions, and use strong self-control to eliminate tension, stabilize emotions and adjust their mentality, so that the brain can effectively regulate and control all parts of their sensory perception, ensure that their body and mind are in a comfortable, relaxed, natural and harmonious state, and achieve the best state of performers' physical and mental activities.

"The harmony between the piano and people" may be the highest realm for everyone to play. From the perspective of performance psychology, this is a kind of "natural expression", that is, the so-called "the integration of piano and human beings is more important in the natural realm" To achieve this state, performers are required to put their true feelings into music performances, so as to truly and vividly convey and reproduce the emotional connotation in music. Any artistic performance without emotion has no real value. If you want your performance to impress the audience, you must have the ability to mobilize emotions and put yourself into the performance. The emotion invested in music performance is based on the experience of the emotional connotation of the performance works. It not only requires performers to be good at mobilizing their usual emotional accumulation and arousing real emotional memories, but also requires performers to consciously experience the emotions they have never experienced or have insufficient experience, but they need for artistic expression. This depends on imagination, so that people can form a new musical image on the basis of the original musical perceptual image through splicing and reshaping. Only in this way can the performer's own emotions be well mobilized and controlled by reason, and the connotation of artistic works can be reproduced. In the process of music performance, what people often need is an artistic emotion, which sublimates the realistic, personal and concrete emotion into some ordinary and pleasant form and produces a buzz between the audience and the works.

In a word, music performance is a comprehensive psychological activity composed of many elements, and it is a complex psychological activity. Only by combining performance practice with "psychology" perfectly, through long-term and repeated psychological quality training, technical training and stage practice exercise, can performers learn to adjust their mentality before and during the performance and respond to various emergencies tactfully, so as to complete high-quality performances and successfully embark on their own brilliant stage.