Learning piano in music education can not only cultivate children's good moral sentiment, improve children's aesthetic feeling and promote the development of children's psychological quality, but also contribute to the development of children's thinking. However, the piano education in reality is not necessarily as we imagined. Therefore, how to stimulate children's interest in learning piano has become the most concerned issue for every piano educator. Ausubel, a famous American educator, thinks: "The relationship between motivation and learning is a typical complementary relationship, not a one-way relationship. Specifically, motivation is the premise of learning. Achievement motivation is mainly composed of three driving forces: cognitive internal drive, self-improvement internal drive and subsidiary internal drive. " This idea has certain reference significance for us to study and guide piano teaching and guide students to learn piano actively.

First, the role of cognitive drive in piano teaching

The so-called cognitive drive refers to students' desire to know, understand and master knowledge, as well as their tendency to state and solve problems. In short, it is the need for knowledge, which mainly comes from students' curiosity tendency and psychological tendency to explore, operate, understand and deal with the environment. These tendencies or psychological needs of students are only potential at first, and this potential motivation can only be shown when they are constantly successful.

Childhood refers to children aged three to six or seven. This age stage is characterized by strong cognitive drive, curiosity and desire for everything, and studious attitude. In piano teaching, teachers can make full use of children's curiosity about piano to teach knowledge. Children can listen to some beautiful piano music before learning piano. When he observes the beauty of playing the piano and has a strong desire to play it, he can learn the piano again.

Second, enhance the role of self-motivation in piano teaching

The second component of achievement motivation is the internal driving force of self-enhancement. The self-enhancement of internal drive reflects a desire to gain corresponding social status by virtue of one's own talents and achievements. With the growth of students' age, this demand is increasing day by day, which is inseparable from the influence of social culture, which is an external driving force. Different from cognitive internal drive, it does not directly point to the learning task itself, but regards achievement as the foundation of winning status and self-esteem.

Although this kind of internal drive has the characteristics of increasing with age, it does not mean that there is no such self in early childhood-enhancing internal drive. In the process of communicating with children, children sometimes ask teachers some questions, such as "I am learning piano now, can I teach students like a teacher when I grow up?" Or "When I grow up, can I play as well as Lang Lang?" This just shows that children also have this kind of self in their hearts-enhancing internal drive. Although this kind of internal drive will be utilitarian, if it is used properly, it can achieve good learning results.

Third, the role of subsidiary internal driving force in piano teaching

Accessory internal drive means that students need to do a good job in order to keep the teacher's approval or recognition. Generally speaking, the proportion of this kind of subsidiary internal drive in achievement motivation decreases gradually with the increase of age. But it doesn't mean that with the growth of age, its role will become smaller and smaller. In the process of communication between teachers and students, a caring look or an encouraging word from a teacher will have a great influence on students. Especially for beginners, it is difficult for them to understand both music knowledge and playing methods. Therefore, in the process of children's learning, teachers and parents should give priority to encouragement or praise. However, the situation of students is very different, and teachers should master the discretion of criticism and praise. In the piano class, if students play poorly, but they can hear that they are practicing hard, in this case, don't criticize them easily. It is best to affirm them first, then point out the shortcomings and help them correct them. If the students' playing quality is not bad, but they don't study hard and only rely on their personal music quality, this situation can't be praised blindly, but they should be pointed out and corrected.

Fourth, effectively guide students to actively learn piano.

1. Teacher education concept

A child who studies piano may develop on the road of art and become a pianist or mathematician in the future, but in any case, he can't deviate from the purpose of piano education to cultivate self-cultivation and cultivate sentiment. Teachers' educational philosophy should first educate children seriously and wholeheartedly; Secondly, piano education should not be regarded as an endless study of skills and techniques. Of course, technology is to prepare for performance, but the ultimate goal is to play music. Children should be exposed to excellent music and really enjoy playing the piano, instead of letting them know that playing the piano is a "painful practice skill".

"People are animals with feelings", and feelings are inherent in us. Psychological research also shows that emotion is an important factor affecting teaching quality. Positive and rich emotions can promote the cognitive process, make students' personality develop in an all-round way, and play an extremely important role in students' learning, especially piano learning. German educator Dostoevsky said: "No one can develop and cultivate others' emotions without developing and cultivating their own emotions. "So, teachers should really love and care about the growth and study of every student, and give students a sense of intimacy and trust. Therefore, teachers should use their own personality charm to attract students and influence them subtly.

2. Teaching methods should be flexible and appropriate.

Teachers' teaching methods should not be boring and monotonous, and students should be allowed to learn in entertainment and entertain in learning. For example, children have a playful nature, and we should respect this playful nature. You can play some games with them properly during class, but playing games is not aimless. We can play different sounds on the piano, and then let the children guess the name of the pitch, which can exercise the accuracy of children's listening and let them remember the pitch. Or, we can use a piece of paper above the children to block the children's view of the keys, and then let them find out the positions of do, re and mi on the piano, so that they can be familiar with the piano keyboard and the position of each sound, laying a foundation for watching and playing in the future. These methods can bring freshness to children and let them learn in happiness. In addition, you can also find some simple piano four-handed repertoire, so that children can increase their understanding of the piano and experience the fun of cooperation with others.