An Analysis Of The Causes Of Tension In Piano Play And The Countermeasures

Piano performance in public is a basic form in the art of piano performing. For the pianists, it is a very big challenge technically and emotionally in music. Besides the superior skills, it requests the pianists with a good psychological quality. But the pianists tend to be nervous in the public performance. If this mood can’t be controlled in time, it will directly affect the quality and achievement of the performance. After consulting, summarizing and sorting out many references by the author, this article explores the reasons of the nervousness in performance and finds appropriate solutions with the author’s own experience.This article is mainly based on musicology, with a part of psychological knowledge involved. It has detailed exposition in the following five aspects. The first part analyzes the nervousness and the possible situations in the piano performance; The second part makes a detailed analysis for the cause of nervousness from subjective and objective aspects: the pianist’s own character and temperament, the stage experience, his/her skills, good preparations or not, fine psychological quality, as well as the changes in stage environments or the audience. The above-mentioned is the reasons for the nervousness in public performance.The last three parts elaborate the strategies of how to overcome the nervousness, the extemporaneous preparation and the adjustment of status after performance. For the part of strategies, it emphasizes on slow practice and finger training. The author thinks that a masterly music performance is based on the process of finger training and slow practice in daily routines. Certainly, to overcome nervousness needs joint action of superior skills and a good psychological quality, which is the prerequisite for a successful concert. The preliminary practice needs scientific and effective methods. The practice of musical composition spends much time and energy, including choosing a musical work which suits the pianist, analyzing its emotions and styles, considering its timbre and structures, as well as how to memorize the work in the later period. Before the concerts, the pianist should build a good psychological quality. For the part of extemporaneous preparation, the author shows two aspects in relieving nervousness and presenting some methods on stage performance. Finally, the pianists should also pay attention to the adjustment of their status after the concerts.