Nineteen mothers of elementary-aged (5--12 years old) piano students were videotaped once a week supervising their children's piano practice at home for three consecutive weeks. Children were assigned a new piece to work on one week prior to the commencement of the study. A 12-minute segment from the 57 practice sessions (19 parent-child pairs, across 3 practice sessions) was viewed three times by the investigator and by two expert piano pedagogues: one time to record parent behaviors, a second time to record child behaviors, and a third time to note the parent and child's practice approach and to rate the effectiveness of the practice sessions. Three piano pedagogues also rated the quality of each child's uninterrupted performance. Mothers recorded in a practice log the amount of time they spent assisting their children. At the conclusion of the treatment period, the investigator interviewed mothers and children individually. / The main results of the study were as follows: (1) mothers were more likely not to show any observable behavior during their children's practice session than they were to show any specific behavior; (2) the majority of time in practice sessions was spent playing the instrument without any verbal or physical interruption; (3) children frequently practiced without any specific structure in their practice procedure, nor with any specific directives from their mothers; (4) mothers with little or no musical training practiced more efficiently with their children than did mothers who had a moderate to high level of musical training; (5) the children of mothers who had little or no musical training received higher performance ratings than the children of mothers who had a moderate to high level of musical training; (6) high performance quality ratings were associated with high ratings for practice effectiveness; (7) longer practice times resulted in higher performance quality ratings; (8) longer practice times were associated with more efficient practice sessions; and (9) 85% of children said that they enjoyed practicing with their mothers.

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Giuseppe Concone's piano études number over a hundred, and are collected in seven various sets. They consist of pieces for elementary, intermediate, and advanced level pianists. A few of them have been printed in anthologies but most of them remain unknown. The present research consists of two parts: an overview of Concone's complete sets of piano études, and a detailed analysis of Op. 30, with a detailed focus on articulation, balancing, voicing, and interpretation. First is a brief overview of the Études Opp. 37, 46, 24, 25, 31 and 34. Then in the analysis of Op. 30, after explaining the salient features of this set of études, there is an illustration of the method by giving an analysis of each étude. Concone's Vingt Études Chantantes Op. 30 are a fine supplement of teaching repertoire for the intermediate piano students. The Op. 30 incorporates a diversity of technical requirements and musical merits that can help students transition from intermediate level to early-advanced level. They may also contribute to being aware of binary and ternary forms, and prepares students for learning other genres of the 19th century piano literature.