It has been the purpose of this study to examine representative beginning piano methods, as found available in published form, and to compare and evaluate them according to musical, psychological, physical, and educational standards.

Th study of two-piano music was prompted by an active interest in that field and a recognized need for a knowledge of its literature on the part of the writer, who, for the past five years, has devoted most of her time to two-piano work. After careful investigation it becomes apparent that no other study similar to this has yet been made, and it is hoped that it may be helpful to others with interests in common. Much remains to be done and further study would prove profitable. More information might be gained from interviews with prominent duo-pianists, as well as from examination of foreign catalogues and of recital programs given in Carnegie Hall, Town Hall, and similar music centers.

There are no figures available, but if a survey were made, possibly more people would be found engaged in the study and teaching of piano than any other musical instrument. It is much to be desired for both teachers and students to have an intimate acquaintance with the principles underlying the structure of modern piano technique. The situation as it generally exists contrasts sharply with the ideal situation. The ignorance of this important phase of piano study causes an enormous annual waste of time and money on the part of students. With an adequate technical knowledge, teachers, instead of allowing their pupils to practice blindly and mechanically, would be able to explain the reason for each movement they ask them to perform. Many failures in both classes occur because of the lack of understanding of what piano playing requires.

Title: The evaluation of the head posture of children playing piano Aims: The aim of this work was the evaluation of an influence of playing the piano on school age children who had played piano for 4 or 5 years. Methods: 46 probands participated in the research, out of which 23 children represented the research group and 23 children represented the control group. Probands head movements were observed while playing a piece of their own choice without the aid of musical notesfirstly in a relaxed seated position and secondly in aadjusted seated position according to Brugger. Probands from the control group undertook the same observations, but without playing the piano. During the observations of the relaxed and adjusted seating position, probands looked directly to the front of them while their head position and their eyes remained still. The TrackIR tool (Natural Point Company) was used to conduct the measurements of the head movements. Results: The conclusion derived from the results is that piano playing from 4 to 5 years does not have a negative influence on the head posture of the children who play the instrument for 4 or 5 years. Key words: piano playing, head posture with preference, TrackIR, variations of head posture in time.

This study investigates the importance of Hummel as a transitional composer, pedagogue and pianist between the Classical and Romantic periods, his contribution to the development of piano technique, and his influence as a pedagogue on later generations. The bases of this study were his treatise A complete theoretical and practical course on the art of piano playing (Ausführliche theoretisch-practische Anweisung zum Pianoforte-Spiele) of 1828, his Préludes op. 67 of 1814/1815 and his 24 Grandes Études op. 125 of 1833. Hummel’s treatise is an important musicological document detailing keyboard performance practices of the 18th and early 19th century. He lived at a time when the present day piano was still evolving. The new instruments with their resulting new possibilities found expression in his 24 Grandes Études op. 125. Important sources consulted were the following:  The piano concertos of Johann Nepomuk Hummel by F.H. Mitchell (1957)  The music of J.N. Hummel: its derivations and development by R. Davis (1965)  Romantic Music: A history of musical style in the 19th century by L. Plantinga (1984)  The Kristeva Reader edited by Toril Moi (1986)  How did they play? How did they teach? by S. Soderlund (2006); and  Johann Nepomuk Hummel: a musician’s life and world by Mark Kroll (2007). Although Hummel was deeply rooted in the Classical style, his compositions displaying the hallmarks of the style galant, can be divided into two style periods. The first style period ending about 1811 shows harmonic simplicity, regularity of phrasing and elegant cantabile melody. His second period post-1811 saw the composition of works with bolder, more dissonant harmony resulting in greater chromaticism. After 1814 his piano compositions demand greater variety of tone colour, more expressive use of dynamics, rubato, and advanced technical facility of the performer. According to Mitchell (1957: 75, 76) Hummel’s art and ornamentation are related to the virtuoso technique expanded by the Viennese pianistic style of the early 19th century. Hummel developed the ornamental style further, culminating ultimately in the poetry of the tone-coloured fioritura of Chopin. One aim of the study was to reveal the individual contributions Hummel made to the changes taking place between the Classical and Romantic styles. Innovative aspects include new virtuoso technical demands that would find fruition in the études of Chopin an Liszt. His influence on Chopin was undeniable as one perceives the early distinguishing characteristics of Chopin’s style in many of the compositions of Hummel. Schumann and Liszt were familiar with the music of Hummel in their formative years and there is much evidence of Hummel’s style in their compositions. In Chapter 4 on intertextuality, Hummel’s influence on Chopin, Schumann and Liszt is examined, and in Chapter 5 his pedagogical principles as set out in his treatise are appraised. Chapter 6 is an investigation into the technical principles embodied in Hummel’s 24 Grandes Études op. 125 and their influence on the development of the Concert Étude. / Thesis (DMus)--University of Pretoria, 2013. / gm2014 / Music / unrestricted

This diploma thesis is dedicated to the needs of the piano teaching for kids from 6 to 9 years old in Albania who decide to study piano playing. This work contains a methodology that is based on professional playing starting from middle C to counter hand movement to playing directly with both music clefs, the treble and the bass one. The methodology is inspired by the world's modern methods and needs for the proper development of the child. Contains well-known, popular songs and classical pieces in a lighter version to achieve more easier and fun piano beginnings. The work is divided into five chapters, which introduce not only the musical life in Albania, but also the insufficient conditions for teaching piano. It also contains a selection of the most famous piano textbooks and albums that exist in Albania, which were used before for piano teaching and probably from that time nothing better or improved came out. And last but not least, the aim that is wanted form this work to be achieved is bringing the new ideas and innovation of my own piano methodology.