Piano Pedagogy

ABSTRACT
In this study, the impact of teaching with colors on the musical notes learning skills of an autistic child has been investigated. The data of the study were obtained through parent, teacher and expert evaluations. The study was conducted using a single-subject research pattern. The research was carried out with an 11-year-old autistic boy, who was going to a special education and rehabilitation center in Çanakkale. At the beginning of the study, an initial level data was obtained by the evaluation of three experts. After it was determined that the initial level data was stable, teaching musical notes with colors has begun. During the training sessions, data were collected continuously. As a result of the research, it was observed that the student learned the notes in the interval between Do1 and Mi2 through colors; after the removal of the color method, the knowledge of notes has continued to advance; the knowledge gained by playing metallophone, in the beginning, has been
reflected to the training so that he started piano and block flute; he enjoys playing the instrument by learning new notes, time values and measures. Also, as a result of interviews with family and teachers, it was also found that the child showed a positive change in behavior, better attention, more patience and academic success.
Keywords: Pervasive Developmental Disorder, Autism, Music Education, Instrument
Education, Teaching Music with Color, Single-Subject Pattern.

ÖZET
Bu çalışmada otizmli bir çocuğun nota öğrenme becerileri üzerinde renklerle nota öğretiminin etkisi incelenmiştir. Çalışmanın verileri ebeveyn ve öğretmen değerlendirmeleri yoluyla elde edilmiştir. Çalışma, tek denekli araştırma deseni kullanılarak yapılmıştır. Araştırma, Çanakkale’de bir özel eğitim ve rehabilitasyon merkezine devam eden 11 yaşında otizmli bir erkek çocuğu ile yürütülmüştür. Çalışmanın başlangıcında üç uzmanın değerlendirmesiyle bir başlangıç düzeyi verisi
elde edilmiştir. Başlangıç düzeyi verisinin kararlı olduğu görüldükten sonra, renklerle nota öğretimine başlanmıştır. Eğitim uygulamaları sırasında sürekli veri toplanmıştır. Araştırma sonucunda, otizmli öğrencinin renkler yoluyla Do1 ve Mi2 arasındaki on notayı öğrendiği, renk yönteminin on nota sonra kaldırılarak normal nota yazısına döndürülmesinin ardından nota bilgisinin ilerleyerek devam ettiği, yeni notalar, süre değerleri ve ölçülere uyumunun çok rahat olduğu ve çalgı çalmaktan keyif aldığı görülmüştür. Ayrıca aile ve öğretmenleriyle yapılan
görüşme sonucunda çocuğun davranışsal olarak da olumlu değişim gösterdiği, dikkatini daha iyi topladığı, daha sabırlı olduğu ve akademik başarısının arttığı yönünde bildirimler alınmıştır.
Anahtar Sözcükler: Otizm, Müzik Eğitimi, Çalgı Eğitimi, Renklerle Nota Öğretimi, Tek Denekli Desen.

This English translation of of Petr Eben’s preface to his Lidové Písně a Koledy pro klavír ve snadném slohu [Folk Songs and Carols for piano in an easy style] reveals the composer's intent, and provides his own descriptions of a number of selections in the volume. This handout was part of my lecture-recital “Czech” It Out!  Folk Inspired Gems for Young through Advanced Pianists" presented at the Ohio Music Teachers Association State Conference, Cleveland, 2018. Translation by Eva Szabo and Sonya Szabo-Reynolds.

C. Czerny Op. 718 etudes which were composed for left hand have been examined in this study. This study aims to examine the Op. 718 etudes which C. Czerny composed for left hand in terms of their importance of using the left hand in the piano training and the technical skills. The study is a descriptive one which employs qualitative research method. The data in the study was collected with the document analysis method. A total of 16 etudes in the first and second C. Czerny Op. 718 books were examined in the study. The content analysis method was employed to analyze the study data. The collected data was analyzed by making the frequency (f) and percentage (%) calculations; and evaluated by presenting them as tables. It was detected that the techniques of legato, arpeggio, scale, repetition and octave had been frequently employed when the left hand etudes in the C. Czerny Op. 718 first and second books are analyzed in terms of technical skills. The etude no. 1 in the first C. Czerny Op. 718 book was selected as the sample etude analysis. The examined data showed that legato, staccato and repetition techniques had been frequently used. It was observed that the melody had less expression in the right hand and the concentration was on the left completely even though the left hand accompanies. The fact that more than one technique is employed in an etude demonstrates that they reinforce the balance and strength of the left hand. In line with these results; It is suggested to use the etudes or works in which both hands are used but focus on the left hand more in the music departments, to examine the methods, etudes or works regarding the usage of left hand only, to make the students play works which were composed on the left hand only in the music departments and to enrich their repertoire. Structured Abstract: Introduction Piano training involves all of the cognitive, kinesthetic (psychomotor) and auditory (affective) learnings. The first step in piano training is to establish the stance/sitting (posture). The position of the hands on the touch the distance between the arms and elbows and positioning them in a comfortable way are the main aspects. In fact, the usage of the whole body and a mental activity in cooperation with it are at the background although some certain organs attract the attention at first when playing or practicing piano. Etudes are effectively employed in the piano training since they largely contribute to the development of technical skills. Through the historical background of piano training, exercises/etudes which

For nearly as long as the piano has existed, composers have been interested in producing sounds for which the instrument was not conceived. Whilst most of us may be at ease with a pianist's fingers gliding over the keyboard, many feel more resistance towards someone who hits the keys with the flat of the hand, or is bent over the keyboard to play directly on the strings. Yet, these techniques have been in use since the 18th century, unlike their common association with 'new music'. In contrast to this extensive repertoire for professionals, pieces that are written to introduce such techniques to children exhibit mostly adult aesthetic preferences. As regards performance technique, the composers have not distinguished between the different pedagogical chronologies and algorithms of learning to play the keyboard and the inside of the piano, nor do they seem to have imagined whether a child always has ready access to the accessories that are sometimes required to do so. In collaboration with composer Hans Cafmeyer, a project was set up at the Orpheus Institute to develop new music through artistic research, catering to children's aesthetic horizons, their technical abilities, pedagogical needs, and personal biotope, and the technological constraints of the instrument. With Hans Cafmeyer's decade-long experience in teaching children, in addition to writing music for them which suits their pedagogical level, as well as Luk Vaes' research into the history and performance practices of extended techniques, "peyotl" was created, a collection of pieces allowing teachers to integrate extended techniques into the protocol of regular keyboard-specific pedagogy. The multimedia publication includes the score as well as online videos of the composer and children performing the music.

Resumo: Este relato de experiência descreve o projeto de extensão Muito prazer, Villa- Lobos! Uma viagem sonora, desenvolvido pelo Departamento de Música (DMUSI) da Universidade Federal de São João Del Rei. Trata-se de uma apresentação cênico-musical sobre a vida e obra do compositor Heitor Villa-Lobos cujos objetivos principais foram: proporcionar o acesso à música erudita por meio de uma atividade lúdica e promover a articulação das práticas, instrumental e pedagógica, dos discentes envolvidos. O público-alvo foram crianças da escola regular, de seis a dez anos. A proposta se fundamenta teoricamente no conceito de musicalização, defendido por Penna (2008), no que se refere ao objetivo de democratização da chamada cultura legítima (neste caso a obra para piano de Villa-Lobos), e no modelo C(L)A(S)P, elaborado por Swanwick (1979), ao considerarmos a sistemática adotada na elaboração do projeto em si. Desenvolvido durante o ano de 2009, o projeto foi apresentado para um número significativo de 240 crianças da cidade de São João Del Rei. A proposta mostrou-se eficaz como meio de difusão e democratização da chamada música erudita e também como uma experiência de prática de ensino capaz de articular dois eixos fundamentais da formação acadêmica do curso de licenciatura em música, o instrumental e o pedagógico.
Palavras chave: formação de professores de música, educação musical, Villa-Lobo

Este relato de experiência descreve uma aplicação do livro "Piano.Pérolas - quem brinca já chegou !", de Carla Reis e Liliana Botelho (2019), na iniciação ao piano no contexto do ensino de música popular. O livro é apresentado em linhas gerais, bem como a metodologia proposta. Os pontos de convergência entre a proposta e as habilidades e conhecimentos envolvidos na iniciação à prática da música popular são analisados de acordo com Couto (2009) e Silva (2012). Por fim, é descrito o processo com alunos iniciantes de piano ao longo do segundo semestre de 2019 em uma escola de música em Londrina (PR).

En este capítulo se determina la relevancia técnica e interpretativa de seis obras para piano del compositor Ángel María Camacho y Cano, a través de un análisis comparativo mediante parámetros establecidos entre estas y una selección de obras para la enseñanza inicial del piano. Como resultado se presentan las seis obras escogidas, ya editadas con con articulaciones y símbolos interpretativos, las cuales se pueden tomar perfectamente como material de estudio para quienes inician en el aprendizaje del piano. Entre las páginas 15 y 84 encontrarán el contenido de este capítulo y las partituras de las obras analizadas y editadas.

ÖNSÖZ
Gelişen toplumlardan biri olmak, o toplumun kendi kültürel özelliklerini ve
varlıklarını koruyabilmesine bağlıdır. Türk müziğine dayalı bir müzik eğitimi de bu nedenle önemsenmektedir.
Bu kitap, literatürde bulgulanan kaynak ihtiyacını sağlamak amacıyla, Türk
müziği makamlarından oluşan çeşitli teknik becerileri geliştirebilecek etütleri içermektedir. Etütler genellikle eser çalmaya ön hazırlık nitel!ğ! taşımakla birlikte, daha
büyük boyutta, konserlerde çalınabilecek özelliklerde de bestelenmektedir. P!yano
eğitimini alan kişilerin bu amaçlarla, kendi kültürümüzden yola çıkarak makamsal
yapıda oluşturulmuş melodik etütlerden zevkle faydalanabilecekleri düşünülmektedir.
Kitapta her melodik etüdün kendine özgü teknik anlayışı ve çalıştırdığı teknik
beceriler vardır. Yine her etüt, kendine ait kimliği olduğu düsünülerek isimlendirilmiştir. Makamsal özgün melodik etütler olarak nitelendirilen çalışmanın, Türk
Müzik Eğitimine, piyano eğitimcilerine ve öğrencilerine yeni görüşler ve anlayışlar getirmesini dilerim.
Mehmet Serkan UMUZDAŞ
Ocak 2013

This project aims at establishing an improvisational practice for pianists based on the piano music of the Japanese composer Toru Takemitsu.
Through musical analysis of Takemitsu’s music we seek to point at different compositional practices that can be converted into concrete, pedagogical exercises to be used for teaching in improvisation. Some of the improvisational guidelines are then combined into a complete piece of music, which is subsequently evaluated and used as a basis for a discussion of the further perspectives of the project.
The practical experience so far suggests that this method can be used for:

encouraging an improvisational approach to interpreting music,
countering the fear of improvisation among the performers of classical music,
strengthening the understanding of contemporary music,
disseminating the knowledge of traditional Japanese music
— and last but not least the project implies the possibilities of creating an artistic musical product in itself.

Teaching the beginner piano student can be an exciting yet daunting process.  A teacher must decide what skills and techniques the student should develop and how these will be taught.  There are countless method books available for teaching the beginner student, yet despite this abundance, there is little written that encourages or provides for a holistic learning program. Most method books focus on one aspect of the learning (e.g. technique or aural skills) or require the teacher to supplement the learning with additional activities.  In order to investigate the design and implementation of beginner piano student learning programs, a sample of thirteen piano teachers in a regional city was interviewed.  Each teacher was asked to describe a typical lesson for their beginner students, the musical skills they found important, and whether they used a method book to assist the learning.  The results demonstrate that all of the teachers use a method book for their beginner students, and while many attempt to provide a holistic program of learning, it is often tokenistic in nature.  The skills that teachers believe a beginner student should learn and the structure of their lessons predominantly revolves around the development of technique and note reading skills.

This document provides the English translation for each folksong title contained in Petr Eben's Lidové Písně a Koledy pro klavír ve snadném slohu (Folk Songs & Carols arranged for piano in an easy style). This knowledge is essential for understanding  and teaching the pieces. The handout was included as part of my lecture-recital “Czech” It Out!  Folk Inspired Gems for Young through Advanced Pianists" presented at the Ohio Music Teachers Association State Conference, Cleveland, 2018.

En l'últim quart del segle xix, el piano s'havia convertit en un fenomen cultural, social i comercial de primer ordre i es trobava profundament arrelat en la societat catalana. N'és una prova la intensificació de la producció de pianos i del consum de música per a aquest instrument, la facilitat d'accés al repertori per part del públic català, la consolidació de l'ensenyament pianístic i, finalment, la presència massiva d'aquest instrument en sales de concert, exposicions universals, cafès, ateneus, casinos, teatres i salons privats. El present article aporta noves dades que expliquen el procés d'implantació i de difusió del piano des de la seva arribada a Catalunya l'últim quart del segle xviii fins a final del segle xix, quan es converteix en l'instrument més popular i en la icona cultural de referència, tal com ho evidencia el sorgiment de pianistes de relleu internacional com ara Tintorer, Granados o Albéniz. L'estudi comprèn referències a constructors i venedors de pianos com ara F. Bernareggi i M. Guarro, a comerços de venda de partitures com el de F. España, a intèrprets i professors com J. B. Pujol, a material pedagògic i centres docents de música implicats, així com als espais públics i privats compromesos en la recepció sonora de l'instrument. Aquestes dades confirmen i evidencien l'alt desenvolupament de l'activitat i de la cultura del piano a la Catalunya vuitcentista.

As áreas de atuações do pianista são variadas e percebe-se que a colaboração pianistica é uma das áreas de atuação com maior oferta de trabalho e ainda carente de bons profissionais. Entretanto, a colaboração pianística ainda é um tópico pouco privilegiado nos cursos de bacharelado em piano. A partir da experiência de um curso especifico de doutorado na área e por ministrar a disciplina Prática de Acompanhamento no ensino superior o autor relata a experiência na organização das atividades pedagógicas baseado nos escritos de M. Katz, R. Spillman e E. Burmeister de forma a prover ferramentas aos pianistas de se inserirem no mercado de trabalho.

"Piano Teaching Methodology" is a textbook for students - future piano pedagogues. For this purpose, the themes for the specifics of the initial training, for the stages of studying a piano work have been extensively developed, with particular attention being paid to the preparation of the piece for its stage performance. Several approaches have been described for working on different types of piano technique, on a polyphonic work, the application of the different clavier means of expression is considered depending on the stylistic features of the studied play. The rubrics "Teachers' Mistakes" and "Student Mistakes" have been developed for each subject. In those rubrics are discussed frequently made inaccuracies, incompleteness, misconceptions about the specific problem. Each theme is illustrated with a rich note of material, selected not only to highlight the discussed problem most clearly, but also to enable the comparison of individual examples. After each subject are suggested questions and tasks that help the practical use of the information taught. There is also a possibility to use this book as a reference book for the piano teacher - there are lists in which frequently used etudes as well as commonly studied polyphonic clavier works are arranged by difficulty.

In this study, we analyze Chopin’s thoughts on piano playing by examining his sketches for a method book, and define its position in both musical and cultural history. Chopin’s manuscript contains merely an introductory part of the book but deserves a careful consideration, since it reflects his critical view on contemporary piano pedagogy. This study first examines the composer’s definition of music and his understanding of the notion of taste, which is a key concept of his aesthetics. Then we discuss the notion of technique: the definition, aim, categories, and its place in Chopin’s musical thought. Lastly, we analyze Chopin’s practical advices on piano playing from a historical perspective. Chopin’s thoughts on piano playing imply both a nostalgia for the eighteenth century music and a premonition of the modern piano technique. These thoughts consist of a dynamic interaction between the classical aesthetics and the romantic world view, which can be  interpreted as a negative reaction to the modern industrial society.

José Fortunato Fernandes holds a Phd in Music. He has been teaching about music education and social inclusion as well as developing extension and research projects on music in prisons in Brazil. ORCID: https://orcid.org/0000-0001-5883-3046. Facebook: https://www.facebook.com/josefortunato.fernandes. Twitter: @jfortunatof7. LinkedIn: linkedin.com/in/josé-fernandes-17932842.

This is an annotated bibliography concerning both the nature of primary sources related to the composer and the scope and significance of the secondary sources which deal with him, his compositions, and his influence as a composer. The second edition includes research published since the publication of the first edition and provides electronic resources.  The original Guide, by William Smialek, appeared in 1999, and has long since been out of print. Additionally, there was an explosion in Chopin research in the following 15 years that has called for a complete reorganization of the Guide.  Originally written by William Smialek, the Guide was updated by Maja Trochimczyk.

Breve historia del piano en la cual se plantea la duda sobre el hecho de que el primer piano de la historia difícilmente haya sido piano de Cristofori dado que anteriormente se pueden encontrar al menos dos instrumentos de características similares.

En la presente comunicación se demuestra la importancia de los métodos didácticos para la enseñanza de uno de los aspectos pianísticos más importantes en la interpretación y a la vez tediosos por cualquier docente. El uso del pedal de resonancia es un elemento descuidado por muchos profesores debido a la escasez o incluso ausencia de materiales didácticos impresos que pudieran servir de apoyo para sistematizar su aplicación aparte de la ejecución del repertorio. El estudio de la evolución de los métodos dedicados a la enseñanza del piano ha demostrado que estos materiales suelen ser destinados a las enseñanzas más elementales, etapa en la que el uso del pedal tiene una limitada aplicación. Sin embargo, en los niveles medios, donde se requiere el aprendizaje de avanzadas técnicas de pedal, existe un gran abandono en las publicaciones didácticas. Por ello en este trabajo presentamos la creación de una extensa propuesta para la enseñanza del pedal en esta etapa a través del formato de método didáctico, incorporando una metodología activa para desarrollar la autonomía del alumnado.

Resumo: Este artigo, de cunho bibliográfico, tem como objetivo analisar as “Twinkle, twinkle, little star” Variations, compostas por Shinichi Suzuki para o Suzuki Piano School, enquanto material básico para o desenvolvimento de habilidades técnico-musicais de alunos iniciantes ao piano pelo Método Suzuki. Para isso apresentamos, um breve histórico do tema “Ah, vous dire-je maman” e do Suzuki Piano School e logo após discutimos a utilização de gravações dentro do Método Suzuki, a utilização de acompanhamentos para as Variações, seus aspectos técnico-musicais e a abordagem pedagógica adotada por professores Suzuki de piano. Como referenciais foram adotadas obras de Suzuki (1981, 1993, 2008), Kataoka (1985, 1988), Koppelman (1978), Biggler & Watts (1998), Powell (1988), McMillan (2011, 2018), dentre outros, e anotações feitas durante a participação em cursos de capacitação de professores certificados pela Suzuki Association of the Americas.
Palavras-chave: Método Suzuki para Piano. Pedagogia do Piano. Brilha-brilha Estrelinha.
“Like a diamond in the sky”: the Twinkle Variations and the initial technical-musical approach of the Suzuki Piano School
Abstract: This article aims to analyze the "Twinkle, twinkle, little star" Variations, composed by Shinichi Suzuki for the Suzuki Piano School, as a basic material for the development of technical-musical skills of piano beginners by the Suzuki Method. For this we present a brief history of the theme "Ah, vous dire-je maman" and the Suzuki Piano School and soon after we discuss the use of recordings within the Suzuki Method, the use of accompaniments to the Variations, its technical aspects and the pedagogical approach adopted by Suzuki piano teachers. The analysis is based on works by Suzuki (1981, 1993, 2008), Kataoka (1985, 1988), Koppelman (1978), Biggler & Watts (1998), Powell (1988), McMillan (2011, 2018), as well as in observations made from participating in teacher training courses certified by the Suzuki Association of the Americas.
Keywords: Suzuki Piano School. Piano Pedagogy. Twinkle, Twinkle Little Star.

توظيف بطاقة أداء إلكترونية لقياس الإبداع والتميّز الطلابي 
في الاختبارات العملية
هدفت الدراسة الى البحث في متطلبات توظيف بطاقة PSC إلكترونية ووضع مؤشرات لقياس الإبداع والتميز في المقررات العملية. استخدمت الباحثة المنهج الوصفي ، واستفادت من المراجع والدراسات الميدانية والأبحاث العلمية في الاطلاع على مستحدثات القياس والتقويم في الشركات والمؤسسات العلمية لاستعراض مفهوم بطاقة الأداء المتوازن ، مع محاولة تطبيقها في مجال المقررات العملية بهدف توفير بيئه امتحانيه صحية والحد من السلبيات الناتجة عن آلية سير اللجان، والاستعانه بتصميم نموذج إالكتروني  يجمع بين قواعد البيانات  (access 2016 )وبرنامج معالج التصحيح الإلكتروني المكتبي(Remark Office OMR) الاصدار التاسع ، والذي يسمح بحساب النتائج وجمع الدرجات واستخلاص التقارير الاحصائية والرسومات البيانية ، كوسيله لاستكمال عملية التقويم (assessment)  والتحسين المستمر.
ولتحقيق أهداف الدراسة تم تقسيمها الى جانبين :
الجانب النظري:  ويتضمن :
• تحديد الخصائص الرئيسية لمؤشرات الأداء المتميز لمحتوى مقررات البيانو بمرحلة البكالوريوس ،  طبقا للنتائج التعليمية المستهدفة ( ILOS ) والمرتبطة بالمعايير الأكاديمية التي لتعكس رؤية ورسالة الكلية وذلك لضمان جودة العملية التعليمية وتلبية احتياجات المجتمع ومواكبة سوق العمل.
• طرح نظري لمفهوم قياس الأداء المتوازن .
الجانب التطبيقي: ويتضمن :
• خطوات إعداد قاعدة البيانات  باستخدام access او اي برنامج قواعد بيانات (MySQL)  تشتمل على - بيانات الطالب – بيانات أستاذ المقرر – بيانات المقرر – محتوى المقرر - موعد الاختبار ثم إجراء علاقات لربط البيانات وإعداد نموذج لإظهار البيانات المطلوبة .
• خطوات إعداد بطاقة الأداء المتوازن لمحتوى مقرر البيانو للفرقة الإعدادية ، وتبدأ بتحديد أهمية كل عنصر من عناصر محتوى المقرر، يليه الربط بين العناصر والأهداف التعليمية ( المعرفة والفهم – المهارات الذهنية – المهارات المهنية – المهارات العامة والقابلة للنقل ) ومؤشرات قياس جودة الأداء لمحتوى المقرر من خلال تحديد نسبة التركيز لكل من العنصر والهدف ، ثم تحديد درجة الاختبار لكل مستوى من مستويات الأهداف .
• خطوات توظيف برنامج التصحيح الإلكتروني (Remark Office OMR) الإصدار التاسع ، وتبدأبإعداد نموذج بطاقة الأداء المتوازن الخاصة باعضاء لجنة الاختبار ، ثم إجراء عمليات المسح الضوئي والتعريف وتحديد خصائص المؤشرات وتوزيع الدرجات . يليها مرحلة تصحيح الاختبارات وتجميع جزيئات الدرجة الكترونيا وتحصيل النتائج ، وإصدار التقارير اللازمة الى القسم العلمي المختص ، لإجراء المتابعة الدقيقة لما تم انجازه من نتائج التعلم المستهدفة والعمل على تقديم المقترحات اللازمة للتحسين المستمر.
وقد اسفرت النتائج إلى :
- تحديد الخصائص الرئيسية لمؤشرات الإبداع والتميز في أداء محتوى مقررات البيانو بمرحلة البكالوريوس .
- تحديد مؤشرات الإنجاز لمخرجات التعلّم المستهدفة ، من حيث علاقة المؤشرات بالأهداف التفصيلية للعناصر المكونة لمحتوى المقرر، وضوح تعريف المؤشر ووصفه بدقة ، الإلتزام بالمصداقية ودقة ثبات النتائج عند المقارنة بين الطلاب ، لكل مؤشر أداءًا مستهدفًا مفعلًا مهما تكرّرت عدد مرات القياس بالإضافة الى تحديد الترتيب والوقت لكل مؤشر بما يلائم خصائص وطبيعة المقرر ، وقد أثبتت النتائج أن عنصري التكنيك والسلم متساويين في الأهمية ، عنصري الدراسات والمقطوعات متقاربين في الأهمية ونسبة الركيز ، بالنسبة الى بارتوك والكتب التكميلية متقاربين في الأهمية ونسبة التركيز .
- تحديد مؤشرات عن صحة توظيف البطاقة يبدأ بتوفير البيانات وحفظها واستدعائها إلكترونيا من قواعد البيانات، ثم إجراء التصحيح وتجميع جزيئات الدرجة ويؤكده  وثيقة من الشركة المسؤلة عن برنامج التصحيح الإلكتروني (مرفق الوثيقة ).
- تحديد الى أي مدى يمكن أن تسهم بطاقة الأداء المتوازن في تحقيق مؤشرات الانجاز لمخرجات التعلم المرجوة للمقررات العملية والتطبيقية بمرحلة البكالوريوس.
- تصميم النموذج Form Access لكل طالب على حده يتضمن جميع البيانات اللازمة من منظور الجودة ، مثال لوجو المؤسسه – بيانات المقرر- بيانات الطالب- موعد الاختبار – المحتوى الذي تم تدريسه- توقيع استاذ المقرر على صحة المحتوى– بيانات أعضاء اللجنه وتوقيعهم ، للعمل على تيسير أعمال أعضاء الهيئة التدريسية بلجنة الامتحان وتوفير والوقت الجهد . والحدّ من التشتيت الذي قد تسببه بعض الأعمال الإدارية من تجميع الدرجات والتوقيعات ، مما ينتج عنه التركيز وقوة الملاحظة ودقة التقييم.
- إعداد نموذج ملائم لبرنامج التصحيح الإلكتروني Remark Office OMR لإجراءات التصحيح وتجميع الدرجات والعلامات النهائية وتحليل وجدولة النتائج إلكترونيا، ومن ثمّ عرض النتائج وإصدار التقارير اللازمة لتحديد التغذية الراجعة ووضع خطة التحسين طبقا لتقرير المقرر السنوي ، ومتابعة العملية التعليمية والتأكد من دقة نتائجها.
وبناءا على النتائج  قدمت الدراسة التوصيات ثم اختتمت بالمراجع العربية والأجنبية . واختتمت بالتوصيات والمراجع العلمية .

The keyboard toccatas of J. S. Bach, BWV 910-916, present a formidable challenge of interpretation to the modern-day performer. These works contain some of the most unusual compositional techniques to be found in Bach’s output due to their use of an improvisatory, virtuosic style inherited from the seventeenth century. While pianists of today are trained to perform with perfect fidelity to the score, the treatises from the time of Bach point to a rhythmically free approach to the improvisatory features of these toccatas. The goal of this treatise is to explore how the historical tradition from which Bach’s toccatas emerged influenced their stylistic characteristics with the purpose of applying this information to create an informed performance by today’s interpreters. In this effort, this treatise focuses on several broad categories in the process of understanding the inspiration and, therefore, the interpretation of these works. These categories include the genesis of the toccata as a genre, the compositional techniques associated with the toccata, Bach's personal contribution to the genre, and the interpretation of Bach's toccatas specifically.