Conclusion and Summary of Piano Playing Education

We have now indicated what the elements of pianoforte playing and education are. In addition, we have communicated the elements of education in piano tone-production. To enable these indications to be of any practical value, it is necessary to realize, that each perfection, and each desire of perfection, should in each individual case be traced to its immediate cause. Unless this is done, we shall after all have mere stumbling, instead of that direct teaching of oneself and others, which we find to be possible.

It follows, if we practice correctly, we must localize each want of perfection, and trace it to its cause amongst those various elements that together form pianoforte education and playing. On realizing that the performance of a piece, passage, or even a single note, has proved inadequate, we must analyze the fault. Reflection will then enable us to discover its true nature. For instance, we must investigate whether it is

1. lack of musical insight that has caused the lapse in perfection, or
2. whether it is simply owing to inefficient attention in this respect, or
3. to lack of understanding of how the key should be treated, or
4. whether faulty muscular habit is the cause, or
5. that inadequate aiming of the muscular conditions,

resulting from aural or muscular inattention. Once the cause of the deficiency has been located, we shall then be in a position to point it out, and also directly to proceed to its correction.

Because we can only learn, or think, one thing at a time, it follows, as a matter of course, that we can only correct one fault at a time. This fact is indeed one of the most important deductions forced upon us, by the preceding contemplation of the real elements of pianoforte education.

Each correct execution of motion at the keyboard should in each individual case be traced to its immediate cause. If we practice properly, we will localize the production of the correct motion on the keyboard. We must investigate, analyze, and troubleshoot the cause of an error.

IF [The performance of a piece, passage, or single note has proved inadequate]
THEN [We must analyze the fault].

The causes of error might be

1. Lack of musical insight,
2. Insufficient attention,
3. Lack of understanding of how the key should be treated,
4. Inattention,
5. Faulty muscular habit,
6. Inaccurate aiming of the muscular conditions.

The distinction between "insufficient attention" and "inattention" in the context of a human being perceiving an activity in close proximity is nuanced, yet significant, within cognitive psychology and neuroscientific research. Both terms relate to the allocation of cognitive resources to perceive, process, and respond to environmental stimuli, but they diverge in their underlying causes and manifestations.

1. Insufficient Attention refers to a scenario where an individual allocates some cognitive resources towards perceiving an activity but not enough to fully grasp its details or nuances. This partial allocation might result from multitasking, cognitive overload, or prioritization of other stimuli deemed more important by the individual at that moment. Insufficient attention implies that while some level of engagement or awareness of the activity exists, it falls short of what is required for comprehensive understanding or effective response. This can lead to a superficial or incomplete perception of the activity, potentially missing critical aspects or subtleties.
2. Inattention, on the other hand, characterizes a state where the individual's cognitive resources are diverted away from the activity in close proximity, leading to a lack of awareness or recognition of the activity altogether. Inattention can be a result of distraction, where external or internal stimuli (e.g., thoughts, emotions) draw the individual's focus away from the immediate environment. It can also stem from a deficit in attentional control, as seen in certain neurodevelopmental disorders like Attention Deficit Hyperactivity Disorder (ADHD), where the capacity to maintain sustained attention on tasks or activities is impaired.

The critical difference between the two lies in the degree of cognitive engagement with the activity. Insufficient attention denotes a scenario where there is some, albeit inadequate, engagement with the activity, suggesting a partial processing of the information. In contrast, inattention signifies a complete disengagement, where the activity is essentially ignored or unnoticed, leading to a lack of processing.
Understanding these distinctions is crucial for identifying and addressing issues related to attention in various contexts, such as educational settings, workplace productivity, or clinical assessments of attentional disorders. Strategies to mitigate these issues can vary significantly, ranging from reducing cognitive load and minimizing distractions for insufficient attention to targeted interventions and therapeutic approaches for inattention, particularly when it is symptomatic of an underlying disorder.

Because we can only learn or think one thing at a time, it follows that we can only correct one fault at a time. You must realize the nature of these habits to be acquired. If [You have the requisite knowledge of what to strive for]
THEN [We will begin to produce correctly one tone at a time]. This requires that you obtain the habit of mind which produces the only possible means of key treatment for obtaining any desired sound. The pianist should form the correlated muscular habits that serve to fulfill correct key treatment. The mental association of touch using musical sense and emotion should by employed.