This thesis, proceeding from an interdisciplinary perspective, offers a critical analysis of the premises governing concepts of musical giftedness and their relevance to the understanding of the nature and development of the solo virtuoso pianist. Drawing on research in psychology, education and piano pedagogy, it examines the specific characteristics of the virtuoso performing experience with special reference to the relationship between the pianist and her\sp1 instrument, performing environment, and audience. In particular, it discusses the cognitive and physical demands placed upon the artist in preparing for and performing "live" in concert. In examining the premises underlying representative theoretical frameworks as well as more widely used evaluative measures of music ability, the study identifies several major limitations. In particular, this thesis argues that the most significant inherent weaknesses in existing tests of musical performance abilities are their undue reliance on isolable and easily quantifiable components, such as acuity of aural perception and sight-reading accuracy, as the primary measures and predictors of high level musical performance skills
