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parts of both hands, mainly if both hands play the same.
http://www.youtube.com/watch?v=hjLZrDDvdD4&feature=related
Amateur interpretation by a student who plays the piece very slowly, with 
“learned” agogics that does not respect the logic of the music structure, practically 
with no dynamic transmissions. A dog howling that could be heard in the background 
could be fun for listeners.
http://www.youtube.com/watch?v=wo_z0ZOamUk&feature=related
Interpretation by a child with a lot of mistakes that anyone could hear. The little 
girl started to play the piece one octave lower. After realizing this, she began again in 
the correct position. In the left hand, one could hear permanent non-rhythmicity and 
an absence of a zero slur. There are hardly any agogics, exaggerated gradation in the 
end – but only in the right hand – all of that makes the interpretation a cute comedy.
For older students, experienced with activities like this, a more complex music 
work, like Bagatelle No. 24 and moll WoO 59 ‘Fur Elise’ by Ludwig van Beetho-
ven could be selected. The composition has a clear rondo form A-B-A-C-A and its 
message is comprehensible even to less experienced listeners. 
http://www.youtube.com/watch?v=4n5ZSqMU0Jw&feature=related
A professional interpretation with nothing to criticize. Perhaps it could be said 
that it is a bit too sensitive interpretation, which is refl ected in the exaggerated chan-
ges of pace.
http://www.youtube.com/watch?v=j9g_KA6SKLA
Amateur interpretation. The violation of the prescribed pace that shall be unchan-
ged is really evident, at the beginning of the second contrasting section, part of which 

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was even omitted due to a blackout, so the central section was shortened to just about 
a half. The faster pace in the last repetition of part A when the player probably felt 
a kind of relief as she knew that her suffering was getting to an end and shed her 
restraints is somewhat comic.
http://www.youtube.com/watch?v=zFTAGxXJGyM
Amateur interpretation of the piece. Slow pace, especially in the introductory 
part and its repetitions is typical. In part A, you could highlight that the right pedal is 
over-pressed throughout the introductory chromatic motif. In the fast passages of part 
B, the interpreter is unable to keep the pace. On the other hand, part C is played even 
faster than prescribed, which refl ects in the rhythmical imbalance of linking of part C 
with the repeated part A in the closing.
http://www.youtube.com/watch?v=AFBLgsl8Ck8&feature=related
A correct interpretation of the composition by a child, virtually with no dynamic 
shades or agogic changes, characterised by a slow pace and apparent – nonetheless 
understandable – absence of personal emotions.
http://www.youtube.com/watch?v=P-B4sjUve3E&feature=related
Almost perfect transcription of the composition for two special electric guitars 
with extremely sensitive sensors which can be played just by one hand of a single 
player. The original version of the composition suffers from technical limits of such 
an interpretation, but this is certainly a fun version, and, besides, it is close to students 
because of the use electric guitars which are very popular among teenagers.
http://www.youtube.com/watch?v=ofMjqkq66R8&feature=related
A version with lyrics for female voice and piano, performed by Eva Pilarová. 
In a slower pace than in the original idea of the author, which could be logically 
reasoned as it needed to be adapted for the articulation capabilities of human voice. 
Positive is the fact that the original form of the composition has been left almost 
unchanged. This may become another discussion topic about similar adaptations.
Comparing of various interpretations of the same piece could be suitable for quite 
a wide population among primary school pupils aged from ten to fi fteen just thanks 
to the existence of the internet fi les that do not only present professional examples of 
interpretations of music works, but also such performances whose imperfections are 
noticeable even by the amateur audience. On the background of various imperfecti-
ons, it may be possible to arouse in pupils the ability to perceive individual parame-

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ters of interpretations, at least to a certain extent. Though, it can be presumed that it 
will not always be the case that there will be enough examples suitable for education 
on this site. 
Summary
For controlled listening to art music it is possible to use the Internet, concretely web-
site www.youtube.com, when pupils under direction of music teacher compare diffe-
rent interpretive approaches to one and the same music piece. The site is particularly 
suitable because there may be found not only quality, professional interpretations, 
but also a number of amateur performances, whose imperfections during listening 
are evident to the broadest public. This procedure may lead to the development of the 
ability to listen to the closed music whole intently, which is a prerequisite for unders-
tanding musical communication.