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This was the topic of my doctoral lecture. It's a great feeling to have one more requirement behind me. There were a few things I learned while researching this topic. I had to learn some of the finger gymnastics exercises and etudes which were described by other researchers. I had lots of fun learning the origins of the Vulcan salute and found a way to greet my audience with "Live long and prosper!" LOL.
In response to the question from the floor concerning the risk of injury in practicing finger independence and extension exercises: (Note: My hand span is 7.5 inches from thumb to fifth finger. You shouldn't try these without a teacher unless you have very sharp observation skills and great mental control as well.)
I found the finger independence exercises of Pischna, Philipp and Dohnanyi interesting. I would advocate playing the first few exercises in which the hand remains in fairly compact position (5 or 6 key-span) but would not pursue the ones which stretch or abduct the fingers constantly (octave, full diminished chords, etc). I have also tried these on the table top away from the piano keys. This reduced arm/finger tension when I returned to the piano with the same exercise.
As for the other exercises which develop stretch between fingers, I played them while observing the angle of my wrist and thumb. Most of the stretches span an interval of a 4th or 5th. I noticed that when playing these exercises, my arm had to follow my fingers carefully and I had to compact the hand or return the wrist to neutral as quickly as possible. Wrist deviation & split section neutralization is part of the game here which cannot be avoided. (Just like the Chopin Etude op. 25 no 1 in A-flat major.) I just played them at no particular rhythm or tempo, not practicing them and stopped once I felt discomfort.
I do not think one necessarily needs to master these exercises to reap its benefits. These gave me keen awareness of the structure of each finger and its relation to the wrist. I also found that a combination of a doing stretching exercises (Adele Marcus & Alicia de Larrocha) and the Josef Gat finger gymnastics improved my coordination overall. If for nothing else, my friends were very entertained by these exercises. Both Marcus and de Larrocha cautioned that these stretching exercises could be dangerous if abused. I had less trouble playing the finger independence and extension exercises, since my mind was prepared. The brain is amazing in its ability to adapt.
As a teacher, I do not think etudes and finger exercises should be prescribed as a cure all. I heard this being said about etudes: it is like medicine, you take the correct dose as too much would kill you! Scales and arpeggios are just as dangerous. I have heard cautions about practicing Hanon but for me, adapting those exercises, playing them as musically as possible and finding a way to play them at ease has been beneficial to me. I realized there were parts of my fingers which I had not utilized prior to this. I discovered I have fairly good finger joint mobility which I now intend to develop further.
I rest my case.
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