Summary       The purpose of this work is to investigate how the piano language, present in Chopin and Liszt's studies, although transfigured, is also present in Jeanne Demessieux's process of composing her studies. To substantiate this statement, two aspects will be highlighted. Firstly, the emphasis on the piano technique adopted by the pedagogy of the French Modern School of Organ, which has in Marcel Dupré, Jeanne Demessieux's teacher, its major paradigm. Secondly, the great influence of her piano studies and practice over Jeanne Demessieux's formation.        With an aim to lay adequate grounds to the proposed matter, we also want to introduce the characteristics of the "study", as a musical genre, so that, later on, we can establish a comparison between the way Chopin and Liszt used the study at the piano against how Jeanne Demessieux did it in her organ compositions. .