JAVS Fall 1993

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(or camcorder). She also reinforces Lionel 1ertis's ideas on intonation.

A summary of the First International Viola Congress. Ofparticular interest is the summary of two panel discussions on teaching led by William Primrose.

Castleman, Heidi. "Do I Need a License to Play Bach?" Journal ofthe American Viola Society 6 (Fall 1990): 3-12. A reference for finding out about dance styles in Bach. It includes information on the £orrect way to do bowings and fingerings and a bibliog raphy for further reference. ____. "The Role of the Lecture-Demonstra tion inTeachingViola Basics." American String Teacher40 (Winter 1990): 49-50. Castleman discusses the lecture demonstration she uses to teach her students basic skills such as fingerings, shifting, vibrato, and practicing. She explains the three-part format of theory, demonstrations and questions, and gives a sample outline of one of them. Chailley, Marie-Therese. "Viola Technique." Journal of the American Viola' Society 6 (Fall 1990): 19-25. Chailley introduces her etudes and tells how to practice them, offering suggestions for basic aspects of playing. Chick, Davoren. "Injury Prevention for Violists." American String Teacher 38 (Autumn 1988): 73-75. Chick talks from personal experience about injuries viola playing can cause. She encour ages preventive habits, such as taking short breaks and carrying reasonable loads. If there is any pain, she suggests medical attention and compassionate care. The article contains a bibliography of other helpful articles. Colton, Russel J. "Differences between Violin and Viola Technique." The School Musician, Director and Teacher 41 (August/September 1969): 30, 32.

Danks, Harry. "Further Notes onTone Production." The Strad 65 (April 1955): 430-32.

____. "Tone Production on the Viola." The Strad 65 (January 1955): 314-16.

Davis, Leonard. "The Transition from Violin to Viola." The Instrumentalist 33 (August 1978): 94-98. Davis suggests how to teach the violinist switch ing to the viola: the viola clef: viola vibrato, changing volume, and left-hand control. Dolejsi, Robert. Modern Viola Technique. Chicago: University of Chicago Press, 1939; reprint, New York: Da Capo Press, 1973.

Eisler, Edith. "Eugene Lehner at 84." Strings 5 (March/April 1991): 26-33.

Eisler interviews Lehner on his experiences as a member of the Kolisch Quartet and as a teacher. Fadness, Gene. "From the Experts: Fine Points of Good StringTeaching." The Instrumentalist35 Oanuary 1981): 72, 74-75.

An interview about teaching, with William Primrose, Percy Kalt and Ralph G. Laycock.

Ferritto, Marcia. "William Lincer: Violist and Teacher." Journal of the American Viola Society 3 (November 1987): 16-19.

Fine, Burton. "Studying Violin before Viola." The Instrumentalist 34 (October 1979): 66-68.

An argument for starting violists on the violin and then switching once technique is strongly developed. ____. "The Teacher, the Student, the Audi tion." American String Teacher 31 (Winter 1981): 42-43. Fine believes that the best way a teacher can prepare a student for an orchestral career is to give the student training in rhythmic precision. He emphasizes the importance ofcareful plan ning of bow use so that complicated rhythms

A basic introduction for school teachers on the differences between violin and viola playing.

Dalton, David. Playing the Viola: Conversations with William Primrose. Oxford: Oxford University Press, 1988.

____. "Viola Vigor." The Instrumentalist 30 (March 1976): 78-81.