JAVS Fall 1993

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can be articulated clearly and with complete accuracy. A few examples of rhythms that tend to cause problems are given. Geerdes, Harold. "Some Observations on Viola Playing." The Instrumentalist 33 (January 1979): 51-53. In the question-answer format, the topics of vibrato, left-hand fingertip pressure, pizzicato and the teacher-student relationship are briefly covered.

Goldstein, Karl. "Giving a Successful Student Recital: What a Teacher Can Do." Strings 5 (May/June 1991): 42-45. Excellent suggestions on how to prepare the student for a good recital situation; also, many practical ideas for teachers on the best times and types of places to use. ____. "Practicing for Fluency: How to De velop an Inner Teacher." Strings 3 (Spring 1989): 30-33. Excellent article on understanding the way students practice in order to help them teach themselves. Suggests that teachers need to find a way to listen to how the student prac tices. This enables the teacher to help the student find ways to be more aware during practice time and make better use of it. Lists some suggestions on how practice time should be spent. Gordon, Nathan. "Thoughts on Viola Perfor mance." The Instrumentalist 36 (May 1982): 44-47. Summarizes some of his ideas about two different kinds ofplaying-solo and ensemble performance. Hardie, Julia Obrecht. ''A Comprehensive Perfor mance Project in Viola Literature and an Essay with Surveys Assessing Current Trends in Suzuki Viola Pedagogy in the United States." D.M.A. essay, University of Iowa, 1987. Hill, Frank W. ''A Viola is a Viola." The School Musician, Director and Teacher 46 (May 1975): 28-29.

Glyde, Rosemary. "Heidi Castleman." Journal ofthe American Viola Society 6 (Spring 1990): 19-27.

A biography of Castleman and her teaching style in both private and class situations.

____. "Scott Nickrenz." Journal ofthe Ameri can Viola Society 3 (November 1987): 9-16.

A biography of Nickrenz and his philosophies of teaching; includes his comments during a private lesson. ____. "The J. C. Bach-Casadesus Concerto in C Minor: A Second-Handed Gem." Journal ofthe American Viola Society 2 (August 1986): 10-16. A background on Henri and Francis Casedesus; detailed information on how Glyde plays this pedagogical work.

____. "William Magers." Journal oftheAmeri can Viola Society 4 (Spring 1988): 15-21.

A biography ofMagers, with Glyde's observa tions on his class and lessons.

Goldberg, Louise. "Virtuoso Viola Music before Paganini." American String Teacher 32 (Spring 1982): 16-18. A brief historical background and selected list of repertoire available to violists between 1779 and 1834. Goldsmith, Pamela. "Viola Pedagogy: A New College Course." American String Teacher 39 (Autumn 1989): 66-67. A summary ofGoldsmith's first year as teacher of the new viola pedagogy course at USC; an outline of their activities and a bibliography of books important in their study.

Discusses the differences between the violin and the viola.

Hill, Val. "Let's Glamorize the Viola." Music Edu cators Journal 36 (April/May 1950): 46-47.

An introduction and repertoire list for school string teachers to use with beginning violists.

lotti, Oscar Raoul. "Interpretation and Left-Hand Technique for Violin and Viola." The Strad89 (May 1973): 67-75. Inspired by Paganini, lotti gives his philoso phies behind virtuosic fingering using many musical examples. Very violinistic.