JAVS Fall 1993

16

____. Practicing the Viola Mentally-Physically. Hollywood: Kelton Publications, 1967.

cellists. New York: Frederick A. Stokes, 1923.

____. "Tools for Practice: Metronome, Mir ror andTape Recorder." American String Teacher 34 (Autumn 1984): 43, 45. Kievman discusses how to improve coordina tion, finger control, playing freely, rhythm, practicing at the right tempos, getting a straight bow stroke, posture, listening and phrasing in the practice room.

____. "Louis Svecenski: The Study of the Viola." String Mastery: Talks with Master Violinists, Viola Players and Violoncellists. New York: Frederick A. Stokes, 1923. ____. "Ludovik Schwab: The Viola." String Mastery: Talks withMaster Violinists, Viola Play ers and Violoncellists. New York: Frederick A. Stokes, 1923. McCarty, Patricia. "A Preparation Strategy for Suc cessful Orchestra Auditions." Journal of the American Viola Society 4 (Fall 1988): 3-9. Some general comments on what to expect when auditioning for orchestras and the meticulous preparation that is necessary. McInnes, Donald. "The Violist's Palette of Color." American String Teacher 32 (Winter 1982): 22-23. The three areas McInnes covers as important to a violist's tone color are the production of good sound, good bow distribution, and variance of bow speed. He concludes with a discussion of the vibrato, its many types, and its potential to enhance the personal expres sion of the violist. Miller, David. "The Viola from Monteverdi to Mozart: A Discussion of the Instrument and Performance Techniques." Strings 6 (January/ February 1992): 22-25. Starts with a brief historical background, a description ofviolas of the time, and patterns of the composers, then gives technical suggestions for teaching and playing music of this era. Molnar, John W. "Transposing the Viola Part." Edu cational Music Magazine 34 (January/ February 1950): 24-25, 28. An argument for having all violin students play the viola, as well as ways to help them with the clef adjustment. Morgan, LeeAnn J. "MauriceVieux's Vingt Etudes." Journal of the American Viola Society 7 (Fall 1991): 7-21. Menuhin, Yehudi, andWilliam Primrose. Violin and Tliola. London: Kahn and Averill, 1976.

____. "The Viola ... It's Easy to Play." Ameri can String Teacher 24 (Autumn 1974): 33.

Kievman talks about the reasons for the "non study" ofviola of a generation or two ago and why that has changed.

____. "Viola Study from the Start." American String Teacher 26 (Summer 1976): 14, 18.

An argument for why violists should start on viola and not on violin.

Kruse, Steven Lewis. "The Viola School of Tech nique." Ph.D. diss., University of Iowa, 1985.

Laine, Frederic. "Violists ofFrance Unite!" The Strad 103 (April 1992): 330-32.

La Mariana, Angelo. "The String Clearing House." The School Musician 24 (March 1953): 46,55. List of methods with their titles, publishers, and prices (very dated!) to use for beginning viola classes.

Lantz, Harry. "Is There Still a Viola Problem?" The Instrumentalist22 (May 1968): 56.

A very brief article that discusses how the school orchestra conductor can develop a bal anced orchestra, the advantages of starting students on viola, and how to transfer students from violin to viola. Martens, Frederick, Herman. "Joseph Zoellner: The Viola." String Mastery: Talks with Master Violinists, Viola Players and Violoncellists. New York: Frederick A. Stokes, 1923. ____. "Louis Bailly: The Role of the Viola in the Quartet." String Mastery: Talks with Master Violinists, Viola Players and Violon