JAVS Fall 1993

17

An introduction to Vieux's etudes. Includes musical examples, a listing of the technical aspects found in each selection, and a list of possible approaches to it. ____. "Vieux's Other Etudes." Journal ofthe American Viola Society 7 (Winter 1991): 7-13.

Paige, Burton. "The Viola Claims Its Rights: A Conference withWilliam Primrose." The Etude 59 (April 1941): 241, 272. An introduction to the viola, who has com posed for it, and how it is played differently from the violin, particularlywith tone produc tion and finger positions. It focuses on how the viola is a unique member of the string family. Perich, Guillermo. Annotated Course of Study for Viola: Emphasizing ChamberMusic andOrches tral Repertoire as a Media. Urbana: University of Illinois, 1974. ____. "The Viola and the Latin American Composer." American String Teacher 34 (Spring 1984): 54-55. Tells the viola teacher what resources and repertoire are available in the area of Latin American music. It includes a list ofpieces, their composers and publishers, and the Latin American country they represent. Includes a brief list of symbols and their defi nitions, for use when marking music. Pettengil's concern is to keep the music clean and read able; he has played with many violists that overmark and clutter parts. Plummer, Kathryn. "Teaching: Questioning, Imagery and Exploration." Journal oftheAmeri can Viola Society 4 (Spring 1988): 3-7. Plummer gives a list of the kinds of questions she asks students and what interaction takes place when these are discussed. She explains why questioning is such an important exercise in the teacher-student relationship and why the teacher is obligated to search for the best means to help a student. Palumbo, Michael A. "The Dilemma of Develop ing Young Violists." American String Teacher 35 (Autumn 1985): 66-68. Palumbo addresses the problems he sees in his weekly visits to string programs in high schools. The most noticeable problem is a lack of violists. He discusses what he thinks is the cause of the problem and makes suggestions to teachers on how to choose and teach violists. Pettengill, Edward. "Making Music, Marking Music." Strings 4 (March/April 1990): 44-46.

A continuation of the previous article.

Nelson, Sheila M. The Violin and the Viola. London: W. W. Norton and Company, 1972.

Norton, Donald B. "Playing the Viola." The Instrumentalist 12 (November 1957): 74-77.

Problems of the viola in the context of how it differs from the violin are discussed. The article advises school orchestra conductors on how to help fit students with the right size viola and how viola accompaniment figures, typically found in repertoire, should be played. Oppelt, Robert. "Giving the Violist Equal Time." The School Musician, Director and Teacher 44 Oanuary 1973): 28-30. ____."Important Elements of Correct Bow ing." American String Teacher 32 (Summer 1982): 16-17. Common faults of the bow stroke and ways to correct them. Oppelt also discusses the posi tion of the elbow in detail and how the hand and fingers should respond in the different positions. This article includes photographs to illustrate the points. ____. "Introducing, Correcting, and Devel oping Vibrato." American String Teacher 31 (Summer 1981): 42-45. Oppelt tries to clear up general misconceptions that teachers have when approaching vibrato. He defines the different levels at which vibrato needs to be nurtured by the teacher in the student's playing and suggests how to do it.

____. "The Symphony Audition." American String Teacher 32 (August 1982): 16-18.

A list of basic guidelines for the student inter ested in auditioning for an orchestral position. Repertoire lists offour major American orches tras conclude the article.