JAVS Fall 1993

19

____. "Viola: It's Not Just a Big Violin." Music Educator's Journal 70 (May 1984): 58-59. A basic introduction for school music educa tors to the differences between violin and viola and the way they should be played. Ponder, Michael. ''A Real Professional." Journal of theAmerican Viola Society 3 (November 1987): 19-23. A biography of Frederick Riddle, important British orchestral violist and teacher. The article tells about his career, his relationship with Tertis and Beecham, his recordings, and his teaching style. ____. "On Teaching: An Interviewwith Csaba Erdelyi." Journal ofthe American Viola Society 5 (Spring 1989): 17-25. In the question-answer format, Erdelyi discusses the philosophies behind his teaching. He is primarily concerned with body gravity and how the violist lifts and drops weight. Preucil, Doris. "The Evolution of the Suzuki Viola School." American String Teacher 33 (Summer 1983): 36-39. Preucil describes how the need for a viola method arose, how a teacher can use the books and tapes, and what teaching opportunities each volume contains.

Fiddle to None." Musical America 15 (Febru ary 1955): 14.

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Primrose champions the viola as a solo instru ment and discusses the ample and growing repertoire of the instrument. ____. Walk on the North Side: Memoirs ofa Violist. Provo, Utah: Brigham Young Univer sity Press, 1978. Pugh, Karin. "A Student's View of William Primrose, ASTNs 1970 Teacher of the Year." American String Teacher 21 (Winter 1971): 16-17. A brief outline of the etudes and technical ideas that William Primrose emphasized dur ing the author's studies with him at Indiana University. Purdue, Eugene. "Learning about Bowing: Strong and Weak Bow Directions." Strings 6 (July/ August 1991): 35-37. A conversation between a student and teacher addresses proper use of the bow and indirectly reveals h9w the teacher can help the student teach him or herself. ____. "Learning Something New: Develop ing Concepts and Using Feedback to Solve Musical Problen1s." Strings 5 (July/August 1990): 35-38. Especially helpful with ideas for interaction with younger students. Gives hints on how to tap what students are really comprehend ing and how to help them improve their conception. Radmall, Peggy. "The Rostal International Violin and Viola Course." The Strad 65 (November 1954): 240-42. Reher, Sven. "On the Teaching Techniques of the Viola." Journal ofthe American Viola Society 2 (August 1986): 3-4. Reher gives advice on how to help viola students become good musicians through exposure to chamber music and Bach's ensemble music. Riley, Maurice Winton. The History ofthe Viola, 2 vols. Ann Arbor, Mich.: Braun-Brumfield, 1980,1991.

Primrose, William. Technique Is Memory. London: Oxford University Press, 1960.

____. "Viola Forum: Lionel Tertis." American String Teacher 23 (Winter 1973): 22.

Primrose persuaded Tertis to write a few lines for ASTA. Tertis talks about his first encoun ters with the viola and with Primrose and gives advice about viola size and enlarging the viola library. ____. "Viola Forum: Two Questions from Correspondents Answered." American String Teacher 24 (Winter 1974): 36.

Primrose gives brief advice about teaching vibrato and avoiding transcriptions.

____. "Violist's Repertoire: A Rich and Grow ing Literature Proves the Viola to be Second