JAVS Fall 1993

20

____. "The Teaching of Bowed Instruments from 1511 to 1756." Ph.D. diss., University ofMichigan, 1954. Rolland, Paul. The Teaching ofAction in String Playing: Developmental and Remedial Tech niques: Violin andViola. Urbana: Illinois String Research Associates, 1974.

This is a brief description of Fuch's studies, etudes and caprices and gives some ofthe teach ing merits and technical problems encountered in them. Slaughter, Robert. "Journeyman Violist." Journal of the American Viola Society 6 (Summer 1990): 3-7. An autobiography of Slaughter's productive career. Includes some of his frustrations with the current trends in viola teaching and his ideas about what is most important for a teacher to impart. Smith, G. Jean. ''An Interview with William Prim rose." The Instrumentalist35 (September 1980): 25-27. Temianka, Henri. '~Interviewwith William Prim rose." The Instrumentalist 30 (December 1985): 44-45. Primrose's ideas about left- and right-hand matters, very briefly discussed, along with con cise backgrounds on concertos written for Primrose.

Rose, Ellen C. "Teaching Spiccato." American String Teacher41 (Summer 1991): 55-58.

Specific instructions on how to prepare the student to learn spiccato followed by actual teaching techniques. Includes photographs and diagrams to demonstrate placement and move ment of the bow.

Sabin, Robert. "Primrose Discusses Study ofViola. " MusicalAmerica 25 (April 1947): 29.

Schotten, Yizhak. "Exploring Sound on the Viola." Journal ofthe American Viola Society 6 (Spring 1990): 7-11. Includes a section on ways teachers can help students use their bow wisely for good tone production. Shaw, G. Jean. "Getting a Good Tone from Begin ning Strings." American String Teacher 22 (August 1967): 46-47. A detailed outline ofimportant posture require ments a beginning string player must have in order to get good tone. Fingering, bowing and coordinating both hands are discussed. Showell, Jeffrey Adams. A Technical Pedagogy for Viola. Tucson: Arizona University Music Press, 1987. Showell tells how to use (or not use) vibrato during practice. He also gives instructions on how to practice in groupings with the metro nome for rhythmic accuracy and stability of passages. His third suggestion makes use of crossed bowing to reveal hidden problems in passages with lots of shifts and unusual intervals. Sills, David. "The Viola Music of Lillian Fuchs." American String Teacher 35 (Spring 1985): 59-61. ____. "Efficient Practicing." Journal of the American Viola Society 4 (Fall 1988): 9-13.

Tertis, Lionel. Beauty of Tone in String Playing. London: Oxford University Press, 1938.

____" Cinderella No More. London: F! Nevill, 1953.

____. My Viola and I· A Complete Autobiog raphy. London: Elek, 1974.

Thomas, Milton. "Viola Limitations are Passe." MusicJournal26 (May 1968): 24-25, 49.

Thompson, Marcus A. "A Talk with Milton Katims." American String Teacher 37 (Autumn 1987): 58-61.

In question-answer format, Katims talks of his making an edition of the Bach Suites for viola.

____. "Dear ViolaTeacher ..." American String Teacher 38 (Spring 1988): 40-46.

Thompson discusses basic questions of viola technique with Evelyn Jacobs, Martha Katz, William Preucil and Michael Tree. ____. "Paul Hindemith's DerSchwanendreher: An Appreciation." American String Teacher 37 (Summer 1987): 50-51.