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of the Hudson Valley Philharmonic, Principal Violist of the Berkshire Opera Festival, and Violist of the Golden Williams Duo.

5 See also Emmanuella Reiter’s book and DVD set about Coordination; Emmanuella Reiter, Karen Tuttle, and Kim Kashkashian, Karen Tuttle’s heritage: the theory and practice of co-ordination , 2008. Emmanuella Reiter, Karen Tuttle’s Heritage: the theory and practice of co ordination , [s.l.]: Emmanuella Reiter, 2007. 6 Sakari Dixon Vanderveer, “Bio,” accessed April 17, 2020, https://sakaridixon.com/bio/. 7 Ibid. 8 Sakari Dixon Vanderveer, “El príncipe sombrío y los recuerdos de su niñez , ” (Tuplets Unlimited Publishing, 2011), 3. 9 “About,” Igudesman and Joo, accessed April 15, 2020, http://www.igudesmanandjoo.com/about-igudesman joo/. 10 Alexsey Igudesman, “Composer & Conductor,” accessed April 15, 2020 https://www.alekseyigudesman. com/composer-conductor. Aleksey Igudesman’s works are available through Universal Edition and Modern Works Music Publishing.

Notes

1 Irvine, Jeffrey, et al., The Karen Tuttle Legacy: A Resource and Guide for Viola Students, Teachers, and Performers (New York: Carl Fischer, 2020), 88. 2 Ibid, 95. Karen Ritscher describes “Coordination” as the label used by Tuttle to “gather all of her concepts of how to best marry musical expression with physical well-being and joy.” 3 Ibid, 96. Each of this chapter’s authors (Jeffrey Irvine, Kim Kashkashian, Michelle LaCourse, Karen Ritscher, and Carol Rodland) offers their interpretation of various aspects of “Coordination,” and how they approach it with their students. 4 Matthew Anderson Dane, “Coordinated effort: A study of Karen Tuttle’s influence on modern viola teaching” (PhD diss., Rice University, 2002).

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