Viola

This article is a short dissertation on the difficulties teachers can encounter in the compilation of exercises suitable for different types of nyckelharpa and tunings, especially in the educational reality of Continental Europe, where so called “Swedish” (or "Traditional") and “Continental” versions happily coexist, and on possible solutions to such hurdles.
More infos: http://www.cadence.nyckelharpa.eu/

Dmitri Shostakovich's Viola Sonata op. 147 (1975) is a significant work of the viola repertoire and one of the composer’s masterpieces. It is Dimitri Shostakovich's last completed composition, often referred to as his swans-song. Due to the many references and symbols that can be found in the piece, it is often considered autobiographical.

D. Shostakovich composed the Sonata right before his death, and unfortunately, he has not heard it performed nor did he have a chance to work at it with performers, as he was used to do. The Viola Sonata was dedicated to Fyodor Druzhinin, violist of the Beethoven quartet and a close colleague and friend of the composer. He performed it two months after the composer's death, together with the pianist Mikhayl Muntyan on the 4th of October 1975 in a fully - packed hall. F. Druzhinin writes in his Memoirs:
"The Premiere of the Sonata was fixed for the 1st of October 1975, according to the tradition, in the Glinka Hall of the Leningrad Philharmonic. . . . [T]hey had to open the doors to the concert hall because the audience filled both the adjoining foyers. The Sonata was so powerful that it had an almost hypnotic effect on the
listeners. There was only one unoccupied seat in the hall, overflowing with flowers: Shostakovitch’s. Evgeny Aleksandrovich Mravinsky sat near it with my wife at his side. She tells me that he cried without stopping, like a child, and at the end of the sonata he was literally shaking with sobs. To speak of the sonata being a success would simply have been improper. What happened on the platform and in the hearts of the audience that night was something greater than music.
When we finished playing I held the score high over my head, directing all the applause towards the music."

I always found the relationships between composer, performer and audience in music production interesting
and important to understand. I found it extremely enriching to look at the Viola Sonata not only from the composer’s point of view but also through the eyes of Fyodor Druzhinin, its first interpreter, to form a picture of this work and the time it was written in.

In May 2014, the Library of Congress purchased an autograph manuscript of Robert Schumann's Marchenbilder, Op. 113, for viola and piano. Although details in the manuscript indicate that it likely served as the exemplar used by the engraver to create the printed edition, it is nevertheless a working copy, recording many aspects of the creative process. An examination of the manuscript offers valuable insights not only into Schumann's creative process, but also into the unique status of the work as a hybrid of character piece and multi-movement sonata, with implications for analysis and performance.

Resumo: A pesquisa aqui apresentada busca demonstrar alguns dos elementos caracteristicamente brasileiros utilizados por César Guerra-Peixe em suas obras. O trabalho buscou aspectos típicos da música nordestina e considerou estes em posterior análise das Três Peças para viola e piano. Foi possível encontrar modos, ritmos característicos, sistemas de afinação e analogias a música de rituais religiosos da região. Palavras-chave: Guerra-Peixe. Nacionalismo. Análise. Viola. Piano. Abstract: The research presented here demonstrates some of the typically Brazilian elements used by César Guerra-Peixe in his works. The study aimed to typical aspects of northeastern brazilian music and considered them in further analysis of the Três Peças (Three Pieces) for viola and piano. It was possible to find scales, typical rithms, tuning sistems and analogies to religious rituals from this region.

El capítulo aborda el papel del destacado violista, compositor y pedagogo ruso Vadim V. Borisovsky en el desarrollo de la viola y la formación de la escuela ruso-soviética. Los primeros pasos en la investigación sobre el repertorio del instrumento, la composición y los arreglos, así como las primeras generaciones de violistas y sus aportes en el contexto interpretativo y pedagógico en el panorama musical internacional.

Resumo: Este artigo tem por objetivo discutir e refletir sobre a importância dos exercícios de respiração e aquecimento (estes últimos divididos em exercícios de flexibilidade e de alongamento) aliados ao conhecimento da consciência corporal para o estudo do violino e da viola, como elementos indispensáveis a uma prática livre de tensões. A temática da pesquisa poderá contribuir, em grande medida, para o bem-estar do músico, para que, assim, possa abordar o estudo de uma forma mais saudável, com um comprometimento muito além dos simples recursos da técnica instrumental. Dessa maneira, poder-se-á alcançar uma nova percepção a fim de melhor servir à arte do violino e da viola e, por conseguinte, à arte da música. Abstract: This study aims to discuss and thought on the importance of breathing and warm up exercises (the latter being divided into flexibility and stretching exercises) along the knowledge of body awareness to the practice of the violin/viola as key elements for a tension-free instrumental playing. This research can, in a large measure, benefit the musician in order to approach an instrument's practice and performance in a healthy way, committed far beyond the simple features of instrumental technique. Thus, it can achieve a new perception in order to better serve the art of violin and viola and, therefore, the art of music.

La viola ha jugado un papel diferente respecto al violín en el desarrollo de los cordófonos, ello ha impactado también en su reconocimiento social; no obstante, su potencialidad sonora y expresiva se ha ido evidenciando a través de los siglos. Con la aparición de diferentes estilos artísticos, los compositores han utilizado el instrumento de manera creadora, ampliando sus capacidades técnico-expresivas, lo que propició un mayor nivel de preparación en los intérpretes y su habilidad en el dominio de los repertorios musicales. Ellos no sólo acogen las nuevas obras, sino que, a su vez, proyectan nuevos retos. Este trabajo tiene como objetivo reconocer el papel del romanticismo como movimiento estético en el impulso al amplio crecimiento compositivo e interpretativo de la viola, a partir de algunas composiciones para la música de cámara de Johannes Brahms. Como estrategia metodológica se combinan la revisión historiográfica, el análisis contextual y el análisis de documentos, con lo que se destaca el lugar de la viola en el conjunto instrumental, su rol protagonista y las composiciones brahmsianas para este instrumento musical.
Palabras claves: Johannes Brahms, La música de cámara romántica, La viola

El violista y compositor ruso Vadim Borisovsky tuvo un rol único en la historia de la viola. Trabajó como compositor, arreglista e investigador ampliando el repertorio de la viola lo que permitió su desarrollo como instrumento solista y de cámara. Desarrolló la laudería del instrumento.  Fue un importante promotor cultural y artístico. Como pedagogo sentó las bases para el desarrollo de una escuela de interpretación, además de exponer los principios pedagógicos y desarrollar las bases técnicas de la interpretación. Fue el creador de la escuela rusa de la viola. En este trabajo se exponen los principios de su escuela y cómo abordar la interpretación de sus obras, arreglos y transcripciones.

El presente artículo estudia los métodos de iniciación a la viola más utilizados entre el profesorado de las Enseñanzas Elementales de la provincia de Valencia. Participan en el estudio 26 profesores de 21 conservatorios públicos. El instrumento de recogida de la información ha sido el cuestionario diseñado según criterios basados en la sencillez, precisión y concreción de los 32 ítems que lo componen y la discreción y preservación del anonimato en el manejo de la información recabada. La metodología de la investigación ha sido mixta. Se ha utilizado una estrategia de complementación que combina métodos de ambas orientaciones, cuantitativa y cualitativa, ocupándose las distintas perspectivas de una parcela diferente de la realidad que se quiere investigar. Se observa cómo el profesorado conoce gran variedad de métodos y libros de iniciación a la viola, pero contrariamente realizan ejercicios previos al uso del libro de iniciación. Por otra parte, los docentes reflejan que el método de iniciación a la viola más conocido y utilizado es el de Suzuki a pesar de que la mayoría de ellos no están formados en dicho método.

En un mundo donde la ciencia y la tecnología denotan un acelerado avance, la enseñanza de la música se convierte en un desafío para los docentes instrumentistas que, en su ejercicio profesional, buscan lograr la armonía entre lo cognitivo, lo afectivo, lo técnico, lo histórico, la teoría, lo tecnológico y la didáctica del instrumento musical, a lo que se une la observación de las particularidades de los diversos instrumentos, en este caso, del violín y la viola.

Escrito em 2009, os estudos contemporâneos Viola Spaces, do compositor e violista Garth Knox, surgem em resposta à lacuna didática no ensino de técnicas estendidas. Em sua nota de performance, o autor sugere que determinado trecho do estudo n. 5 Rapid Repeat “[...] é uma boa preparação para a Sequenza VI de Luciano Berio [...]”. Esta afirmação me motivou a desenvolver a presente pesquisa. Através de uma linha ascendente que inicia com a revisão da literatura a respeito do conceito, história e performance de técnicas estendidas, passa pela descrição dos estudos contemporâneos Viola Spaces e culmina na Sequenza VI de Luciano Berio onde é abordado seus aspectos estilísticos e técnico - interpretativos.

ABSTRACT. Viola L. subsection Boreali-Americanae (W. Becker) Gil-ad (Violaceae), confined to North America including northern México, has long been considered one of the most taxonomically difficult temperate groups of the Angiosperms. A new treatment of the subsection is presented on the basis of comprehensive evaluations and integration of micromorphological, macromorphological, ecological and phytogeographical data. Speciation among the taxa of the subsection has most likely taken place through ecological adaptation, and in a number of taxa by geographic isolation. It is manifested more extensively at the micromorphological level than at the macromorphological level. The role of hybridization in the evolution of the taxa and its effects on the systematics of the subsection are evaluated.
Sixteen taxa are circumscribed as orthospecies: Viola affinis LeConte, V. brittoniana Pollard, V. cucullata Aiton, V. egglestonii Brainerd, V. fimbriatula Sm., V. missouriensis Greene, V. nephrophylla Greene, V. novae-angliae House, V. nuevo-leonensis W. Becker, V. pedatifida G. Don, V. sagittata Aiton, V. septemloba LeConte, V. septentrionalis Greene, V. sororia Willd., V. triloba Schwein., and V. villosa Walter. Two changes of rank are proposed: Viola brittoniana Pollard forma pectinata (Bicknell) Gil-ad and Viola novae-angliae House subsp. grisea (Fernald) Gil-ad. New descriptions of the characters delimiting the subsection, keys to the orthospecies at the chasmogamous and cleistogamous phases, descriptions of the orthospecies and discussions, and discussions of names that are commonly recognized as orthospecies, but are hypothesized in this treatment to represent hybrids or introgressants, are provided. A lectotype is designated for Viola subsection Boreali-Americanae. The type specimens of 15 of the 18 taxa recognized in this research have been located. Viola affinis, and V. septemloba are lectotypified by illustrations. Viola nuevo-leonensis is illustrated for the first time.

Viola L. sous-section Boreali-Americanae (W. Becker) Gil-ad (Violacées), a emprisonné à Amérique du Nord inclure Mexique du nord, a été considéré longtemps un des groupes tempérants les plus difficiles taxonomique de l'Angiosperme. Un nouveau traitement de la sous-section est présenté sur la base des évaluations compréhensives et intégration des information micromorphologique, macromorphologique, écologique, et phytogéogrphique. Speciation parmi les taxons de la sous-section a probablement a eu lieu à travers adaptation écologique, et dans plusieurs taxons par la isolation géographique. Il est manifesté plus extensivement au niveau micromorphologique qu'au niveau macromorphologique. La rôle de l'hybridation dans l'évolution des taxons et ses effets sur le systématique de la sous-section sont évalués.
Seize taxons sont circonscrits comme espèces-ortho: Viola affinis LeConte, V. brittoniana Pollard, V. cucullata Aiton, V. egglestonii Brainerd, V. fimbriatula Sm., V. missouriensis Greene, V. nephrophylla Greene, V. novae-angliae House, V. nuevo-leonensis W. Becker, V. pedatifida G. Don, V. sagittata Aiton, V. septemloba LeConte, V. septentrionalis Greene, V. sororia Willd., V. triloba Schwein., et V. villosa Walter. Deux changements du rang sont proposés: Viola brittoniana Pollard forma pectinata (Bicknell) Gil-ad et Viola novae-angliae House subsp. grisea (Fernald) Gil-ad. Descriptions nouvelles des caractères qui délimitent la sous-section, clefs aux espèces-ortho aux phases chasmogamiques et cléistogamiques, descriptions des espèces et discussions, et discussions des noms qui sont généralement reconnus comme espèces-ortho, mais sont supposés dans ce travail de représenter des hybrides ou des introgressants, sont fourni. Un lectotype est désigné pour Viola sous-section Boreali-Americanae. Les spécimens-type des 15 des 18 taxons reconnus dans cette recherche ont été déterminés. Viola affinis, and V. septemloba sont lecto-typifiés par des illustrations. Viola nuevo-leonensis est illustré pour la première fois.

The Viola Hub is a tribute to Luigi Alberto Bianchi (1945-2018), viola virtuoso, violinist, pedagogue, conductor, and scholar whose career evoked the path traced by Alessandro Rolla (1757-1841) at the Reale Conservatorio di Musica in Milan beginning in 1808, when Napoleon Bonaparte decreed that a conservatory of music be created following the Paris Conservatoire's pedagogical principles. The Viola Hub includes biographical and discographic commentaries about Bianchi and introductory notes to compositions by Rolla available in PDF free to download.

escola moderna do violão
Modern school of guitar
escuela Moderna de la guitarra
técnica do mecanismo, cordas soltas e seus exercicios, conhecimentos das primeiras notas do vioão. Open strings and their exercises, learning the first notes on the guitar, cuerdas al aire y sus ejeercicios

Violas suffered an inglorious reputation up until the 1920's, with the viola section of orchestras looked down upon as being filled with violinists of inferior ability or old violinists without the necessary facility to play the violin well anymore, so they were put in the viola section. Much of this was probably due to the fact that in sixteenth and seventeenth century

This thesis focuses on four female characters from four of William Shakespeare’s plays. The plays that I look into are The Winter’s Tale, Twelfth Night, Macbeth and Hamlet. I have analyzed these four characters through the lens of the theory of the Four Temperaments, in order to see the way many of Shakespeare’s fictional characters embody these temperaments, and although some of them can be seen as having several humoristic traits, others possess a superfluity of one particular temperament. The plays provide textual evidence that can identify these different temperaments as being apparent in the characters. I will argue that Viola is an example of the Sanguine temperament, Hermione exemplifies the Phlegmatic character, Ophelia the Melancholic temperament and Lady Macbeth is an example of the Choleric temperament.
The personality traits of these four female characters are revealed by both their actions throughout the plays, and also by several textual allusions to each of the four humors. By exploring these four characters, we become familiar with the temperaments that each character embody, and thus are able to possess a greater knowledge of the driving forces behind the many villains and heroes in Shakespeare’s dramas. In addition, the plays bring up central issues about the ideology of Early Modern English society. Although some of these plays are not necessarily set in England, they still reflect the contemporary ideology. By using psychoanalytical and feminist insights, we widen our understanding of Shakespeare’s works, the Theory of the Four Temperaments and the view of women in the Renaissance. By looking into issues like gender conventions and gender roles, we see how these characters are driven by numerous factors, not only their temperaments. Moreover, I will argue that we are able to gain insight into how Shakespeare’s view of women and gender roles expressed through the texts changes to become more complex from his earlier to his later plays.

This is a scholarly article, but at the same time a plea for an urgent rewrite of the early history of the violin, this time unhampered by prejudice and entrenched ideas. To me, this is symbolic of the world we are now fighting for: a world where truth is sought in freedom, especially when it is threatened by arguments of authority and ingrained norms.

Este trabalho tem como objetivo principal, analisar historicamente o instrumento da viola como representação da cultura caipira brasileira que, através de seus tocares e fabricantes, sobrevive e se reinventa no seio da população e continua mais forte que nunca na memória dos brasileiros. Sua presença é fato marcante de parte da população do Brasil, muitas vezes utilizada para um requinte diferencial na hora de expressar o estilo musical distinto, nascendo de uma cultura popular e ganhando o gosto dos brasileiros em novas fronteiras da música. A metodologia adotada constituiu em pesquisa bibliográfica e documental seguida de documentos, envolvendo fontes diversas como jornais, letras de músicas do cancioneiro caipira brasileiro, tratando o objeto da viola nas experiências dos sujeitos históricos abordados no estudo. Além disso, trabalhamos com depoimentos orais de alguns expoentes da música caipira regional. Ao final dos três capítulos, a viola se coloca como instrumento principal de representação musical de uma parte da população brasileira que mantêm viva a chama do caipira, o sertanejo do interior há muito tempo adormecido, mas presente no modo de vida cada vez mais urbanizados e distantes das formas de vida e sociabilidade arcaicas referenciadas nas canções.

“The viola´s technical and expressive emancipation in Portugal through its repertoire. An unprecedented historical heritage: from its origins to 1945”.

The present doctoral thesis aims mainly to study the evolution of the viola´s technical and expressive emancipation in Portugal, from it´s first known introduction in the country until 1945, analysing and charting a historical process that was hitherto unknown. In order to achieve this, previously unknown musical sources are explored, a critical analysis of it´s performative and techical features is pursued, and a historical and musicological contextualization is made through documental investigation. From this basis, the work focuses on viola practice and autonomization throughout the whole cronological period, always in correlation with field research in a performative context, connecting the discovered historic repertoire with state of the art of contemporary viola practice. Thus, in addition to the study of this uncharted process of emancipation of the instrument in Portugal, an output of unpublished historical works and of new repertoire is produced, resulting in a significant increase in the overall corpus of portuguese viola literature.

A entrada do fascismo no ano 1936 na Espanha favoreceu a extensão do terror por todos os territórios. Em Galiza as ameaças de morte e os saqueios foram intensos e sistemáticos contra a população, especialmente aquela que tinha mostrado simpatia ao regime republicano democraticamente eleito. Na cidade de Vigo, o relojoeiro lalinense e homem de cultura, Evangelino Taboada Vázquez e a sua família, instalados na cidade na década anterior, sofreram as consequências da barbárie fascista. O resultado foi a perda da totalidade dos objetos pessoais da família e do negócio. Graças ao pesquisador e amigo José Luís do Pico Orjais chegou às minhas mãos uma partitura com música do Maestro Chané (José Castro González) arranjada para grupo de plectro (bandolins, bandurras, alaúdes e guitarras) por outro maestro, Santos Rodríguez Gómez, compositor, diretor de rondalhas e coros, e professor de música que coordenou a publicação de música galega na revista Vida Gallega.

"Viola meu Bem: violas e violeiros nos sambas do Recôncavo" é fruto de 15 anos de pesquisas participativas do etnomusicólogo e produtor Cassio Nobre junto aos violeiros, sambadores e sambadeiras de diversas localidades no Recôncavo Baiano.

O trabalho aborda de forma didática a prática popular das violas pelos mestres tradicionais do samba de viola - também conhecido com samba chula. Apresenta aspectos da prática do samba de viola pelos violeiros nas rodas de sambam, mostrando como o contexto social vem transformando esta tradição musical, em especial no caso das políticas para a salvaguarda do samba de roda do Recôncavo Baiano enquanto patrimônio cultural imaterial. O projeto surge da necessidade de produção de conteúdos bibliográficos e didáticos sobre violas e violeiros no contexto do samba de roda do Recôncavo Baiano. O objetivo é fomentar, por meio de redes sociais e outras plataformas digitais, a disponibilização de resultados de pesquisas acadêmicas sobre o patrimônio cultural imaterial da Bahia, de modo que o conhecimento sobre as práticas populares possa atingir outros públicos, não restritos ao meio acadêmico.

O livro é uma adaptação, revisada e ampliada, da dissertação de mestrado "Viola nos Sambas do Recôncavo Baiano", publicada em 2008 pelo PPGMUS-UFBA. A mesma foi premiada em 2010 no Concurso Nacional de Pesquisa sobre Cultura Afro-Brasileira, Comunidades Tradicionais e Cultura Afro-Latina, realizado pela Fundação Cultural Palmares, por meio do Centro Nacional de Informação e Referência da Cultura Negra (CNIRC). 

Pesquisado e escrito por Cassio Nobre, com edição da Couraça Criações Culturais, "Viola meu Bem: violas e violeiros nos sambas do Recôncavo" conta com a orientação acadêmica das professoras doutoras Sônia Chada (UFPA) e Ângela Lühning (UFBA), apoio do CNPq e do PPGMUS-UFBA, e com a colaboração fundamental de violeiros, mestres e mestras do samba de roda.

O projeto “Viola meu bem” tem apoio financeiro do Estado da Bahia através da Secretaria de Cultura e do Centro de Culturas Populares e Identitárias (Programa Aldir Blanc Bahia / Prêmio Emília Biancardi) via Lei Aldir Blanc, direcionada pela Secretaria Especial da Cultura do Ministério do Turismo, Governo Federal.

RESUMO Neste artigo aborda-se uma visão crítica sobre a história peninsular e insular em relação aos cordofones dedilhados, especialmente focada nos termos viola e guitarra e outros derivados do grego kithara, como cistre e cítara, e nos instrumentos denominados guitarra espanhola, guitarra portuguesa, guitarra inglesa e viola francesa. Por último, relacionam-se os manuscritos insulares madeirenses para viola francesa com os recentes estudos sobre viola/guitarra na Galiza e realiza-se uma breve apresentação dos fundos musicais galegos para viola/guitarra da primeira metade do século XIX. Boa parte das informações pertencem à minha tese A guitarra na Galiza (USC) em período de redação.

ABSTRACT This article deals with a critical view on peninsular and insular history in relation to plucked chordophones, especially focused on the terms viola and guitar and others derived from the Greek kithara and on the instruments denominated Spanish guitar, Portuguese guitar, English guitar and French viola. Finally, the Madeira island manuscripts for French viola are related to the recent studies on viola/guitar in Galicia and a brief presentation of the Galician viola/guitar musical backgrounds of the first half of the 19th century. Much of the information belongs to my thesis The guitar in Galicia (USC) currently being written.

It has long been suggested in the literature that Joseph Haydn, a proficient string player in addition to his acknowledged reputation as a composer, often played the viola when he participated in the performance of his own music, or that of his colleagues. As such, it would be expected that he would have given the viola a new prominence in his string quartets, rather than relegating it primarily to an accompaniment role.
This study will examine Haydn’s use of the viola in his late string quartets (particularly opus 74 and opus 76), focusing on places where the viola is given its due as a melodic instrument, entrusted to the task of carrying important thematic material. Among the works to be discussed will be the slow movement of Opus 74, no. 1 (in which the viola and first violin share in the presentation of the main theme); the variation set from the Emperor Quartet, Opus 76, no. 3 (wherein all four performers take turns performing the famous “Gott erhalte” tune); the minuet from the same quartet, where the viola shadows the first violin’s melody in imitation in the trio section; the first movement of the Sunrise Quartet, Opus 76, no.4, where the viola, using the distinctive sound of the C string, is prominently featured in the coda; the Largo Quartet, Opus 76, no. 5, in which (once again, primarily on the C string), the viola takes the melodic lead in an imitative passage with the cello to begin the development section.
These instances, not uncommon in Haydn, will illustrate that, especially in his later years, he sought to rebalance the distribution of material within his string quartets, giving greater prominence than hitherto to the oft-neglected inner voices.

Celestial Twins ( in Hebrew תאומים שמימיים)  describes the discovery of a new phenomenon  –  the Effect of Celestial Twins (ECT) –  which demonstrates that though each human being is unique, there is fairly exact (isomorphic) matching between the biographical data of "celestial twins" (people who are born simultaneously  – on the same day of the same year). All personages in this book are well-known historical characters, such as Ernest Hemingway, Oscar Wilde, Nancy Astor, King George VI, C. G. Jung, Paul Eluard, Antonio Machado or Pablo Casals. Each of them was believed to have an unprecedented life path; and yet each person in these stories had a “twin” who had the same unique life task, used the same methods to complete it, and gained the same results. ECT challenges many long-held beliefs. It shows that the role of genes, of race, of gender and of cultural background is not as strong as supposed to be and that the factor of time of birth (Theta-factor) is not less important for shaping identity than genes or early environment. In addition, Celestial Twins is a thrilling and comprehensive ride through the cultural history of the twentieth century as it is seen through the ECT that has never been explored previously.
Significantly, Celestial Twins was followed by  The Clock of the Phoenix  (in Russian 2012 , 2104, in Hebrew 2014 - שעון הפניקס) and Time-Space in the Highly-Organized Biological Systems (in Russian 2012)  where the ECT was successfully integrated into a new approach to the time-studies in general.
Amazon Page (English version)
www.amazon.com/Celestial-Twins-The-Codes-Destiny/dp/9654943549

This research document explores teaching methods, career advice, and major influences that shaped the professional course of the violist Lynne Ramsey. Ramsey teaches viola at the Cleveland Institute of Music and is first assistant principal viola in the Cleveland Orchestra. For over thirty years, she has taught countless viola students in the US while maintaining a full-time performance career.

The introductory chapter covers Ramsey’s biographical and educational backgrounds during her time as a student of Ramon Scavelli, David Dawson, and Karen Tuttle. It is worth mentioning that Tuttle was the primary student of one of the best-known violists in history, William Primrose. Tuttle taught Ramsey Tuttle’s own interpretations of Primrose’s knowledge, and consequently, Ramsey developed her own interpretations of Tuttle’s knowledge. This document portrays these connections in relation to Ramsey’s teaching style and expertise as a viola performer and informs my conclusions in the section dedicated to career advice. The second chapter is dedicated to Ramsey’s career as a viola player and includes information about her personal preparation for orchestral auditions. The third chapter summarizes Ramsey’s teaching philosophy and teaching techniques. Finally, the fourth chapter contains Ramsey’s career advice for upcoming professional violists and viola teachers, including topics such as the misconception of talent and career paths.

The third movement (Andante) from J.S. Bach’s  (1685-1750) Sonata in G Major for Viola da Gamba and Harpsichord, BWV 1027 has been a source of controversy among a handful of editors for decades. Many editions of the sonata have been published, all disregarding the unusual, uneven slurs shown in Bach’s own manuscript.  This study compares and analyzes some of the most promising editions, some for modern viola, along with written opinions of their scholars. It also compares BWV 1027 to BWV 1039 – an earlier trio sonata for two flutes and continuo that uses the same music as BWV 1027, including the uneven slurs in the Andante. Editors choose more regular, predictable two- or four-note slurs likely because the slurs in the manuscript could be careless mistakes and because even slurs are more straightforward to the modern player. Even though most editors follow the manuscript, some more closely than others, it is evident that they all prefer to err on the side of caution and ignore Bach’s adventurous slurs.

La viola, ese maravilloso instrumento, ha sido históricamente considerada la cenicienta de la familia de la cuerda frotada; muy útil para las labores de sonorización, empaste de timbres, colores, registros, y sumamente adecuada para todo tipo de carácter en la interpretación musical. Un rasgo siempre destacable es la nobleza de este instrumento y su aporte sensible
al desarrollo humano. A pesar de la era de la electrónica, la música de cámara actual, al reutilizar este lenguaje en los instrumentos acústicos, está revalorando su significación histórica y apostándole a una civilización con una cosmovisión más compleja de las realidades estéticas a las que nos enfrentamos, desde el mismo instrumento y desde su tradición.

O presente trabalho pretende analisar o primeiro movimento da Sonata para viola e piano de Radamés Gnattali, um personagem merecedor de maior sistematização e divulgação de sua obra em estudos que associem os processos criativos com a prática musical, contribuindo para a escuta e a apreciação. Apresenta resumidamente uma visão geral sobre o compositor e a sua obra. A análise abrangeu, de um lado, a estrutura e a forma e de outro, processos harmônicos e melódicos da sonata. A peça se mostrou coesa e equilibrada.

Jacob Stainer is known as the "Father of the German violin" and his instruments were favorites of the Bach and Mozart families. They remained the most sought-after violins and violas in the world until the beginning of the 19th century. This important viola, which is one of the few surviving from the 17th century that has not been reduced in size, was acquired for the Metropolitan Museum of Art's collections in 2013. Photos, measurements and a full description of the instrument can be found in this article.

This contralto viola belongs to a set of instruments which includes two violins and a cello, named after their author and current location, “Palatine Stradivari” or “Spanish Quartet.” The fact that it is a coetaneous quartet, not facticious, is crucial and unique.

Do prólogo de Helena Marinho: "Não é apenas da história da guitarra na Galiza que este volume trata: ao longo do seu texto, Isabel Rei Samartim vai propondo diferentes perspetivas de abordar tanto o(s) instrumento(s) e seu trajeto em termos organológicos, como também outras his/estórias que lhe estão ligadas: intérpretes, compositoras/es, acervos, escolas, eventos, ou mesmo identidades sociais e locais que se foram associando a esta teia complexa desde o século XII até ao século XX".