J.S. Bach's Treatment of the Viola: The Cantatas and Brandenburg Concertos. 1984 California State University at Long Beach in the main library. It is about 250 pages long.
Rebecca Clarke. Weg einer Komponistin Anfang des 20. Jahrhunderts. Hausarbeit, Hochschule für Musik Detmold, 1994, 75 S.
An Analysis of Technical Problems in Twentieth-Century Literature for Unaccompanied Viola: Martin E. LeBeau,1982; Doctor of Musical Arts, Temple University; University Microfilms International,1994, 159p., UMI #DA 8211206
Bartok's Viola Concerto - An Investigation of its Genesis, Reconstruction, Reception, Revision and Future Possibilities. Donald Maurice. University of Otago, Dunedin, New Zealand. Deposited in 1997 for Ph.D. Currently being prepared for publication as a book.
Pequena Suite, de Villa-Lobos, transcription for viola and piano. Ivana Orsi. State University of Campinas/São Paulo, Brazil. Currently been prepared for publication (the score). 159p. Master's dissertation.
This work transcribes for viola and piano Pequena Suite, written originally for violoncello and piano by Heitor Villa-Lobos. It is divided into four parts: INTRODUCTION, 1) ANALYSIS, 2) TRANSCRIPTION and CONCLUSION. The Introduction gives a brief explanation about the role of transcriptions in viola's repertoire and exhibits the work's plan itself. The Analysis brings to focus the Suite's structure in its micro, middle and macro aspects; a Study offers conclusions uniting the three structural levels; afterwords, a Synthesis approaches the aspects of melody, rhythm, harmony and sound in Pequena Suite. The Transcription presents its main problems and solutions (through analysis), didactical objectives of the pieces and interpretative suggestions including fingerings and bowings. The Conclusion is the complete music itself, including the viola and piano score and an independent solo viola part as well.
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The Viola: Its Foundation, Role, and Literature, Including An Analysis of the "Twelve Caprices" of Lillian Fuchs. Michael A. Palumbo, 1981, Ball State University Doctor of Arts in Orchestral Conducting
The 20th Century Composers' Approach to the Viola as a Solo Instrument and their Contributions to the Viola Repertoire. Firat Tas, 2009, Uludag University. Master's Thesis.
This study is aimed towards demonstrating the 20th century composers’ contributions to the solo viola repertoire and listing the 20th century solo viola repertoire. The question of this study is selected to be “What is the approach of the 20th century composers to the viola as a solo instrument and their contributions to the viola repertoire?” In relation to this question, five other sub-questions are examined.
The center of the study is the viola works of the 20th century. However, in order to ensure that the data collected has been laid out on a veritable foundation, all the viola works of Baroque, Classic, and the Romantic Eras are examined. Also a great deal of consideration is then given to the status of the solo viola repertoire in the 20th century; a good majority of sources available to help answer the main question has been scanned to yield the entire collection of the solo repertoire. Therefore, no examplification method is used in the research, the aim has been to encompass the center of the study entirely.
This research has been conducted in accordance with the source research model to establish the 20th century solo viola repertoire. Also interviews have been conducted with some of the experts in the field to benefit from their knowledge.
All the data which has been collected by the scanning of the related sources are analyzed and a table of the solo works of viola is then given. Starting form the Baroque Era, all the solo viola works in the subsequent eras are compared in quantity, analyzed by percentile and frequential calculations, and thus commented on. The works that are drawn to the table are classified by such qualifications as type of work, whether the work is published through printing methods, and whether the work has been recorded.
English Viola Music , 1890-1937. Thomas James Tatton, 1976, Doctor of Musical Arts, University of Illinois at Urbana-Champaign
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