‘Body Mapping for string players’ by John Crawford contains examples of body mapping for violin/viola players.
‘Looking at the double bass’ by Peter Buckoke; observations on playing the double bass, including bow grip, left arm, left hand fingers, bowing, playing near the bridge.
‘String playing and the Technique’ by Elisabeth Waterhouse; reminiscences of learning the violin, and observations on various people during the workshop playing.
‘String playing, pain and the Alexander Technique’ by Kathryn Zimmerman examines three case histories: a violinist, a viola player, and a bass player.
‘Violinist in balance’ by Crissman Taylor reports on a research project into using custom wedge-shaped rubber shoulder rest and customised chin rest in combination with having lessons in the Technique.
‘The physicality of string playing’ by Alun Thomas; on a number of games and explorations – balance games, exploring gravity, exploring the connections between the arms and the back – for physical and psychological development of string playing.
‘The Alexander Technique and the pedagogy of Paul Rolland’ by Carol P. McCullough (author, 1996).
Paul Rolland (1911-78) developed a ‘whole body’ approach to violing technique and later in life incorporated aspects of the Alexander Technique in his string pedagogy.
‘1st Year Degree’ by Anna Cashell; extracts from a 1st year student’s (violinist) Alexander diary.
‘Spontaneity in the performance of music’ by Kate Robinson; a level 2 essay by a 3rd year violin student at RCM.
See also Cello.