‘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.
‘Violinist in balance’ by Gilles Rullmann on using the dual approach of the Technique and providing customised equipment (chin rest, shoulder rest) for violin and viola players.
‘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. 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.