The viola, its foundation, role, and literature including an analysis of the twelve caprices by Lillian Fuchs

Discussion in this document is directed toward two main areas: Chapters two, three, and four are concerned with the development of the viola as a serious musical instrument in the orchestral, chamber, and solo genres. The history of the instrument is presented on a parallel track with that of the violin, showing how the viola is similar to, and differs from the violin, with respect to the size and most importantly, playing technique. An attempt is made to show that historically there has been a lack of understanding on the part of most pedagogues concerning the subtle differences in performance technique between violin and viola. This is accomplished by a comparison of methods and studies for both instruments from the Harmonie Universelle of Mersenne through the development of the French School, including Kreutzer, Rode, Gavinies, and others. Such comparison leads the author to state that there is little which actually acknowledges the differences between playing violin and viola.The author states that the main problems between the two instruments are mostly a matter of degree with regard to such techniques as extension, shifting, finger percussion, double-stop articulations, and bowing. Such discussion leads to the conclusion that there is a need for technical studies which will provide for this above-stated degree of difference, and put the "finishing touches" on the violist's playing technique.It is the opinion of this author that such technical studies are embodied in the form of Twelve Caprices for Viola by Lillian Fuchs. These caprices were written by Miss Fuchs to help her overcome performance problems with which she was faced.Part two of this dissertation is an analysis of the Twelve Caprices. In preparing this analysis the author approached the principal problems of each hand and addressed himself to the methods for surmounting each separate problem. Each caprice is methodically analyzed in some detail, avoiding redundancy by discussing only new techniques as they occur, and not restating problems which are the same in more than one caprice.Thesis (D.A.