BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//Welcome to the American Viola Society! - ECPv6.15.20//NONSGML v1.0//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
X-ORIGINAL-URL:https://www.americanviolasociety.org
X-WR-CALDESC:Events for Welcome to the American Viola Society!
REFRESH-INTERVAL;VALUE=DURATION:PT1H
X-Robots-Tag:noindex
X-PUBLISHED-TTL:PT1H
BEGIN:VTIMEZONE
TZID:America/New_York
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20250309T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20251102T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20260308T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20261101T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20270314T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20271107T060000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260603T133000
DTEND;TZID=America/New_York:20260603T143000
DTSTAMP:20260411T021730
CREATED:20260207T035831Z
LAST-MODIFIED:20260307T031119Z
UID:47027-1780493400-1780497000@www.americanviolasociety.org
SUMMARY:The Few\, The Proud\, The Violas: The State of the Union
DESCRIPTION:[vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_column_text css=””] \nPresenter: Alice Sprinkle \nThis lecture provides an overview of the current state of the viola world from both practical and psycho-sociological viewpoints. This draws upon research from my PhD thesis (2026)\, which utilizes ethnographic data and a constructivist-interpretivist approach to identify and assess key issues within today’s viola world across a range of themes\, including perceptions\, repertoire\, pedagogy\, stereotypes\, jokes\, health\, identity\, personality\, instrument construction\, and more. For this study I collected data from sixty participants through interviews\, observations\, and questionnaires – including one distributed to AVS Festival attendees in 2022. The participants cover a sizeable array of perspectives\, such as young viola students\, university students\, professors\, schoolteachers\, performers\, and other key informants with unique positions in the viola community. In this lecture\, I will present each theme\, drawing upon scholarly literature alongside my own data. Where problems are identified\, I will provide potential solutions aided by this evidence. By the end of the lecture\, I will have provided a thorough picture of what our viola world is like today – much like a State of the Union address. \n\n[/vc_column_text][/vc_column][/vc_row]
URL:https://www.americanviolasociety.org/events/the-few-the-proud-the-violas-the-state-of-the-union/
LOCATION:Room 318 (Music)
CATEGORIES:Lecture
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260603T143000
DTEND;TZID=America/New_York:20260603T153000
DTSTAMP:20260411T021730
CREATED:20260207T035812Z
LAST-MODIFIED:20260307T030947Z
UID:47031-1780497000-1780500600@www.americanviolasociety.org
SUMMARY:Rethinking Bach's Cello Suites
DESCRIPTION:[vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_column_text css=””] \nPresenter:\nEdward Klorman\nBach’s Cello Suites have been central to the viola training repertoire for nearly a century. Yet many basic questions about them resist straightforward answers\, and contradictory or misleading information appears in many published sources. This presentation reports on my research findings for my book Bach: The Cello Suites. I will emphasize four questions: \n(1) What is known about when\, why\, and for which kind(s) of instrument(s) Bach conceived the suites? \n(2) How might Bach have composed the suites\, and to what extent are traces of his compositional method apparent from analysis? \n(3) Why have recent studies re-evaluated the longstanding assumption that Anna Magdalena Bach’s manuscript copy (“Source A”) should be prioritized as the most authoritative? What are the implications of new scholarship prioritizing the two later manuscript copies (“Sources C and D”)\, which have long been undervalued by both musicologists and performers? \n(4) What is known about the Cello Suites’ performance history on cello and on viola starting from the earliest documented performances (c. 1860) up through Pablo Casals’s influential tours and recordings in the first half of the twentieth century? \nIn this presentation\, I will illustrate how many longstanding assumptions about the Cello Suites are being rethought in recent scholarship. For instance\, the term “violoncello” referred to instruments of various sizes and numbers of strings\, some held between the knees\, but others held at the shoulder supported by a strap. For cellists in Bach’s orbit who held their instruments at the knees\, they more likely adopted an “underhand” bow hold (similar to that used on viola da gamba) rather than the modern “overhand” bow hold. \nIn sum\, this presentation emphasizes the variety of ways the Cello Suites have been approached over the past three centuries\, with an aim of encouraging today’s violists to adopt a spirit of open-mindedness and experimentation in their own approaches to the Cello Suites.[/vc_column_text][/vc_column][/vc_row]
URL:https://www.americanviolasociety.org/events/rethinking-bachs-cello-suites/
LOCATION:Room 321 (Music)
CATEGORIES:Lecture
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260603T153000
DTEND;TZID=America/New_York:20260603T163000
DTSTAMP:20260411T021730
CREATED:20260207T035237Z
LAST-MODIFIED:20260307T030811Z
UID:47029-1780500600-1780504200@www.americanviolasociety.org
SUMMARY:Violin to Viola: Developing an Efficient Pedagogy
DESCRIPTION:[vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_column_text css=””] \nPresenter:\nPeijun Xu\nThis research proposal presents a comprehensive approach to integrating violin and viola pedagogies that can efficiently support violinists at different proficiency levels in transitioning to violists. By adopting this approach\, students will gain professional playing and teaching abilities in both instruments\, enhancing their future career prospects as musicians and educators. \nBased on my own study and teaching experiences in transitioning from violin to viola\, I have helped different-level students do this. The proposal outlines practical strategies for leveraging the technical and musical similarities between the violin and viola\, such as posture\, bowing styles\, finger placement\, and intonation. It also addresses necessary adaptations for the viola’s larger size\, different string tension\, and deeper resonance\, emphasizing adjustments in hand positioning\, finger spacing\, and bowing techniques. These strategies are designed for easy classroom implementation\, ensuring a smooth transition for students. \nFor instance\, the presentation will demonstrate differences in violin and viola techniques for original violin and viola students\, including right-hand and left-hand techniques and clef reading. It will also cover specific repertoire and etudes that address these techniques\, organized by beginner\, intermediate\, and advanced levels. \nThe proposal advocates introducing transcribed violin works and viola-specific repertoire at appropriate learning stages\, incorporating established educational resources like the American String Teachers Association’s Certificate Advancement Program (ASTACAP). This structured framework helps assess and advance students’ skills through various proficiency levels. \nIntegrating violin and viola pedagogies facilitates smooth transitions between the instruments and enriches the student’s overall musicianship. This integration offers broader performance opportunities and a deeper understanding of string techniques\, enhancing string pedagogy with efficient strategies and developing a curated repertoire for young violists from early stages to advanced levels.[/vc_column_text][/vc_column][/vc_row]
URL:https://www.americanviolasociety.org/events/violin-to-viola-developing-an-efficient-pedagogy/
LOCATION:Room 318 (Music)
CATEGORIES:Lecture
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260603T160000
DTEND;TZID=America/New_York:20260603T163000
DTSTAMP:20260411T021730
CREATED:20260207T035232Z
LAST-MODIFIED:20260307T030545Z
UID:47033-1780502400-1780504200@www.americanviolasociety.org
SUMMARY:Integrating Pop Music and Diverse Composers into the Beginner Viola Studio
DESCRIPTION:[vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_column_text css=””] \nPresenter:\nJohanna Beaver\nToday’s young violists want to play music that reflects their world—and too often\, our teaching materials don’t. While there’s been progress in programming works by women and underrepresented composers\, studio repertoire still leans heavily on the classical canon. My students often ask for pop songs\, yet most available arrangements are awkwardly keyed\, lack accompaniment\, and fail to connect emotionally. \nThis session introduces a new teaching resource: beginner viola-friendly arrangements of pop\, jazz\, and contemporary tunes by women and underrepresented composers\, each paired with a specific technical or musical goal. Modeled on the Suzuki Book 1 sequence\, these pieces complement traditional methods while offering inclusive\, recognizable\, and motivating repertoire. \nInspired by Rachel Barton Pine’s Music by Black Composers\, the collection features clear notation\, comfortable beginner keys\, readable rhythms\, and optional piano or digital tracks—making it practical for both private and group settings. \nThe 25-minute presentation will showcase selected arrangements\, demonstrate teaching strategies\, and share the pedagogical reasoning behind each. A brief Q&A and feedback form will invite attendees to help shape the project’s next phase. \nSample works in progress:\n• “You Belong With Me” – Taylor Swift (Hooked bowing\, D major)\n• “Empire State of Mind” – Jay Z/Alicia Keys (Syncopation\, G major)\n• “What Was I Made For?” – Billie Eilish (Phrasing\, A minor)\n• “ABC” – Jackson Five (String crossings\, D major)\n• “My Shot” – Lin-Manuel Miranda (Subdivision\, 4/4) \nThis resource is about more than pop—it’s about giving every student music that feels relevant\, joyful\, and worth practicing.[/vc_column_text][/vc_column][/vc_row]
URL:https://www.americanviolasociety.org/events/integrating-pop-music-and-diverse-composers-into-the-beginner-viola-studio/
LOCATION:Room 321 (Music)
CATEGORIES:Lecture
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260604T090000
DTEND;TZID=America/New_York:20260604T100000
DTSTAMP:20260411T021730
CREATED:20260207T035200Z
LAST-MODIFIED:20260307T030336Z
UID:47093-1780563600-1780567200@www.americanviolasociety.org
SUMMARY:Starting out Suzuki: Practical tips for Utilizing the Suzuki Repertoire and Philosophy for Young Violists
DESCRIPTION:[vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_column_text css=””] \nPresenters:\nGabrielle Padilla\nMoly Wilkens-Reed\nOur session is a deep dive into Suzuki viola book 1 and the Suzuki philosophy as it applies to teaching young violists. We will discuss the benefits of subscribing to the Suzuki philosophy when teaching young violists\, teaching points for Suzuki book 1 repertoire\, complementary repertoire options\, supplemental exercises\, and viola-specific considerations for starting young beginning violists. Session participants will walk away (re)inspired for teaching “viola-littles\,” with comprehensive pedagogical breakdowns for Suzuki viola book 1 rep\, ideas for repertoire classes\, and caregiver education.[/vc_column_text][/vc_column][/vc_row]
URL:https://www.americanviolasociety.org/events/starting-out-suzuki-practical-tips-for-utilizing-the-suzuki-repertoire-and-philosophy-for-young-violists/
LOCATION:Room 321 (Music)
CATEGORIES:Lecture
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260604T100000
DTEND;TZID=America/New_York:20260604T110000
DTSTAMP:20260411T021730
CREATED:20260207T035151Z
LAST-MODIFIED:20260307T030044Z
UID:47091-1780567200-1780570800@www.americanviolasociety.org
SUMMARY:Contemporary Repertoire for the Beginning and Intermediate Student
DESCRIPTION:[vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_column_text css=””] \nPresenter:\nHannah Levinson\nThough advanced viola repertoire skews toward the 20th and 21st century\, beginning and intermediate violists are rarely offered training in contemporary harmonic\, rhythmic\, and timbral languages. This knowledge gap often leads to a lack of preparedness for traditional canonical viola literature — like works by Hindemith and Bartok — and a hesitance to explore contemporary repertoire that plays a valuable role in the relevance of classical music today. \nThe introduction of contemporary musical languages and extended techniques is not only necessary for the musical growth of today’s violist\, but is also an unparalleled tool for helping students discover their individualized musical voices. Unlike standard repertoire\, where students\nmay feel as if there is a “right” or “wrong” way of playing\, contemporary music offers a space for risk-taking and exploration. This gives beginning and intermediate students the authority to make intentional and individualized choices\, instilling an early sense of confidence in their ability to technically execute and artistically interpret any musical work. \nThis presentation offers a framework for introducing contemporary repertoire into private lessons\, with recommendations for exercises\, etudes\, and repertoire appropriate for the beginning and intermediate student. Using live demonstration and score excerpts\, this lecture will cover the pedagogical value of contemporary music for violists through repertoire by composers including Michael Kimber\, Jessica Meyer\, Scott Slapin\, Dario Duarte\, and Sakari Dixon Vanderveer. \nAttendees will leave with strategies for normalizing and incorporating contemporary music in their studio culture\, as well as ideas for level-appropriate contemporary repertoire.[/vc_column_text][/vc_column][/vc_row]
URL:https://www.americanviolasociety.org/events/contemporary-repertoire-for-the-beginning-and-intermediate-student/
LOCATION:Room 318 (Music)
CATEGORIES:Lecture
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260604T143000
DTEND;TZID=America/New_York:20260604T153000
DTSTAMP:20260411T021730
CREATED:20260207T034225Z
LAST-MODIFIED:20260307T024856Z
UID:47189-1780583400-1780587000@www.americanviolasociety.org
SUMMARY:Be Heard: How to get a good recording within your means
DESCRIPTION:[vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_column_text css=””] \nPresenter:\nDaniel Stein\nRose Wollman\nHow do we get a great recording within our budget? In a moment in history when it is easier than ever to record ourselves\, it is becoming more and more crucial to be able to understand the tools available to do this well. Students need to submit video recordings for school\, festival and competition applications. Professionals need good quality recordings to create a compelling online presence to book concerts and recruit students. We may even want to record and release an album! Today\, every smartphone comes with a camera and microphone that we can use with the click of a button. However\, these devices are not optimized for music and may not give us the results we need. \nIn this session\, violist Rose Wollman and audio / video engineer and producer Daniel Stein will discuss how to optimize the assets you already have (your cell phone and a practice room) to make a competent application recording. We will discuss things to consider starting with the standard requirements all the way to more elaborate set-ups for those wanting a higher quality result. We will also talk through the process of recording music for a commercial release\, including how to prepare. Our goal is to demystify the process and help you create the best recording you can.[/vc_column_text][/vc_column][/vc_row]
URL:https://www.americanviolasociety.org/events/be-heard-how-to-get-a-good-recording-within-your-means/
LOCATION:Room 318 (Music)
CATEGORIES:Lecture
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260604T143000
DTEND;TZID=America/New_York:20260604T153000
DTSTAMP:20260411T021730
CREATED:20260207T035433Z
LAST-MODIFIED:20260307T024824Z
UID:47095-1780583400-1780587000@www.americanviolasociety.org
SUMMARY:Bartók\, Ligeti & the Hora Lungă: The Folk Story Behind Ligeti’s Sonata
DESCRIPTION:[vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_column_text css=””] \nPresenters:\nBlake Liahona Allen\nGyörgy Ligeti’s Viola Sonata (1991–1994) draws deeply from the folk traditions of his Romanian homeland and the ethnomusicological legacy of Béla Bartók. This lecture will explore how indigenous Romanian flute traditions\, Bartók’s parlando rubato style\, and Ligeti’s lifelong emulation of Bartók converge in the sonata’s musical language—with a special focus on the first movement\, Hora Lungă. \nAttendees will trace connections between Old Hungarian and Old Romanian folk songs and Ligeti’s compositional structures\, tempi\, and stylistic choices. By identifying specific rhythmic\, structural\, and stylistic elements derived from Romanian and Hungarian sources\, participants will learn to recognize the folk traditions and instruments that influenced the sonata. The lecture will also demonstrate how an ethnomusicological context can inform interpretative choices\, enabling performers to apply this understanding to their own practice. \nThrough score excerpts\, historical imagery\, and audio/video examples\, the lecture will reveal how Ligeti incorporates the performance practices\, pitch contents\, and tuning systems of Balkan shepherd and peasant flutes\, alongside Bartók’s folk-song classifications: the bocet\, colindă\, doină\, and ceremonial dances. In doing so\, attendees will connect Bartók’s research methods to Ligeti’s compositional approaches\, deepening both historical knowledge and performance insight into one of the viola’s most iconic modern works.[/vc_column_text][/vc_column][/vc_row]
URL:https://www.americanviolasociety.org/events/bach-brain-and-bow-mileage-the-pedagogy-of-bruno-giuranna-2/
LOCATION:Room 321 (Music)
CATEGORIES:Lecture
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260605T090000
DTEND;TZID=America/New_York:20260605T100000
DTSTAMP:20260411T021730
CREATED:20260207T035347Z
LAST-MODIFIED:20260323T152126Z
UID:47147-1780650000-1780653600@www.americanviolasociety.org
SUMMARY:Wisdom from the Masters
DESCRIPTION:[vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_column_text css=””] \nPresenter:\nAndrea Houde\nAt every stage of growth through our musical lives\, it is vital to have a trusted teacher towards which to turn. The valuable insight a teacher gives us often opens up w`orlds of possibilities in playing and expression. What if you had the rare opportunity to sit down with some of our most sought-after viola professors to ask them your most burning questions about playing the viola\, teaching\, and the future of music? That is exactly what I did through interviews and observations with several master teachers including Heidi Castleman (The Juilliard School)\, Jeffrey Irvine (Cleveland Institute of Music)\, Victoria Chiang (Peabody Institute)\, and Leonard Schranze (University of Memphis and Interlochen Center for the Arts). This session will discuss the wisdom these master teachers shared that will help all of us to be the best musicians and violists possible.[/vc_column_text][/vc_column][/vc_row]
URL:https://www.americanviolasociety.org/events/wisdom-from-the-masters/
LOCATION:Room 321 (Music)
CATEGORIES:Lecture
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260605T100000
DTEND;TZID=America/New_York:20260605T110000
DTSTAMP:20260411T021730
CREATED:20260207T035333Z
LAST-MODIFIED:20260307T024231Z
UID:47143-1780653600-1780657200@www.americanviolasociety.org
SUMMARY:The Incomplete Rolla Viola Concerti
DESCRIPTION:[vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_column_text css=””] \nPresenter:\nKenneth Martinson\nThis lecture explores nine little-known viola concertos by Alessandro Rolla that survive in incomplete form\, offering a rare glimpse into both the challenges and possibilities of reconstructing lost repertoire. These works fall into three categories: four concertos with only the solo part extant (BI. 329\, 552\, 553\, 554)\, three partially completed concertos (BI. 542\, 548\, 555)\, one concerto missing its solo part\, and one with only a few missing bars (BI. 541). \nI will focus on the research and editorial process behind completing and publishing BI. 541\, 542\, 548\, and 555 with Gems Music Publications. Participants will gain insight into the detective work required to bridge gaps in manuscript sources—examining Rolla’s compositional style\, harmonic language\, and formal structures to ensure stylistic integrity. I will discuss how I identified and reconstructed missing sections\, resolved ambiguous notation\, and prepared performance-ready editions while retaining scholarly transparency. \nThe session will also address practical considerations for performers and editors facing incomplete works: determining when reconstruction is feasible\, balancing historical accuracy with modern playability\, and making editorial decisions visible to the user. Audio and score examples will illustrate the transformation from fragmentary source to complete\, performable concerto. \nAVS Festival attendees can expect to leave with: \nA deeper appreciation of Rolla’s contribution to the viola repertoire. \nA practical framework for approaching incomplete historical works. \nAwareness of newly available editions that expand the performer’s concerto options. \nBy reviving these neglected concertos\, we not only enrich the viola’s repertoire but also honor Rolla’s enduring legacy\, offering today’s violists fresh opportunities to connect with a composer whose music bridges the Classical and Romantic eras.[/vc_column_text][/vc_column][/vc_row]
URL:https://www.americanviolasociety.org/events/the-incomplete-rolla-viola-concerti/
LOCATION:Room 318 (Music)
CATEGORIES:Lecture
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260605T110000
DTEND;TZID=America/New_York:20260605T120000
DTSTAMP:20260411T021730
CREATED:20260207T035036Z
LAST-MODIFIED:20260307T024026Z
UID:47149-1780657200-1780660800@www.americanviolasociety.org
SUMMARY:Bach\, Brain\, and Bow Mileage: The Pedagogy of Bruno Giuranna
DESCRIPTION:[vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_column_text css=””] \nPresenter:\nLuca Trombetta\nThis lecture explores the influential teaching legacy of renowned violist Bruno Giuranna\, whose contributions to viola pedagogy have shaped generations of performers and teachers worldwide. Through a structured exploration of his teaching style\, technical insights\, and interpretative philosophies\, the presentation offers a comprehensive view of Giuranna’s lasting impact on the viola world. \nThe presentation will address the following key points:\n• Biography\nA brief overview of Giuranna’s life and career\, including key milestones in his development as both performer and teacher.\n• Giuranna’s Teachers\nAn exploration of the pedagogical lineage that shaped Giuranna’s own musical foundations.\n• Approaches to Right and Left-Hand Technique\nA discussion of Giuranna’s methodical approach to both hands\, focusing on how he cultivated relaxed\, efficient\, and musical playing in his students.\n• Favorite Etude Books\nInsight into the technical exercises and etude books\, Giuranna prioritizes with his students to develop both technique and musical sensibility.\n• Approaches to the Study of the Viola Repertoire\nAn overview of how Giuranna taught\, emphasizing a logical progression in the choice of repertoire from more approachable to more challenging.\n• Giuranna’s Revision of J.S. Bach’s Cello Suites arranged for Viola – Comparing the Two Editions\nA brief comparison of his two editions of the Bach cello suites arranged for viola\, highlighting how his thinking evolved and what his editorial choices reveal about the musical logic behind his choice of bowings and fingerings.\n• Interviewing Other Giuranna Students\nPersonal reflections and perspectives from former students\, offering firsthand insight into Giuranna’s teaching style\, impact\, and legacy. \nThis session will be of particular interest to violists\, teachers\, and anyone engaged in string pedagogy\, offering a nuanced portrait of one of the viola’s most important modern pedagogues.[/vc_column_text][/vc_column][/vc_row]
URL:https://www.americanviolasociety.org/events/bach-brain-and-bow-mileage-the-pedagogy-of-bruno-giuranna/
LOCATION:Room 321 (Music)
CATEGORIES:Lecture
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260605T133000
DTEND;TZID=America/New_York:20260605T143000
DTSTAMP:20260411T021730
CREATED:20260207T034951Z
LAST-MODIFIED:20260331T201140Z
UID:47145-1780666200-1780669800@www.americanviolasociety.org
SUMMARY:Recurring Rhythmic Motives and Character Creation in Margi Griebling-Haigh’s Bocadillos Panoramicos
DESCRIPTION:[vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_column_text css=””] \nPresenter:\nBrightin Rose Schlumpf\nMargi Griebling-Haigh’s Bocadillos Panoramicos (2000) for viola and piano\, written for her sister\, is a four-movement work inspired by the sisters’ travels to New Mexico. The third movement\, La Perrita Fanimál (“The Little Dog Fanny”)\, portrays the lively personality of Karen’s border collie through rapid meter shifts and recurring rhythmic motives. This lecture explores how Griebling-Haigh’s patterned alternation of meters—4/4\, 5/8\, 3/4\, 5/8\, and 2/4—paired with distinct rhythmic articulations\, creates musical “characters” that guide both performer interpretation and audience perception. \nThrough detailed examination of mm. 1–35\, where nine meter changes occur\, I analyze four principal motives and their recurrence across the movement. IOI (interonset interval) analysis and graphical data illustrate contrasts between regular and irregular rhythmic structures\, highlighting how irregularity (notably in the 5/8 motive) marks shifts in character. Motives 1–3 display consistent length and meter associations\, fostering predictability; the 2/4 motive\, by contrast\, is metrically less consistent and often signals a change in dramatic focus. \nThe movement’s climax arrives with an extended 3/4 waltz (motive 5)\, representing the dog “waltzing off to sleep.” This departure from the established metric pattern underscores the narrative arc\, emphasizing the composer’s nuanced balance between predictability and surprise. \nBeyond meter and rhythm\, Griebling-Haigh’s use of articulation—staccatos\, accents\, ties—reinforces the canine imagery\, from playful leaps to disciplined trots. By establishing and subtly varying these rhythmic-metric identities\, she offers the violist a framework for shaping interpretation through physical gesture\, bowing choices\, and phrasing. \nThis presentation will combine score excerpts\, rhythmic analyses\, and audio examples to demonstrate how metric patterning in La Perrita Fanimál serves as a vehicle for character creation. The session will also situate Griebling-Haigh’s work within broader rhythmic theory\, drawing connections to Godfried Toussaint’s concepts of regularity and irregularity\, and will invite discussion on interpretive strategies for performers engaging with complex metric landscapes.[/vc_column_text][/vc_column][/vc_row]
URL:https://www.americanviolasociety.org/events/recurring-rhythmic-motives-and-character-creation-in-margi-griebling-haighs-bocadillos-panoramicos/
LOCATION:Room 318 (Music)
CATEGORIES:Lecture
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260605T143000
DTEND;TZID=America/New_York:20260605T153000
DTSTAMP:20260411T021730
CREATED:20260209T012638Z
LAST-MODIFIED:20260307T023425Z
UID:47623-1780669800-1780673400@www.americanviolasociety.org
SUMMARY:The IVS Audio Database
DESCRIPTION:[vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_column_text css=””] \nPresenter:\nSherry Grant\nThe IVS Audio Database\, developed by the International Viola Society in collaboration with Music4Viola\, is a growing online platform dedicated to rare and lesser-known works for viola and piano—particularly from the Romantic and Post-Romantic eras. Generously supported by Hansruedi Graef (Music4Viola.info and Viva Viola edition)\, this project aims to bring forgotten repertoire back to life through high-quality\, freely accessible recordings. \nThe idea emerged from the need to support violists—especially students—in exploring unfamiliar works without the barrier of unavailable or commercial recordings. Many pieces remain unplayed simply because they lack audio references. The IVS Audio Database fills this gap by offering recordings classified by difficulty\, length\, and theme\, allowing users to easily discover suitable repertoire for study\, performance\, or research. \nThe platform also provides curated lists\, helping users navigate the collection by composer\, historical period\, or thematic focus. A video trailer demonstrates how to explore the database and how to contribute. \nWe warmly invite violists around the world to participate by submitting their own recordings—live or studio—of lesser-known works. Recordings must be free of copyright\, but don’t need to be commercial productions. Quality live performances are welcome. \nThis is a collaborative project\, intended to grow through global contributions from students\, professionals\, and viola societies. It not only enriches the available repertoire but also strengthens our shared musical heritage. \nJoin us at InternationalViolaSociety.com/audiodatabase/ as we expand access to the viola’s rich and diverse legacy.[/vc_column_text][/vc_column][/vc_row]
URL:https://www.americanviolasociety.org/events/the-ivs-audio-database/
LOCATION:Room 321 (Music)
CATEGORIES:Lecture
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260606T090000
DTEND;TZID=America/New_York:20260606T100000
DTSTAMP:20260411T021730
CREATED:20260207T034252Z
LAST-MODIFIED:20260307T022914Z
UID:47191-1780736400-1780740000@www.americanviolasociety.org
SUMMARY:AVSF David Dalton Research Competition Winners Lecture: Emerging Scholar Artists
DESCRIPTION:[vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_column_text css=””] \nPresenters:\nKylie Baird\nNamgon Lee\nEmerging Scholar Artists present their award-winning research in this special lecture recognizing the winners of the David Dalton Research Competition. These presentations highlight new scholarship\, perspectives\, and discoveries that deepen our understanding of the viola\, its repertoire\, and its history. Attendees are invited to engage with the next generation of scholars whose work contributes to the ongoing growth and vitality of the viola community.[/vc_column_text][/vc_column][/vc_row]
URL:https://www.americanviolasociety.org/events/avsf-david-dalton-research-competition-winners-lecture-emerging-scholar-artists/
LOCATION:Room 321 (Music)
CATEGORIES:Lecture
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260606T133000
DTEND;TZID=America/New_York:20260606T143000
DTSTAMP:20260411T021730
CREATED:20260207T034156Z
LAST-MODIFIED:20260307T022134Z
UID:47193-1780752600-1780756200@www.americanviolasociety.org
SUMMARY:May the Music Never End: Medicine for Musicians
DESCRIPTION:[vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_column_text css=””] \nPresenter:\nDr. François DeAsis\, DO\nIt is no secret that musicians will inevitably experience some type of physical injury over the course of their careers. However\, when these occur\, it can be difficult to know who to turn to for proper advice. Performing Arts Medicine is small field in medicine dedicated to supporting the health and wellbeing of performing artists. Because it is rather small\, many performers are either not aware it exists or have minimal exposure to it. In this lecture/workshop\, I will briefly introduce the audience to performing arts medicine\, how to find healthcare professionals within the field\, and the ways we can help. Then\, I will give an overview of the most common types of injuries that musicians experience\, how to recognize them\, and when to seek a healthcare professional. My philosophy is centered around preventative care\, and so for final part\, I will discuss straightforward strategies that musicians can implement into their own daily routines and share with their studios in order to reduce the risk of injury. There will also be an interactive portion\, where I teach the audience a simple and quick exercise band warmup routine for string players.[/vc_column_text][/vc_column][/vc_row]
URL:https://www.americanviolasociety.org/events/may-the-music-never-end-medicine-for-musicians/
LOCATION:Room 321 (Music)
CATEGORIES:Lecture
END:VEVENT
END:VCALENDAR