Viotti and the Tourte Bow, American String Teacher, Winter 1972.
Transitional Bows, American String Teacher, Summer 1974.
Bowing Articulation in the Transitional Period, The Strad, March 1979.
Reflections of a Tone Judge, Journal of the American Viola Society, 1979.
First Violin Methods Using the Tourte Bow, The Strad, February & March, 1981.
Placing the Left Thumb Correctly, American String Teacher, Summer 1984.
The Transition to the Tourte Bow and its Effect on Bowing Articulation, Journal of the American Viola Society, lecture demonstration and article, 1986.
A Most Unpleasant Break, Journal of the American Viola Society, pg4, July, 1987.
A very personal account of my devastation and recovery from a broken arm.
Viola Pedagogy: A New College Course, American String Teacher, Autumn 1989.
Let's Review: Sight Reading for String Players, American String Teacher, Winter 1993, reprinted Canadian Viola Society, Spring 1994.
Many people asked me to describe the development of sight reading skills, since I do it so often.
A Violist's Testament, Viola Society Journal, VOl. 9, 2 & 3, Winter 1993, reprinted Los Angeles Times, June 20, 1993, Australian-New Zealand Viola Society Journal, Chicago Suzuki Newsletter, etc.
Playing Musically, Strings Magazine, Nov. 1994.
A specific delineation of what it means to "play musically."
The Widening Gap Between Composer and Performer, Journal of the American Viola Society,Vol. 12 No. 3, pg23, Winter 1996.
A humorous and absolutely true account of a "premiere performance."
Teaching Viola in China, Journal of the American Viola Society ,Vol. 16 No. 1, pg27, Spring 2000.
My trip to Shanghai, an educational experience for me as well as the students.

Unpublished articles:Stokowski
A personal memoir of my early orchestral experience playing under one of the great "maestros."
All articles ©Pamela Goldsmith

Pamela Goldsmith

Pamela Goldsmith was raised in Los Angeles and attended UCLA, Mannes College of Music, and Stanford University, where she received the degree Doctor of Musical Arts. Her principal teachers were Paul Doktor, William Kroll, and William Primrose. She taught at Stanford, California State Universities Los Angeles, Fullerton, and Northridge, and the University of Southern California.
She has been a member of the American Symphony Orchestra (Stokowski), Casals Festival Orchestra, and the Lincoln Center Chamber Orchestra; she was principal viola of the Cabrillo Music Festival. Her chamber music experience includes the Group for Contemporary Music at Columbia University, Camerata String Quartet, Stanford Chamber Players, and Sitka and Sun Valley Music Festivals. She has participated in numerous first performances of contemporary music, and has presented solo recitals across the country, on radio and television.
Recently she participated as performer and lecturer in the International Viola Society Congress (Wellington, New Zealand), the International Viola d’Amore Congress (Stuttgart and England), the International Master Courses (Kapaonik, Yugoslavia), the International Music Academy (Czech Republic) and at the Shanghai Conservatory of Music.
Pam is an emeritus winner of the 'Most Valuable Player' award from the National Academy of Recording Arts and Sciences. Her viola playing has been heard on countless records, films, and television shows; she also plays the viola d'amore. She was both Vice President and Secretary of the American Viola Society. Her articles on the application of scholarly research to performance style have appeared in many journals.

Pamela Goldsmith