Online Vocal Anatomy & Physiology Resources For Singers

The internet is full of wonderful (free) resources for singers and singing teachers. But sometimes it might be difficult to filter out the “good stuff” from the massive amount of links that are being shared on social media sites like Twitter and Facebook. And unless you happen to be very organised in keeping track of your internet bookmarks, many great links tend to get lost somewhere down the road.

Here I have collected some of my favorite online resources for singing teachers and singers who want to learn more about the anatomy and physiology of the voice. The list is far from being “complete”, so if you have more quality online resources on vocal anatomy and physiology you’d like to be added to the list, please mention them in the comments below.

The resources below are listed in alphabetical order:



Anatomia is an electronic resource developed at the University of Toronto, designed to assist medical and dental students with understanding of functional human anatomy. The site is a wonderful learning tool and contains a tutorial section on the anatomy of the larynx in 3D, a digital dissection of the larynx, video laryngoscopy, and self-evaluation tests (basic and advanced levels).

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Anatomyzone is a website with free video tutorials on the anatomy and functions of the body. Especially interesting for singers and singing teachers are the 3D videos on the respiratory system, including tutorials on the ligaments, membranes, mucosa and muscles of the larynx, as well as the videos about the musculoskeletal system.


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CVT Research Site

The CVT Research Site is the number one internet resource for anyone interested in Complete Vocal Technique related voice research. Being an Authorised CVT Teacher myself, I am very excited about this site and keep referring to it a lot. The site presents the ongoing research and debate that forms CVT, and describes how CVT is being tested, discussed and developed. On the site you will find:

  • Illustrations and descriptions of the larynx and how the voice works
  • Definition of terms and a glossary
  • Sound examples from the CVT Sound Library
  • Descriptions and the sound of Neutral, Curbing, Overdrive and Edge, including the transitions between the modes
  • Description and sound of effects
  • Laryngeal recognition of the vocal modes and effects
  • Laryngograph waveform recognition of the vocal modes and effects
  • Endoscopy and high speed videos from CVT research
  • Extensive data and test results
  • CVT-related papers and proceedings
  • List of Conferences & Abstracts on CVT-related subjects presented at conferences since 1996

With the CVT research site, Complete Vocal Institute aims to make the data, research and knowledge easily accessible for everyone interested in voice research, and for anyone who wants to understand and study the human voice. The site is continued to be developed on a regular basis. A very handy feature are the notifications that readers can automatically receive whenever a page on the research site is updated. All old versions of any page will also be stored, and researchers can link to the exact version of any article or page so references can be used in scientific work.

This video gives you a little glimpse into the CVT research done by Cathrine Sadolin and Julian McGlashan:


Get Body Smart

Get Body Smart is an online human anatomy and physiology textbook. What I especially like about Get Body Smart are the tutorials with interactive animations that help you learn about the functions of the human body, and the quizzes that come in handy if you want to check your knowledge on the subjects! Although it might be tempting for singers to just study the anatomy of the larynxpharynx anrespiratory system, remember to also have a look at the functions of the rest of the body, such as the muscular system and skeletal system too. 

…it’s all connected!

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Music video: Better Man Than He by Sivu

I love this music video and keep referring to it as a vocal anatomy and physiology resource, because not only is it informative and interesting for “vocal nerds”, but it’s also connecting research with art and shows us the human instrument in action during singing. If you’re interested in learning more about the nasal passage and sound colour in singing with this video, check out a mini-lesson that I wrote inspired by the video.


Vocal Process / Build Your Own Larynx

Jeremy Fisher and Gillyanne Kayes from Vocal Process in The UK have tons of valuable resources available for singers and singing teachers. One of my favorite resources from Vocal Process is the ‘Build Your Own Tilting Larynx‘. In all its simplicity, this paper larynx can help you or your students learn many things about the larynx and its functions. The model is available as a free PDF template download, and you might also want to check out the video with building instructions:


3D View of Diaphragm

This simple video shows the movements of the diaphragm during respiration. I have found it a helpful learning aid for singers who need visual feedback or who are eager to know about the “logic” behind things:



Choosing a Vocal Method

Yesterday I gave two workshops  for the singing students of the Jazz & Pop department at ArtEZ Conservatory. The workshop was an introduction to the techniques in CVT (Complete Vocal Technique), I gave a presentation about the philosophy behind CVT, an overview of the techniques, and worked with a couple of singers individually in a masterclass. I enjoyed working with the students a lot. They were eager to try out different sounds and techniques, and asked me a lot of good questions. One of the questions that I got yesterday inspired me to write this blog post.

What made you choose to study Complete Vocal Technique instead of some other vocal method?

What a great question. Before I go ahead and answer, here is an important thing we talked about with the students yesterday:

Techniques and methods are not important, singing is!

Let’s not forget that singing technique is not a goal in itself. What is important in singing? Vocal performance is. Vocal performance is dependent on the message we deliver and the expression we use to deliver our message. Without a message and without expression, there is no vocal performance (at least no performance worth while listening to!). Tools that help us deliver our message include: interpretation, sound, rhythm, melody, and text. Vocal technique is merely a tool that helps us create the sound we want, to sing the melodies we want (or need) to sing with more ease, and so on. Vocal technique also exists to helps us keep healthy while doing this. Whenever we talk about vocal technique, it’s good to remember what its role is in the big picture.

So why all this need for vocal methods?  Why do I have to know about CVT of EVT or [singing method name here] in order to sing? I have news for you: you don’t have to!! If you want to sing, just go ahead and sing! You only need vocal technique if you are not able to sing the way you want to. Or if the way you sing brings you trouble and hoarseness and strain. Those are the only reasons you need technique. If you can produce all the sounds you want, reach all the notes you want, and you never get hoarse, you don’t have to study singing technique. You are DISMISSED!!

Different people, different approaches

Luckily there are (and have been) pedagogues and researchers who are passionate about the voice and want to find out how it works, in order to help singers solve problems that they encounter. This is a good thing. The reason there are different methods is that different researchers have been focusing on different aspects of the voice, and different pedagogues have had different philosophies about the voice and vocal pedagogy. And how great is that, because that way you can choose the approach that suits you and your personality the best. Every method also keeps developing, because research is ongoing and because teachers are all individuals that come from different backgrounds. This also means, not every teacher of a certain vocal method will be exactly the same.

Every singer and teacher has a path

After completing my Master of Music degree at the Sibelius-Academy in Helsinki, I had learned a lot about singing but still had lots of unanswered questions about the voice. This was not because my teachers were not good, but because you cannot learn everything about something during any study. I decided to go look for more answers and to keep learning. I found an approach that provided me with answers, helped me develop my own singing voice further, suited my personality and style of learning, with a pedagogy and philosophy that I liked. That approach happened to be Complete Vocal Technique, developed by Cathrine Sadolin. It is not called ‘Complete’ because of some ‘we know it all’-thought, by the way, but because it contains techniques for every style of singing and also for the speaking voice. I learned so much more than just technique in the 3-year CVT singer/teacher course at Complete Vocal Institute in Copenhagen.

But CVT is just one part of the ‘package’ that creates the teacher-me. Yes, I am an Authorized CVT Teacher, but I am most of all a vocal pedagogue. I have other things in my ‘teaching backpack’ too, some belcanto, some Estill Voice Training, music teacher training, music education approaches like Orff-Schulwerk, Kodàly and Dalcroze eurhythmics, the various music styles I have studied, my own experience as a singer, musician and performing artist, things I have learned through creativity and career coaching, from personal development courses, body-work like Alexander technique, Feldenkrais, Pilates and yoga, working in theater, etc, etc… And I keep adding new knowledge and experience to this package by working in music, staying updated on vocal pedagogy and research, communicating with teachers of other methods, working with logopedists, ENT doctors, producers, choir directors, and countless singers. I keep staying updated in the developments of CVT, and because I love to keep learning I am following workshops and courses with inspiring teachers from other methods and approaches. I don’t really see being certified in a specific method as the only defining factor in how I teach singing. It’s just one of the things that crossed my own teaching path.

Choosing a vocal method

What method should you choose then? The answer is very simple: choose what works for you. Ask questions until you get answers that you are satisfied with, and find solutions to your vocal problems. If something doesn’t work for you move on and find something that does! If you feel you want to pick and mix from different methods, go ahead and do that. And don’t waste your energy on trying to figure out (or prove) why one method is better than the other one, focus your energy on more important things such as singing!

This goes for singing teachers too. Focus on helping singers, teaching, sharing your knowledge and building bridges. Spend less time criticizing, comparing, trying to prove who is right and who is wrong, who was there first and who wasn’t. That’s waste of energy. Focus on dialogue. Share your experiences with your colleagues, communicate with teachers of other methods than the one you teach. We don’t have to agree on every detail or all the terminology. The world would be a boring place if everyone would think the same way and speak the same language. What we can agree on is that we all just want what is best for the singer. Remember that every teacher has a path, and we all share a passion for the voice and a passion for teaching. Try and share those things, instead of focusing on method names and differences. Open doors instead of closing them because of fear of the unknown or fear of competition. There is room for all of us, and we can all learn so much from each other.

©2012 Katja Maria Slotte

This article was originally published on my blog katjamariamusic in February 2012. 

On thoughts and fears and practicing

Today, in one of my vocal coaching sessions, I worked with a classical singer who is preparing for a series of concerts. One of the songs she is singing is Norma’s aria Casta Diva (by Bellini).

We had been working on fine-tuning some technical aspects of the song already before Christmas break. She is a trained singer and technically skilled. Still, she felt that some of the passages were heavy to sing and some of the high notes felt, in her own words, like she “didn’t own them”.

We had worked on economizing her breath support, as she had been using active breath support in parts of the song where she did not need to support. She had discovered the twang to be a very useful tool for her. By twanging (more) she could access the center of the mode with more ease. The notes became crystal clear, her pitching was wonderful and it seemed all so much easier.

In today’s session things were going much better thanks to her previous work. The singer was very happy about her progress. Her sound was better. The higher notes were flying out with more ease than before. But everything was not easy all the time. I asked her what it felt like. “It’s so much work!”

The problem was not that she wasn’t working enough. The problem was that she was working too much. Perhaps not even physically. But mentally. I had looked at her face while she was singing. I could see the technical concentration on her face. Not only her facial muscles, but her whole body was ‘seriously singing’. This was beautiful music. But was she enjoying herself? A thought came into my head. Maybe it was all too serious? “Smile!” I said.



Smiling is one of the tricks to access the (necessary) twang we need in order to sing the notes in the center of the mode and with more ease. She needed to be reminded of the tool she had discovered in our last session, because the technique had not become part of her muscle memory yet. But there’s more to smiling than just technical benefits. I believe smiling has a huge impact on the psychology of singing – both as a physical tool to access the twang, as well as a thought, a mental picture or state of mind.

A lot of thoughts can cross our mind while we sing a (challenging) piece of music.“There’s that high note again! That tiring passage. That place where I feel like I almost run out of breath every time I sing it. That rhythm that doesn’t just ‘sit’ quite right. And of course: I should have learned it by now!! How can I be that stupid and untalented that I’m till struggling with this…”

Have you ever caught yourself thinking or saying these kind of things to yourself while singing or practicing? I have. God knows how many times. That’s not exactly kind talk towards yourself!


Your thoughts matter!

I am not suggesting that we can magically solve technical difficulties by ‘thinking happy thoughts’. Naturally, we need to work on the correct technique. I will write more about technique in future blog posts. But for now, let’s say we have been practicing on the technical aspects like the singer I worked with today. It’s getting better and we are noticing results, and that way, we know we are doing the right things and we are on the right path. But it is still difficult.

Here are two things worth while checking:

1) Ask yourself, hand on your heart, how do I practice?

Are you experiencing difficulty because the (new) technique has not become part of your muscle memory yet? If you are practicing the right things but not noticing results, you might be rushing through the exercises.

Kenny Werner writes in his book “Effortless Mastery” about Fear-based practicing. Fear can ruin our practicing by

…rushing you through the material, rendering you unable to absorb anything. You try to cover too much ground every time you practice, barely skimming the surface of each item, then moving on. You ignore the fact that you can barely execute the material, because you have no time to notice that. After all, there’s so much to practice and so little time!

Allow yourself time to grow. (Re)-building muscle memory does not happen overnight. Yes, when performed correctly, a technique should have the desired effect right away, that way we know we are doing the right things. But it takes time to work a (new) technique into a habit.

Fear-based practicing can sabotage not only technique practice, but all other kinds of practice as well. We might rush through our runs, not being quite sure about every note we have to sing. So that one particular run will always feel a bit difficult. Or we might be rushing through rhythmically difficult passages. Every time we have to sing that specific rhythm it’s not quite right, because we have not worked it into a habit. And every time we experience the difficulty again, we end up sabotaging ourselves with more negative thoughts.




2) Are you making it (more) difficult because you think it (has to be) difficult?

Like I mentioned earlier, sometimes we are ‘beating ourselves up’ as we sing, constantly internally commenting on the things we do (technically, sound-wise, and so on). This is self-sabotage and not leading us anywhere (except to frustration).

Some singers I have worked with are beating themselves up already before they even make a sound. They imagine what the sound should come out like, and by doing this they create pressure on ‘sounding perfect’. Even if it’s just an exercise they are singing! I used to be like that myself. For every ‘not perfect sound’ that came out of my mouth, I was internally beating my head against the wall like Dobby the house elf from Harry Potter. Did that for instance make it easier to give the exercise another shot? No.

So be kind to yourself! Learn to say and think “This is unfamiliar – not difficult”. And so what if you miss a note, or if the sound that comes out of your mouth is not perfect. It’s just a note! You are still alive and well. Try to be a bit kinder towards yourself when you make ‘mistakes’, and you might find that learning becomes easier.

I’ll quote Kenny Werner again:

Mastery is available to everyone.
It’s true that it comes to some people more easily, but mastery comes to all who wait for it. The ego may taunt you with thoughts like, “You should have learned that by now”, or “You should be playing better by now”, but focused work habits, determination, and a positive outlook will compensate for talent to a surprising degree.

I can sing sounds that my Ego finds beautiful, or I can produce sounds that it’s not satisfied with. By no means am I an enlightened singer who is never tormented by negative self-talk. But I am learning one thing. The kinder I am to myself, the easier it seems to get.

Let’s return to the singer from today’s session. What happened when she smiled?

Suddenly the problems were gone. The smile might have added that necessary twang to her singing. But one thing was for sure. When she started smiling and thought about the beautiful music and lyrics she was singing, she was enjoying herself. Out went the difficult thoughts, and perhaps they were replaced by the joy of making music and some kindness towards herself. She could feel the difference, and I could both see it and hear it.




What are your experiences on these things? How important do you think the role of ‘positive thoughts’ is to practicing or performing music? Have you experienced getting stuck in fear-based practicing? Have you been sabotaging yourself with negative thoughts? What helped you get on another track?

I would love to hear your thoughts!

©2012 Katja Maria Slotte


This article was originally published in my blog katjamariamusic in January 2012


Photo credits: DarkB4Dawn, WFilmLiquidnight via Photopin

How do you practice?

In this blog post I will share some thoughts and tips on practicing singing – especially on how we practice.

1. Focus

Set a focus for your practice session. Know what you want to work on, and don’t try to work on too many things at the same time. For singers this means knowing what the ‘problem areas’ in your songs are. A singing teacher can help you find out what the cause of your issue is, give you suggestions and tools on how to solve it, and assign you exercises to practice new skills.

Let’s say, that you are experiencing wobbly endings on notes and phrases, and your singing teacher has presented you with solutions and exercises for this problem. You could start your practice session by setting ‘endings’ as a theme for your session. Set the following intention: ‘I will focus on how I finish my notes and phrases’. Then, using the tools your singing teacher has taught you, work on your endings in a focused way. Setting an intention or a focus for your session is like zooming in on a specific detail on a photo. You are aware of the whole picture, but choose for a while to look at only one part of it.

Choir directors and coaches can also choose a theme for the session or rehearsal. Examples of technique themes are: vibrato, volume, twang, raising the larynx, etc. Setting a focus also means that we are aware of not introducing too many tools or tasks at the same time. It is not effective practice to ask the singers to focus on a technique related issue, while also expecting them to focus on timing, or choir choreography.

2. Quality, not quantity

In order to get quality out of our exercises, we need to set clear goals for our practice. Whatever it is that we practice, it is better to perform simple exercises with a clear goal, than to perform many (complicated) exercises without a clear goal. This means avoiding automated “la-la-la-la exercises”, and having a look at what the intention with the exercise is.

Especially when we are introduced to a new technique or sound, it is better to sing simple exercises with less notes than to sing complicated arpeggios, intervals or scales. We need to be able to master singing one note with the new technique, before we can move on to scales, interval leaps, and so on.


Edgar Degas [Public domain], via Wikimedia Commons

Edgar Degas: La répétition de chant [Public domain], via Wikimedia Commons

3. Keep it short enough

In order to stay focused throughout your practice session, make sure the length of the session is allowing you to stay focused. Shorter and focused practice sessions with clear goals are far more effective than mindless, long practice or endless repetition of the same song or phrase. Also, when possible, try to focus your practice sessions to times of day when you have the most energy.

4. Keep track

Another way to practice effectively is to keep track of your goals and findings. If something works out, make a note of what it is that you did, so that you can return to it another time. Your “clues” are depending on your individual learning style. Some people might focus on the position of their tongue, while others focus on a mental image. Auditive learners benefit from recording their practice sessions and voice lessons, so that they can hear the difference between what works and what doesn’t.

5. Bring the exercises back to the song

Singing is not about being able to perform exercises well. Exercises are not useful, unless we are able to put the skills we learn into practice within the context of the songs we sing. Choose your exercises based on the issues you encounter in your songs, and always try out if the skills you have learned through an exercise stand the test of putting it back into the context of the song. When things don’t go like you want them to, keep track of what it is that you did or did not do. That way you can go back and correct the problem. Sometimes you might have to adjust your exercise, or the way you perform the exercise.



An Italian Family, etching by Samuel Alken after Rowlandson, 1785. Wikimedia Commons.

6. Vary practice with making music

Finally, it is important that we vary practice sessions with making music.

This is how I like to think about it: singers have a split personality of some sorts! There is a singer or an ‘artist’ in us, that wants to sing and make music because we have something to express, because it makes us feel good, because we love music, and so on. There is also another part in us – let’s call it the ‘technician’. The technician wants to practice, learn new skills and develop. It is focused on details like technique, sound, timing, intonation, and so on. These two parts need to co-exist, but they cannot be equally present all the time. Can you identify yourself in this “split personality description”?

A common reason for ineffective practice, next to not having clear enough goals, is mixing the desire to practice with the desire to make music. It might help to make a deal with yourself, and choose to say either ‘yes’ or ‘no’ to practice. Being focused when you practice means saying ‘yes’ to practice, and telling the ‘singer inside ourselves’ that it needs to step aside and allow the ‘technician’ to operate for a while.

On the other hand, give yourself permission to sometimes say a clear ‘no’ to practice. Saying ‘no’ to practice means you allow yourself to sing and make music without focusing on technique or other details. It means singing songs because you feel like singing, singing for the sake of expression. Saying ‘no’ to practice means telling the ‘technician’ inside ourselves that it has to step to the side for a while.

Also, be aware of when it is that you are saying ‘maybe’ to practice. This might happen more often than you think. ‘Maybe’ is when you are not quite clear about our intentions. It is an in-between state where a part of you ‘just wants to sing’, and a part of you wants to practice. ‘Maybe’ results in an unhappy singer, an unhappy ‘technician’, and ineffective practice. So satisfy your inner ‘technician’ with focused practice, and make your inner singer happy by making music and regularly singing your heart out!

©2012 Katja Maria Slotte


This article was originally published in Vocal Blog



Singing – a love story

There is something that connects singers, regardless of level, technical skills, musical genre, or method they study. It is the love for singing, the need of expressing themselves and connecting with others, through singing and music. That love got its beginnings somewhere. Do you remember how it all began?

My own first memories of singing are from my childhood. I did not grow up in a “musical family”, but my mother did sing while she was cooking, my grandmother used to sing for me, and both my parents did their share of singing in choirs. Singing and music played a vital part of the community I grew up in. Every day, we would sing at school, I sang in choirs and played many musical instruments. At the age of 13, I saw my first opera, an experience that felt magical and deeply touching. I felt it was something that I wanted to keep experiencing for the rest of my life. I wanted to be part of creating that experience, and tell stories that could touch other people’s souls like that opera had touched mine. And so I auditioned for the youth choir that sang in the opera production. And my singing path, that I had set foot on in my childhood, took another turn. What brought me to where I am today, and to the songs I nowadays sing, is another story – a path with many turns, some obstacles and bumps. But above all, it is a path with plenty of discoveries.



Photo credit: F-L-E-X via Photopin


Every person who loves to sing has a different path. Along that path, we all encounter obstacles. It is especially when that happens, that it is so important to connect to the love for singing that put us on that path in the first place. During my journey on my singing path, I have many times reached to connect to that “Inner Singer”(1) that I discovered in my early teens. Sometimes I lost that connection, and had to find it back. The ways of connecting back have been various, from finding meaning in my artistic work, to expanding my comfort zones vocally and musically, or even through gaining more technical knowledge and understanding of my instrument. Another aspect that has proven helpful, is learning to let go of too many expectations. It has got something to do with accepting things the way they are now, and learning to love the process instead of being fixed on an end destination. Maintaining a balance between “work” and “joy” has been equally important. Thanks to all the bumps on my own path I have learned the importance of treating that “Inner Singer” with a lot of care.

Some obstacles are related to growth. In a singing lesson, many singers tend to mostly focus on what they want to change or still need to learn. Learning new things, changing habits, building new muscle memory, and expanding your comfort zone takes time, and it can sometimes be a quite frustrating process. While working on our craft, we need to not lose sight of the joy of singing. To quote an unknown singer: “I have learned that exercises aren’t enough. Souls need to sing beautiful songs.”(2)



Photo credit: Andre w Stawarz via Photopin


Exercises are important for building our craft, though, and if you want to grow as a singer you will need to accept – and welcome – the obstacles that go paired with expanding your comfort zone. In the lessons it is not always possible to only focus on “singing for the joy of singing”. That is why I keep encouraging the singers I teach, regardless of their level, to also seek out other opportunities to sing and have fun with their voices.

For surprisingly many people, the singing lesson is the only environment in which they sing. Though the lesson can fulfill this function, it is in my opinion not desirable – or that function should at least be questioned. If a singing lesson is the only environment for singing, it means all aspects including growth and learning, joy for singing, expression and communication, and so on, have to take place in one single environment. This puts a lot of expectations on the situation, and you can also question whether it is desirable that the teacher-student relationship would be the only environment for musical communication.



Photo credit: Shavar Ross via Photopin


You could perhaps think that connecting to the joy of singing is not important for people who are singing professionally. They are already doing what they love, right? Sadly, many professionals risk falling out of love with singing, because of the various external and internal challenges that come with making your living from singing. Those challenges often take a big toll on creative inspiration, and at some point, many professional singers find themselves feeling uninspired. Some even stop singing all together because they have lost the sense of meaning in their work. Others give up professional careers because of personal or family reasons, finding themselves having to adjust to a new framework for their “Inner Singer” to operate within. For if you are a singer, you will always remain a singer, even though you would not earn your living from singing.



Photo Credit: Armando G Alonso via Photopin


Finally, connecting to your own inspiration is extremely important if you are teaching singing. Without creative inspiration and a feeling of connection with their own “Inner Singer”, teachers run the risk of falling into habits and mindless repetition, starting to dislike their work, or in the worst case even become envious of their students’ progress. There are also plenty of stories of teachers, who have tried to satisfy their own need of communicating and performing within the framework of the lesson. Such situations lead to frustration not only in the teacher – who is clearly missing another output for their artistic expression – but also in the student, who payed for a lesson and not for a concert.

I will wrap up my thoughts by quoting the famous violinist Yehudi Menuhin: “I would hate to think I am not an amateur. An amateur is one who loves what he is doing. Very often, I’m afraid, the professional hates what he is doing. So I’d rather be an amateur.” (3) Did you know that “amateur” comes from the Latin word “amare” (to love)? Perhaps that “Inner Singer” in us is an eternal amateur. Connecting with that amateur over and over again, is a lifelong pursuit for all singers, no matter what path they are on.

©2013 Katja Maria Slotte


Originally published in

1 Marilyn McCarthy uses the term “Inner singer” to describe the core identity, or the soul of the singer in Janice L. Chapman’s book “Singing and Teaching Singing: A Holistic Approach to Classical Voice” (Chapter 10: “The Teaching and Learning Partnership Part 2. The H-Factor”), 2012.

2 Originally quoted in “Singing and Teaching Singing: A Holistic Approach to Classical Voice” by Janice L. Chapman, 2012.

3 Yehudi Menuhin: Life Class (1986)