1.1.3.b.supp Whole-Body Awareness in Singing
Whole-Body Awareness in Singing
When you sing, you’re not just using your throat – you’re using your whole body. Think of your body as the instrument. If you’ve ever yawned just because someone else did, you’ve felt how our brains mirror other people’s actions. This is thanks to “mirror neurons,” and they play a big role in how we learn to sing by imitation. Ever notice it’s easier to match a pitch when a teacher sings it for you, but not as easy when it’s played on a piano? That’s mirror neurons at work. They help you unconsciously copy the vocal behavior you see and hear (Mirror Neurons and Teaching Voice – International Voice Teachers of Mix). In fact, singers often perform better when singing along with a recording of a singer than with a karaoke track – the recorded singer’s voice “guides” your brain like a stencil, helping you trace the melody with your own voice (Mirror Neurons and Teaching Voice – International Voice Teachers of Mix). It’s like your brain is saying, “Oh, I feel how to do this!” even if you can’t explain it in words.
And that’s a key point: singing is as much a feeling as it is a thought. Focusing too hard on every little detail (like your tongue here, your soft palate there) can make you overthink and tense up. Great singers often talk about being in a “flow” state where they’re not analyzing every note – they’re experiencing it. This is where kinesthetic awareness comes in. Kinesthetic awareness is basically your body’s sense of itself – knowing where and how your body is moving or holding tension. In singing, being aware of sensations (like the vibrations when you hum, or the expansion of your ribs when you breathe) is super important. We learn complex skills best by doing and feeling, not by overthinking. Voice coaches often say things like “feel the buzz in your lips” or use gestures to show a concept, because those approaches talk to your body’slearning center, not just your intellectual brain (Teaching Without Words – International Voice Teachers of Mix). When you pay attention to how singing feels – the openness in your throat, the ease of your breath – you train your muscle memory. It’s a bit like riding a bike: you can’t learn it from a book; you learn it by the feel of balance. Singing is similar; it lives in your muscle memory and sensations.
Engaging your whole body also makes singing easier and more efficient. If you stand in a relaxed, aligned posture – feet grounded, knees loose, spine tall but not stiff – you create a solid foundation for your voice. Good alignment is where good singing starts, because it supports your breath and sound without strain. Imagine your body is like a scaffolding holding up your voice. With everything lined up, your lungs can expand fully and your throat can stay open, so your voice can resonate freely (Building Voices From The Ground Up!). A comfortable, tall stance literally opens up your instrument, letting you hit those big notes with less effort (Building Voices From The Ground Up!). Have you ever seen a singer reach a high note and lift their arms or adopt a wide stance? That’s not just for drama – engaging the large muscles and staying physically dynamic helps manage breath and energy. Movement can actually release tension. Some singers do little dances or use hand gestures while practicing; this isn’t random – it ties the voice to the body and keeps the mind from getting stuck in analysis-paralysis. Voice researchers have found that methods like the Feldenkrais movement exercises (a kind of gentle body awareness practice) can reduce excess muscle tension and help singers achieve an effortless, flowing sound (). In short, loose and active body = a freer, resonant voice.
All of this shows that singing isn’t just an activity from the neck up. It’s head-to-toe. Our brains are wired to learn by watching and feeling, our bodies coordinate dozens of muscles to sing, and when we let the whole system work together, we sing our best. So next time you’re practicing, remember to involve your whole self. Instead of thinking “Am I doing this right?” try feeling: “Does this feel free? Am I balanced? Where’s the resonance buzzing?” Trust your ear, trust your body, and maybe mirror a singer you love. By engaging your full body and awareness, you’ll likely find your voice feels easier, more natural, and more you.
Detailed Research Report on Full-Body Kinesthetic Awareness in Singing
Introduction
Singing is often described as a whole-body experience in both scientific literature and vocal pedagogy. Modern voice training emphasizes that efficient, healthy singing involves not only the vocal folds, but a coordinated effort of breath support, resonance tuning, and physical movement throughout the body (Building Voices From The Ground Up!). At the same time, learning to sing is a neuromuscular process – it engages brain networks for imitation, motor control, and sensory feedback. This report explores how full-body physical and kinesthetic awareness contributes to successful singing performance. Key areas include the role of mirror neurons in learning by imitation, the importance of kinesthetic awareness and motor learning principles, and how whole-body coordination (posture, breath, and movement) enhances vocal ease and resonance. Insights from expert sources – including The Vocal Athlete by LeBorgne and Rosenberg, voice scientist Ingo Titze, and organizations like NATS (National Association of Teachers of Singing) and The Voice Foundation – are incorporated to provide an evidence-based perspective.
Mirror Neurons and Vocal Learning by Imitation
One of the most fascinating discoveries in neuroscience is the existence of mirror neurons – brain cells that fire both when we perform an action and when we observe someone else performing it (Mirror Neurons and Teaching Voice – International Voice Teachers of Mix). In singing, mirror neurons are thought to underlie our ability to learn vocal skills by watching and listening to others. Vocal pedagogue Mark Baxter highlights that mirror neurons may explain common experiences in voice training. For example, a novice singer might struggle to match a pitch played on a piano (a non-living instrument), yet easily imitate the same pitch when the teacher sings it (Mirror Neurons and Teaching Voice – International Voice Teachers of Mix). The student’s brain can “mirror” the teacher’s vocal behavior even without seeing the internal mechanism of vocal folds. Baxter notes that “mirror neurons are the reason people sing better with a vocal recording than with the karaoke version” of a song (Mirror Neurons and Teaching Voice – International Voice Teachers of Mix). Hearing a singer’s voice provides the brain with a model to internalize – “the singer on the recording is unconsciously guiding their mirror neurons through the actions of the melody like a stencil guides a pencil” (Mirror Neurons and Teaching Voice – International Voice Teachers of Mix). In other words, observing or hearing another singer triggers motor patterns in the learner’s brain, essentially training the coordination needed to replicate the sound.
Research supports the idea that auditory and visual imitation can engage the brain’s motor planning areas for voice. Neuroimaging studies have identified parts of the frontal lobe (including Broca’s area) that activate both when one sings or speaks and when one listens to singing (jcn00914 621..635) (jcn00914 621..635). This mirror system likely helps singers map the sounds they hear to the movements required to produce them (jcn00914 621..635) (jcn00914 621..635). In vocal pedagogy, this translates into an emphasis on demonstration and modeling. Teachers often sing phrases for students or use exercises like call-and-response, because imitating a live voice can jump-start the learning process in ways verbal explanation cannot. NATS experts encourage teachers to model a “healthy technique” and have students watch and listen to high-quality performances, leveraging imitation as a primary mode of learning (Teaching Without Words – International Voice Teachers of Mix). Notably, mirror neuron research also highlights the importance of rapport and empathy in learning. A student who feels connected to their teacher is likely to mirror them more, creating a positive feedback loop for learning (Mirror neurons and music, part IV: mirroring vs. mimicking – Lois Svard) (Mirror neurons and music, part IV: mirroring vs. mimicking – Lois Svard). In essence, by tapping into the brain’s mirroring capacities, singers can acquire complex vocal skills more intuitively. This approach bypasses the need for the student to consciously think through every vocal adjustment – instead, much of the learning happens subconsciously through observation and imitation.
Kinesthetic Awareness and Motor Learning in Singing
Closely tied to the idea of learning by imitation is the concept of kinesthetic awareness – the internal sense of body position, movement, and tension. Singing is fundamentally a sensorimotor skill, meaning it relies on the coordinated movement of muscles guided by sensory feedback (sound, vibration, feeling of movement). Effective vocal training therefore often emphasizes feeling as much as hearing. In the book The Vocal Athlete, LeBorgne and Rosenberg describe singing as an athletic activity and stress the “kinesthetic nature of singing,” encouraging a pedagogy that is experiential (LeBorgne, Wendy D., and Marci Rosenberg. The Vocal Athlete. - Free Online Library). They advocate applying motor learning principles to voice training (LeBorgne, Wendy D., and Marci Rosenberg. The Vocal Athlete. - Free Online Library). Motor learning research tells us that skills are retained better when practice involves an awareness of results and sensory feedback, rather than just intellectual theory. As voice scientist Lynn Helding points out, knowing acoustical facts (e.g. formant frequencies) “has contributed little to our understanding of how to train” a singer (The role of kinesthesia in a pedagogy for singing. - Free Online Library). What bridges the gap is focusing on functional training – guiding singers to produce sounds and then notice the physical sensations and results, which in turn reinforces the correct technique in the motor memory (The role of kinesthesia in a pedagogy for singing. - Free Online Library) (The role of kinesthesia in a pedagogy for singing. - Free Online Library).
Kinesthetic learning in singing means the singer develops a mental catalog of sensations associated with good technique – sometimes called a “mental Rolodex” of how correct singing feels (this term appears in The Vocal Athlete, emphasizing building a memory bank of positive kinesthetic sensations). For instance, a teacher might ask a student, “Where do you feel the resonance when you sing that note?” to encourage internal awareness. Studies show that directing a performer’s focus of attention to the bodily sensations (an internal focus) or to the sound/result (an external focus) can impact motor learning. A seminal concept in motor learning is “knowledge of results” – learning is strengthened by understanding whether the desired outcome was achieved (The role of kinesthesia in a pedagogy for singing. - Free Online Library). In singing, the “result” is the sound and the feeling of ease or tension. By consciously noticing, “That felt easy and sounded clear,” a singer’s brain can more effectively repeat the successful behavior.
Notably, the conscious mind and the subconscious motor system play different roles. Vocal pedagogue Ellie Seligmann humorously notes that we teachers are trying to communicate with the “subconscious motor learning center” of the student’s brain – an area not fluent in words (Teaching Without Words – International Voice Teachers of Mix) (Teaching Without Words – International Voice Teachers of Mix). Words engage the analytical, conscious mind, which is “distinctly under-qualified for complex motor activity” like singing (Teaching Without Words – International Voice Teachers of Mix). Therefore, instructional strategies that target kinesthetic awareness often avoid over-verbalizing. Seligmann suggests using gestures and imagery instead of constant verbal instructions, precisely to keep the student in the mode of feeling and doing rather than over-thinking (Teaching Without Words – International Voice Teachers of Mix) (Teaching Without Words – International Voice Teachers of Mix). For example, a teacher might silently demonstrate a tall posture or a relaxed jaw, and the student, by observing, adjusts themselves without a complex verbal explanation. This way, the student processes the change with the same part of the brain that will execute it (the motor centers), rather than translating a verbal concept into action (Teaching Without Words – International Voice Teachers of Mix) (Teaching Without Words – International Voice Teachers of Mix). This approach helps bypass “intellectual overanalysis” by engaging kinesthetic intelligence.
In summary, kinesthetic awareness is the singer’s internal guide. Developing it means a singer can sense when the technique is right or when something is off (tension, poor breath engagement, etc.) even before a teacher says anything. It’s a form of intrinsic feedback. Cultivating this awareness through motor learning techniques – such as repetitive practice of correct sensations, use of imagery, and focus on the feeling of singing – leads to more consistent and automatic skill execution. Singing becomes more intuitive as muscle memory takes over, allowing the performer to focus on musical expression rather than micro-managing physical actions.
Whole-Body Coordination for Breath, Resonance, and Movement
The voice does not exist in isolation from the rest of the body. Whole-body coordination is essential for vocal efficiency and resonance. This includes posture and alignment, breath support involving the respiratory musculature, and even the engagement of limbs and core muscles to stabilize or free the voice. As one source succinctly puts it, “Singing is a whole body exercise” (Building Voices From The Ground Up!). Good posture provides a stable framework that supports the voice without unnecessary tension (Building Voices From The Ground Up!). For example, aligning the spine, neck, and head in an upright but relaxed position ensures that the airways are open and the breath can flow freely. A slouched posture, by contrast, can compress the ribcage and inhibit breath support ([PIIS0892199720303283.pdf](file://file-TwsZTAW9HJ89FvKbHshqaj#:~:text=Subject%E2%80%99s%20postural%20and%20room%20conditions,lungs%2C%20resulting%20with%20an%20alteration)) (e.g., sitting hunched can literally alter voice production by restricting the lungs ([PIIS0892199720303283.pdf](file://file-TwsZTAW9HJ89FvKbHshqaj#:~:text=tural%20alignment%20that%2C%20in%20turn%2C,be%20maintained%2C%20some%20works%20report))).
Numerous vocal pedagogies (Alexander Technique, Feldenkrais, Yoga for singers, Body Mapping, etc.) have been adopted into voice training to address the body’s role in singing (LeBorgne, Wendy D., and Marci Rosenberg. The Vocal Athlete. - Free Online Library). In The Vocal Athlete, LeBorgne and Rosenberg introduce various body training methods – such as the Alexander Technique and Feldenkrais Method – precisely because these methods can improve alignment, release unnecessary tension, and heighten body awareness in singers (LeBorgne, Wendy D., and Marci Rosenberg. The Vocal Athlete. - Free Online Library). The concept of tensegrity (tensional integrity) is sometimes used to describe how the body’s muscle and skeletal system must find the right balance between tension and release for optimal vocal function (e.g., enough muscle tone to support, but not so much as to constrict) (Wendy D. LeBorgne, Marci Rosenberg - Google Books.
Proper alignment has an immediate positive effect on vocal sound. When the body is vertically aligned and balanced (imagine a straight line through ears-shoulders-hips-knees-ankles), the breathing mechanism can operate without obstruction. One practical guideline from voice coaches: the body should be in a state of tonus – “toned, but not tense”(Building Voices From The Ground Up!). In this state, the singer maintains an alert, engaged musculature (so as not to be floppy or collapsed), but avoids rigid tension. Achieving this can dramatically improve resonance. With a comfortably lifted chest and an open ribcage, the lungs have room to expand fully. The throat and vocal tract can also assume an optimal shape more easily when the neck and shoulders are relaxed and the head is balanced atop the spine (often described as feeling like it’s “floating” upwards). One presentation on vocal alignment notes that a good stance “enables you to support the vocal instrument in the right position to allow maximum resonance.” (Building Voices From The Ground Up!) Singers often report that simply standing correctly can make their tone fuller and more projected, because the alignment of the resonators (throat, mouth, nasal passages) is improved.
Beyond static posture, dynamic movement of the body can enhance vocal performance. Movement helps integrate breath and voice. For instance, some voice exercises have singers swing their arms or bend knees while sustaining notes – these movements can release unconscious throat tension by occupying other muscles and by promoting a more natural breath flow. There is even research on the coordination of rhythmic body movement with vocalization: one study found that rhythmic motions (like rocking or nodding) can stabilize and improve the rhythmic consistency of vocalizations, suggesting an intrinsic coupling between body movement and voice timing (Mutual Stabilization of Rhythmic Vocalization and Whole-Body ... - PLOS). Whole-body engagement also includes facial expression and gesture, which not only convey emotion but can feedback into vocal technique. A performer who uses expressive gestures might inadvertently engage core muscles for stability or breathe more deeply in preparation for motion, indirectly aiding voice production.
From the perspective of vocal resonance, using the whole body can mean treating the body as a resonance chamber. Some voice methods speak of feeling vibrations in the chest, the mask of the face, or even imagining the body as a giant violin. While these sensations are indirect (the primary resonators are in the vocal tract), such analogies encourage singers to not “contain” their voice just to the larynx. A well-coordinated body – relaxed jaw, mobile tongue, active but unbraced abdomen, engaged legs – contributes to a free resonance. If any part of the body is overly tense (e.g. clenched jaw, raised shoulders, locked knees), it can create compensatory tension that interferes with vocal freedom. Thus, whole-body coordination is about achieving a state where all necessary muscle groups work in harmony and unnecessary tensions are released.
The Voice Foundation and NATS have consistently promoted knowledge about the body’s role in singing. For example, at Voice Foundation symposiums, workshops on somatic education techniques are common. A 2019 Voice Foundation workshop by Dr. Elizabeth Blades (a voice pedagogue) and Dr. Samuel Nelson (a Feldenkrais practitioner) demonstrated how Feldenkrais “Awareness Through Movement” lessons can alleviate excess physical tension in singers () (). The workshop description noted that performance anxiety often manifests as bodily tension, disrupting the vocal “flow state” (). By using gentle movements and cultivating kinesthetic awareness, singers learned to “perform with minimum effort and maximum efficiency” (). In particular, Feldenkrais exercises focus the mind on internal physical cues and sensations, which “offsets negative attention on feelings of inadequacy” and “enhances ‘ease of flow’” in singing (). This exemplifies how integrating whole-body awareness practices can directly improve vocal function and ease. NATS, through its journal and conferences, also disseminates best practices for body alignment and health. Articles in the Journal of Singingfrequently discuss topics like the impact of posture on breathing or the role of body mapping in voice training, reflecting a consensus that a singer’s body usage is critical to their vocal technique.
Insights from Voice Science: Ingo Titze on Biomechanical Coordination and Efficiency
No exploration of vocal efficiency is complete without mentioning Dr. Ingo Titze, a leading voice scientist known for bridging biomechanics and singing. Titze has written extensively about how the vocal system can achieve efficient vibration with minimal effort when the subsystems (breath pressure, vocal fold vibration, vocal tract resonance) are well-coordinated. One key concept Titze emphasizes is allowing the voice to find a natural balance rather than driving it with excessive force or overly specific manipulations. In a column for Journal of Singing, he described the phenomenon of self-organization in vocal mechanics. He explains that the voice is made of interacting oscillators – the left and right vocal folds, the breath flow, the acoustic resonances of the tract, etc. – which will tend to synchronize into a stable pattern if you let them () (). If a singer tries to individually control each component (e.g., consciously positioning the tongue, controlling larynx height, adjusting soft palate, all at once), it’s akin to trying to manually tune each part of a complex machine while it’s running. Instead, Titze suggests giving the system an output goal (a desired sound or ease) and allowing the body to adjust the components organically () (). He writes, “In summary, the message is: Let the vocal system organize itself. Give it the right output targets and it will find a way to get there with lots of alternative solutions.”().
For singers, this might translate to focusing on the sensation of a free, ringing tone or imitating a tonal goal, rather than tensing the muscles trying to achieve it. Titze’s principle aligns with the idea of avoiding over-intellectualization. The conscious mind might say “tighten that abdominal muscle, push more air,” but the self-organizing approach would say “imagine the sound ‘floating’ out effortlessly” or use a semi-occluded vocal tract exercise (like phonating through a straw) to induce the right conditions, then let the body figure out the coordination. In fact, Titze pioneered the use of semi-occluded vocal tract (SOVT) exercises (like straw phonation, lip trills) to help singers find optimal vocal fold vibration with less effort. These exercises physically create conditions where the breath pressure and vocal tract tuning are balanced, effectively coaxing the voice into a more efficient production without the singer having to consciously do anything except make sound. It’s a clear example of setting an external condition (phonating through a straw) and letting the vocal system adjust internally (the result is often a clearer, more resonant tone with reduced tension).
Another insight from Titze’s work is the importance of maintaining vocal fold health by not overloading them with unnecessary muscular pressure from the rest of the body. Whole-body engagement, in Titze’s view, should mean using the large muscle groups (abdomen, torso, etc.) to assist breath support in a way that frees the small, delicate muscles of the larynx from doing too much work. This balanced approach leads to vocal efficiency, often defined as achieving strong acoustic output (loudness, ring) with minimal collision force and stress on the vocal folds. Biomechanically, when posture is good and breathing is well-coordinated, subglottal pressure is managed efficiently and the vocal folds can vibrate with optimal patterns. The resonance tuning (adjusting vowels or throat shape) further amplifies sound so the singer doesn’t need to press or strain. Titze’s research underpins many modern pedagogical slogans like “sing smarter, not harder” – which essentially means get your whole instrument aligned and balanced (from breath to resonance) so that you’re not muscling your way to the high notes.
Practical Implications and Recommendations
Bringing all these concepts together, here are some key takeaways and strategies for singers and teachers to harness full-body awareness for better vocal performance:
Use Imitation as a Tool: Take advantage of mirror neurons by regularly listening to and watching skilled singers. Practicing by singing along with recordings or mimicking a teacher’s demonstration can imprint good technique in your brain (Mirror Neurons and Teaching Voice – International Voice Teachers of Mix) (Mirror Neurons and Teaching Voice – International Voice Teachers of Mix). Teachers should model desired sounds and even physical attitudes (like a tall posture or a relaxed smile) – students’ brains will subconsciously start to echo these behaviors.
Engage Kinesthetic Sense: Pay attention to how singing feels in your body. After a successful phrase, note where you felt resonance (e.g. cheekbones buzzing) or how your breath behaved. If a certain approach felt easier, memorize that feeling (Teaching Without Words – International Voice Teachers of Mix) (Teaching Without Words – International Voice Teachers of Mix). Some teachers even have students describe sensations or use gestures to indicate tension spots, keeping the learning process in the realm of movement and feeling (Teaching Without Words – International Voice Teachers of Mix) (Teaching Without Words – International Voice Teachers of Mix).
Minimize Verbal Overanalysis: If you find yourself or your student getting tied in knots trying to “think” the way to a better sound, step back. Replace technical jargon with imagery or physical analogies. For instance, instead of “Lower your larynx,” one might gently yawn or pretend to smell a rose – an indirect cue that achieves the same result without triggering analytical resistance. This keeps the subconscious motor system in charge, which is ideal for complex coordination (Teaching Without Words – International Voice Teachers of Mix) (Teaching Without Words – International Voice Teachers of Mix).
Prioritize Posture and Alignment: Before phonating, do a quick body check. Are your feet grounded and balanced? Is your spine elongated? Are your shoulders free of excess tension? A aligned body sets you up for success. Remember that alignment is about ease: toned but not tense. Even just standing tall can improve your breathing and tone noticeably (Building Voices From The Ground Up!) (Building Voices From The Ground Up!). Many singers benefit from exercises like shoulder rolls, neck stretches, or imagining a string lifting the crown of the head, to find optimal alignment.
Incorporate Movement and Whole-Body Engagement: Don’t be afraid to move when you sing. Simple movements like swaying, stepping to a beat, or using hand gestures can help synchronize your breath and reduce vocal tension. Movement can externalize some of the nervous energy and prevent it from localizing in the throat. Practices such as walking while vocalizing or gently dancing can integrate your voice with your body (plus, it prepares you for the realities of performing on stage where you may need to move and sing).
Use Somatic Techniques to Reduce Tension: Exercises from disciplines like Feldenkrais, Alexander Technique, or yoga can be extremely beneficial. For example, Feldenkrais awareness exercises might involve tiny, slow movements that release neck and jaw tension – afterwards, singers often feel a new ease in vocal production () (). Even simple deep-breathing exercises or self-massage of jaw and throat muscles can heighten body awareness and remove blocks. A relaxed body leads to a more resonant voice.
Focus on the Goal Sound (External Focus): As Ingo Titze advises, decide what you want your voice to do (a clear sustained pianissimo, a resonant ringing high note, etc.), and allow your body to experiment toward that goal () (). Rather than controlling every micro-aspect, sometimes it helps to think of the desired sound or feeling and trust your voice to find a way. This might involve using tools like semi-occluded exercises (straw phonation) or imagery (imagine your voice effortlessly filling the hall) to encourage self-organization of your technique.
By implementing these strategies, singers can more effectively integrate their entire body into their craft. Scientific and pedagogical research strongly indicates that when the body and mind are working together – the mind providing clear intent and openness to mimicry/learning, and the body providing balance, freedom, and feedback – the end result is vocal efficiency, ease, and often a more compelling performance.
Conclusion
Full-body physical and kinesthetic awareness is not a “bonus” or extra-credit aspect of singing – it is foundational to vocal success. From the neuroscience of mirror neurons facilitating imitation, to the principles of motor learning that show we learn by doing and feeling, to the biomechanics of breath and posture, every angle of research converges on a simple truth: singing is an integrated mind-body activity. Whole-body engagement helps singers avoid the trap of intellectual overanalysis by shifting focus to sensation, sound, and imagery. It aligns breath, resonance, and movement into one coordinated effort. When a singer stands with good alignment, breathes dynamically, and stays attuned to their bodily sensations, the voice can resonate freely and efficiently. In practice, this means fewer technical struggles and more artistic freedom – the singer can communicate emotion and music more directly because the technique is balanced and automatic. Both NATS and The Voice Foundation encourage this holistic understanding of voice, blending scientific insight with practical teaching. As the field of vocology (voice science) advances, we continue to learn that the best vocal performances arise when singers combine knowledge and kinesthetic intuition – essentially, when they “get out of their own way” and allow the entire body to support the voice. By embracing full-body awareness, singers can achieve a level of vocal function that feels natural, liberated, and sustainable for a lifetime of healthy singing.
Sources:
Baxter, M. (2014). Mirror Neurons and Teaching Voice. IVTOM Weekly Teaching Tip – July 20, 2014. (Mirror Neurons and Teaching Voice – International Voice Teachers of Mix) (Mirror Neurons and Teaching Voice – International Voice Teachers of Mix)
Seligmann, E. (2021). Teaching Without Words. IVTOM Blog – February 2, 2021. (Teaching Without Words – International Voice Teachers of Mix) (Teaching Without Words – International Voice Teachers of Mix)
LeBorgne, W. & Rosenberg, M. (2014). The Vocal Athlete. Plural Publishing – Book review in Journal of Singing, 2016. (LeBorgne, Wendy D., and Marci Rosenberg. The Vocal Athlete. - Free Online Library) (LeBorgne, Wendy D., and Marci Rosenberg. The Vocal Athlete. - Free Online Library)
Helding, L. (2015). “Motor Learning and Voice Training: Locus of Attention.” Journal of Singing, 72(1), 87-94. (The role of kinesthesia in a pedagogy for singing. - Free Online Library) (The role of kinesthesia in a pedagogy for singing. - Free Online Library)
Titze, I. (2021). “Self-Organization in Vocal Mechanics and Physiology.” Journal of Singing, 77(2), 233-234. () ()
Blades, E. & Nelson, S. (2019). “May the Ease Be with You” – Feldenkrais Workshop. Voice Foundation Symposium Abstracts. () ()
BABS Guild of Judges. The Power of Alignment in Singing. (n.d.) (Building Voices From The Ground Up!) (Building Voices From The Ground Up!)
Iacoboni, M. et al. (1999). “Cortical mechanisms of human imitation.” Science, 286(5449), 2526-2528. (jcn00914 621..635) (jcn00914 621..635) (Neuroscience of mirror neurons in action imitation)
Neuroimaging of Vocal Imitation. (2013). Journal of Cognitive Neuroscience, 25(4). (jcn00914 621..635) (jcn00914 621..635) (Mirror neuron system and vocal mimicry)
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