Overtone singing, also known as overtone chanting, or harmonic singing, is a type of singing in which the singer manipulates the resonances (or formants) created as air travels from the lungs, past the vocal folds, and out the lips to produce a melody.

The partials (fundamental and overtones) of a sound wave made by the human voice can be selectively amplified by changing the shape of the resonant cavities of the mouth, larynx and pharynx. This resonant tuning allows the singer to create apparently more than one pitch at the same time (the fundamental and a selected overtone), while in effect still generating a single fundamental frequency with his/her vocal folds.

Another name for overtone singing is ''throat singing'', but that term is also used for Inuit throat singing, which is produced differently.

Asia

Mongolia

It is believed the art of throat singing has originated from south western Mongolia in today's Khovd and Govi-Altai region. Today, throat singing is found throughout the country and Mongolia is often considered as the most active place of throat singing in the world. The most commonly practiced style, Khöömii (written in Cyrillic as Хөөмий), can be divided up into the following categories..

uruulyn / labial khöömii

tagnain / palatal khöömii

khamryn / nasal khöömii

bagalzuuryn, khooloin / glottal, throat khöömii

tseejiin khondiin, khevliin / chest cavity, stomach khöömii

turlegt or khosmoljin khöömii / khöömii combined with long song

Mongolians also sing many other styles such as "karkhiraa" (literally "growling") and "isgeree".

Many of these styles are also practiced around neighboring regions such as Tuva and Altai.

Tuva

Tuvan throat singing is practiced by the Tuva people of southern Siberia. The history of Tuvan throat singing reaches very far back . There is a wide range of vocalizations, including Sygyt, Kargyraa (which also uses a second sound source), Khoomei, Chylandyk, Dumchuktaar, and Ezengileer. Most of these styles are closely related to the styles and variations in neighboring Mongolia.

Altai and Khakassia

Tuva’s neighbouring states, the Altai Republic to the west, and Khakassia to the northwest, have developed forms of throat singing called ‘’kai’’, or ‘’khai’’. In Altai, this is used mostly for epic poetry performance, to the accompaniment of topshur. Altai narrators ("kai-chi") perform in kargyraa, khöömei and sygyt styles, which are similar to Tuvan. They also have their own style, a very high harmonics, emerging from kargyraa. Variations of kai are called karkyra, sybysky, homei and sygyt. The first well-known kai-chi was Kalkin.

Chukchi Peninsula

The Chukchi people of Chukchi Peninsula in the extreme northeast of Russia also practice a form of throat singing.

Tibet

Tibetan Buddhist chanting is a sub-genre of throat singing. Most often the chants hold to the lower pitches capable in throat singing. Various ceremonies and prayers call for throat singing in Tibetan Buddhism, often with more than one monk chanting at a time. There are different Tibetan throat singing styles, such as Gyuke (Tibetan: རྒྱུད་སྐད་, Wylie: rgyud skad) - style with the lowest pitch of voice; Dzoke (Tibetan: མཛོད་སྐད་, Wylie: mdzod skad) and Gyer (Tibetan: གྱེར་, Wylie: gyer).

Uzbekistan and Kazakhstan

The oral poetry of Kazakhstan and the Uzbek region of Karakalpakstan sometimes enters the realm of throat singing.

Pakistan

Balochi Nur Sur is still a popular and one of the ancient form of Overtone singing in parts of Pakistan, Iran and Afghanistan espcially in the Sulaiman Mountains.

Hokkaido

The Ainu of Hokkaidō, Japan, once practiced a type of throat singing called rekuhkara, which has since become extinct. The last singer of rekuhkara died in 1976, but some recordings exist.

Europe

Sardinia

In the Barbagia area on the island of Sardinia (Italy), one of the two different styles of polyphonic singing is marked by the use of a throaty voice. This kind of song is called ''a tenore''. The other style, known as ''cuncordu'', does not use throat singing. A tenore is practiced by groups of four male singers each of whom has a distinct role; the ''oche'' or ''boche'' (pronounced or , "voice") is the solo voice, while the ''mesu oche'' or ''mesu boche'' ("half voice"), ''contra'' ("against") and ''bassu'' ("bass") – listed in descending pitch order – form a chorus (another meaning of ''tenore''). Oche and mesu oche sing in a regular voice, whereas contra and bassu sing with a technique affecting the larynx. In 2005, Unesco classed the canto a tenore among intangible world heritage. Among the most well known groups who perform a tenore are Tenores di Bitti, Tenores de Orosei, Tenores di Oniferi and Tenores di Neoneli.

Northern Europe

The Sami people of the northern parts of Sweden, Norway, Finland and the Kola Peninsula in Russia, have a singing genre called yoik. While overtone techniques are not a defining feature of yoik, individuals sometimes utilize overtones in the production of yoik.

Bashkortostan

The Bashkirs of Bashkortostan have a style of overtone singing called ''özläü'' (sometimes spelled ''uzlyau''; Bashkort Өзләү), which nearly died out. In addition, Bashkorts also sing uzlyau while playing the kurai, a national instrument. This technique of vocalizing into a flute can also be found in folk music as far west as the Balkans and Hungary.

North America

Inuit

The resurgence of a once-dying Inuit tradition called katajjaq is currently under way in Canada. Inuit throat singing was a form of entertainment among Inuit women while the men were away on hunting trips. It was an activity that was primarily done by Inuit women, though men also did it. In the Inuit language Inuktitut, throat singing is called katajjaq, pirkusirtuk or nipaquhiit depending on the Canadian Arctic region. It was regarded more as a type of vocal or breathing game in the Inuit culture rather than a form of music. Inuit throat singing is generally done by two individuals but can involve four or more people together as well. In Inuit throat singing, two Inuit women would face each other either standing or crouching down while holding each other's arms. One would lead with short deep rhythmic sounds while the other would respond. The leader would repeat sounds with short gaps in between. The follower would fill in these gaps with her own rhythmic sounds. Sometimes both Inuit women would be doing a dance like movement like rocking from left to right while throat singing. The practice is compared more to a game or competition than to a musical style. In the game, Inuit women sit or stand face-to-face and create rhythmic patterns.

Texas

Blind Willie Johnson is not a true overtone singer, according to the National Geographic, but his ability to shift from guttural grunting noises to a soft lullaby is suggestive of the tonal timbres of overtone singing.

Africa

South Africa

Xhosa women of South Africa have a low, rhythmic style of throat-singing called ''eefing'' that is often accompanied by call-and-response vocals.

Non-traditional styles

Canada, United States and Europe

The 1920s Texan singer of cowboy songs, Arthur Miles, independently created a style of overtone singing, similar to sygyt, as a supplement to the normal yodelling of country western music.

Starting in the 1960s, some musicians in the West either have collaborated with traditional throat singers or ventured into the realm of throat singing and overtone singing, or both. Some made original musical contributions and helped this art rediscover its transcultural universality. As harmonics are universal to all physical sounds, the notion of authenticity is best understood in terms of musical quality. Musicians of note in this genre include Collegium Vocale Köln (who first began using this technique in 1968), Michael Vetter, David Hykes, Jim Cole, Ry Cooder, Paul Pena (mixing the traditional Tuvan style with that of American Blues), Steve Sklar and Kiva (specializing in jazz/ world beat genres and composing for overtone choirs). Composer Baird Hersey and his group Prana with Krishna Das (overtone singing and Hindu mantra), Canadian songwriter Nathan Rogers has become an adept throat singer and teaches Tuvan Throat Singing in Winnipeg, Manitoba.

Paul Pena was featured in the documentary Genghis Blues which tells the story of his pilgrimage to Tuva to compete in their annual throatsinging competition. The film won the documentary award at the 1999 Sundance Film Festival, and was nominated for an Oscar in 2000.

Tuvan singer Sainkho Namtchylak has collaborated with free jazz musicians such as Evan Parker and Ned Rothenberg. Lester Bowie and Ornette Coleman worked with the Tenores di Bitti, and Eleanor Hovda has written a piece using the Xhosa style of singing. DJs and performers of electronic music like The KLF have also merged their music with throat singing, overtone singing, or with the theory of harmonics behind it.

A capella singer Avi Kaplan also exhibited overtone singing during his group's( Pentatonix ) performances. He merged throat singing together with dubstep a capella.

In Ireland Anúna have revived a technique of overtone chanting mentioned in the 8th century manuscript Cath Almaine, the technique uses one held drone with a shifting three or four note overtone series. Expert pitched overtone performer Aengus Ó Maoláin joins Anúna on several numbers.

Several contemporary classical composers have incorporated overtone singing into their works. Karlheinz Stockhausen was one of the first, with Stimmung in 1968. "Past Life Melodies" for SATB chorus by Australian composer Sarah Hopkins (b. 1958) also calls for this technique. In ''Water Passion after St. Matthew'' by Tan Dun, the soprano and bass soloists sing in a variety of techniques including overtone singing of the Mongolian style.

India

Ethnomusicologist John Levy recorded a Rajasthani singer utilizing overtones in imitation of either a jaw harp or a double-flute. There is no tradition of this style of singing there.

See also

Human voice

List of overtone musicians

Notes

References

Bandinu, Omar (2006). "Il canto a tenore: dai nuraghi all'Unesco", ''Siti'' 2, no.3 (July–September): 16–21.

Bellamy, Isabel, and Donald MacLean (2005). ''Radiant Healing: The Many Paths to Personal Harmony and Planetary Wholeness''. Buddina, Queensland (Australia): Joshua Books. ISBN 0-9756878-5-9

Haouli, Janete El (2006). ''Demetrio Stratos: en busca de la voz-música''. México, D. F.: Radio Educación—Consejo Nacional para la Cultura y las Artes.

Levin, Theodore C., and Michael E. Edgerton (1999). "The Throat Singers of Tuva". ''Scientific American'' 281, no. 3 (September): 80–87.

Levin, Theodore, and Valentina Süzükei (2006). ''Where Rivers and Mountains Sing''. Bloomington: Indiana University Press. ISBN 0-253-34715-7.

Pariser, David, and Enid Zimmerman (2004). "Learning in the Visual Arts: Characteristics of Gifted and Talented Individuals," in ''Handbook of Research and Policy in Art Education'', Elliot W. Eisner and Michael D. Day (editors). Lawrence Erlbaum Associates. p. 388. ISBN 978-0-8058-4972-1.

Saus, Wolfgang (2004). ''Oberton Singen''. Schönau im Odenwald: Traumzeit-Verlag. ISBN 3-933825-36-9 (German).

Titze, Ingo R. (1994). ''Principles of Voice Production''. Englewood Cliffs, NJ: Prentice Hall. ISBN 978-0-13-717893-3 Reprinted Iowa City: National Center for Voice and Speech, 2000. (NCVS.org) ISBN 978-0-87414-122-1 .

Titze, Ingo R. (2008). "The Human Instrument". ''Scientific American'' 298, no. 1 (July):94–101. PM 18225701

Tongeren, Mark C. van (2002). ''Overtone Singing: Physics and Metaphysics of Harmonics in East and West''. Amsterdam: Fusica. ISBN 90-807163-2-4 (pbk), ISBN 90-807163-1-6 (cloth).

Sklar, Steve (2005). "Types of throat singing" ""

External links

Overtone singing in a water tower - Jim Cole & Spectral Voices

Audio samples of overtone and throat singing

Ken-Ichi Sakakibara Overtone singing research.

Harmonic singing vs. normal singing – acoustical measurements and explanation

Scientific American: The Throat Singers of Tuva

Types of Throat Singing with Tips /Tuvan Throat-Singing by Steve Sklar

Observation of the Laryngeal Movements for Throat Singing: Vibration of two pairs of folds in human larynx

Audio samples of throat singing

www.overtonesinging.com Overtone Singing with Rollin Rachele

Tuva throat singers on Flickr

Kiva's audio samples and information on overtone singing

Read in Serbian on muzickacentrala.com

Chukchi throat singing (Zoïa Tagrin'a, Olga Letykaï)

Overtone singing music

Category:Inuit music Category:Throat singing Category:Tuvan music Category:Mongolian music Category:Singing techniques

cs:Alikvotní zpěv da:Strubesang de:Obertongesang es:Canto difónico eu:Kantu armoniko fr:Chant diphonique it:Canto armonico he:שירת צלילים עיליים lt:Virštoninis dainavimas li:Baovetoeënzaank mn:Хөөмэй nl:Boventoonzang nds-nl:Strötsingen ja:喉歌 nn:Strupesong pl:Śpiew alikwotowy pt:Canto difônico ru:Горловое пение fi:Kurkkulaulu sv:Strupsång tt:Бугаз җырлавы uk:Горловий спів zh:卡基拉

Michael Vetter (born 18 September 1943) is a German composer, novelist, poet, performer, calligrapher, artist, and teacher.

Biography

Vetter was born in Oberstdorf in the Allgäu region of Germany, and received a conventional school education. He adopted the recorder as his preferred instrument, and began experimenting in the late 1950s with its timbres and techniques, such as multiphonics and microtones. He inspired composers such as Louis Andriessen, Will Eisma, and Rob du Bois in the Netherlands, Sylvano Bussotti in Italy, and Mauricio Kagel and Karlheinz Stockhausen in Germany to use the instrument in their compositions. His technical discoveries were codified in a text, ''Il flauto dolce ed acerbo'' (The Sweet and Sour Flute, 1969), which included tables of some 2000 fingerings (Lasocki 2001; O’Loughlin 1982, 37; O’Kelly 1990, 59 and 99–100).

He began studying philosophy and theology in 1964, while conrtinuing his career as a performer. In 1967 he began composing graphically and verbally notated music, and beginning in 1968 turned to writing experimental/improvisational vocal music for children (Stockhausen and Vetter 1996, 94 and 97).

From March to September 1970, together with nineteen other musicians, he performed works by Stockhausen (including ''Hymnen'', ''Spiral'', ''Pole'', and ''Aus den sieben Tagen '') in the spherical auditorium of the German Pavilion at Expo '70 in Osaka, Japan. Back in Europe, he continued his association with Stockhausen, taking part in the world premieres of ''Sternklang'' (1971) and ''Alphabet für Liège'' (1972) (Stockhausen and Vetter 1996, 95 and 98). In 1973 he returned to Japan, where he stayed for ten years as a Zen monk. During this period he performed what he called "structural theatre" and in 1981 published a collection of writings on "experimental Zen arts" in a book titled ''Shijima no oto'' [The Sound of Silence]. He returned to Germany in 1983 to found the Zentrum für meditative Kommunikation und kommunikative Meditation in Todtmoos-Rütte. In 1993 he moved his "school in the art of living", now renamed Accademia Capraia, to a location near Seggiano/Grosseto, Italy (Lasocki 2001).

In 1997, Stockhausen composed for Vetter the central role of Luca, the Operator, in ''Michaelion'', the fourth scene of his opera ''Mittwoch aus Licht''. Vetter performed the part in the world premiere on 26 July 1998 in the Prinzregententheater, Munich (Musica Viva series) (Stockhausen 2002, VII and XV).

Musical style

Vetter’s compositions are based in improvisation. His earlier works are for voice, recorder, and piano, while later he turned to the koto, Tibetan singing bowls, tambura, and gongs (Lasocki 2001).

Visual art

Vetter's early interest in graphically notated music turned to purely visual expression during his time in Japan, with works such as the ink-brush paintings in ''The Book of Signs'', his 120 colour etched monotypes titled ''Strukturelle Mandalas'' and ''Zweistimmige Inventionen'' (Two-part Inventions), and the ''Codex Aureum'' (Gold-Violet Dialogue between Intention and Chance). Later works, executed after his return to Germany, include a series of panel paintings as entrances and views, titled ''Symphonies'', ''Duets'', ''Trios'', ''Quartets'', ''Der Kreuzweg des Lichtes'', ''Wolkenbilder'', and ''Die Gesetzestafeln'' (Stockhausen and Vetter 1996, 95 and 98).

Writings

1969. ''Il flauto dolce ed acerbo 1: Anweisungen und Übungen für Spieler neuer Blockflötenmusik''. Celle: Moeck-Verlag.

1973. ''Handbewegungen I/II—Roman'', with a foreword by Helmut Heissenbüttel. Stuttgart: E. Klett. ISBN 3129089306 (v. 1); ISBN 3129089403 (v. 2)

1981. With Satoshi Yamanaka. しじまの音 : あるいは、音楽は精神の身体語 [Shijima no oto: arui wa ongaku wa seishin no shintaigo] [The Sound of Silence, or The Physical Language of the Music of the Soul]. Tokyo: Asahishuppansha.

1983. ''Blockflötenschule'', 10 vols. Wiener Instrumentalschulen. Vienna: Universal Edition; Stuttgart: E. Klett.

1988. ''Seinserfahrung: das Buch von der Liebe zum Leben''. Edition Esotera. Freiburg im Breisgau: Bauer. ISBN 376260357X.

1990. ''Transverbal''. Kirchzarten-Geroldstal: Selbstverlag.

1991. ''Sesshin: das Fest der Aufnahme des Herzens; dreizehn Vorträge gehalten gelegentlich des Jahreswendesesshins 1990/91 im Griesgethof bei St. Georgen im Schwarzwald''. Geroldstal: Vetter-Verlag.

1995. ''Musik: Texte und Bilder zur Einführung in die Kunst, sich in Nichts zu verlieben''. Spiritueller Reichtum. Petersberg: Verlag Via Nova. ISBN 3928632140.

1997. ''Die Psychologie der Seinserfahrung''. Freiburg i. Br.: Lüchow. ISBN 3925898735.

2000. ''Form ist Leere und Leere ist Form: Vorträge während des Sommersesshins 1992 im Griesgethof''. Oberried-Geroldstal: Vetter-Verlag.

Compositions

''Felder II'', ein musikalisches Projekt für Kinder (1967)

''Rezitative'', für einen Blockflötisten (1967)

''Figurationen III'', für ein beliebiges Instrument (1968)

''Linienspiel'' (1973)

''Liebesspiele: musikalische Konzepte'' (1973)

''Schreibspiele ohne Worte'' (1973)

''Cosmic Comic'' (1975)

''Hörspiele I–IV'' (1977)

''Die Wiener Blockflötenschule'' (1983)

''Wenn Himmel und Erde wieder vereinen: Gedanken, Meditationen und Übungen zum Weg der Stimme'' (1987)

''Die Oberton-Schule'' (1987)

''Maria: muzikalische Auslegung eines mantrischen Namens'' (1991)

''Musik'' (1995)

''Pianissimo: Konzepte für Tasteninstrumente'' (1996)

''Sei-Un-Sho: ein musikalisches Orakel'' (1997)

Discography

Stockhausen, Karlheinz. ''Goldstaub'' (from ''Aus den Sieben Tagen'', Mai 1968). Peter Eötvös; Herbert Henck; Michael Vetter. 1985, 1973. Deutsche Grammophon 410 935-1; 2720 073; 2561 301. LP. Hamburg: Deutsche Grammophon,

Stockhausen, Karlheinz. "Spiral" für Blockflöte und Kurzwellen; ''Zyklus für einen Schlagzeuger''; ''Klavierstück'' Nr. 10. Michael Vetter (recorder and shortwave radio); Max Neuhaus (percussion); Frederic Rzewski (piano); Christoph Caskel (percussion). LP. Wergo, Hörzu Black Label SHZW 903 BL. Mainz: Wergo.

Stockhausen, Karlheinz. ''Spiral, Integrale Version''. Michael Vetter, voice and short-wave receiver. 2-CD set. Stockhausen Complete Edition CD 46 A–B. Kürten: Stockhausen-Verlag, 1996.

Stockhausen, Karlheinz. ''Sternklang''. 2-LP set. Deutsche Grammophon 2707 123 (2531 281; 2531 282). [Hamburg]: Deutsche Grammophon, 1976. Polydor 2612 031 (2335 116; 2335 117). [Hamburg]: Polydor International, 1976. Reissued on 2-CD set, Stockhausen Complete Edition CD 18 A–B. Kürten: Stockhausen-Verlag, 1992.

Szathmáry, Zsigmond. ''Organ Improvisations''. Zsigmond Szathmáry: ''Omaggio a György Ligeti''; Michael Vetter: ''Der Kreis''; John Cage: ''Music for Carillon No. 5''; Shinichi Matsushita: ''Konzentration''; Roman Haubenstock-Ramati: ''Ohne Titel''. Wergo CD 60119-50 (1983). Reissued in 1996 under the same catalog number as ''Music and Graphic: Organ Improvisatons''.

Vetter, Michael. ''Ancient Voices''. Michael Vetter and the Overtone Choir. New Music Series. CD. Amiata Records ARNR 0192. Seggiano: Amiata Records, 1992.

Vetter, Michael. ''Clouds: Music for Koto Harp and Voice''. Michael Vetter, koto harp and voice. Jecklin-Disco JD 636-2. 1990.

Vetter, Michael. ''Il flauto dolce ed acerbo''. Michael Vetter (recorder). LP recording. Jürg Baur, ''Mutazioni''; Rob du Bois, ''Pastorale VII''; Klaus Hashagen, ''Gesten''; Dieter Schönbach, ''Canzona da sonar III''; Michael Vetter, ''Figurationen III'' and ''Rezitative''. Corono, 1974.

Vetter, Michael. ''Flowers: Musical Icons for Piano and Voice''. Michael Vetter, piano and voice. Jecklin-Disco JD 637-2. 1990.

Vetter, Michael. ''Light: Music for Tamburas and Voice''. Michael Vetter, tamburas and voice. Jecklin-Disco JD 640-2. 1990.

Vetter, Michael. ''Missa Universalis: Obertonmesse für Stimme und Instrumentarium''. LP, Spectrum SM 1051, Mainz: Spectrum, 1985. CD. Spectrum SM 1051-50. Mainz: Spectrum, 1986.

Vetter, Michael. ''Om''. 3-CD set. Ginkgo SM 1812-2, 1813-2, 1814-2; Ginkgo 281 812-2, 281 813-2, 281 814-2. [Mainz, Germany]: Ginkgo, 1996, 1987.

Vetter, Michael. ''Overtones in Old European Cathedrals: Senanque''. Compact Disc. Wergo SM 1078-50. Mainz: Wergo, 1989, 1987.

Vetter, Michael. ''Overtones: Voice and Tambura''. 2-LP set. Mainz: Wergo Spectrum, 1983.

Vetter, Michael. ''Pianissimo''. CD. WER T 335-2. Zürich: Atlantis Musikbuch-Verl., 1996.

Vetter, Michael. ''Silence''. Michael Vetter, voice, singing bowls, and cymbals. CD. Jecklin Disco JD 641-2. Zürich: Jecklin Disco, 1990.

Vetter, Michael. ''Spaces''. Compact disc. Jecklin Disco JD 639-2. Zürich: Jecklin Disco, 1990.

Vetter, Michael. ''Tambura Meditations''. Compact disc . Mainz: Wergo Spectrum, 1984. Reissued on CD, Wergo Spectrum SM 1039-50. Mainz: Wergo Spectrum, 1990.

Vetter, Michael. ''Wind: Music for Flutes, Voice and Gongs''. Michael Vetter, flutes, voice, and gongs. Jecklin-Disco JD 638-2. 1990.

Vetter, Michael. ''Zen Glocken''. Wergo Spectrum SM 1054-2. Mainz: Wergo Spectrum, 1990.

Vetter, Michael. ''Zen-Gong''. Compact disc. Wergo Spectrum SM 1053-2. Mainz, W. Germany: Wergo Spectrum, 1990, 1986.

Vetter, Michael. ''Zen-Flöte''. Michael Vetter. LP recording. Spectrum SM 1062. Mainz, W. Germany: Spectrum, 1987.

Vetter, Michael. ''Zen-Koto: Erinnerungen in die Gegenwart''. Compact disc. Wergo Spectrum SM 1052-2. Mainz, W. Germany: Wergo Spectrum, 1990, 1985.

References

Benda, Susanne. 1996. "Michael Vetters Reisen ins Innere der Töne". ''Neue Zeitschrift für Musik'' 154, no. 6:42–44.

Braun, Gerhard. 1995. "Dolce ed acerbo". ''Tibia'' 20:351–56.

Lasocki, David. 2001. "Vetter, Michael". ''The New Grove Dictionary of Music and Musicians'', second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.

O'Kelly, Eve. 1990. ''The Recorder Today''. Cambridge, New York, Port Chester, Melbourne, Sydney: Cambridge University Press. ISBN 0-521-36681-X.

O'Loughlin, Niall. 1982. "The Recorder in 20th-Century Music". ''Early Music'' 10, no. 1 (January: The Recorder, Past and Present): 36–37.

Stockhausen, Karlheinz, and Michael Vetter. 1996. "SPIRAL (1968) für einen Solisten mit Kurzwellen-Empfänger". Booklet accompanying Stockhausen: ''Spiral, Integrale Version''. Michael Vetter, voice and short-wave receiver. 2-CD set. Stockhausen Complete Edition CD 46 A–B. Kürten: Stockhausen-Verlag, 1996.

Stockhausen, Karlheinz. 2002. "Michaelion: 4. Szene vom Mittwoch aus Licht, für Chor, Baß mit Kurzwellen-Empfänger, Flöte, Bassetthorn, Trompete, Posaune, Einen Synthesizer-Spieler, Tonband, 2 Tänzer, Klangregisseur". Werk Nr. 70. Kürten: Stockhausen-Verlag.

Thomson, J[ohn]. M[ansfield]. 1971. "Michael Vetter". ''Recorder and Music Magazine'' 3 (March): 317–19. Reprinted in J. M. Thomson. ''Recorder Profiles''. London: Schott and Co. Ltd., 1972.

Category:1943 births Category:Recorder players Category:Living people Category:German composers Category:20th-century classical composers Category:21st-century classical composers Category:German artists Category:Modern artists Category:Contemporary artists Category:Zen Buddhist monks and priests Category:German opera singers Category:German bass-baritones Category:New Age musicians