"Muốn gìn giữ và phát huy vốn âm nhạc truyền thống không phải chỉ thu lấy, ghi lấy tiếng đàn của các nghệ nhân, nhạc sỹ, mà phải tạo mọi điều kiện cho họ truyền lại cho các thế hệ sau bằng một phương pháp khoa học, dễ tiếp thu, sao cho ngày càng có nhiều ngưòi học đuợc âm nhạc truyền thống dân tộc."

Nhạc sư Nguyễn Vĩnh Bảo

“For the musician, the lengths of notes are simply a conventional approximation, relatively unrefined, compared with the rhythmic subtleties which he has introduced. It must be said that, what we hear is not the music as written by the composer, but the ideal transfiguration of this music. ...In musical education, it is the cerebral functions, and not the finger mechanisms, which have the most important role. The importance of movement is in the thought that it provokes. I often get annoyed by the fact that the whole world admires a musician’s finger mechanism, without mentioning his brain. When I watch the fingers of one of my pupils at work, I see everything that is going on in his head... I do not like trained hands, but disciplined hands. If the sleeping eyes in his hand are not awakened, he will not achieve anything. In the life of the universe, as in our human life, changes occur every second, imperceptible as they may be: it is these changes which constitute life. The exaggerated role given to memory in our education may be compared to that of the automatism developed by the study of music. ...A good education will indicate the path which makes art accessible. It will awaken musical sensitivity in the pupil, and as far as possible, their creative faculties. It will prepare, educate and discipline the organism, to allow the performer’s personality to be freely expressed, and to regulate the harmonious use of energy. They must learn to take advantage of chance. If we made the most of all chance situations, we would be so much more knowledgeable!”