TEACHING PHILOSOPHY
My teaching philosophy focuses on allowing a student’s individual musical expression to blossom by minimizing any obstructions that could hinder that process. I focus on creatively overcoming technical vocal difficulties, creating dramatic specificity, solidifying the clarity of language, and addressing psychological performance strategies. I work with each student to constantly assess their needs and to facilitate their growth as a musical artist.
While I believe strong, adaptable vocal technique is extremely important, my students are always reminded of the reason behind the work: communication of the ideas. I believe vocal technique grounded in classical training is the best way to achieve a responsive instrument and therefore, precise communication. I begin lessons with training that aims to habituate balanced breathing, that combines abdominal and thoracic coordinations to maximize consistent breath flow. We also work together to establish optimal resonance on every note throughout the range, using multiple forms of feedback. Ultimately, we build consistent vocal tone that is receptive to artistic requests in all areas of the voice. I approach this entire process with patience, warmth, curiosity, encouragement, and a spirit of collaboration. Since my students’ voices are housed within their human bodies, I use a trauma-informed approach to vocal pedagogy. Many factors that affect a student’s body can possibly affect their vocal instrument. Understanding this as a teacher, I try to use this to my advantage when possible, consulting current research and using an ever-growing number of strategies to encourage the vocal and artistic development of my students. The improvement of vocal technique is the first vehicle of artistic expression. However, along with technical matters, I discuss the poetry, diction, and dramatic intention of the music with each student. I ask every student to investigate the ‘meaning of the work as a whole,’ to analyze the apparent compositional choices, and to mine the piece for historic context through their own research. My teaching philosophy trusts that a combination of warm enthusiasm and well-crafted instruction can produce artists who are equipped to communicate with the world around them in whatever manner they choose.
Each student comes from a unique background that informs their choices as an artist – as well as the way(s) in which they best learn. It is my job as an instructor to adapt to their needs and find ways to help them reach their goals. This is an energizing challenge for me, and something I greatly enjoy. Each student has their own reasons for being in my studio, for working to improve their artistry, and for communicating new ideas to others. I find the differing artistic views of my students’ deeply inspiring. Indeed, the differences of my students (and colleagues) are what make the arts such a fertile ground for new ideas. Inclusion of these outlooks and experiences is what artistic expression is built upon. The sharing and welcoming of diverse viewpoints is the basis of true communication. For those of us in the world of vocal performance, we have found a vehicle that can encapsulate this kind of expression – a musical story can be well-known, but brand new; familiar, yet turned upside down by a different artist. Music can be a universal bridge between two different people, that can only be made stronger and more fascinating by fresh perspectives. It is my hope that my teaching philosophy is able to empower others to discover this freedom and connection.
I have taught classical and music theater styles to all ages of beginning through advanced singers for more than fifteen years. I have special experience with preparing singers for the university undergraduate and graduate music school audition process. However, I have worked with professional music theater performers, choral singers, jazz and rock performers, and many others. I am very proud of my students' hard work. They have won major vocal competitions (including the MONCA districts, Boston District H.S. Classical Singer Competition, New York City H.S. Classical Singer Competition and the Young Arts Competition). My students have been accepted into top music programs at universities across the country including Eastman School of Music, Manhattan School of Music, The Juilliard School, Longy School of Music, Boston University, Oberlin College Conservatory of Music, Rice University, Northwestern University, Berklee College of Music, Ithaca College, Westminster Choir College, Oklahoma City University, and University of North Carolina - Greensboro.