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Faculty

The members of our faculty are more than teachers. They’ll be your mentors, your collaborators, and your instant list of more than 500 industry contacts. They are experienced and talented professionals in their field—and bring a thorough knowledge of music to the classroom that comes from a rich professional background in the music industry. They also bring an energy that will inspire you to push your talents and thinking beyond what you thought were the limits. You’ll find yourself transferring their influences to your ensemble rehearsals, performances, recording sessions, and gigs. In addition, the student-teacher ratio averages 8 to 1. Which means you’ll never feel like a number.

Find a faculty member

"Technique is being able to sing freely and with ease, so that your body can really obey your artistic ideas. What goes into that is a lot of study, a lot of rigorous and occasionally tedious repetition of exercises, so they become muscle memory, so that when you're in a performance, you're not thinking, Is my jaw tight? Is my tongue loose enough? Are my ribs expanded? You're only thinking about communicating with your audience."

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"The voice comprises the most complicated muscle group in the entire body, using more of the cerebral cortex than any other part of the body. Because it's so complex, in a lesson you can't just say, 'change this, change that.' What I do suggest is that in order to get the result you want—and we talk about what that might be—students should try different approaches with my guidance. I'll say, 'This way might be more effective,' rather than, 'What you're doing is wrong.' I believe that if you simply tell someone that what they're doing is wrong, it makes the body tense. A tense body has a harder time singing, and that's counterproductive.

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  • Head of the Jazz Voice studio at the University of Massachusetts Dartmouth
  • Teaches at Shenandoah University’s Contemporary Commercial Music Institute
  • Graduate-level certification in Somatic Voicework
  • Recordings include Faces of Love and The Edge of the Pond

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"I'm a great advocate of technology in the classroom. All of my students record their lessons using their laptops, and we use those videos as learning tools outside of our lesson time. Then, also, I have students make a video on their own every week and send it to me, and sometimes I'll also Skype, because I believe that one of the pitfalls of private instruction is that we only see each other once a week. In those seven days in between, a lot of things could happen to change habits."

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“My formal training and education is in opera and classical music, but professionally, I have been performing as a pop/rock singer-songwriter. When I started to develop hoarseness from singing pop so often, I realized how strange that was for someone with a master’s degree in vocal performance. Singers are born with a gift, but not one necessarily made for performing five hours a night. Vocal health is of utmost importance. I had to figure that out for myself the hard way, and it forced me to learn new techniques. I’m passionate about nurturing that in these young singers.”

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"These days, we're all expected to do a lot of things. Very rarely can you just go out there and be a singer and have someone hand you a record deal and suddenly you're famous. There's a lot to be done, and you really have to do most of it yourself. So I try to share these things with my students, everything from home recording to arranging and communicating with the band. I like to be honest about how difficult it can be to strike out into the world as a musician, so they stay on their toes. At the same time, I want to acknowledge that there's some room for magic, you know?"

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  • B.M., Berklee College of Music
  • Vocalist
  • Member of Metro
  • Background vocalist on Read between the Lines CD by Jan Shapiro

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"Charlie Parker said, 'If you don't live it, it won't come out of the horn.' A musician should be engaged in activities other than music. So I give multifaceted assignments. I ask instrumentalists to listen to singers, and I ask singers to listen to instruments. And I always give my students something to read. No teacher ever did this with me, but it makes so much sense. And the students who get it really grow."

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“I want my students to have a strong sense of the lyrics and what it is they are saying. Great singers have a connection not only with their instrument, but with their material and their audience. Once they have a vision and the training to produce a range of sounds freely and efficiently, they can express themselves with greater precision and emotion. Knowing the options they have removes some of the fear and guesswork from the process of singing. The answer to fear is knowledge. I live by that.”

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"I teach 'the art of singing' from the vantage point of a long career as a performer, recording artist, and teacher. What a joy all three facets have been! This extraordinary universal language of song is truly a marvel of creative forces merging in the human voice, via tonal colors, rhythm, text, and the soul of a singer. My aim is to assist students in cultivating these unique forces in their voices and to help them dip down into the depths of their emotional expression. This beautiful language of music defies all boundaries, and meeting each student at their current juncture is an exciting challenge."

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