As a voice teacher and pedagogue, I believe effective vocal instruction must balance artistic expression, technical excellence, and performer well-being. My teaching philosophy is rooted in evidence-based contemporary voice pedagogy, informed by my background in music psychology, Somatic Voicework™ and attending multiple continuing education workshops, as well as my years of experience working with musical theatre and contemporary commercial music (CCM) singers.
I view the voice as an integrated instrument in which physical, cognitive, emotional, and artistic processes are interconnected. Consequently, my teaching emphasizes healthy vocal function, bodily awareness, efficient coordination, and stylistically appropriate performance practices. I strive to help students develop the technical foundation necessary to meet the diverse vocal demands of today's professional performance landscape while maintaining long-term vocal health and sustainability.
Central to my approach is the belief that every student brings unique experiences, strengths, and learning styles to the studio. I seek to create a collaborative learning environment that encourages playful curiosity, critical thinking, and self-reflection. Rather than simply providing answers, I guide students toward becoming independent musicians and informed vocal practitioners who can analyze challenges, make artistic choices, and advocate for their own vocal well-being.
As an educator, I am particularly passionate about helping students connect technique to emotional communication. Whether preparing a musical theatre role, a contemporary commercial repertoire selection, or a more classical work, I encourage students to engage deeply with text, storytelling, and audience connection. Technical skill serves artistic expression, and I believe students are most successful when they learn to integrate both.
I am committed to maintaining an inclusive and supportive learning environment where all students feel respected, valued, and empowered to contribute their perspectives and experiences. I believe diversity enriches the educational process and strengthens artistic communities.
Finally, I view teaching as an ever evolving practice. As both educator and lifelong learner, I remain actively engaged with emerging research in voice science, pedagogy, psychology, and performer wellness. Continuing professional development allows me to provide current, effective instruction while modeling the intellectual curiosity and growth mindset I hope to cultivate in my students.
Through this approach, I aim to prepare students not only to become skilled singers and performers, but also thoughtful artists, collaborators, and lifelong learners.
Diversity Statement
In my voice studio and classroom, I am committed to creating an inclusive environment for every student who walks in the door. This means that I provide students of all ethnicities, religions, sexual orientations, gender identities, neurodiversities, citizenships, political statuses, and socio-economic statuses with a safe and loving space wherein they will be recognized and celebrated for who they are. In so doing, the gifts each student possesses will be freely nourished, without judgment. All of the students in my studio, as well as their families, are expected to follow the same standards, treating fellow studio members and members of the music community at large with respect and kindness as part of their own commitment to humanity, equality, and the arts.
In addition to the welcoming and affirming inclusive environment I try to provide studio-wide, I continue to attend training seminars annually in order to better assist my clients and students. Recent workshops and seminars include Trauma-Informed Clinical Practice from NYU, summer of 2026, Moving Towards a Greater Understanding of Racial Trauma with a Trauma-Informed Approach through the Voice & Trauma Research & Connection Group in November 2023; Singing and Speaking for the Transgender or Gender Diverse Client by Dr. Anita Kozan in summer of 2021; Race, Equity, and Inclusion in Musical Theatre Education in summer of 2020, hosted by the newly formed “Representation, Equity, and Inclusion Committee” through MTEA (Musical Theatre Educators’ Alliance); and Soul Ingredients by Dr. Triniece Robinson in summer of 2020, 2021, 2022, and Soul Ingredients Level 2, in summer of 2022 which examines the history and origins of CCM styles of music from Black culture. I acknowledge my privilege, and strive to take measures to offer scholarships and sliding payment scales to BIPOC and LGBTQIA+ students who express financial need. It is this studio’s belief that there should never be barriers to access to musical training, and that artists must strive towards inclusivity, diversity, and representation in the arts.