LoVetri Institute for Somatic Voicework™
The LoVetri Institute in partnership with Baldwin Wallace University Conservatory of Music
Offered In An Online Format
July 22 - August 6, 2023
Somatic Voicework™ Levels I - III
July 22 - 24, 2023: Level I
July 25 - 27, 2023: Level II
July 28 - 30, 2023: Level III
Post-Level Courses
July 22 - 24, 2023: Working the Trans & Non-Binary Voices
July 28 - 30, 2023: When Science Meets Soul: Level I -
Introduction to Soul Ingredients® Methodology
July 28 & 29, 2023: Vocal Health Intensive for Singing Teachers
August 4 - 6, 2023: When Science Meets Soul: Level II - Developing the Artist
Levels I - III Registration Details
U.S. participants: register by July 10, 2023 to receive your books prior to the course.
International participants: register as soon as possible. Due to international mail constraints, we will send books early.
A physical copy of each Level's Somatic Voicework™ course book will automatically be added to your registration for $25.00. Course books are required for all new participants and those who have a previous version of the book (printed prior to 2018).
An electronic, non-downloadable, version of the course book will also be available to all participants on Google Classroom during the course.
Vocal Health and Soul Ingredients® Level I Registration Deadline: July 24
Soul Ingredients® Level II Registration Deadline: July 30
Somatic Voicework™ is a body-based method of vocal pedagogy that incorporates physical awareness, aural acuity, kinesthetic development and vocal freedom. It is supported by voice science, vocal hygiene and medical information. It promotes technical security, stylistic accuracy and personal satisfaction. It honors the wholeness of healthy vocal use and the individuality of every vocal artist. It was developed to address contemporary commercial music but encompasses all styles. Past participants have come from all vocal disciplines and nearly every state as well as 13 foreign countries. Participants have remarked that the work is different, new, unique, powerful, honest and open-hearted.
The three-tiered course of LoVetri’s method, Somatic Voicework™, is comprehensive but accessible to everyone from singers not yet teaching to those with decades of experience. Vocal function is clearly explained, and the exercises presented are designed to empower teachers to create solutions for a wide variety of pedagogical needs. Since 21st-century music continues to diversify, the need to understand vocal function, vocal health and voice science has never been greater, and new tools are needed to supplement those that were used for the past two hundred years. These tools are found in Somatic Voicework™. There is no special jargon, nothing to prepare, and it avoids any direct manipulation of the structures in the throat. It has the honor of having had 12 nationally recognized laryngologists as lecturers and four highly acknowledged speech language pathologists as faculty over the past decade. The training days are filled with information, demonstration and application balanced with camaraderie, networking and social interaction among participants at all levels.
Tuition & Registration
Online Tuition: $350.00 per Course, plus $25.00 required course book for Levels I - III
Online Re-certification: Participants who have completed any Course and plan to retake it are eligible for a discounted rate of $200.00 per Level. To obtain the discount code, email cas@bw.edu and indicate where and when you were previously certified.
Limited automatic payment plans are available.
Registration Deadline: July 16, 2023
Vocal Health and Soul Ingredients® Level I Registration Deadline: July 24
Soul Ingredients® Level II Registration Deadline: July 30
Somatic Voicework™ Course Descriptions
Level I is called “Basic Application” and includes the following: introduction to functional principles of voice science and medicine. It guides singing teachers to enhance their own qualities as the “building blocks” of The LoVetri Method. It looks at terminology and at objectively describing vocal behavior. It also addresses attitude, intention and appropriateness of the interaction between student and teacher. Level I states that the teacher must have a clear intention for the vocal exercise when it is given. The teacher must know (a) either what is missing and needs to be added or (b) what is wrong and needs to be corrected, such that the student’s singing will somehow improve. It rests on vocal function, vocal health and on traditional pedagogy, but it is also meant to help singers be marketable. There will be a vocal health lecture to instruct the teacher how to listen functionally, to hear aural distinctions and relate them to responses.
Somatic Voicework Level I - Daily Schedule
Level 1 Learning Objectives:
- Participants will be able to describe methods for effective communication with singers and singing teachers.
- Participants will be able to describe musical vocal production, the way in which stylistic parameters impact voice production, the relationship between speaking and singing voice production, music industry terminology, and industry expectations for voicing style and vocal load.
- Participants will demonstrate that they are able to listen “functionally” to singers’ voices both from a vocal health and a musical perspective, including the distinction between hypo- and hyper-functional singing in Contemporary Commercial Music (CCM).
- Participants will demonstrate the ability to assess the intention/purpose for any given sung vocal exercise.
*Graduate level CEUs are available for music educators through Baldwin Wallace University School of Education for this course.
Level II is called “Advanced Application” and is largely devoted to exploring how singing exercises work, what they do and why. It examines the age, background and desires of the students and how those things relate to the teaching process. It enhances the teacher’s ability to evaluate the students in terms of vocal behavior and aptitude. In Level II, the teacher acquires greater skill in choosing exercises that are appropriate and adjusting them to meet the level of ability of the student at any given point. There is also greater exploration of the many CCM styles, examining performance aspects that may impact vocal health. The main objective of Level II is understanding how to use vocal exercises functionally.
Somatic Voicework Level II - Daily Schedule
Level 2 Learning Objectives:
- Participants will be able to describe teachers’ rationales for choosing specific voice exercises in the singing environment and also how to evaluate the functional appropriateness of those exercises for individual patients.
- Participants will be able to evaluate singers’ vocal responses in the context of age, background, past vocal training, and natural aptitude.
- Participants will be able to verbalize at least two distinct ways in which specific Contemporary Commercial Music singing styles interact with vocal health.
- Participants will demonstrate basic competence in guiding a sample student through a sequence of Somatic Voicework™ singing exercises with supervision by LoVetri Institute faculty.
*Graduate level CEUs are available for music educators through Baldwin Wallace University School of Education for this course.
Level III addresses “Repertoire, Problem Solving and Voice Medicine”. It features a noted music theater expert and a jazz expert who will both conduct a master class in audition skills with chosen participants. Level III also touches upon acting for Music Theater and provides an excellent and quick approach to teach pitch matching for anyone with that problem. It promotes interdisciplinary interchange, i.e., the need for fellowship with Speech Language Pathologists and Medical Doctors. It also supports the idea that teachers should acquire the ability to read, understand and possibly even undertake research of interest to those in voice disciplines.
Somatic Voicework Level III - Daily Schedule
Level 3 Learning Objectives:
- Participants will be able to verbalize at least two considerations for communicating and collaborating with their patients’ singing teachers to support their progress during therapy and transition back to the lesson environment on discharge
- Participants will be able to state at least two potential impacts of vocal disease processes, injuries, medications, and phonosurgery on singing voice function.
- Participants will be able to verbalize at least two physiologic voicing demands that are specific to singing at the professional level in the Broadway or Jazz environment.
*Graduate level CEUs are available for music educators through Baldwin Wallace University School of Education for this course.
Transgender and gender non-binary clients are seeking services from speech and language pathologists and from teachers of singing with increasing frequency, both for the singing voice and the speaking voice. This three-day intensive course is open to all graduates of Level III of Somatic VoiceworkTM, regardless of areas of professional practice or knowledge levels of teaching and therapy techniques for the transgender singing and speaking voice.
This course will combine lectures, demonstrations and videos with opportunities for experiential learning. Guest lectures and demonstrations will be given by transgender, gender non-binary and cisgender individuals. Topics include appropriate language usage, best practice standards for teachers and therapists, and becoming an ally to the transgender and gender non-binary community. Dr. Kozan will also discuss special concerns as a cisgender person providing services to transgender and gender non-binary clients, challenges faced by trans and gender non-binary singers and speakers, experiences using Somatic VoiceworkTM principles with clients, use of voice therapy techniques, and techniques for helping change the client’s internal self-talk. Kozan will present excerpts from The Singing Voice chapter (authored by Kozan and Sandi Hammond in Adler, Hirsch and Pickering’s Voice and Communication Therapy for the Transgender/Gender Diverse Client: A Comprehensive Clinical Guide, Third Ed., 2019). Time for questions will be scheduled and welcomed during each session throughout the three-day course.
What is Soul Ingredients® Methodology?
Soul Ingredients® is a voice teaching method created by Dr. Trineice Robinson-Martin for developing the voice while fostering personal style and soul expression. This methodology uses a strategic combination of science-based voice pedagogy and standard pedagogic concepts found within the oral teaching tradition of African American folk-based music styles (gospel, jazz, soul, hip-hop) to develop unique artists and musical storytellers regardless of musical genre. Through this uniquely designed methodology, the historical, artistic and improvisational techniques of African American music merge with science based vocal technique in an exploration of how each individual performer's physical, emotional and cultural perceptions can expand their artistry.
Soul Ingredients® is voice pedagogy according to science; voice training according to style; and artist development rooted in personal soul expression.
When Science Meets Soul: Level I
Introduction to Soul Ingredients® Methodology
(for Somatic Voicework™ Level II Graduates)
July 28 - 30, 2023
When Science Meets Soul Level I: Soul ingredients® Methodology is the 3-day intensive course that introduces professional voice users, teachers, and SLP to a vocabulary for teaching music and working with singers and musical styles rooted in, and influenced by, African American folk-based music styles and music traditions. Each day presents a focused area in Soul Ingredients® Methodology: Developing the Sound, Developing the Style, Developing the Story.
*Graduate level CEUs are available for music educators through Baldwin Wallace University School of Education for this course.
Daily Schedule
The Institute will be presented live, online, 11:00 a.m. - 8:00 p.m. EDT daily, with some optional office hours available in the morning and evening.
Daily Schedules:
Somatic Voicework Level I - Daily Schedule
Somatic Voicework Level II - Daily Schedule
Somatic Voicework Level III - Daily Schedule
Participating from a Different Time Zone
For those with scheduling challenges, or who live in a time zone where completing the institute in real-time will present challenges, there is an option to complete any Level of the Institute in a time-adjusted format.
Those not able to complete the institute in real-time will have 48-hours to review video material from each day, along with special required daily tests to confirm attendance.
Breakout sessions that require “live” participation will be set up with Somatic Voicework™ faculty to review foundational materials in real-time; and for these special participants, multiple times will be offered to facilitate all aspects of the work of the Institute.
There will be a quiz or a test at the end of each Day for all participants to confirm understanding and attendance. Participants watching the recordings and participating in the alternative breakout sessions will have 48 hours to complete their work.
Senior Faculty
The senior faculty are both experts in the method and are excellent examples of how this work, which started out as being unique to Jeannette LoVetri, can be used effectively by everyone. They bring decades of experience as educators and vocalists to Somatic Voicework™ and understand the open-hearted philosophy which brings together science and art, pedagogy and personal expression, and a trust of the body’s ability to produce beautiful, authentic sound in any voice and in any style.
Jeannette LoVetri is founder and director of The Voice Workshop™, creator of Somatic Voicework™ and creator of the original course for Contemporary Commercial Music Vocal Pedagogy, which for 13 years garnered over 1200 participants from all over the USA and 12 foreign countries.The work is unique, practical and based on voice science, vocal health and vocal function. It has received rave reviews from vocal experts in every discipline and has had a significant influence on vocal pedagogy worldwide.
For 45 years LoVetri has delved into every aspect of singing as both teacher and vocalist. Her studies took her to the world’s greatest voice experts and through all manner of vocal investigation. Her work with laryngologists and speech language pathologists, and her broad base of experience teaching all levels of singers from beginners to international celebrities, has allowed her to develop an approach to teaching singing that is effective with all of today’s Contemporary Commercial Music styles.
Michelle Rosen is in her sixth year teaching musical theatre majors at Tisch School of Drama. She previously taught BFA musical theatre majors as assistant professor at Rider University, Westminster College of the Arts for seven years. She spent fifteen years teaching young people at the Grammy-winning Brooklyn Youth Chorus, and is in demand as a private teacher in her Brooklyn, NY studio. She holds a master’s degree in vocal performance from NYU Steinhardt and received the Distinguished Voice Professional certificate from the New York Singing Teachers' Association. Certified in Somatic Voicework™ The LoVetri Method since 2005, she joined the CCM Vocal Pedagogy Institute faculty in 2012 and is now Senior Faculty at the LoVetri Institute for Somatic Voicework™ in residence at Baldwin Wallace University. Ms. Rosen has enjoyed a performing career in musical theatre and opera and has sung folk music and performed in a rock band. Performing credits include various settings of "The Phantom of the Opera," notably as Christine in the Lloyd Webber Phantom in Germany. Other credits include Aldonza in "Man of La Mancha", Rosabella in "The Most Happy Fella", Carrie in "Carousel", Jeanie in "The Stephen Foster Story", as well as leading roles in such operas as "The Medium" and "Dialogues of the Carmelites". She has appeared in Europe, in New York venues, in regional theatres across the country and on National Tours, and twice had the honor of singing the National Anthem at Shea Stadium.
Elizabeth “Betsy” Fiedler teaches music in her own private studio, and is the Director of Music at Holy Family of Nazareth Church. In addition, she is an adjunct faculty member at Mount Wachusett Community College, the Voice Consultant for the Arts Magnet at Burncoat High School, and is a soloist at local churches, colleges, and with the Greater Gardner Community Choir. Betsy enjoys performing on the stage at Theatre at the Mount and Greater Worcester Opera Company, and sings at local nursing homes. She has recorded 3 CDs of contemporary Christian Music. Her enthusiasm for music spills over into her teaching style and is evident in her performances. She has interest in many types of music from classical and sacred, to music theatre and jazz. Her love of learning has compelled her to seek out additional professional development and course work with the motivation of becoming the best teacher and singer possible. She holds a BS and MM in Music Education, and has completed coursework in Vocal Pedagogy. Betsy is certified in Levels I, II, III of Somatic Voicework ™ the LoVetri Method, and is a member of the National Association of Teachers of Singing, National Pastoral Musicians, and National Association for Music Education.
Faculty
Moran Cohen Talmor is an acclaimed singer and voice coach. Born and raised in Israel, with a rich background in martial-art studies, yoga, swimming, hydrotherapy Paula and Alexander techniques, Moran’s view of singing is deeply rooted in a mind-body approach.
Moran’s singing career was launched at the age of 15 when she joined a well-known Israeli A-cappella sextet advancing to the sought-after role of Israeli Defense Force performing artist. Moran’s Karate studies presented a unique invitation to train with a U.S. Karate team in Philadelphia, where she completed her 3rd degree black belt. While in Philadelphia, Moran served as the official representative singer of the Israeli Embassy in Philadelphia, and founded a program for teaching Hebrew through music which she introduced to the local Jewish community.
Upon returning to Israel, Moran recorded her debut original album “Natural Awakening", followed immediately by a second album along with the fabulous guitar artist Rami Yosifov.
Today, Moran is the creator and singer of “Both Sides”, a Joni Mitchell Tribute, which was applauded by Ms. Mitchell herself. The group was extended an open invitation by Ms. Mitchell to perform a private concert in her home, a plan stopped short by the COVID-19 virus.
At 27, Moran was introduced to voice lessons. It was only natural that her experience and knowledge in bodywork would fuse with vocal methodology. However, it was only several years after being a successful teacher in Israel that Moran was introduced to SVW, an experience Moran describes as “coming home”. Moran has been a dedicated teacher of SVW for the past 7 years managing her own private studio with dozens of students . Four years ago she founded "Calling"- a high Academy for voice in Israel. Since then, Calling has had great success, offering special programs for voice teachers based on the LoVetri Method.
Jeff Costello, BAA, M.Ed. As a vocalist, drummer, guitarist and sound engineer, Jeff has performed pop and rock music for thirty-five years (including three years in a Regional Touring Act) and has been a public school choir director for twenty-four years. He also directed a classical music church choir for ten years. In his school choirs he incorporates a great deal of Contemporary Commercial Music (CCM) and utilizes sound/recording equipment daily in his classroom. In 2018, Jeff presented How to Stage a Choir Rock Concert at the Association for Popular Music Education Conference in the Nashville area. This past January, Jeff launched the Zeeland Academy of Music, a private and small group lessons studio in a retail space in downtown Zeeland, MI, where he has lived and taught nearly his entire life.
Benjamin Czarnota is currently on the voice faculties of Ashland and Heidelberg Universities, Czarnota was the Coordinator of Musical Theatre Voice at the University of the Arts in Philadelphia and a voice faculty member at the Baldwin Wallace Conservatory of Music for over ten years. Students have performed leading roles on Broadway in the casts of American Psycho, Anastasia, Godspell, Hands on a Hard Body, Kinky Boots, Les Misérables, The Lightning Thief, ONCE. Private studio members range from a Tony award-winning singing actress to a speaking actor in a one-person play portraying dozens of uniquely voiced characters across the full spectrum of gender, age, and origin.
Czarnota originated the role of Mr. Webb in the world premiere of Ned Rorem's operatic setting of the iconic Thornton Wilder play Our Town. Other notable roles include Stanley Kowalski in Previn’s A Streetcar Named Desire, Guglielmo in Così fan tutte, Schaunard in La Bohème, and Count Almaviva in Le nozze di Figaro. Regional music theatre roles include the title role in Sweeney Todd, Marcus Lycus in A Funny Thing Happened on the Way to the Forum, Freddy in My Fair Lady, the Father in Children of Eden and, most recently, Emile de Beque in South Pacific.
Rosanne Fraley is a professional singer and educator who holds a B.A. in Music Education and Voice from Kent State University and a Master’s in Curriculum and Instruction from McDaniel University. She is a member of NATS, has been certified in Somatic Voicework™ the LoVetri Method since 2013, and has participated in many teacher training sessions/post-graduate classes. Rosanne currently sings mostly pop and jazz standards, and is the lead singer with the band Studio 6. Her operatic debut was with the Cleveland Opera Theater as Barbarina in The Marriage of Figaro. Other roles include Josephine in H.M.S. Pinafore and Amahl in Amahl and the Night Visitors. Rosanne has performed throughout the Eastern Seaboard including the National Theatre in Washington D.C. She has been the music director for numerous musicals in Central Maryland and is a singer-songwriter of music for young children for Mom and Me Productions, Inc. Rosanne is a music specialist for Frederick County Public Schools in Maryland, is a judge in the Miss Maryland system, maintains a private voice studio in the D.C.metro area and is a vocal consultant for area high schools. www.rosannefraley.com
Billy Gollner is a singer, musician, voice teacher, and piano teacher currently based in Vancouver, Canada. Billy recently returned to Vancouver from London, UK where he was working as a singer and voice teacher.
Billy has been working full time as a voice and music teacher since 2012. In London, Billy had the honour of teaching singing at the Urdang Academy (a London-based Performing Arts University) in their Bachelor’s of Musical Theatre Program. The program is very intensive and competitive, providing students with the requisite skills for success in London’s highly competitive West End. In addition, Billy managed his private voice studio in Vancouver, Canada, and continued to teach students from all over the world online, from London to Australia, Singapore to Alaska, Brazil to Japan.
Billy holds a Master of Arts degree from The Royal Conservatoire of Scotland in Musical Theatre Performance, a Bachelor of Music in Voice from Vancouver Community College, a Bachelor of Arts in Communications, Art, and Technology from Simon Fraser University, and a Certificate of Liberal Arts from Simon Fraser University. For his Bachelor of Music, Billy was honoured to be named the valedictorian of his graduating class. While attending Simon Fraser University, Billy received the Communications Alumni Endowment Award for excellence and creativity in writing; in addition, he was a member of the Golden Key Honour Society and on the Dean’s List.
Jamie Leonhart is a New York City based singer/songwriter and educator, with a focus on pop, jazz and other CCM styles. Leonhart’s private studio clients range from karaoke novices to touring artists, ages 9 to 81. She works with independent middle and high schools in New York, coaching jazz and contemporary band singers and private students, as well as college-level singers at the New School.
She has directed, written for, and performed as a soloist and ensemble member of vocal jazz ensembles, a cappella groups, gospel choirs, and Off-Broadway musicals. She is an accomplished vocal arranger and songwriter.
Leonhart is a Certified Somatic Voicework™ the Lovetri Method teacher, trained to teach in a curious, mindful, science-based manner. Her goal is to help singers find their voices and give them the tools needed to strengthen and free their instruments both physically and emotionally.
Leonhart leads performance and creative workshops and works with theater groups, choruses and small vocal groups. She works in collaboration with body workers and Speech Language Pathologists to serve her students holistically.
Leonhart is employed as both a commercial voiceover artist and vocalist (Trulia, Tresemmé, Kohl’s, Betty Crocker, Neutrogena brand, and more) and also works extensively as a touring and recording background and session singer (Steely Dan, Donald Fagen, St.Vincent, Judy Kuhn, Paul Brill.) She was a soloist in the Metro Mass Gospel Choir and has performed in leading roles at the 92nd street Y Lyrics and Lyricists series. Her debut record, the truth about suffering was released on Sunnyside Records. Leonhart is a 2015 commissioned NEW YORK VOICES artist of The Public Theater/Joe’s Pub, under which she created her one-woman musical narrative, Estuary: an artist | mother story. Leonhart’s sophomore recording, the illusion of blue, will be released fall 2021.
Jocelyn Medina is a vocalist, composer and educator, specializing in jazz, world music and other CCM genres. She holds a bachelor’s degree in Professional Music from Berklee College of Music and a master’s degree in Vocal Jazz Performance from Manhattan School of Music. Jocelyn also completed 2 years of undergraduate studies in classical voice at Stanford University and has been certified in Somatic Voicework™ The LoVetri Method since 2013. Additional studies in world music include training in Hindustani Voice (Mumbai, India) and traditional Ghanian music (Kopeyia, Ghana).
As a bandleader, she has toured with jazz ensembles at venues and festivals throughout the United States, Europe, Asia and South America, and released three CDs of original music. Since 2015 Jocelyn has produced, curated and hosted a weekly vocal jazz concert and jam session series at venues throughout NYC, currently taking place as virtual events online via Zoom. In addition to her original repertoire, she sings, plays percussion and arranges for her Brazilian Jazz project, sings back-up with various cover bands, sings and drums and with the NJ-based Rhythm Monsters West African ensemble, and is a member and featured soloist of the classical Brooklyn Conservatory Chorale.
As an educator, Jocelyn has worked in K-12 education throughout New York City and pioneered the contemporary voice curriculum as Head of the Vocal Department at the True School of Music in Mumbai, India. Currently, she is on the Voice Faculty of the University of Colorado Denver, Bloomingdale School of Music, the New York Jazz Workshop School of Music, the California Jazz Conservatory and teaches Voice and Music Theory at La Guardia Community College. www.jocelynmedina.com
Erin Puttee is a music educator, voice teacher and vocal coach. She holds a Bachelor of Music in Voice Performance and a Master of Arts in Musicology from the University of Ottawa. Erin began her journey with Somatic Voicework™ in 2015. She is a member of the Ontario Registered Music Teachers’ Association (ORMTA), the Canadian Federation of Music Teachers’ Association (CFMTA) and the National Association of Teachers of Singing (NATS).
Since 2013, Erin has been teaching in the Music Theatre- Performance Program at St. Lawrence College in Brockville, Ontario. In addition to her position as a voice teacher at SLC, she has musically directed the first-year showcase (New Faces), staged readings of Nine and Company, and has also enjoyed playing keyboard for several SLC productions.
As an internationally recognized voice pedagogue in contemporary music, Dr. Trineice Robinson-Martin has dedicated her career to performing and developing resources for teaching jazz, gospel/Christian, R&B, rock, country and pop singing styles in an applied/private voice lesson setting. She maintains faculty positions as a lecturer, voice teacher, and ensemble director at Princeton University, and newly formed in Fall 2021, Roc Nation School of Music, Sports, and Entertainment at Long Island University-Brooklyn Campus. In addition to her academic appointments, Dr. Trineice is a certified instructor and faculty member of the LoVetri Institute for Somatic Voicework™ at Baldwin Wallace; serves on the National Faculty in the academic division of Gospel Music Workshop of America, serves as the Executive Director of the African American Jazz Caucus Inc., serves as a Board of Director for the Jazz Education Network, serves on the Editorial Board of the Journal of Singing, and is a member of the distinguished American Academy of Teachers of Singing.
As creator of Soul Ingredients® Methodology, Robinson offers virtual and in-person Teacher Training courses in Soul Ingredients® Voice Teacher Training Academy and LoVetri Institute and in is the founder of Soul Ingredients® Voice Studio. Soul Ingredients® methodology shows students how to take their personal experiences, musical influences, and models, and execute the various components in a manner that is personal to the singer/performer’s own expression.
The title of Dr. Trineice’s 2021 debut album, All Or Nothing, billed under “Trineice Robinson” reflects the whole-hearted spirit with which she’s approached every facet of her wide-ranging career. It captures the passion, confidence, and dazzling scope of her rich, expressive voice, which DownBeat Magazine hails as “redolent with power… stunning.” But it also represents the dedication and commitment that she’s brought to an impressive career as a renowned educator, researcher, scholar, and clinician. She’s recorded with such jazz greats as Cyrus Chestnut, Nnenna Freelon, Kenny Davis, and Vince Ector, and was part of the “Standing in the Shadows of Motown” tour along with Peabo Bryson, Leela James, and James Jamerson Jr. New York Music Daily praised Robinson as “an individualist who defies categorization: there’s the immediacy of classic soul music here, coupled to jazz sophistication, gospel rapture and fervor.”
More information on Dr. Trineice Robinson-Martin and Soul Ingredients® methodology can be found at www.DrTrineice.com.
Craig Tompkins teaches in the Musical Theatre Diploma program at Capilano University in North Vancouver, British Columbia and maintains a busy private studio working with all ages and stages of singers. He was a professional chorister for 30 years, primarily with the renowned Vancouver Chamber Choir. With the VCC, he had the opportunity to participate in countless tours across Canada as well as extended tours of the USA, Asia, Europe and the former Soviet Union. He appears on more than 20 recordings with the Choir. Craig is past Northwest Regional Governor of the National Association of Teachers of Singing (NATS), past president of the Vancouver Chapter of NATS and currently, he serves as British Columbia Regional Governor for NATS. In 2015, he was the first international Master Teacher at the NATS Intern program. He holds the Artist Diploma in voice from the Vancouver Academy of Music and became certified in all levels of Somatic Voicework™ the LoVetri Method in 2008. Since then, Somatic Voicework has been the foundation of his teaching and he continues to deepen his understanding of it by working with Ms. LoVetri as often as possible.
Craig has been a member of the theatre faculty in the Music Theatre Diploma program at Capilano University in North Vancouver since 2009. His students can be found on theatre stages, cruise ships and on film and TV across North America and around the world! www.youcansing.ca
Maria Damore
Mary Gresock
Oliver Henderson
Marty Lamain
Doug Peck
Ric Ryder
Bharati Soman
Rachel Williams
Guest Faculty
Laurie Antonioli started singing professionally at the age of sixteen. In 1976 she attended Mt. Hood College in Portland, Oregon, the first school in the country to have a vocal jazz program. By the age of 22, she had performed with numerous luminary figures, including Mark Murphy, Joe Henderson, and Bobby McFerrin. Going on the road throughout Europe for a year, in 1981, with New Orleans jazz saxophonist and singer Pony Poindexter, secured her deep connection to the music. She also discovered her love of teaching and passing on what she'd learned on the bandstand. In her early teaching career, she was often invited to do workshops, including by Phil Mattson at Foothill College, a highly respected jazz educator. This inspired her to pursue not only performing but teaching as well since both things were of equal interest to her.
She made her first record in 1985 -- a duo recording with pianist George Cables, and since then, she's released six recordings to critical acclaim, including a record of Joni Mitchell's music -- one that, upon hearing, inspired Joni to reach out and invite Laurie to perform in her honor in San Francisco. Her recordings span a wide range of styles and approaches, from a Balkan Jazz record recorded in Slovenia with her "Foreign Affair" band to three recordings with her California band, covering Americana to original songs and reimagined folk/rock tunes. Finally, her recordings with piano icon Richie Beirach are intimate and very unique. Laurie started her professional academic career in 2002 at KUG University in Graz, Austria, where she was hired at the urging of Sheila Jordan, Jay Clayton, and Mark Murphy. From there, she went to the California Jazz Conservatory, where, as the head of the vocal program, she developed an extensive, inclusive, and comprehensive array of classes, workshops, and concerts for the school. From 2006 to 2023, Ms. Antonioli has been a leader in the world of jazz education -- hiring countless artists to teach and perform and continuing to refine and develop her own teaching practices. Today, Laurie applies many methods and approaches in working with developing singers. Her exposure to Somatic Voicework has been revelatory in terms of her own voice and in working with others. www.laurieantonioli.com
Randy Graff won the Tony and Drama Desk Award for her performance in “City of Angels.” Her other Broadway credits include: “Mr. Saturday Night,” opposite Billy Crystal, “Fiddler On The Roof”(2004 revival/Drama League Nomination) opposite Alfred Molina, “A Class Act” (Tony, Drama Desk Nominations), “Moon Over Buffalo” with Carol Burnett, Neil Simon’s “Laughter On The 23rd Floor” with Nathan Lane, “High Society,” “Falsettos,” and the original Fantine in“Les Misérables.” She won the Lucille Lortel Award for her work in Richard Greenberg’s “The Babylon Line” for LCT and was a Drama League Nominee for Paula Vogel’s ‘The Long Christmas Ride Home,” at the Vineyard Theatre. Randy has served on the musical theatre faculties at NYU Tisch and Manhattan School of Music. She currently has her own private studio in Manhattan where she teaches musical theater students “acting through song” and audition preparation. Ms. Graff holds an honorary doctorate in the Performing Arts from Wagner College.
Markus Hess, MD, is a dedicated otolaryngologist and phoniatrician, subspecializing in laryngology, phonosurgery, and professional voice use. Graduation in Düsseldorf Berlin. Since 1991 board-certified otolaryngologist, since 1995 board-certified phoniatrist. In 1998 he accepted a full professor position at the University Medical Center Hamburg-Eppendorf in Phoniatrics. He is co-founder and Head of the first Voice Clinic in Germany since 2014, the MEDICAL VOICE CENTER in Hamburg.
He specialized in the care of the performing voice and the treatment of voice disorders. Dr. Hess has long-standing experience in performing endoscopic and open surgical procedures on the larynx. He has invented many techniques for diagnostics and surgical interventions in laryngology and holds a patent on LED-stroboscopy. Dr. Hess brings a multidisciplinary approach to such patients as singers, actors and public speakers. His surgical patients receive cutting-edge minimally invasive techniques in laryngeal microsurgery as well as office-based voice surgery in topical anesthesia. Dr. Hess has authored and co-authored over hundred peer-reviewed articles. He is chair of Pan European Conferences (PEVOC) since 2015, a founding member of the ‘German Society of Phonosurgery’, founder and Executive Board member of the European Academy of Voice (EAV), Past-President of the international Collegium Medicorum Theatri (CoMeT) 2015-2018, Secretary General of International Association of Phonosurgery (IAP), co-founder and first president of the International Association of TransVoice Surgeons. He serves in multiple capacities on many international editorial and scientific boards and committees. Dr. Hess teaches regularly at national and international voice conferences and runs own courses in cutting-edge phonosurgery techniques.
Dr. Anita L. Kozan, Ph.D., CCC is a speech and language pathologist who has specialized in care of the speaking voice, singing voice, and voice production for people who are transgender or gender diverse for over 40 years. Her Ph.D. dissertation research, Perceptual Judgments of the Effects of Warming Up the Voice for Singing (University of Minnesota-Minneapolis, 1995) demonstrated that experienced teachers of singing correctly identified the warmed-up singing voice in 39 of 40 female trained and untrained singers in age ranges 20-29 and 50-69. Kozan opened Minnesota’s first Voice Laboratory offering Videostroboscopic evaluations of the Larynx at United Hospital in St. Paul, MN in 1987. She currently has a small private practice, the Kozan Clinic for Voice, Speech and Spirit, LLC in Minneapolis, MN. She sees clients on Skype and Zoom. Kozan is author of the chapter, The Singing Voice, in Voice and Communication Therapy for the Transgender and Gender Diverse Client: A Clinical Guide, Plural Publishing, 2006, 2012, and 2019, third edition with co-author, Sandi Hammond. Kozan received a Diversity Champions Award from the American Speech Language Hearing Association in 2009, the same year that she received a Lavender Magazine Pride Award for her work with the transgender and bisexual communities. She is co-host and co-producer of Bi Cities, “the longest running cable TV show on bisexuality in the history of the world,” which she co-hosts and co-produces with Dr. Marge Charmoli in St. Paul. Kozan has a CD of voice exercises, Relax and Breathe, for the development of speaking and singing voice, and breath support. She has lectured at the state, national and international levels, including ASHA, USPATH and WPATH. She has completed all three levels of Somatic Voicework™. Kozan is an accomplished singer and songwriter, plays keyboards and alto sax, and holds the U.S. copyright on 10 compositions.
Claudio F. Milstein is the Director of the Voice Center at the Cleveland Clinic, and the coordinator for the area of Voice and Voice Disorders at the American Speech and Hearing Association. He is an associate Professor of Surgery at the Cleveland Clinic Lerner College of Medicine, and holds an Affiliate Scholar appointment at Oberlin College. Originally from Buenos Aires, Argentina, he completed his Masters in Speech Language Pathology at the Medical School of the University of Buenos Aires, and was a professor at the National Conservatory for Dramatic Arts in Buenos Aires, specializing in voice for stage. After relocating to the USA, he received his doctorate in Speech Sciences from the University of Arizona, interned at the Massachusetts Eye and Ear Infirmary at Harvard Medical School, and at the Speech Research Laboratory, Massachusetts Institute of Technology (MIT).
His clinical interests are in laryngology and voice disorders. He has been actively involved in the clinical management of voice patients for over 20 years, has authored numerous publications related to the human voice and its disorders, and is frequently invited as a lecturer at national and international meetings. His expertise in voice, particularly in the treatment of Functional Dysphonias and Paradoxical Vocal Fold Motion and related disorders has garnered media interest, with radio, newspaper and television interviews across the United States and South America, including National Public Radio (NPR), ABC World News, Fox News and MSNBC. Through the media outlets, he has been able to reach, educate, and advise thousands of patients with voice disorders and healthcare providers across America. His current areas of interest include laryngeal hyper-reactivity, functional voice disorders, upper airway dysfunction, and care of the professional voice.
Bridget Rose has extensive experience as a speech-language pathologist within the field of voice and as a performer and singing teacher. After completing her graduate and undergraduate music degrees in Vocal Performance from the Indiana University School of Music, she continued to enhance her training through the National Association of Teachers of Singing (NATS) Teacher Internship Program and other performance training programs in the United States and Europe. She has had extensive experience as an instructor, including private and University positions, and has seen many of her students receive accolades in vocal competitions. Additionally, her former not-for-profit organization, Interactive Opera, Inc., allowed her to incorporate love of music in an interactive setting for students of all ages.
Ms. Rose later received her graduate degree in Communication Disorders from Emerson College in Boston, MA where she had a clinical student placement at Massachusetts Eye and Ear Infirmary Voice Center. This allowed her to contribute more to the vocal aspect of her Clinical Fellowship at the Voice and Swallowing Center in Belfast, Maine. Ms. Rose is employed at Philadelphia Ear, Nose and Throat Associates (PENTA) where she is the senior speech-language pathologist working for Dr. Robert T. Sataloff. Since entering the field, she has been able to put experience into practice through various techniques for evaluation and treatment of vocal diagnoses from vocal fold paresis to PVFM, early voice therapy for young children using tele-practice, transgender group therapy and independent use of accent modification. In addition to patient treatment, she has presented at various voice centers and universities. She has participated in research projects as well as contributed to book and magazine publications including, Laryngology Clinical Reference Guide (2020), Voice Therapy chapter for “Professional Voice: The Science and Art of Clinical Care, 4th Edition.” and “Ask the Speech Pathologist.” Speaker Magazine, 2017.
Ms. Rose is a member of the American Speech-Language and Hearing Association (ASHA) and the ASHA Voice and Voice Disorders Special Interest Division (SID-3). She has been the volunteer coordinator for the international Voice Foundation’s Symposium since 2012. She serves on the editorial board of the Journal of Voice and still finds time to follow and cheer on her favorite collegiate basketball team, Indiana University.
Peter Sciscioli is a New York-based performer, creator, educator and producer whose work encompasses dance, music, theater and film. Since 1997 he has been creating performance works through a choreographic lens with a wide variety of collaborators for concert, theater and site-specific venues around the world. His approach to Voice as Movement, begun in 2009, has led him to engage in workshops and residencies at various universities, in Latin America and Eastern Europe, also serving as the resident voice teacher at the Trinity/La Mama Performing Arts Semester (2010-2016) and for the Wooster Group’s Summer Institute (2018-present). Peter has also had the honor of working closely with composer/interdisciplinary artist Meredith Monk since 2003 in various roles including assistant, performer, manager and producer, and is an original founding member of The M6: Meredith Monk Music Third Generation, an ensemble dedicated to helping preserve her extraordinary legacy.
As a performer, Peter has also worked with such luminaries as Ping Chong, Philip Glass, Susan Marshall, Mary Zimmerman, and as a member of Jane Comfort and Company (2004-2010), among others. In addition to appearing at BAM, the Barbican, Carnegie Hall, the Goodman and The Joyce, he can be heard on Meredith Monk’s Songs of Ascension on ECM Records and Tigger Benford’s Four Scores for Dance. In 2017 Peter co-initiated The Sounding Body series at Movement Research in New York where he continues to develop new collaborative initiatives. He has been honored to receive support from MR's Global Practice Sharing/GPS program to attend meetings and to help bring several artists from Eastern Europe and Palestine to participate in an annual residency and festival he founded in 2012, under the auspices of the International Interdisciplinary Artists Consortium (IIAC), a network of performing artists and producers working across disciplines and cultures. Currently Peter continues his work and research at home, virtually and abroad.
Online Tuition: $350.00/participant per Level or Graduate Course
Limited automatic payment installments are available. It is preferred that participants pay via credit or debit card through the online registration, however checks are accepted. Please call the BW Community Arts School office to arrange for this.
Online Re-certification: Participants who have completed Levels I, II or III and plan to retake one or all Levels are eligible for a discounted rate of $200.00. To obtain the discount code, email cas@bw.edu and indicate which Level(s) you plan to re-certify, and where you took them previously.
Graduate Level Credits
Baldwin Wallace University School of Education CEUs
Graduate level credits are available for music educators teaching in the United States through Baldwin Wallace University School of Education for this course. One credit is available for LoVetri Institute for Somatic Voicework Levels I, II & III and Soul ingredients® Levels I & II, each with an additional fee of $208.00. Registration for gradute level credits can be added to your regular attendance fees when you register online.
- Lovetri Level I: Baldwin Wallace - 1 Graduate Credit
- Lovetri Level II: Baldwin Wallace - 1 Graduate Credit
- Lovetri Level III: Baldwin Wallace - 1 Graduate Credit
- Introduction to Soul ingredients®: Baldwin Wallace - 1 Graduate Credit
- Soul ingredients®, Developing the Artist: Baldwin Wallace - 1 Graduate Credit
The LoVetri Institute Scholarship offers financial aid to vocalists and artists attending The LoVetri Institute for Somatic Voicework™.
To donate to the fund, use this link.
Make sure to select the Designation as "Other" and then enter "LoVetri Scholarship" in the box (see example below).
ANYONE who works with singers in any kind of CCM setting should be required to take this training. It's been so refreshing to see the ideas and concepts that I've stumbled into on my own over years of coaching presented in a well-researched, organized and wonderfully presented method. I wish I had taken this training years ago!
- Sam Henderson
Charleston, SC
I think Somatic Voicework™ can help singers and singing teachers at many levels clarify aspects of registration and timbre in an approachable and functional way. Revisiting one of my voice students for a lesson after just two days in the live, online course helped my student access their mix and vocally explore, which was gratifying to watch.
- Ruchi Kapila
Hayward, CA
I am a trained classical singer, and felt greatly limited in my knowledge about CCM techniques and styles until I took this course. I now feel much more confident in my ability to help my numerous voice class students - the majority of whom want to sing CCM repertoire - sing those styles in a healthy and satisfying way.
- Lisa Stidham, DMA
Oberlin, OH
I absolutely loved Level I of this course. I've gained so much knowledge over just three days and have already applied this in my studio with fantastic results for my students. Seemingly simple changes have made a huge difference! It's amazing to watch Jeanie work with singers–it's clear she has a sixth sense for hearing things other people don't hear in singer's voices. Learning to listen closely is a big takeaway from this course. I'd recommend the course to any teacher or singer.
- Victoria Hollings
Auckland, New Zealand
This was a wonderful and informative workshop. I appreciate how caring and understanding each instructor was. This was a well oiled machine, and the class time was used efficiently. I felt very comfortable and at ease even in the breakout sessions. I also really enjoyed reading my lesson materials. This course was worth every penny and has already started to improve my listening and teaching.
- Candace Culcleasure
Wilmington, DE
Somatic Voicework™ The LoVetri Method provides clear, actionable tools and techniques for functional voice training that is rooted in science, which allows you to sing freely and to unlock your full creative potential. I highly recommend these courses!
- Morgan Harrington
Stockton, CA
Grounded in voice science and informed by traditional vocal pedagogy, this is the most comprehensive short training course for voice teachers available. Its innovation centers on registration, rendering it applicable to the broad range of musical styles of our time. It introduces the student to a community of colleagues who support one another in this work for life. It is the most valuable vocal pedagogy course you will ever take.
- Andrew R. White, DMA
Kearney, NE
Somatic Voicework™ offers indispensable, fact-based education for voice teachers who aspire to serve students at the highest level. The perspective I gained through Levels I-III informs my work every day as I guide students to unleash their artistic potential through functional voice training.
- Emily Siar, DMA
Boston, MA
As a devoted academic, I have always valued knowing things with my mind. Singing, of course, demands knowing with your body. I was in my 30’s and had just landed my first college teaching job after years of singing classical music. There I was, trying to teach theater students by dint of whatever I could learn through reading. I could hear what was necessary to sing in other styles, but I didn’t know what it felt like in my own throat. Somatic Voicework™ encouraged me to step out and DO. The Institute balances voice science—knowing with your mind—and experience—knowing with your body. Highly recommended.
-Oliver Henderson, DM
New York, NY
Somatic Voicework™ changed my teaching by giving me tools to help students understand the anatomy and physiology of their own voices, how they make sound, eventually how to recognize and control it in a performance situation. My students enjoy discovering these “superpowers” in their voices. It’s exciting to empower singers (and speakers) with the tools they can use to develop their voices and reach their goals.
-Cymber Quinn, Teacher
Denver, CO
This is the most accurate voice course I’ve ever been to!
-Karin Bengmark, Singer, Voice Teacher
The Academy of Music and Drama, Gothenburg University, Sweden
Studying Somatic Voicework™ has had an undeniably positive impact on both my singing and my teaching. Singers from all around the world, representing a wide variety of musical genres, quickly form bonds of friendship and mutual support. My only regret about studying Somatic Voicework™ is that I didn't start sooner!
-Andrea Wolper, Jazz Vocalist, Songwriter, Teacher
New York, NY
Attending The LoVetri Institute for Somatic Voicework™ has completely changed my teaching and singing. Jeanie’s Solution Sequences are very helpful and I have learned to really hear and see what’s working with my students and what isn't working, and how to get to the solution! Jeanie is passionate, patient, and knows how to diagnose the problem, and work with you to the solution. I really loved working with vocalists who sing opposite styles and us teaching one another.
-Karen Carr, Assistant Professor, Voice
Berklee College of Music, Georgetown, MA
I LOVED watching Jeanie work … and hearing from a working Broadway Music Director about what is actually happening in New York is priceless!
-Deborah Conquest, Voice Faculty
Nazareth College, Rochester, NY
The most comprehensive and compassionate vocal pedagogy!
-Kaoruko Pilkington, Voice Faculty
Berklee College of Music, Georgetown, MA
Somatic Voicework™ has changed the way I teach and the way I approach the voice in general. My language and direction [in lessons] has become clearer, long and short term goals have become more refined, exercises are more purposeful and effective, and the student leaves each lesson in better voice than they walked in with…It is the kind of work that one summer of study does not suffice due to its deep, holistic and interdisciplinary nature. I can't wait to come back for more.
-Elana Hedrych, Vocal Artist, Composer, Teacher
New York, NY
The program gave me a set of tools that takes the guess work out of working in multiple styles.
-Jay Gardner, Professor of Voice
Collin College, Plano, TX
Somatic Voicework™ fundamentally changed the way I approach my teaching. With a more complete understanding of voice science and functional training, I am more capable in my work. Jeanie’s approach is scientifically sound and so accessible. It has surpassed my expectations.
-Michael Walsh, Professor of Music
Lone Star College-Montgomery, Houston, TX
The grounded, practical approach I have been looking for. This is bodywork for the voice.
-May Oskan, Associate Vocal Coach
Songbird Studios, Bay Area, CA
Not only is Somatic Voicework™ a clear method for understanding and teaching singing, it is a method steeped in patience, kindness and continual learning.
-Alexandra Platos Sulack, Performer, Voice Teacher
Chicago, IL