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.

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.

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.

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.

Level III addresses “Repertoire, Problem Solving and Voice Medicine”. It features a noted music theater expert from New York City, Carmel Dean, Music Director of multiple Broadway shows, who will 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.

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 environment.

Transgender and gender diverse clients are seeking services from speech and language pathologists and from teachers of singing with increasing frequency, both for the speaking voice and the singing voice. This three-day intensive course is open to all graduates of Level III of Somatic Voicework^TM , 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 experiential learning through facilitated small groups. Guest lectures will be given by transgender or gender non-binary individuals to bring a first-hand perspective to topics including appropriate language usage by non-trans individuals, best practice standards for teachers and therapists, and becoming an ally to the transgender community. Transgender and gender diverse singers will be invited to participate in small groups.

Dr. Kozan will cover various topics including special concerns as a cis gender person providing services to transgender and gender diverse clients, challenges faced by trans and gender diverse speakers and singers, use of speaking and singing voice therapy techniques, experiences using Somatic Voicework^TM principles with her clients, 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). She will discuss Hammond’s experiences founding and directing The Boston Butterfly Music Transgender Chorus. Tracy Grady, Lecturer in Voice at Baldwin Wallace Conservatory of Music, will contribute to the course by providing her perspective as Director of the Cleveland Transgender Choir. Time for questions will be scheduled and welcomed during each session
throughout the three-day course.

Soul Ingredients®, led by Trineice Robinson-Martin, Ed.D, EdM, MM, is a voice pedagogy method created to nourish both the development of the voice and execution of one’s own soul’s expression through song. The focus of this methodology is to train the voice as an instrument, develop style, and nurture personal expression within an interdependent framework. Goal and parameters for voice training are determined by: cultural and stylistic expectations of the genre performed; physical vocal capabilities of the performer; and identification and establishment of the performer’s unique personal expression, as articulated through the stylistic vocabulary of the genre being performed.

This three-day intensive Soul Ingredients® Methodology Course explores pedagogic strategies for defining and developing these three major areas training as applied to individual singers.

Soul Ingredients® Methodology Course will be offered twice this summer:
Section 1 - July 23 - 25, 2021
Section 2 - July 30 - Aug. 1, 2021

Daily Course Schedule

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.

Amanda Chmela received her BFA in Musical Theatre from SUNY Fredonia and her MM in Opera Performance from Binghamton University.  She is a member of NATS, NYSTA, NAfME, The Voice Foundation, and is Certified in Somatic Voicework™, The LoVetri Method.  Ms. Chmela is on the voice faculty at LIU C.W. Post within their Fine and Performing Arts Department and served on voice faculty at Rider University from 2014-2018.  She also maintains a private voice studio on Long Island where she specializes in teaching Contemporary Commercial Music with a strong focus on musical theatre and pop/rock styles.

Ms. Chmela has participated in the Westchester Summer Vocal Institute and is an alumnus of Tri-Cities Opera’s Resident Artist Training Program.  She has been the female vocalist for the Savoy Swing Band since August of 2013.    Performance highlights include Lucille (Parade), Anne (A Little Night Music), Nancy (Oliver!), Gretel (Hansel and Gretel), Josephine (H.M.S. Pinafore), Beth (Little Women), Hodel/Fruma Sarah (Fiddler on the Roof), Alice (Addam’s Family) , Mrs. Cratchit (A Christmas Carol), Despina (Cosi fan tutti), Barbarina (Le Nozze di Figaro), Latitia & Ms. Pinkerton (The Old Maid and the Thief), Fire Cover/Chorus (L’enfant et les sortilege), and Poppea (L’incoronazione di Poppea). www.amandachmela.com          www.longislandvoicelessons.com

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.

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.

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.

Leischen Moore is the owner of Rare Bird Studios in Tacoma, WA, where she has been actively teaching voice since 2006.  She received her Masters of Art in Vocal Performance from New York University’s Steinhardt School of Education. Leischen also holds a BMA from Pacific Lutheran University in Music and Theatre. She is an avid performer and music director in the South Puget Sound and was twice nominated as Best Actress in a Musical.  Leischen is active in NATS and was chosen as an Emerging Leader in 2016.  She has also served as President of the Tahoma Chapter of NATS as well as being on the executive board for the Northwest Region.  She is adjunct faculty for Pacific Lutheran University's new BFA in Musical Theatre program.

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 completed her doctoral work at Teachers College Columbia University. Dr. Trineice holds master degrees in music education and jazz studies from Teachers College and Indiana University-Bloomington, respectively, B.A. from San Jose State University, and is a Level III Certified Instructor in Somatic Voicework™ The LoVetri Method. Dr. Trineice holds faculty positions at Princeton University as the jazz voice instructor and director of the Jazz Vocal Collective Ensembles I and II. She serves on the National Faculty in the academic division of Gospel Music Workshop of America, and serves as the Executive Director of the African American Jazz Caucus, Inc.

Based on her graduate research, Dr. Trineice created Soul Ingredients®, a teaching methodology for developing a singer’s musical style/interpretation in African-American folk based music styles (i.e. jazz, gospel, R&B, blues, etc.). This methodology shows students how to take their personal experiences, musical influences and models, and execute the different components in a manner that is personal to the singer/performer’s own personal expression.

Carmel Dean (Composer/Lyricist, Musical Director, Arranger) is an Australian-born musician based in New York. Her compositional debut, Renascence (with a book by Tony Award-nominee Dick Scanlan), was produced Off-Broadway in 2018 by the acclaimed theatre company Transport Group, and subsequently won the Off-Broadway Alliance Award for Best New Musical. Her song cycle, “Well-Behaved Women”, about bad-ass historical women, will be premiering at Joe’s Pub in January 2020 to sold out audiences. As a Broadway musical director and/or arranger her credits include: If/Then; Hands on a Hardbody; American Idiot and The 25th Annual Putnam County Spelling Bee. Other roles include vocal arranger for jam-band Phish (Madison Square Garden and MGM Las Vegas); performer with Green Day on the 52nd Annual Grammy Awards; and former musical director for Broadway legend Chita Rivera. Carmel is a Fulbright Scholar, holds an MFA from New York University’s Graduate Musical Theatre Writing Program, and is a current member of the BMI Lehman Engel Writing Workshop. www.carmeldean.com

Lucinda Halstead, MD is an Associate Professor in the Department of Otolaryngology- Head & Neck Surgery and the Department of Pediatrics at the Medical University of South Carolina and is the Medical Director of the MUSC Evelyn Trammell Institute for Voice and Swallowing. She is President Elect of the Performing Arts Medicine Association and the laryngologist for the internationally renowned Spoleto Festival USA. She publishes and lectures nationally and internationally on the topics of vocal health, performing artist wellness, disorders of the singing voice, singing voice dystonia, hearing loss and noise exposure in singers, laryngopharyngeal reflux disorders, pediatric performing voice issues and pediatric voice and swallowing disorders. Her passion is to share state of the art information on voice and performing artist health to singers, voice teachers, voice students (middle school – university) and theater groups.   Professional societies include the Performing Arts Medicine Association, The Voice Foundation, Colligium Medicorum Theatri, and the American Society of Pediatric Otolaryngology, amongst others.

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.

Lisa Thorson is a popular Boston based jazz vocalist, actress and music educator. She has performed at jazz clubs, on radio, on stage, in film and on television for over forty years. She has toured throughout the U.S., Canada and Italy as a concert artist and jazz vocal clinician. Lisa has released six jazz recordings as a leader.  Her most recent, “Lisa Thorson Quartet Live” received unanimous critical acclaim and international airplay.  Critic and writer Michael Nastos hailed “Resonance” her quintet’s CD on GM Recordings as “one of the very best musical offerings of the year, and an astonishing vocal document.” Lisa received a Bachelor of Fine Arts in Musical Theatre from the Boston Conservatory and a Master's Degree in Jazz Vocal Performance from New England Conservatory.  She is a Professor in the Voice Department at Berklee College of Music where she received the Distinguished Faculty Award.  Lisa has taught at New England Conservatory, Longy School of Music and Wellesley College. The National Endowment for the Arts, Berklee College of Music and numerous public and private foundations have supported her creative performance and educational projects.

In addition to her work as a vocal and jazz educator, Lisa’s current projects include her jazz quintet, The Post 1960 Repertoire Project and Without Words; Inspiration, Discovery and Practice, an Ebook scheduled for publication in 2022.

Pyeng Threadgill is a voice & movement teacher and vocalist/songwriter. Her teaching approaches the voice with an emphasis on slowing down and offering accessible and healthy vocal technique for all styles of music. Ms Threadgill guides aspiring/professional singer/songwriters to refocus on the joy and pleasure of singing rather than self-judgment. By connecting to the breath, body and movement students develop a holistic voice practice thereby eliciting each individual's Soul music and what she calls The Embodied Artist Method TM.

As a performer Pyeng has been described as “charmingly eclectic" by St Louis Today. Singing ‘New Porch Music’ she crafts an intimate journey through folk and Jazz with Afro- electronic inflections. In her fourth solo album and multimedia project entitled Head Full of Hair, Heart Full of Song, Ms. Threadgill shines a light on hair, adornment, and ancestry and the political well as spiritual implications of race, hair and identity.

Pyeng is a recipient of the fellowship in music composition from New York Foundation for the Arts for her album Portholes To A Love & Other Short Stories. In 2018 she was featured by the Mayor's Office of Media and Entertainment on "A Day's Work" showcasing the work of three working musicians living in New York. And in March, 2019 Pyeng's narration for the audio book Dreamland Burning by Jennifer Latham was named Best Multi-Voiced Performance by the Audie Awards.

Pyeng currently works and teaches from her home in Brooklyn, NY where she lives with her daughter and husband. She is a level 3 Somatic Voicework teacher and AmSAT (American Society for the Alexander Technique) certified Alexander Technique teacher.

Online Tuition: $325.00 per Level or Graduate Course
and $25.00 Required Course Book per Level

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 contact 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 $150.00.  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.

Registration Deadline: July 10, 2021

Continuing Education
Baldwin Wallace University School of Education CEUs

Graduate level credits are available for degreed music educators through Baldwin Wallace University School of Education for this course. 1 CEU is available for each Level, and is an additional $208.00. Registration for CEUs can be added to your regular attendance fees when you register online.

• Lovetri Level I: Baldwin Wallace EDU-565-PM9
• Lovetri Level II: Baldwin Wallace EDU-565-PM10
• Lovetri Level III: Baldwin Wallace EDU-565-PM11

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

Every summer spent at Baldwin Wallace with this amazing work is another year I become a more intuitive teacher, a better listener, and a healthier singer. Somatic Voicework™ is so much more than just a pedagogical method, it's a gateway leading to the heart of connection through the voice.
-Andrea Randall-Luyties MA., BA., Private Voice Teacher
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