I fervently share the thoughts of author Stephen Brookfield, who wrote, “Teaching is about making some kind of dent in the world so that the world is different than it was before you practiced your craft” (The Skillful Teacher, 1990, p. 18). Whether instructing a large number of students in a classroom environment or just one in my studio, my goals remain the same: to nurture a student’s love of music and the arts, expand his or her competency and ability to think critically about the subject at hand, and guide him or her toward excellence in performance.
In general, I believe that teachers must approach every student as an individual. Each one entrusted to our care will have strengths and weaknesses all his or her own. Our responsibility is to discover those strengths and weaknesses, devise a workable plan for forward progress, and implement strategies to facilitate growth. Recognizing that those strengths and weaknesses may evolve over time, each new meeting requires a fresh assessment. I challenge myself to evaluate abilities and progress with fresh eyes every week.
In academic settings I believe that students learn best when they participate and construct their own knowledge. As active contributors to their own learning, I find that students are more enthusiastic about their educations. I approach each course meeting with energy, excitement, and a true passion for the material, and in my experience student responses equal my efforts. I prefer discussions to lectures, but I accept full responsibility as facilitator. I challenge their preconceived ideas about music, dare them to dig deeper, and reward their risk-taking just as I reward “right answers.”
In the studio, I work from a set of my own long-held beliefs:
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1. That teachers have a moral obligation to be honest with students about both the competitive marketplace and their personal progress. While I set the bar high and encourage students to reach beyond what they often think possible, I provide every imaginable tool I have to assist them in achieving their goals. When you are honest about where they fall short, they believe you
when you celebrate their successes. Trust is key.
2. That teachers must realize what students ultimately want from their voices. Not everyone wants to be an opera singer; not everyone wants to sing music theater. Using science-based techniques, we, as teachers, must work to help students to explore their own creativity in the most vocally-healthy way possible. Vocal health is not optional – their futures depend on it.
3. That teachers must expose students to a variety of literature. Although students may ultimately prefer one style over another, they should make their choices from an informed position. All musicians should know that all musical styles have value. It’s another way that we can teach tolerance in the world in which we live.
4. That singing should be fun. While I generally agree with the adage that “everyone wants to be skinny and no one enjoys going to the gym,” practice with a purpose can be an enjoyable experience. Students, particularly undergraduate students, need direction on how to practice effectively in the same way that an athlete needs direction on how to effectively train for his sport. If we give them the tools and the knowledge to garner success, they will approach every rehearsal with a passion for improvement. The more they win, the more they want to win!
5. That teachers must be life-long learners. Over the course of my own career, I have seen how advances in technology have impacted voice science. As a result, pedagogy must remain a dynamic process that adapts as we learn more and more about our instruments. We must be willing active learners if we are to best prepare our students for twenty-first century musical careers.
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