PHILOSOPHY

As a music educator and conductor, my objective is to guide students toward independent musicianship goals in a reciprocal, productive, and collaborative learning environment. Students, with the aid of vocal technique study, will hopefully gain anatomical knowledge and musicianship skills that can be transferred through a wide variety of choral repertoire. While singing with others in an ensemble, students will work toward specific goals that may enhance their social skills, instill a charismatic work ethic, and illuminate the joys of critical thinking. My philosophy is comprised of three main elements: providing students a safe learning environment for exploration of themselves and others; enhancing the students’ knowledge of their own voice and capabilities through collaborative exploration; and the creation of independent musicians who continue to actively participate in music for the rest of their lives.

Throughout my time as an educator, a primary goal has been to translate musical experiences and knowledge to any learner or listener. A subsequent goal has been to allow the learner or listener to exchange their experiences so that the teacher and student can share in the learning process. This may be most effective in a fun and exploratory classroom or rehearsal hall.  During my tenure at an inner-city middle school, I developed and refined strategies to cultivate an inclusive environment. Students in such a space felt free to have impactful experiences and share in music with the rest of the ensemble. When the conditions of the classroom were carefully monitored, (psyche, positive feedback, etc.) It allowed the students to positively critique and assess themselves. This student autonomy allowed us to progress much further as an ensemble than we had ever thought possible. Students capable of accurate, self-adjustment can serve as helpful models to other students. This can promote unity and leadership among groups and in the ensemble. 

I strive to approach choral singing with a “sounds-first” perspective. This perspective aligns with a focus on vocal technique when students are encouraged to explore all of the potential sounds that a voice can healthfully make. When a student, regardless of previous education, can learn to use the many simple sounds of their own voice, the rehearsal becomes an inviting exploration of all varieties and combinations of sounds. Without assigning the sounds labels at the start of learning, the student is already learning an “assortment” of sounds that will be used later in rhythms, melodies, and harmonies. These rhythms, melodies, and harmonies will be transferred to fit the chosen repertoire for each performance.

With sounds as a primary focus, a rehearsal ideal of “performance” or perfection can be replaced with exploration and collaboration. I consider taking the time to model for my students to be important, inviting them to echo or “imitate” the sounds they are hearing. Through one-on-one or small-group feedback, a student is freer to explain and explore their own abilities of sound outside the context of the ensemble. The students quickly apply those skills back into a group setting. In time, the students and I will begin labeling sensations and mechanistic movements of their vocal structures to aid them in repeating the process in the next rehearsal.

This philosophy allows students to take ownership of all the moments of sounds and music that occur inside of any given rehearsal. Instead of a push toward perfection, I want students to leave the classroom every day understanding what growth occurred in themselves and their fellow singers. Furthermore, it is my hope they understand what steps are used in class so that they might promote these same successes for themselves in private practice. I encourage students to understand that hard work is necessary, fun, and full of risk. My students experience differentiated bits of instruction to fit their abilities, but to also set expectations that any singer in rehearsal can safely attempt what is being asked of everyone. Providing these new and challenging opportunities has proven to invigorate students toward exceeding their expectations and my own of how constructive the classroom should be.

With the guidelines in my philosophy, I hope that students will gain a clearer understanding of the joys, challenges, and skills choral music and singing can provide. As with their skills in music, it is my wish that all students develop a love for critical thinking, collaborative and creative environments, and a deeper knowledge of their own voice and abilities.