Welcome to the Integral Artist-Teacher!

Introduction

In May 2007 I retired from the University of Minnesota, and now am more available for guest artist-teacher engagements. My credentials and experience as tenor soloist, voice teacher, and author may be found on the bios link. Additional relevant information is provided on the integral vocalist link and the publications link.  If I can be of service as an artist-teacher, please feel free to contact me.

Preferred Teaching and Performing Assignments

• Group voice: a 90-minute plus teaching demonstration involving 6-8 female and male students, preferably students with solid music skills, age 17 and older, with a concentration on developing efficient voice production by setting up appropriate conditions (freedom from unnecessary tensions) and experimenting with inefficient voice productions (breathy, pressed, throaty, heavy, etc.), and developing efficient voice productions
  
  
• Master class: a 90-minute-plus teaching demonstration involving 5-6 singers of intermediate to advanced levels of vocal performance, with a focus on efficient voice production but, when appropriate, all areas of performance (diction, style, interpretation, etc.) 
  
  
• Lecture/demonstration: Vocal Explorations: The Bad, the Good, and the “Other”, a 45-minute-plus lecture/demonstration exploring various stereotypical voice productions and styles, involving some audience participation and concluding with the humorous Best-Ever Loving Tenor Contest, a 20-minute parody/spoof skit featuring six pop and classical voice styles, with 17 well-received performances to date
  
  
• Expressive performance: Art Song as Micro Drama, a 90-minute-teaching demonstration involving 5-6 singers of intermediate to advanced levels of vocal performance who have prepared art songs that are suitable for staging, experimenting with varying attitudes, and body movement

Integral Teaching Philosophy

Rationale for Teaching Singing
In addition to the obvious benefits of vocal, musical, and artistic development, voice study (and teaching) can also provide a superior self-improvement program for developing greater self-awareness and understanding—physically (body), mentally (mind), and emotionally (spirit). To work closely with students in such a multifaceted discipline is an ongoing challenge requiring the highest levels of physical, mental, and spiritual energies.

Student-Teacher Relationship
I think of the student-teacher relationship as a mutually supportive partnership, with both working to achieve the student's highest potential. I perceive the teacher’s role as that of facilitator and guide, ever leading the student to greater self-understanding and independence, both as a vocal artist and as a human being.

Integral Pedagogy 
I use an integral, eclectic pedagogy that balances holistic, mechanistic, and aesthetic objectives in cultivating overall mind-body health, constructive learning concepts, efficient vocal skills, and authentic artistic expression in each student. One primary goal is to help free students from the various mental, emotional, and physical blocks that inhibit efficient vocal function and artistic expression. In addition to using mind-body exercises and techniques founded on both scientific and artistic principles, I rely on a comprehensive understanding of voice anatomy and physiology, acoustics, and principles of natural voice function to support my pedagogy. As an active but aging vocal performer, I also try to practice what I preach, with ongoing study and practice.

Professional Voice Organizations
I encourage all voice professionals to seek and develop mutually beneficial connections with other professional colleagues. The most significant voice organization for voice teachers is the National Association for Teachers of Singing which publishes Journal of Singing, a valuable source of current information for singers and teachers. Another major publication is Classical Singer a magazine aimed primarily at singers, but also of great value to Voice teachers.