Begin with the individual. Students will leave my studio not only confident in their musicianship and technical skills, but also with a strengthened sense of self; forged by asking challenging questions, honoring personal reflections, and embracing self-discovery. Because no two students are alike, I tailor lessons to the individual needs of each singer; and while goals may be similar, each student’s path diverges. The primary and common guide along that path is music. My colleague Amy Sadler observed my connection with the students I teach and said, “All of us (faculty) can see the deep connection she has to her students. It’s not just what they do in class; it’s what they are outside of class.” With diligent study, it becomes my job to help singers discover their artistry and personal expression through healthy exploration of numerous emotions-ideally with a few breakthroughs along the way. Music demands nothing less of us. I see the student first and foremost and respond accordingly.
Survey the breadth of work. I approach music teaching and learning as a musical archaeologist. Students and artists investigate the skeletal structure of music in order to excavate it in a way that is both musically accurate and effectively leaps into the hearts and minds of those who hear it. Through the study of the art song or aria, a student must consider the history of the piece and the composer, the linguistic demands, compositional analysis, other noteworthy performances, and careful examination of the plot, characters, and instruments involved in the piece.The words of a song are not merely vowels and consonants to be formed with technical precision-they are a glimpse into the emotional state of the composer. Speaking the text aloud with the goal of conversational delivery informs students about word stress and how to shape the vocal line. Literal translation is essential to convey textual meaning. When preparing multiple selections for auditions or recitals, this process then extends to consider representation of various historical periods, compositional styles, and languages. There is a great amount of technical work to be done to be a good artist.
Decipher what you must express. As artists, we must examine ourselves and our own understanding of the world before daring to offer our own interpretation of another’s music. Accessibility is critical to the survival of our artform, and I want my students to easily summarize the song or aria effectively in a few sentences allowing audience members to truly enjoy the music they will hear from the singer. I watched students weep hearing Rachmaninoff’s “Oh, Do Not Sing to Me” when they recognized the similar expression of remembrance and loss in Wiz Kahlifa’s “See You Again.” The accomplished singer offers a performance that is both reflective of the artist and inclusive of the audience’s shared human experience. When a singer can establish relevance, music’s perpetuity is assured. Your performance must convey both your understanding of the music and your artistic message.
Establish the learning process. Through frequent analysis and reflection, my students can measure the growth of their skills and the improvement of their instrument over time. I encourage students to record themselves in their lessons and individual practice between lessons. After completing the lesson or practice session, I ask them to listen to the recordings and write down their observations. Reflective listening is a critical component to the successful development of the singer. Process enables students to become their own diagnosticians and teachers.
Build reliable technique. Until graduate school, I felt frustrated by my challenges with vocal technique. Dr. Steven Rainbolt changed my entire approach to music and my voice. He explained to me that he serves as a vocal mechanic, but ultimately, it is my car and I need to know its operating systems better than anyone. Through his brilliant guidance, I learned how to understand my vocal “vehicle” and maintain its smooth operation. If the student is listening along with me, the student can then take part in the diagnostic process rather than constantly relying upon someone else’s ears to do so. This approach expedites the skill development of singers as their voices mature. My teaching empowers students to understand the mechanics of their instrument, the technical process needed to achieve optimal singing, and self-awareness necessary for effectively evaluating their performance. Understanding vocal technique is vital to the learning process.
Create ownership through skill amalgamation. I ask my students many questions as we work and through their answers, we establish student ownership of the process for the student. We create vocabulary together to identify and reinforce correct technical approaches. If my student can verbalize how they are achieving great sound, they will likely repeat that approach and master the technical demands of a given piece of music. Through a dialogue about the character, composer, and compositional analysis, we create an informed performer who will likely convey a much stronger performance. I work to establish an environment in which the students feel safe enough to be vulnerable with their feelings and thoughts, which encourages them to create stunningly honest interpretations of their music. Often, the greatest obstacle lies within the mental limitations the student has imposed either consciously or subconsciously. I help students explore their beliefs about the world and themselves through the study of arias, art songs, and show tunes. As we analyze the characters, plot, and orchestration, we can have a dialogue that reveals their individuality without seeming interrogational. Our work cultivates your craft in a way that you can rely on and be proud of.
My instructional methods transform students into extraordinary artists. I have the highest expectations for and believe wholeheartedly in the potential of every student who enters my studio. Music illuminates the very core of our humanity’s eternal triumphs and struggles. The baritone who, at last, feels his wanderlust is understood after performing “The Vagabond” by Ralph Vaughan Williams. The mezzo whose throat catches as she realizes in “Stars and the Moon” by Jason Robert Brown that she cannot ever “have it all” as she had wished. The tenor who triumphantly smiles as he breaks love’s shackles in Giacomo Carrisimi’s “Vittoria, Mio Core.” The soprano who longingly floats the final notes of Richard Hageman’s “Do Not Go My Love” as her last hope for a miracle slips from her grasp. Witnessing these singers courageously bring their interpretations to life is such a thrill for me. I watch students grow as their study of music transforms them into people with greater insight, compassion, and consideration for not only music, but for the world around them. Music links the past to our present, and every time my students sing, we add to the bridge connecting us to the future. Music is essential to our well-being as it expands our capacity to understand an often confusing, troubling world as it celebrates the beauty of love, loss, and life itself. As a voice instructor, I am entrusted with assisting these students on their journey to self actualization through music. The honor of that privilege is never taken lightly. Through the study of voice, students become well-acquainted with courage, vulnerability, strength, and perseverance. They pursue perfection in every note, and when they fall short, these traits are crucial to sustain them when success is not immediate. I harness the power of music to strengthen individuals and communities.
BriAnne Woodward 