CURRICULUM VITAE

My work as an artist can be neatly categorized as Before Transition and After Transition. Before Transition was escapism – dysphoric sublimation through the performance of highly-stylized gender roles in opera and classical music. After Transition has been deconstructing gender and voice and allowing myself the freedom to put my deepest feelings about (and rebellion against) gender into physical form. I work in multiple complementary disciplines, all of which examine the intersection of singing, gender, and identity. The underlying premise of all my artistic output, regardless of the medium, is inserting non-conforming voices into places society has decided we don’t belong.

My philosophy and practice of pedagogy is a direct product of my own experiences as a learner. Prior to my graduate studies, I had experienced intense frustration with my educational experiences, as the traditional lecture-readings-tests class format did not mesh well with my own learning style. My introduction to constructivist, student-centered learning environments – particularly with a focus on collaboration, rather than the traditional authoritarian, top-down method of teaching – was revelatory to me. It challenged me, forced me to rethink many of my stances on education, and sparked an intense curiosity in the idea that there might genuinely be better, more efficient ways for students to learn.

As a result, I have – and continue – to seek out and apply the ever-expanding body of scientific knowledge around learning/cognition and vocology, as well as evolving musical practice, to my teaching methods, courses and applied lessons. My pedagogical practice, whether it’s individual or group-based, is student-centered and constructivist in its approach, ideally resulting in intrinsically-motivated, curious and thoughtful learners. Practically, this plays out in different ways in my applied teaching, vs. group course work or research.

While scientific knowledge is a necessary component of any pedagogy, I am also cognizant that I am teaching an art. Lessons and courses must provide practical knowledge and skill acquisition, but that knowledge and skill-set is learned in the greater service of artistry. As such, my applied lessons and courses are purposefully structured to encourage students’ artistic growth, in addition to their academic progress. If the ultimate goal of music and artistic performance in general is to be expressive and communicate with others, then fledgling artists must be able to articulate how their knowledge and skill is transmuted into artistry. In my experience, a student-centered, constructivist approach to musical learning has been a useful and reliable method of stimulating and encouraging musicality and expression.

My experiences have also given me the opportunity to reflect, on many occasions, on what diversity and inclusion truly look and feel like, both in the applied studio and the classroom, as well in the larger world of vocal performance. The primary principle I have taken away from these experiences is simple: inclusion is not a noun -- it's a verb.

In short, stating that “everyone is welcome” is a fine sentiment, but in practical terms and personal experience, it means nothing. Creating a space where minority learners and voices are not only welcomed but feel comfortable and supported requires constant vigilance and effort on the part of the instructor and institution.

In addition to my teaching, performing and direction/producing, my research also focuses on issues of inclusion and identity – examining singing and vocal pedagogy through the lens of gender theory, and focusing on the experiences of trans-identified singers.

Finally, a teacher can only help their students in so far as they have helped themselves. As such, I am committed to expanding my own knowledge, exposure to and familiarity with materials and experiences outside of my own comfort zone.