Credo, Diversity Statement, and
Frequently Asked Questions
Millfield School via Compfight
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Credo
Credo
Our teaching philosophy is built on the study of vocal pedagogy and literature from the past 250 years, including recent science and its practical application.
Our goal is to give students a safe, compassionate, and empathetic environment in which to work. Taking risks is encouraged in order to break down barriers that can cloud development owing to a “fear of failure”. Our goal in the studio is to make learning a playful, spontaneous, joyous, and constantly growing experience for both teacher and student.
The purpose of every lesson is to free the singing voice. The mechanics of singing should not be mysterious -- vocal development is built on logic from the patient and diligent application of tools and exercises. Learning to sing is a process and ongoing journey towards mastery.
The main concern at all times is with the functional freedom and health of the voice. We wish to work so that the singer may explore their voice and adapt it to any style or genre that they wish to sing while guiding them through issues of vocal health, technical skills, and musical development.
Our pedagogical influences can be found largely in the work and writings of Manuel Garcia II, Francesco Lamperti, Mathilde Marchesi, David Blair McCloskey, William Vennard, and Richard Miller, and most currently in the pedagogies and science of Ingo Titze, Kittie Tuller Verdolini Abbott, Johan Sundberg, Robert Sataloff, Lynn Helding, and Kenneth Bozeman.
Our goal is to give students a safe, compassionate, and empathetic environment in which to work. Taking risks is encouraged in order to break down barriers that can cloud development owing to a “fear of failure”. Our goal in the studio is to make learning a playful, spontaneous, joyous, and constantly growing experience for both teacher and student.
The purpose of every lesson is to free the singing voice. The mechanics of singing should not be mysterious -- vocal development is built on logic from the patient and diligent application of tools and exercises. Learning to sing is a process and ongoing journey towards mastery.
The main concern at all times is with the functional freedom and health of the voice. We wish to work so that the singer may explore their voice and adapt it to any style or genre that they wish to sing while guiding them through issues of vocal health, technical skills, and musical development.
Our pedagogical influences can be found largely in the work and writings of Manuel Garcia II, Francesco Lamperti, Mathilde Marchesi, David Blair McCloskey, William Vennard, and Richard Miller, and most currently in the pedagogies and science of Ingo Titze, Kittie Tuller Verdolini Abbott, Johan Sundberg, Robert Sataloff, Lynn Helding, and Kenneth Bozeman.
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Diversity Statement
Diversity Statement
Our studio has a responsibility to showcase and develop the diverse perspectives and individual voices that define art as we know it today. The studio is committed to supporting the arts community through humanistic secular values of honoring the individual through the freedom of expression, freedom of speech, and the sacred right to individualism.
We not tolerate any form of racism or hatred. We have a zero tolerance non-discrimination policy with regard to age, sex, gender identity and/or expression, sexual orientation, race, color, creed, ethnicity, national origin, ancestry, religious beliefs, marital status, familial status, disability, veteran status, political persuasion, medical history, vaccination status, or personally held beliefs.
We embrace global music traditions from classical to jazz, musical theater to rhythm and blues, without denigrating any. We honor the connective power of music to transform and unite, and reject any and all attempts to divide, segregate, and alienate.
We are on a mission to develop singers on the path to achieve their dreams. We are committed to helping all people flourish.
We:
We not tolerate any form of racism or hatred. We have a zero tolerance non-discrimination policy with regard to age, sex, gender identity and/or expression, sexual orientation, race, color, creed, ethnicity, national origin, ancestry, religious beliefs, marital status, familial status, disability, veteran status, political persuasion, medical history, vaccination status, or personally held beliefs.
We embrace global music traditions from classical to jazz, musical theater to rhythm and blues, without denigrating any. We honor the connective power of music to transform and unite, and reject any and all attempts to divide, segregate, and alienate.
We are on a mission to develop singers on the path to achieve their dreams. We are committed to helping all people flourish.
We:
- Recognize that exceptional works of art often ask us to relate to individuals who may not share our immutable characteristics. We strive to create from a foundation rooted in our common humanity—one that transcends perceived divisions between groups.
- Encourage every artist’s ability to explore ideas that may not align with prevailing narratives. We believe that a wider range of perspectives is an inherent good, and that pressuring artists to conform to certain narratives dampens the power of art to express our diverse and multifaceted humanity.
- Golden Voice Studio is proud to say that well over $50,000 in time and services has been given to worthy students in support of the betterment of their talent. We are committed to attracting students from different cultural and economic backgrounds and wish to remove financial barriers to achieving dreams. Please contact us for the application and paperwork that will help determine the amount of your need.
- Honor the individual, rejecting any and all attempts to limit or stereotype along lines of race, sexual orientation, sex, or gender expression.
- Broaden the singer’s worldview to a greater realization of their own humanity which guides a life of music-making intent on connection, education, and love.
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FAQ's
FAQ's
DO I HAVE TO HAVE TALENT?
Talent is something you are born with that can make it easier to acquire a skill like singing. Most of the people I have seen who think they are terrible singers are the ones who are not skilled at matching pitches. The good news is that the ability to match pitches correctly is a brain skill that can be learned. The rest of learning to sing is establishing correct coordination of the "singing muscles" so that what comes out is what you planned.
WILL YOU HEAR ME WELL ENOUGH? DO I NEED SPECIAL EQUIPMENT TO WORK ONLINE?
To get started all you need is a device. A smartphone, tablet, or computer, plus an internet connection will have you up and running.
HOW LONG WILL IT TAKE TO IMPROVE MY SINGING/ACTING/SPEAKING VOICE?
Vocalising is a motor skill much like playing tennis, running, or even typing. Improvement will be based on your innate ability, the way and how much you practice. Also, having an instructor skilled at identifying and recoordinating muscular and nervous system processes is essential to this process.
Experience shows a minimum 4-6 weeks for professionals to make changes in their technique and 3-6 months for others. Getting new technique into your voice such that it comes out at an audition takes longer. Allow 3 to 4 months or more to properly prepare for an audition. The same can be expected to retrain a speaking voice or for acting lessons. To build a voice to a high level from the ground up can take 2-4 years.
*Performing in shows constantly will slow down your progress.*
Experience shows a minimum 4-6 weeks for professionals to make changes in their technique and 3-6 months for others. Getting new technique into your voice such that it comes out at an audition takes longer. Allow 3 to 4 months or more to properly prepare for an audition. The same can be expected to retrain a speaking voice or for acting lessons. To build a voice to a high level from the ground up can take 2-4 years.
*Performing in shows constantly will slow down your progress.*
WILL I HAVE TO SING SCALES?
Yes, you will have to learn many patterns to methodically train all the coordination involved in singing. I often compare singing to tennis in that you can become somewhat better by playing game after game, but you will only truly improve when you break it down and work on your forehand, backhand, overall strength and aerobic conditioning, etc.
HOW OFTEN SHOULD I HAVE A LESSON?
We do not recommend every-other-week lessons for anyone starting work on their skills. Science says more frequent sessions are recommended for quick advancement. If you are able, doing a blitz of sessions - more than once a week - will help you progress faster.
HOW CAN I GET THE MOST FOR MY MONEY?
ADDITIONAL INSIGHT FROM THE AMERICAN ACADEMY OF TEACHERS OF SINGING
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