Research

As much as I love teaching, I am equally passionate about my work as a student and scholar. I’ve danced between classical music and musical theatre since I first began voice lessons at 13. My research interests primarily focus on collaboration and cross-training in both worlds, with the goal of bridging a gap in how singers are trained. 

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Classical voice programs often emphasize musical and technical training while treating acting as secondary. My work challenges that divide by using voice science to demonstrate the tangible benefits of movement-based acting methods for singers. I’ve surveyed somatic practices such as Alexander Technique and the Feldenkrais Method, spoken with practitioners and educators, and developed my own curriculum that combines Anne Bogart’s Viewpoints with Carol Kimball’s style analysis tools. As part of this project, I created a full syllabus and course calendar for a movement-based acting course designed specifically for classical singers. The course is a blend of vocal literature and stage movement, asking students to both sing and learn songs with increased focus on movement in response to what they hear and sing. 

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This research has been shared nationally and internationally. I was awarded first place at the 2023 National Opera Association poster session, and I presented earlier drafts at the IUGTE Conference in Austria. Looking ahead, I’m eager to continue this work at the doctoral level, with the long-term aim of influencing accreditation requirements for B.M. Classical Voice degrees. Ultimately, I hope my research helps young singers feel as confident in their acting as they are in their vocal technique, while also encouraging deeper collaboration between the fields of music and theatre.