Member since 1999
Member since 1999
“No style of music is more valid, better, or more important than any other style and everyone is capable of learning to sing any kind of music they would like to perform in a healthy and viable manner. “
Jeanie LoVetri began teaching singing in 1971 in Connecticut as Vocal Director of a semi-professional production of “Finian’s Rainbow.” She maintains a private studio in New York City where she works with professional vocalist on Broadway, in jazz and in alternative music, many of who are awardees in the music industry. In 1978 she attended “Care of the Professional Voice”sponsored by the Voice Foundation and now is on their Advisory Board, the Professional Outreach Committee, and is an adjudicator of the Best Student Award.
She joined the NY Singing Teachers’ Association in 1978 and NATS in 1980. Currently, she is Artist-In-Residence at Baldwin Wallace University’s Conservatory in the Community Arts School at the LoVetri Institute for Somatic Voicework. It has just completed its 19th year. She has presented at the Pan-European Voice Conference, the British Voice Association, at the Psychology and Acoustics of the Singing Voice and The Fall Voice Conferences. She has taught at multiple universities in the USA.
Internationally, Somatic Voicework has been presented at Douglas College in British Columbia, Canada. She has also taught in Brazil, in Australia, Germany and Stockholm, Sweden. She has twice been Master Teacher for the NATS Interneship Program and twice guest lecturer for the Vocology Program at NCVS. She was Consultant for the LA Philharmonic’s production of “Atlas”, an opera by Meredith Monk, with whom she has worked for over 35 years. She is an author of 15 articles on vocal pedagogy and voice science in the Journal of Singing and the Journal of Voice and a recipient of the Van Lawrence Fellowship. As a vocalist, she sand opera, song recital, oratorio, music theater, Gospel, pop and jazz. Dr. Robert T. Sataloff has appointed her a lecturer for Drexel University Department of Head and Neck surgery. She was inducted into the American Academy of Teachers of Singing in 1999.
Genre Specializations/Research Interests
Contemporary Commercial Music, Music Theater, voice science research
I am interested in functional training. Training should be physiologically grounded in facts and be followed by training that is literature based. The idea that classical training is something definite must change, because it isn’t. Singing training must be functionally based before it is aimed at any particular style of repertoire. All vocal training should be based on current music market realities, so the vocalist is prepared to work as a professional. Vocal training should be based on the requirements of each style at the highest professional levels. Approaching literature demands that the literature be respected for what it is, where it came from and how it is interpreted by the experts of any specific style. It is never OK to appropriate a style of music without respecting the way it is performed in its home base expression. In other words, singing a rock song using classical vocal production because that is all a vocalist knows how to do is disrespectful to the music and its origins. That must change.
Singers must be treated with dignity and respect, compassion and patience throughout the training process. Their needs and goals should be respected and accepted as being valid. Training should be slow and thorough with long term results toward a lifetime of healthy happy singing paramount.
Teachers should strive to understand their own limitations, preferences, prejudices, biases and expectations and be willing to interact with other teachers and voice professionals in related disciplines in order to remain as fair and non-judgmental as possible.
Called to Teach
I was asked to Vocal Direct a large, elaborate semi-professional production of “Finian’s Rainbow” in 1971 during which time the students in the performance approached me to ask about taking private lessons. I discovered I liked teaching and they reported they liked what I did. The rest is history.
Specific Pedagogical Opinons for Vocal Questions I feel are important
There is a great deal of confusion about CCM styles and how they operate, particularly in those whose experience and training is based entirely in classical approaches. It is absolutely necessary to understand register function and how it operates in CCM styles and what it is that differentiates CCM function from classical function. The operating principles of classical vocal production do not automatically carry over into CCM styles because they are all electronically amplified. CCM styles do not depend only on the throat and body in order for the singer to be heard by the audience. To date, this enormous difference has largely been ignored by pedagogues and scientists both.