There are many places you can go to receive a great education about vocal technique, but there is nowhere else you will find faculty like this
There are no gurus at the CCM Institute, just people who are passionate about helping others succeed and discover their own pedagogical voice. We do not create cookie-cutter teachers, instead we help you combine your existing knowledge and background, with the new knowledge and concepts we will teach you. Some teachers decide to overhaul their entire approach after joining us while others take what is useful to them and make it their own. Regardless of what you decide to do, we are here to help.
Fundamentals of Functional Training
Coaching Students for College Musical Theatre Auditions
Matt re-envisioned the CCM Institute in 2016 as a place where teachers from all backgrounds could come together to share their knowledge while learning from some of the best teachers in the country. The system he developed is based on science, backed with citations, and flexible enough to provide new teachers with a step-by-step process and experienced teachers with step-by-step analysis to use their existing tools along with those taught during the workshop.
Matt is an Associate Professor of Voice and Coordinator of the Musical Theatre Voice at Shenandoah Conservatory, a Van Lawrence recipient (2017), and NATS Internship master teacher (2018).
Matt’s vocal interests encompass many styles. He has performed numerous roles in plays, musicals, and operas. Former and current students have performed on American Idol, Broadway, off-Broadway, on national and international tours, and in bands touring throughout the United States. He has written numerous articles for the Journal of Singing, Journal of Voice, VoicePrints, American Music Teacher, The Voice, Southern Theatre, and Voice Council magazine. He has contributed chapters to “A Dictionary for the Modern Singer,” “Vocal Athlete,” “Manual of Singing Voice Rehabilitation,” “Get the Callback,” “The Voice Teacher’s
Cookbook,” and the CCM, Sacred Music, Gospel, A Cappella, and Country editions of the “So You Want to Sing” book series. His book “So You Want to Sing Rock ‘N’ Roll?” is published by Rowman and Littlefield and has been called “an authoritative text on rock ‘n’ roll singing” by Classical Singer magazine.
Matt has given over 100 presentations, masterclasses, and workshops for groups including the National Association of Teachers of Singing National Conference, Voice Foundation Annual Symposium, Acoustical Society of America, Southeastern Theatre Conference, Musical Theatre Educators Alliance, Pan-American Vocology Association, U.S. Air Force Singing Sergeants, U.S. Navy Sea Chanters, Summer Vocology Institute, at numerous universities including Penn State, Florida State, University of Toronto, Memorial University of Newfoundland, Brigham Young, Wright State, Otterbein, Illinois Wesleyan, Missouri State, University of Northern Colorado, Bårdar Academy (Oslo, Norway), NATS Chapters in Toronto, New York, Minnesota, Texas, Virginia, Georgia, North Carolina, Wisconsin, Pennsylvania, Missouri, Arizona, and many others.
Dr. Kathryn Green
Bridging Classical to
CCM Voice Training
The CCM Institute would not be enjoying its 19th year if it was not for Dr. Kathryn Green. Kathryn has been a tireless champion for CCM vocal pedagogy and takes great pride in making every aspect of the institute a smooth and enjoyable experience.
Kathryn Green is a professor of voice and the director of the graduate vocal pedagogy program at Shenandoah Conservatory. She has been instrumental in developing the first Doctor of Musical Arts in Vocal Pedagogy that allows for the inclusion of CCM (non-classical) repertoire within the degree parameters and audition guidelines. She also initiated the first Master of Music degree in contemporary voice in the United States. For the past 15 years, she has served as the executive director of the CCM Vocal Pedagogy Institute which serves as the flagship institution for functional evidenced-based training in contemporary vocal genres. Her research on contemporary commercial voice has been published in the Journal of Voice and in the Journal of Singing. Her performing career in the United States includes appearances with the Erie and Buffalo Philharmonics as alto soloist in several oratorio performances. Her operatic and oratorio role have included Carmen (Carmen), Juditha Triumphant (Juditha), Gianni Schicchi (Zita), Seven Deadly Sins (Anna), Madame Butterfly (Suzuki), Hansel and Gretel (witch) and Suor Angelica (Principessa). She sang in Germany, Austria, France, and Italy as the operatic Diva of a comic show (Panem et Circensus) that toured from 1990-1997. Dr. Green received her DMA in Performance at Cincinnati Conservatory of Music where she researched the Hymnody of the Seneca Native Americans of Western New York, which became her doctoral thesis. She has been a guest clinician throughout the United States and internationally, including the Universität der Künste Berlin, Hochschule der Künste Lübeck in Germany and Sao Paulo University in Brazil.
The Roots of Black American Music
Alison Crockett has paid her musical dues in full. She can be heard on recordings by King Britt, Blue Six, Us3, and a host of others, Alison's voice has provided a velvety, sensual finishing touch for cutting edge beats.
Her voice drips soul with generous helpings of jazz, gospel and blues. She has taken the baton from divas of the present and past such as Rachelle Farrelle, Erykah Badu, Jill Scott, Donna Summer and Sarah Vaughn and forged a uniquely personal and singular musical vision. Alison decided early in her life to pursue a music career and began playing the piano at 5 years old. After winning several talent contests during her high school years, it quickly became apparent that her voice was a rare gift. After college, Alison settled in Philadelphia, where she met DJ King Britt, of Digable Planets fame. King gave Alison the nickname Diva Blue and together they recorded the classic Season's Change for his groundbreaking Sylk 130 album When the Funk Hits the Fan. Only months after she completed her first world tour with Sylk 130, she was approached by Geoff Wilkenson, (founder of UK based acid-jazz group Us3 ) who became convinced he was hearing a young Shirley Bassey and embarked upon a feverish search to track Alison down to request she become Us3's first lead singer. Alison moved to London to write and sing on Us3's album An Ordinary Day in an Unusual Place. The first single, Get Out, immediately shot to the top 10 on the charts within weeks of its release in Japan in 2001. Alison's debut solo album, On Becoming A Woman, was released to wide acclaim in Japan in June 2003 and in the US and Europe in April 2004. Her epic ballad Like Rain reached number 3 on Gilles Peterson's Worldwide Winner's 2003 chart on his legendary BBC Radio 1 program. In 2006, Alison released a collection of mixes based on tracks from On Becoming A Woman entitled The Return Of Diva Blue: On Becoming A Woman Redux. Featuring mixes by a who's who of top flight DJ producers: DJ Spinna, Yam Who, Phil Asher, Mark De Clive-Lowe and more. The album became a treasure trove for lovers of deep house music, with Spinna take on the song Crossroads becoming a signature classic for Alison. In the spring of 2007, Alison released her love letter to my fans, the stripped down, acoustic based Bare. Much of the album consisted of Alison simply sitting at the piano and singing songs from a backlog of her compositions from a particularly prolific period of writing. After taking an extended break from her career to focus on mothering her two children, Alison returned to the recording studio in 2012 to work on what would become Mommy, What A Depression?, her third solo album of original material. A mixture of jazz, soul and electronica, the album seeks to capture the weight of tumultuous times. Her newest project focuses on a new love, Brazilian music. After visiting the country she decided to mix her musical loves to create the project, Obrigada. Recorded in the city of Sao Paulo with Brazilian jazz musicians Felipe Silviera, Thiago Alves, and Palinho Vicente, Alison has weaved a refreshing sound love of jazz, bossa nova, and soul that continues to highlight her fearlessness as a musical traveler in R&B, boldly projecting her inimitable voice into the sonic future.
Inside Out - an Artist’s Journey to Authenticity
Marcelle has been a faculty member since 2008. Marcelle is not only a great technician, she is also a highly experienced performance coach, with students performing commercial music throughout the world. She has vast experience in the popular music industry as both a performer and the mother of a performer.
Marcelle Gauvin is an associate professor at Berklee College of Music in Boston where she serves as the department’s voice retraining specialist; she is the former head of the CCM/Jazz voice studio at the University of Massachusetts Dartmouth. Marcelle performs regularly as a jazz vocalist after the success of her two nationally recognized recordings “The Edge of the Pond” and “Faces of Love” with the Whaling City Sound label, and has appeared as a featured artist on many recording projects within the jazz community.
Marcelle is a well-respected instructor and vocal coach in jazz/pop techniques with a student roster that ranges from nationally signed recording artists to Broadway and TV performers. She has been a Shenandoah Conservatory Contemporary Vocal Pedagogy Institute faculty member since 2008 and hosts numerous vocal pedagogy conferences and events in the general New England area. Her daughters, Kelsey and Kimber-lee Jacobsen, are both professional singers and together they own Double Bar Music, a private music school located in Westport, Massachusetts. She is a strong believer in the power of music to heal and create positive change in the world
Training Original Artists
Jess has been coming to the Institute every year since 2009 and joined the CCM Institute faculty in 2016. She runs a thriving independent studio in Columbus, OH and online. She is also an active singer-songwriter. Check her out on Spotify.
Jess Baldwin is an independent teacher and musician based in Ohio. After finishing her master’s in classical vocal pedagogy and performance, Jess began studying CCM pedagogy, and eventually realized her heart was in popular music. In 2016, she created the Singing in Popular Musics website for voice teachers who work with this community, featuring posts by the best teachers in the field. In 2017, she presented the results of a survey of commercial and popular music degree programs to the Association of Popular Music Education and The Voice Foundation with Kat Reinhert and Matt Edwards. She presents at colleges, conferences, and workshops around the US.
Training Original Artists
Julie has been coming to the Institute every year since 2010 and joined the CCM Institute faculty in 2016. Julie runs a thriving independent studio in Charlotte focusing on adult performers. She is also an active singer-songwriter and member of the live music scene in Charlotte.
Julie Dean is a singer-songwriter from Charlotte, North Carolina, where she has been teaching voice for over 15 years. She owns a private voice studio that reflects her belief in creating a space where singers can explore and find their voice in the most authentic way that suits the music of their heart. She also works as part of a voice health care team with a local laryngologist and speech language pathologists at the Charlotte Eye Ear, Nose and Throat Associates (CEENTA).
Julie is a frequent presenter/lecturer of voice workshops for local churches, music teacher organizations and songwriter groups like the Nashville Songwriters Assoc (NSAI). Known as a versatile singer and musician, Julie is in demand for a variety of musical events around Charlotte, is a member of Sweetgrass Serenade, a folk country band, and performs as a solo artist performing her own songs as well as covers from favorite artists from Dolly Parton to Ingrid Michelson.
Dr. Wendy LeBorgne, voice pathologist and singing voice specialist, is the clinical director of the Blaine Block Institute for Voice Analysis and Rehabilitation (Dayton, Ohio) and the Professional Voice Center of Greater Cincinnati. She is on the adjunct faculty at the University of Cincinnati College-Conservatory of Music. Dr. LeBorgne holds a Bachelor of Fine Arts in Musical Theatre from Shenandoah University and master and doctoral degrees in communication sciences and disorders with a specialty in voice disorders from the University of Cincinnati. Her research has focused primarily on the area of the Broadway “belt” voice.
Dr. LeBorgne’s original peer-reviewed research has been published in the Journal of Voice, and she is a contributing author to the book Voice Therapy: Clinical Studies, providing a case study on “Vocal Intervention with the Touring Broadway Actor.” She has authored a training DVD entitled Laryngeal Videostroboscopic Images: Normal and Pathologic Samples, distributed by Plural Publishing and co-authored The Vocal Athlete with Marci Rosenberg. Dr. LeBorgne actively presents and provides workshops and master classes nationally and internationally on the professional performing voice. Her patients can be seen and heard on Broadway stages, national and international tours, opera companies throughout the world, network television, commercial music recordings, and as radio personalities. As a voice pathologist and singing voice specialist, her clinical work includes providing voice evaluations and therapy for singers and actors locally and nationally. In addition to her duties as a voice pathologist, Dr. LeBorgne continues to maintain an active professional performing career. Dr. LeBorgne has been a guest faculty member of the Shenandoah University CCM Institute since 2006.
Dr. David Meyer
Voice Science Bootcamp
A leading scholar and researcher of the singing voice, baritone David Meyer is an active performer, teacher, clinician, and voice scientist. He serves as associate professor of voice and voice pedagogy at Shenandoah Conservatory and his students have won numerous awards and have sung in major venues worldwide. In 2010 he received the Van L. Lawrence Fellowship, a prestigious national award in recognition of his contributions to the field of teaching singing and the use of voice science.
Dr. Meyer maintains an active and varied singing career, appearing frequently in opera, oratorio, and song recitals throughout the United States and abroad. He has sung with the Hessische Staatstheater Wiesbaden in Germany, with the Krakow opera in Poland, and with the Staatstheater Winterthur in Switzerland. His performance credentials include the Indianapolis opera, the Kentucky opera, the Bellevue Opera, and the Muddy River Opera Company. He has performed with the BBC Orchestra at the Aldeburgh Festival in England and at the Concertgebau in Holland, and he has toured with Paul Hillier as a member of Theater of Voices.
Dr. Meyer’s operatic repertoire includes the role of Scarpia (2009) in Puccini’s Tosca, Wozzeck in Berg’s Wozzeck, Horace Tabor in Douglas Moore’s The Ballad of Baby Doe, Balstrode in Britten’s Peter Grimes, and approximately 30 other roles.
He received the doctor of music in vocal performance and pedagogy and a master of music from Indiana University. Both graduate degrees include minors in speech pathology and music history. He also holds a BM in applied voice from the University of Iowa and did additional graduate study at the Britten Pears School for Advanced Musical Studies in England.
Musical Theatre Styles
Edrie Means Weekly, Co-Founder of the CCM Vocal Pedagogy Institute, is an associate professor of voice and voice pedagogy at Shenandoah Conservatory. She is a recognized expert in training singers in all vocal styles and an active professional singer. She was a Master Teacher for the NATS Intern Program. Her students can be heard on Grammy Recordings, films, Broadway, National and International Tours, Regional Theatre, TV (including The Voice and American Idol, Kidz Star USA).
A researcher in functional voice training, she has co-authored research published in The Journal of Voice regarding the teaching of CCM styles and has a sub-chapter in Teaching Singing in the 21st Century entitled "Making The Song Authentic: It's a Matter of Style". Has presented at the Voice Foundation Symposium, NATS National Conferences, Pan-American Vocology Association, the Southeastern Theatre Conference, Mid-Atlantic NATS, Northwestern NATS and universities throughout the United States. Many od her performances have been broadcast internationally on radio and TV, recorded by Decca and Koch. She has appeared in leading roles with the Houston Grand Opera, Washington Opera, Wolf Trap Opera, Cleveland Opera, Des Moines Metro Opera, Opera Mid-Michigan, Opera Grand Rapids, Pittsburgh Playhouse, State Opera of Cairo, Egypt to name a few. Guest artist with symphony orchestras including Houston, Cleveland, Corpus Christi, Victoria, and the National Symphony. She has sung lead roles in musicals and operetta, including Follies, My Fair Lady, Carousel, The King and I, West Side Story, Show Boat, The Sound of Music, Merry Widow and Zorba. Standby for Broadway stars Patti LuPone, Elaine Paige and Linda Lavin. Recently sang with Jonathan Pryce and Cloris Leachman in My Fair Lady at the Kennedy Center. Currently she is on the Advisory Board forthe NATS National Musical Theatre Competition. Proud member of AGMA and AEA. http://edriemeans.wix.com/edriemeans
Training the Young Singer
Bridging Classical to CCM Voice Training
Ed has been coming every summer since 2003. First as a participant, and as a faculty member, beginning in 2006. Ed is a musical theatre buff and an expert at working with young voices. When not teaching private students, he is a high school choral director and music director.
Edward Reisert has over twenty-five years of experience teaching music in the public schools, and currently serves as a High School Choral Director in the Bedford, New York Central School District. He earned his Bachelor of Music degree from The Boston Conservatory and his Masters Degree from State University of New York at Oswego. Edward?s choirs have performed at Alice Tully Hall, Lincoln Center, and his students have performed in state, national and international choral ensembles. He is a frequent guest conductor for county and regional music festivals in New York and Connecticut, and is an active member of the American Choral Directors Association and the New York State School Music Association. In 2013, Edward presented research that he co-authored at the Voice Foundation Annual Symposium. He incorporates functional voice training in his successful private voice studio. Edward has served on the faculty of the Contemporary Commercial Music Vocal Pedagogy Institute at Shenandoah Conservatory since 2009.
Musical Theatre Repertoire Intensive
Brady has had a career in the professional musical theatre spanning almost four decades, working in nearly every facet of the industry, as a musical director, conductor, pianist, arranger, vocal coach, singer and actor.
Brady is perhaps best known as the musical director, conductor and vocal arranger for the Broadway smash, “The Producers,” winner of twelve Tony awards—including Best Musical and Best Score. He conducted throughout the production’s entire run on Broadway (1,877 performances) and supervised two national tours and resident companies in London, Sydney and Toronto. Brady went on to work in the same capacity for the motion picture version, in which he appears on screen as the conductor for the infamous “Springtime for Hitler” sequence.
The original cast recording (Sony Records) won a Grammy Award for Best Cast Album. Continuing his association with comic genius Mel Brooks, he then served as musical director, conductor and vocal arranger for “Young Frankenstein.” The production was nominated for five Tony awards, including Best Musical, and the original cast album was also nominated for a Grammy.
Brady made his New York theatre debut in 1989 as musical director, vocal arranger and onstage pianist/singer for the off-Broadway revue, “Closer Than Ever,” with music by David Shire and lyrics by Richard Maltby, Jr. It won the Outer Critics Circle and Drama Desk award for Best Off-Broadway Musical. The popular two-CD original cast album (RCA Records) was nominated for a Grammy Award. Other Off-Broadway credits include “St. Louis Woman” (Encores), “Promises Promises” (Encores), “Hey Love: The Music of Mary Rodgers” (Rainbow & Stars) and many appearances on the “Lyrics and Lyricists” series (92nd Street Y).
In 1992, he began his Broadway career working as rehearsal pianist for “The Will Rogers Follies.” He played in the pit orchestra as well and was featured as the onstage ‘stride’ piano player for the song “No Man Left for Me.” Other shows on the ‘Great White Way’ soon followed: “Nick and Nora,” “Cats,” “Les Miserables,” “Crazy for You,” “King David” and “Triumph of Love.” His first job working as musical director/conductor on Broadway was the 1999 dance musical, “Fosse.” He also wrote the vocal arrangements and composed the transition music for this tribute to director/choreographer Bob Fosse. “Fosse” won the Tony Award for Best Musical and the original cast album (Sony Records) was nominated for a Grammy. PBS filmed the show late in its run for “Great Performances: Dance in America.”
Over the course of his career, he has worked in many regional theatres as well: Walnut Street Theatre, Arena Stage, Actors Theatre of Louisville, Huntingdon Stage, Goodspeed Opera House, Theatre Under the Stars, Williamstown Theatre Festival and Berkshire Theatre Festival. As a composer, he wrote the score to the Off-Broadway cult musical “Pete ‘n’ Keely.” The show was nominated for an Outer Critics Circle Award for Best Off-Broadway Musical and has enjoyed dozens of productions in regional theatres since its premiere.
While attending the Shepherd School of Music at Rice University, he sang for three seasons with the Houston Grand Opera in productions of “Norma,” “La Traviata,” “Il Trovatore” and “Conjur Moon.” He studied piano with Mary Norris Tipton, voice with Frances Bible, conducting with Rob Kapilow and acting with Herbert Berghof.
During his thirty years as a resident of New York City, Brady was a vocal coach to many working actors and actresses who have performed on Broadway, Off-Broadway and in regional theatres across the United States. He has taught at NYU Tisch School of the Arts, AMDA, Eugene O’Neill Theatre Center and The Trinity School.
Brady is a proud member of Actor’s Equity Association, Screen Actors Guild and American Federation of Musicians, Local 802.
Marci Rosenberg, SLP
The Vocal Athletes Guide to Vocal Wellness and Fitness
Marci Daniels Rosenberg is a singer and licensed speech language pathologist and research investigator at our U-M Vocal Health Center. A voice and singing specialist, Marci works clinically to rehabilitate injured voices. After completing her undergraduate degrees in vocal performance and speech pathology, Marci was a research fellow in the Voice and Speech Lab at The National Institute on Deafness and Other Communication Disorders before finishing her masters degree in speech language pathology.
Marci actively teaches workshops and lectures nationally in the areas of vocal health, performance voice, managing vocal injuries and application of kinesiology principals to voice therapy. She co-chaired the inaugural, international voice conference “Multidisciplinary Rehabilitation of the Performance Voice” in 2010. Marci has served on the faculty team for Somatic Voicework ™ The Lovetri Method at the Contemporary Commercial Music Institute at Shenandoah Conservatory for speech pathology and vocal health. She is co-author of the newly published singing science text book The Vocal Athlete (LeBorgne & Rosenberg, 2014) and the companion book The Vocal Athlete: Application and technique for the hybrid singer (Rosenberg & LeBorgne, 2014; Plural Publishing). In additional to clinic activities, Marci continues to perform and also maintains a private voice studio.
Teaching Pop/Rock Styles
Melissa Foster is a full time Senior Lecturer in the Department of Theatre at Northwestern University. She is currently on the Musical Theatre Voice Faculty in the School of Communication, and simultaneously serves as a Faculty in Residence on Northwestern’s campus. Teaching responsibilities have included Musical Theatre Voice, Pop and Rock Singing Styles, The History and Performance of Pop/Rock Musicals:Hair to the Present, Vocal Pedagogy for the Choral Educator, New York Senior Showcase, and a Masterclass series for Opera/Musical Theatre crossover. When not at Northwestern, Melissa is thrilled to be a Resident Vocal Consultant for LYRIC UNLIMITED (a division of the Lyric Opera of Chicago), working on various projects (Chicago Voices Gala, and Empower Youth! ( an original work that combines R&B, Slam Poetry, and Rap ).
She has been guest faculty for Broadway Breakthru, IHSTA, Stagelighter, and is an Artist in Residence for the ArtsLink Foundation. This year, Foster did a residency at Notre Dame University, focusing on Pop/Rock styles in Jesus Christ Superstar. Recently, Foster was the Vocal Teaching Artist and Master Technician for a major workshop in Xi’an, China and 6 months later, returned for a teaching tour in Hong Kong and Guang Xhaou. She is looking forward to returning to Xi’an, as well as teaching for a prominent school in Beijing (*as soon as travel becomes possible). Foster has taught countless masterclasses around the nation. She recently co-taught a live-streamed, sold out Masterclass with world renowned opera legend, Renee Fleming. Foster’s Presentation of “Rocking the Singing Boat: Pop, Rock, Singer Songwriter Folk, Country and R&B Styles” has been seen in numerous venues nationwide -- most recently in San Francisco, South Bend, New York, Chicago, and Palo Alto.