Amelia Seyssel Parks - Music Studio
Information for Teachers
Teacher Training Inquiries contact: suzukivoiceusa(a)gmail.com
Suzuki Voice Teacher Trainers in the World (SAA, ESA, PPSA)
Listed in alphabetical order within Association.
  • Mary Hofer, TT SAA (Stevens-Point, WI, USA)
  • Amelia Seyssel, TT SAA (Poughkeepsie, NY, USA); Member ESA
  • Analía Capponi-Savolainen, TT ESA (Helsinki, FINLAND); Member & occasional Visiting TT, SAA (La Plata, ARGENTINA)
  • Mette Heikkinen, TT ESA (Vantaa, FINLAND)
  • Dr. Päivi Kukkamäki, TT ESA (Vantaa, FINLAND)
  • Mervi Sipola-Maliniemi, TT ESA (Helsinki, FINLAND)
  • Katrina Pezzimenti, TT PPSA & TT ESA (Melbourne, AUSTRALIA)

NOTE: The SAA officially recognizes training registered through other International Suzuki Association regions. Please contact the SAA office for further information concerning equivalencies in training material or additional training details. [Per SAA website, 21Jan2019]
For registered SAA members, current practice (eff. Jan 2019, but subject to change) records to the member's record the pertinent training record as designated by the Association from which the training was received (i.e. Voice ESA Level 1, etc.).

For additional information related to the respective Suzuki Associations, refer to:
SAA (Suzuki Association of the Americas): https://suzukiassociation.org/
ESA (European Suzuki Association): https://europeansuzuki.org/instruments/voice/, and specific to Suzuki Voice: http://suzukivoice.com/
PPSA (Pan-Pacific Suzuki Association - Victoria Regional Association): http://www.suzukimusic.org.au/




Suzuki Voice Repertoire and Volumes (Eff. Jan 2019)

Suzuki Voice Student Repertoire has been in constant development for approx. 30 years. As with all Suzuki method instruments, final decisions regarding the content of Suzuki Voice repertoire is dependent on: 1) consensus and agreement by the members of the ISA (International Suzuki Association) Suzuki Voice Committee, and 2) consensus and agreement by the Board of Directors of the International Suzuki Association (ISA). The ISA Board generally, but not always, accepts the advice of the ISA Committee.

Each of these entities (ISA Voice Committee & ISA Board) consists of representatives from the three major Suzuki Associations currently offering Teacher Training in Suzuki Voice: ESA, PPSA, and SAA. The ISA Board also includes representatives from TERI (Talent Education Research Institute/Japan) and ARSA (Asia Region Suzuki Association). For more on the ISA see: internationalsuzuki.org.

The ISA Suzuki Voice Committee meets at regularly scheduled intervals throughout the year. Current (@ Jan 2019) committee members, each representing their home Association, are: ESA - Analía Capponi-Savolainen; SAA - Mary Hofer; and PPSA - Katrina Pezzimenti, who is also Committee Chair.

Committee decisions regarding updates or changes to the Suzuki Voice literature are usually posted at www.suzukivoice.com/ under the Teacher login (sub-menu: ISA Suzuki Voice Committee). Any bonafide Suzuki Voice teacher trained by any of the qualified Suzuki Voice Teacher Trainers in the world, regardless of Association and assuming current membership in good standing within their respective Association, may visit this site. Please check with your Suzuki Voice Teacher Trainer for the appropriate login and password. Specific information regarding the latest accepted versions of Suzuki Voice volumes 1, 2 and 3 are also available at this site under the same login.

GENERAL outline of the Suzuki Voice Student Repertoire Pedagogical Trajectory.
Note: Although all official 'volumes' have not yet been completed or published, the student repertoire in the Suzuki Voice Program is equivalent in scope and technical challenge to approximately 10 volumes of repertoire (not dis-similar to the technical expectations implied by the scope and content of the Suzuki Violin Program).

Volume One: [@ Jan 2019]

  • Target age is from 0-3 yrs old with the Volume divided into two parts: 1) Songs for Children, and 2) Songs for Parents.
  • "Songs for Children" means: Technical development repertoire.
  • "Songs for Parents" means: Enrichment, technical reinforcement, and group activity repertoire.
  • **This Volume has been fully approved by the ISA Voice Committee as well as the ISA Board and is undergoing active review and processing at the Publisher.
  • Pedagogical trajectory includes a focus on preliminary development of basic vocal technique, beginning development of musicianship fundamentals, beginning textual challenges, and beginning development of memorization skills.
  • Maximum vocal range of any song in the 'Technical Development Repertoire' is a 9th.
  • Text is expected to be sung in the child's native language. (English, Spanish & Finnish languages are included in the Volume).

Volume Two: [@ Jan 2019]

  • Target age is from 4-6 yrs old with the Volume divided into two parts: 1) Songs for Children, and 2) Songs for Parents.
  • "Songs for Children" means: Technical development repertoire.
  • "Songs for Parents" means: Enrichment, technical reinforcement, and group activity repertoire.
  • **This Volume has been approved by the ISA Voice Committee and is currently undergoing active review and processing by the Committee.
  • Pedagogical trajectory includes a focus on continuing development of basic vocal technique, continuing development of musicianship fundamentals, increased textual challenges, and continuing development of memorization skills.
  • Maximum vocal range of any song in the 'Technical Development Repertoire' is an 11th.
  • Part-singing is introduced.
  • Text is expected to be sung primarily in the child's native language. However German and French are also formally introduced in this volume. Teachers are encouraged to expand also to other languages available in Volume Two, as well as to revisit Volume One songs in other languages. (English, Spanish, & Finnish are included for all songs in Volume Two; German & French are included for certain songs).

Volume Three: [@ Jan 2019]

  • Target age is from 7-10 yrs old.
  • **This Volume has been approved by the ISA Voice Committee and is currently undergoing active review and processing by the Committee.
  • Pedagogical trajectory includes a focus on the child's first experience with important composers, including Bach, Beethoven, Mozart, Purcell, and others, as well as introducing a more diverse range of musical styles.
  • Additional pedagogical emphases: further expansion of the vocal range, further complexity of rhythms, further complexity of textual meaning, and an increasing independence of the voice -- all coupled with the ongoing growth of vocal technique sufficient to mastery of the repertoire: fluency, vocal ease, beautiful tone, & shaped phrasing.
  • Part-singing skills are continued.
  • Reading the musical score is introduced.
  • Maximum vocal range of any song in the volume is a 13th.
  • Text is expected to be sung primarily (but not entirely) in the composed language of the song. Languages included are: English, German, French, Latin, Spanish, Finnish, & Swedish.

Intermediate (Three Student levels - A, B, C): [@ Jan 2019]

  • Target age is 11 yrs old and up.
  • **These THREE levels of student repertoire currently consist of lists of repertoire to be judiciously selected by the teacher for each student. No 'volumes' as such yet exist. Any further developments, either regarding the list contents or the possibility of additional volumes are under the purview of the ISA Voice Committee and subject to their regular review.
  • Pedagogical trajectory includes: more intensive vocal training through the study of belcanto technique using Vaccai's Metodo Pratico de Canto; progressive development of increased vocal independence through the singing of Art Songs and Early Italian Arias; further development of part-singing skills; and further development of musicianship & memorization skills.

Advanced (Four Student levels - A, B, C, D): [@ Jan 2019]

  • Target age is not yet specified, but students are assumed to have completed the prior three Intermediate levels.
  • **These FOUR levels of student repertoire currently consist of lists of repertoire to be judiciously selected by the teacher for each student. No 'volumes' as such yet exist. Any further developments, either regarding the list contents or the possibility of additional volumes are under the purview of the ISA Voice Committee and subject to their regular review.
  • Pedagogical trajectory includes: more intensive vocal training through continued study of belcanto technique using Vaccai's Metodo Pratico de Canto; progressive development of increased vocal independence through the singing of more advanced Art Songs, more advanced Early Italian Arias and easier Operatic Arias; further development of part-singing skills; and further development of musicianship & memorization skills.




ARTICLE: Suzuki Voice: Historical Synopsis from the Beginning to 2010
First posted by author Amelia Seyssel on 22 September 2017 at ESA Article (link)

Opening Paragraphs:

The Suzuki Voice Program officially began in 1986. Its founding within the Suzuki community was the direct result of conversations between Dr. and Mrs. Suzuki (Japan) and Dr. Päivi Kukkamäki (Finland) before, during and after Dr. Kukkamäki's extended visit to Matsumoto in the Fall of 1986. Both Dr. and Mrs. Suzuki continued their approval of the program and its development from 1986 until their deaths in 1998 (Dr. Suzuki) and 2000 (Waltraud Suzuki).

The Suzukis' involvement took the form of continual and persistent correspondence, reviews and recommendations, and various personal meetings with Dr. Kukkamäki throughout the many years from 1986 forward. From the beginning, the program was named 'Laulusuzuki' or 'Laulusuzukimenetelmä'. This was translated into English first as 'Suzuki Singing', then 'Singing in the Suzuki Style' and finally its present and official designation of 'Suzuki Voice'.

For the complete article, visit the ESA site (link above).




Suzuki Voice Teacher Training Programs: a Broad Outline (Eff. Jan 2019)

The approach to Teacher Training can appear to differ from Association to Association, but its purpose in all cases is the same: to propel the interested teacher-in-training towards a successful outcome when applying Suzuki principles to any particular instrument of study. Organizational differences in how each Association approaches this task may differ, but the end goal is the same.

Just as for professors in any university/college program, individual Teacher Trainers in all Suzuki Associations are given a wide latitude in adapting their own individual approach to the 'manner' in which they convey clearly defined 'required content'. Regardless of the individual Teacher Trainer's 'style', a clear syllabus of 'content' is required by each Association. In the case of Suzuki Voice, efforts are ongoing to make those syllabi as closely identical as possible so that all teachers-in-training are assured of similar 'content' in their choice of training.

The following BROAD OUTLINE is an attempt to clarify the administrative and organizational differences among the Suzuki Voice training programs in current operation. However, interested Teachers should be aware that, however differently the material might appear to be covered, the same material IS covered and the same end-goal remains.

The following description applies only to the Suzuki Voice teacher training practices in each Association.
For easier comparison, bullet numbers for each (SAA & ESA) refer to similar topics.

THE SAA:
[Note: SAA Suzuki Voice Teacher Training is offered in different formats, the most common being the 'short-term training' format commonly seen at SAA 'Summer Institute' programs. Whether the training is met by means of 'short-term' or 'long-term' training environments, the basic UNITS of information conveyed by the training remain the same.]

  1. SAA Suzuki Voice Teacher Training is divided into 'required' and 'recommended' categories.
    The 'required' Suzuki Voice Teacher Training is organized by 'UNIT', with each 'UNIT' (or groups of UNITS) loosely related to a published (or intended) Volume of student-related repertoire. Current estimate of SAA total UNITS in Voice is 10 UNITS, but this number is currently under discussion.
  2. A qualifying resumé and audition is required before teacher training may commence. A subsequent audition at a higher level is required for access to more advanced UNITS. A Comprehensive audition of the highest level possible is also an option.
  3. The first three UNITS are required to be taken in sequence; beyond that, UNITS may be taken out of sequence depending on any pertinent Voice Syllabus requirements (currently under development).
  4. The 'hours' pertinent to each UNIT are defined as "minimum hours" by the SAA, with individual Teacher Trainers given flexibility beyond the minimum number of hours required.
  5. UNIT training does NOT normally include a 'Practicum' element.
    The SAA Practicum (equivalent to the ESA 'Teaching in Practice') is 'instrument specific' and recommended, but not required. The SAA Practicum is offered as a unique course independent of the UNIT course. A 'Suzuki Principles in Action' course is offered and also recommended, particularly as an introductory experience to the SAA Practicum.
  6. A certain number of lecture/instruction hours is required for each UNIT.
  7. Memorization of UNIT 1 repertoire is required for all instruments, with memorization recommended (but a high level of fluency required) for all other UNITS. As this work is usually done independently by each teacher-in-training, the SAA has no specific course-work category to reflect this work. Individual Teacher Trainers may check each teacher's proficiency and fluency within the UNIT training environment at the Teacher Trainer's discretion.
  8. A certain number of observation hours are required for each UNIT; written work may also be assigned by the Teacher Trainer.
  9. Private lessons reflecting continued study and development of each teacher's own proficiency in the instrument is expected of all teachers-in-training on an ongoing basis as a highly recommended category. Due to the vast geographical challenges of distance within the SAA, this expectation is considered best met through resources available locally to each teacher-in-training. Therefore, there is no specific course-work category within the SAA to reflect this continuing education recommendation.
  10. Coursework is expected to be completed according to the specifications of the situation in which the course is offered. The most frequent way in which coursework is offered in the SAA is through the Summer Institute setting; and this is indeed the most affordable option. However other venues and arrangements are allowed.
  11. Contrary to other instruments in the SAA, all Suzuki Voice coursework must be 'registered' work (essentially requiring that all teachers-in-training pass the qualifying resumé & audition); no 'audit' status is allowed.

THE ESA:
[Note: PPSA Suzuki Voice Teacher Training follows a nearly identical format, although different vocabulary is used to define each 'Level'.]

  1. ESA Suzuki Voice Teacher Training is divided into 5 consecutive "LEVELS" (irregardless of the number of published, or intended 'books' or volumes).
    Although the first three 'LEVELS' cover repertoire by 'Book' (LEVEL 1=Book 1, etc), the later LEVELS (4 & 5) each cover repertoire consistent with multiple books (or student level) per LEVEL.
  2. A qualifying resumé and audition is required before teacher training may commence, and continuance for each subsequent LEVEL is re-assessed by means of recurring Examinations at the end of each LEVEL. These examinations include a 'performance' aspect equivalent in purpose to SAA's Comprehensive Audition.
  3. All LEVELS are expected to be taken in sequence only.
  4. The 'hours' pertinent to each LEVEL function similarly to a 'credit-hour' system and no formal credit for the coursework is received until: 1) all 'credit-hours' pertinent to the LEVEL are completed, and 2) the teacher has passed a formal LEVEL Examination adjudicated by (at minimum) 3 ESA Suzuki Voice Teacher Trainers.
  5. Certain ESA LEVELS include a 'Practicum' element within the total LEVEL required credit-hours.
    INCLUDED in each of the first four 'LEVELS' is a required element called 'Teaching in Practice'; each of these 'Teaching in Practice' segments is equivalent in hours and content to one SAA 'Practicum'.
  6. A certain number of lecture/instruction hours is required at each LEVEL.
  7. Memorization of all pertinent repertoire is required at all LEVELS, with proof of memorization also required. Credit-hours are assigned for completion of this work.
  8. A certain number of observation hours are required, as well as some written work at each LEVEL.
  9. A certain number of private lessons, called 'repertoire lessons', are required at each LEVEL. These 'repertoire lessons' are required to be fulfilled only through an approved ESA Suzuki Voice Teacher Trainer.
  10. Coursework is expected to be completed over the course of one to two years, with some parts of the training via 'long-distance' communications; continued contact with the Teacher Trainer is expected throughout.
  11. No 'auditing' situation exists in Suzuki Voice in the ESA. Coursework is not accredited to the teacher until all 'credit-hour' work belonging to each pertinent LEVEL are completed to the individual Teacher Trainer's (or Teacher Training Committee's) satisfaction.