Degrees & Continuing Education

Doctor of Musical Arts, Vocal Pedagogy (Shenandoah Conservatory) In-Progress / ABD
Pan American Vocology Association Recognized Vocologist (PAVA-RV)
Master of Music, Vocal Performance (The Ohio State University)
Master of Arts, Vocal Pedagogy (The Ohio State University)
Certificate in Vocology, Candidate (NYU School of Professional Studies)
Certificate in Vocal Pedagogy, In-Progress (University of Wales, Voice Study Centre)
Vocal Pedagogy Professional Workshop (Boston Conservatory)
Summer Voice Pedagogy Institute (Shenandoah Conservatory)
Estill Voice International Level 1 & 2 Participant (EFP In-Progress)

Professional Memberships

Association for Popular Music Education (APME) Member
Black Classical Music Educators (BCME) Member
Pi Kappa Lambda National Music Honor Society, Alpha Rho Chapter Member
NATS (National Association of Teachers of Singing) Full Member
Ohio NATS Board Member & National Commercial Music Advisory Panel Member
PAVA (Pan American Vocology Association) Member
MTNA (Music Teachers National Association)
Ohio MTA (Ohio Music Teachers Association) Active Member, Central East District

Hi, I’m Justin T. Swain

Justin T. Swain has most recently served on the collegiate faculties of Otterbein University as Lecturer of Commercial & Musical Theater Voice as well as Assistant Professor of Instruction - Voice (Contemporary, Musical Theatre & Classical) & Lyric Diction, Coordinator of Musical Theater and Commercial Vocal Studies at Ohio University (Athens), and was a Faculty Fellow within the OHIO University Center for Teaching, Learning, and Assessment. He now mentors students of all ages and provides teacher training, mentorship, and career coaching to early-career teachers of singing.

Swain was selected as a 2024 National Association of Teachers of Singing (NATS)Intern and is currently in the second year of his Doctor of Musical Arts in Vocal Pedagogy with a specialization in Voice Research at Shenandoah Conservatory. He is a graduate of The Ohio State University with a Master of Music in Vocal Performance and a Master of Arts in Vocal Pedagogy where he studied voice under Dr. Scott McCoy, Dr. Robin Rice, and Dr. Errik Hood. Swain has taught courses in applied voice, Diction for Singers (German, French, Italian, English), and served as the faculty advisor for the NATS Student Chapter at OHIO, Dynamics and Tempo Tantrum acapella groups during his time at Ohio University.

A Columbus native, Swain has served as a teaching artist for Opera Columbus, and has performed extensively throughout the region including engagements with Opera Columbus, featured in the Columbus Italian Festival, in concert with Harmony Project Columbus, the New Albany Symphony Orchestra, Opera Project Columbus, Capriccio Chorus, and has performed several world premiere works in and around Central Ohio. Of the dozen roles Swain has performed, most notable among them include Maximilian in Leonard Bernstein’s Candide, McCarthy in Gregory Spears’ Fellow Travelers, Aedeta in the world premiere of Charles Wakefield Cadman’s Ramala: Land of Misty Water, Marcello in Puccini’s La Bohème, and Junius in Benjamin Britten’a Rape of Lucretia. Oratorio and chamber credits include Fauré’s Requiem, Mozart’s Requiem and Coronation Mass, the Schubert Mass in G, Bach’s Magnificat and other cantatas, Last Breaths by Armando Bayolo, and Of a Smile’s Echo by Thomas Wells, Swain was recently featured on 10TV WBNS in Columbus, OH in celebration of Black History Month, as well as in the culture section of Athens News.

Beyond his roots in classical voice, Swain is a versatile performer and teaching artist with extensive background in contemporary vocal pedagogy and works with clients in modern styles ranging from jazz, R&B, pop, musical theatre, folk, to rock. Current research interests include the singing health of contemporary vocalists, the physiology and processes of vocal distortions, confirmation bias in cross-over singers and teachers of singing, and contemporary music pedagogy in higher education. 

Swain holds affiliations and memberships with the National Association of Teachers of Singing (NATS), Music Teachers National Association (MTNA), Black Classical Music Educators (BCME), Ohio Music Educators Association (OMEA), the Royal Conservatory of Music Certificate Program (RCM), the Pan American Vocology Association (PAVA), Estill International, and the Pi Kappa Lambda National Music Honor Society Alpha Rho Chapter. He serves on the Board of Directors for the Ohio Chapter of the National Association of Teachers of Singing.

With over a decade of experience teaching and coaching singers and actor-musicians, current and past students of Justin T. Swain have been accepted into collegiate programs in voice, acting, and musical theater at Brown University, Columbia University, the Cincinnati College Conservatory of Music (CCM), James Madison University, Utah State University, University of Southern California, Point Park University, The Ohio State University, Belmont University, Liberty University, Cedarville University, Ohio University, Catholic University, Capital University Conservatory, Youngstown State University, Baldwin Wallace Conservatory, Otterbein University, Kent State University, Cleveland State University, Pace University, Wright State University, and Eastern Michigan University. His students have found success at both the State and Regional Levels of the National Association of Teachers of Singing Student Auditions winning first place in musical theater and contemporary vocal categories.

Beyond academia, Swain’s students have performed with the College Light Opera Company (CLOC), Columbus Children’s Theater, The Contemporary Theater of Columbus, Opera Project Columbus, Opera Columbus, Milwaukee Rep, Busch Gardens, Camden Shakespeare Festival, Utah Shakespeare Festival, Disney, 54 Below, Tantrum Theater, Middletown Lyric Theater, Seattle Public Theater, Ashtabula Arts Center among other theaters and companies.

Teaching Philosophy

I’m a firm believer that there is more than one path toward developing a healthy and beautiful voice. Through my teaching I discovered early on that there is no such thing as a "one size fits all" approach when it comes to singing. While, yes, I am classically trained myself, I find it highly beneficial to learn to sing in various styles to develop a versatile technique that allows for cross-over between vocal genres and styles. Very few people who study voice start out loving classical vocal music (e.g. opera) and must learn how to make the particular sounds associated with that style of singing with their voice, however, many people (myself included) grew up listening instead to pop, R&B, jazz, rap/hip-hop, rock, or musical theater, and have sung in a way that mimics what we're accustomed to.

I believe it's important to first develop an understanding of how the voice works, how to healthily use one's unique instrument, and build vocal technique in a manner that allows for flexibility of the voice and can withstand the demands of multiple genres of music. Where many classically trained singers often times cringe at the term "belting," I have learned to embrace it and am comfortable both belting myself, as well as teaching it to my students. Again, although I’ve trained classically, I encourage students to cross-train their voices and branch out far beyond just teaching a "classical sound."

I realize that everyone comes from a diverse and unique background, and the importance to honor each student's specific interests. Every individual is unique and brings with them into the studio aesthetic tastes and a unique sound that is their own. I say it often, I do not believe in fussing with a singer's natural sound, and I respect the interests goals of each student who walks into my studio. I enjoy working with a diverse body of students with musical tastes just as diverse as they are. Whether you want to sing pop or R&B, classical or musical theater, work towards auditioning for an ensemble or production, prepare for college auditions, or just for the fun of singing, I encourage healthy singing and achieving a functional and versatile technique that will allow students to express themselves artistically through their music, no matter the genre. To aid that effort, I frequently refer to Estill figures and other contemporary pedagogy methods with students of voice in my teaching.