Professor Jeralyn Glass is a singer, meditation leader, and sound healing practitioner who has built a distinctive body of work at the meeting point of classical music and contemplative practice. She describes herself as a musician and sound-healing pioneer, and she is widely known as a crystal singing bowl master alchemist. Her central idea is simple to state and demanding to practice: that music can function as medicine, and that carefully structured, high-vibrational sound can bring stillness to the mind, deep relaxation, and a grounded sense of wholeness.
Based in Los Angeles, Glass is the founder of Crystal Cadence, a studio that is also home to the Los Angeles Crystal Tones Singing Bowl Temple. Through her sessions, trainings, recordings, writing, and online series, she has become a recognized voice in the modern sound healing field.
The public record on Glass's early life is thin. Her hometown and childhood are not documented in the sources available, and it would be a disservice to fill that gap with guesswork. What can be said is that her work is rooted in classical music. She is a trained singer, and she speaks often of drawing on her musical training in everything she does, from vocal instruction to the design of her bowl sets. The title "Professor" accompanies her name, reflecting a teaching role that has become central to her work.
The specific moment or circumstance that moved Glass from the conventions of classical music toward sound healing is not detailed in the available record, so it is best not to dramatize it. What the trajectory itself shows is a gradual convergence: a musician schooled in structure and harmony who came to see those same principles as tools for healing and meditation.
That convergence is visible in the name of her studio. Glass has written that she chose "Crystal Cadence" because structure is an important part of creating effective music and sound for healing. In classical music, a cadence is the resolution of a phrase, the point where tension settles. The name suggests her belief that healing sound is not merely atmospheric. It is composed, and it has shape.
Glass is best known for bringing musical rigor to the world of crystal singing bowls. Sound healing is sometimes approached informally, with bowls gathered and played intuitively. Glass's contribution is an emphasis on harmony and intentional design. She curates personalized sets of bowls, building them to be as harmonic as possible, a task that draws directly on her musical education.
Her approach joins several strands: classical vocal technique, meditation, and what she calls crystalline sound, or alchemy singing bowls. The aim is not spectacle but stillness. Her sessions and recordings are meant to quiet the mind and invite deep relaxation, framed by the idea that sound can be a form of care.
Crystal Cadence and the Los Angeles Crystal Tones Singing Bowl Temple. The studio holds more than 600 Alchemy Crystal Singing Bowls, an extraordinary collection by any measure. It serves as a performance space, teaching center, and home base for her work.
Sessions, mentoring, and voice lessons. Glass offers sound healing sessions, private mentoring, and what she calls transformational voice lessons that integrate alchemy singing bowls, bringing together vocal development and the resonance of the bowls.
The Sacred Science of Sound Crystal Alchemy Sound Healing Trainings. Taught at Crystal Cadence, these trainings run to more than 120 hours, a substantial commitment that positions her as an educator preparing others to work with sound.
The Sacred Science of Sound series. This online series shares its name with her trainings and features interviews with musicians and leading experts in sound and energy medicine. It reflects her interest in a wider conversation about how vibration and healing relate.
Sacred Vibrations. Her book, Sacred Vibrations, extends her ideas into print, alongside an oracle deck that offers another point of entry into her work.
Music. Her recordings are available on all streaming platforms, where she has a listener base in the thousands, and she shares free alchemy meditations on the Crystal Cadence YouTube channel, which keeps her practice accessible to people who may never attend a session in person.
Glass was among the 35 experts featured in the Shift Network's Sound Healing Summits in 2019 and 2020, a notable platform for practitioners in the field. She has also performed her music for a number of well-known figures in consciousness and wellness circles, including Marianne Williamson, Gregg Braden, Anita Moorjani, Dr. Sue Morter, Bruce Lipton, and the late Barbara Marx Hubbard. These engagements suggest the esteem in which her playing is held by authors and teachers who themselves work with questions of healing and transformation.
Today, Glass's work is organized around teaching, curation, and sharing. At Crystal Cadence she continues to lead the lengthy trainings, offer individual sessions and mentoring, and build bowl sets for clients. Her online series and free YouTube meditations extend the studio's reach beyond Los Angeles. The picture is of a practitioner who has moved from performer to steward: someone maintaining a physical temple of sound while distributing its methods widely.
Interest in sound healing has grown alongside broader curiosity about meditation, nervous system regulation, and alternatives to constant stimulation. In that landscape, Glass occupies a particular niche. She speaks to people drawn to contemplative practice who want more than ambience, listeners and students who respond to the discipline of classical music and the intentionality of well-tuned instruments.
Her significance also lies in her role as a bridge. Classical training and wellness culture do not always meet comfortably, yet Glass treats them as natural partners. For musicians, she models a way of carrying formal training into healing contexts. For meditators and seekers, she offers sound that is shaped with craft.
Her claims should be understood on their own terms. Sound healing is a practice of experience and intention, and Glass frames it as music as medicine, a way to cultivate stillness and wholeness, rather than as a substitute for clinical care.
It is early to speak of a final legacy, but the outlines are clear. Glass has created a physical and educational home for crystal bowl practice in Los Angeles, trained students through an extensive curriculum, published a book and oracle deck, and recorded music available worldwide. Perhaps her most lasting contribution is the insistence implied in her studio's name: that healing sound deserves structure, care, and musicianship. In a field that can be loosely defined, that standard is a meaningful one.