What did the researcher want to know?
What did the researcher want to know?
What guidance can existing research provide to help music educators better meet the needs of transgender singers?
What did the researcher do?
Aguirre conducted a literature review of existing research studies pertaining to the transgender singing experience or that provide suggestions for working with transgender singers.
What did the researcher find?
Aguirre first presents definitions of relevant terminology:
- sex = designation (male or female) assigned at birth
- gender = social construct that encompasses both gender identify and gender expression and exists on a spectrum (not only male/female but also nonbinary, etc.)
- transgender = describing one whose birth-assigned sex does not align with their gender identify, gender expression, or both. Note: “The proper term to use when discussing this population is transgender, not the past tense verb ending in -ed, as using the verb form of this word implies that something has happened to this person” (p. 37).
- male-to-female transgender (MtF or trans-female/woman) = someone whose birth-assigned sex was male but identifies as female
- female-to-male transgender (FtM or trans-male/man) = someone whose birth-assigned sex was female but identifies as male
- (**NOTE: Some feel that the the terms MtF/FtM are inappropriate because they suggest that something “happened” to the person. Instead, we might use the terms AFAB (assigned female at birth) or AMAB (assigned male at birth).
Aguirre’s review of the literature found the following:
- Many educators feel unprepared to work with the LGBTQ community.
- While some studies show that many transgender students report having more positive experiences in their music classes compared to the rest of school, other studies show that some music teachers are not comfortable using gender-neutral language in their classrooms.
- The choral classroom may be a more likely source of obstacles for transgender students than other music classrooms. This is due to gendered voice parts, gendered ensemble types, gendered rehearsal language, and/or gendered concert attire that are prevalent among many choral music education programs.
What does this mean for my classroom?
Music educators should be sensitive to the unique needs of all students but especially of their transgender students. Existing research shows that transgender students notice and appreciate their teachers’ efforts to provide a more inclusive environment. Here are some ways that music teachers can make their classrooms a more inclusive environment for their trans students:
- Avoid gendered language when addressing students. Instead of “boys and girls” or “ladies and gentlemen”, try using a gender-neutral term, such as “students”, “musicians”, or “everyone.” Specifically in the choral classroom, try referring to students by voice part rather than sex (e.g., “sopranos and altos” rather than “ladies/girls”).
- Be sure to address students by their correct pronouns (e.g., they/them, she/her, he/him). At the beginning of each semester, you might ask students to complete an information/background form, in which you ask them to indicate their preferred pronouns. After reviewing these, prepare for class by devoting conscious attention to practicing the correct pronouns of any students you find yourself misgendering. Practicing the proper pronouns outside of class will help you use them more comfortably and automatically in class. It is also acceptable to avoid pronouns altogether and use a student’s preferred first name. This article provides some helpful tips for using gender-neutral pronouns.
- Teach your students that “voice part, like sexuality, is independent of gender identity or gender expression…. Tenors and basses do not have to be males, while sopranos and altos do not have to be females” (p. 39). Note that this is not an entirely new concept, as some cisgender females with low voices may sing tenor or cisgender males with high voices may sing alto/countertenor.) (NOTE: Cisgender refers to someone whose gender identity matches their sex assigned at birth.)
- If you currently have gendered ensemble names, consider renaming these to be gender-neutral. For example, “men’s choir” could become “tenor/bass choir”; “women’s choir” could become “treble choir”.
- Choose gender-neutral concert attire or allow students to choose the option in which they will feel most comfortable.
- Be aware of specific needs of trans men versus trans women. Some female trans students (AMAB) may be able to sing in their falsetto if their preference is to sing the also or soprano part. Provide such students with this option as well as guidance in doing so. Male trans students (AFAB) who are starting testosterone may experience voice change similar to adolescent cisgender males and need the same sensitivity and guidance from their teacher.
- Rewrite vocal parts for specific students when needed.
- Website: queeringchoir.com provides some helpful information and sources.
- Article: “Making Your Chorus Welcoming for Transgender Singers”
- Article: “Creating Gender Liberatory Singing Spaces: A Transgender Voice Teacher’s Recommendations for Working with Transgender Singers”
- This previous “Research to Real Life” post summarizes a study by Palkki and Caldwell (2018) regarding safety for LGBTQ students in the music classroom.