“My voice speaks for itself”: The experiences of three transgender students in American secondary school choral programs

Abstract

With the purpose of furthering lesbian, gay, bisexual, transgender, queer, questioning, and allies/agender/asexual (LGBTQA) dialogue in music education and to improve choral instruction for trans(gender) students, this multiple narrative case study explores the experiences of trans students in secondary school choral music programs in the United States. The emergent research design employed narrative and ethnographic techniques to honor and highlight voices of the three participants. The connection or lack thereof between voice and gender identity was different for each student. The policies of the students’ school districts, school officials, choral programs, and state music organizations shaped and influenced the participants as they navigated their trans identity within the high school choral context. Mentors (including teachers) and other “important others” helped these students as they traversed their gender journeys. From this research, it emerges that schools and choral programs can make policy changes to better serve trans youth, and more professional development and incorporation of (trans)gender issues is necessary for choral music educators.

Counterpoint in the music classroom: Creating an environment of resilience with peer mentoring and LGBTQIA+ students

“…For peer mentoring to function as a platform for developing resilience, LGBTQIA+ students need to feel safe in the classroom (e.g., Corbitt, 2016; Haywood, 2011). Researchers in music education have found that music classrooms have the potential to provide a safe haven for LGBTQIA+ students (e.g., Minette, 2018; Palkki, 2016). Creating safe spaces may be difficult in some situations; however, for heteronormative conditions that reinforce gender, binary designations can include ensemble names (e.g., men’s and women’s choruses), apparel (e.g., dresses for women, tuxedos for men), and teachers using gendered language in rehearsals (e.g., men and women) (Palkki, 2016).…”

“…As a consequence, LGBTQIA+ youth also experience increased health issues over those who do not identify as being gay (Marshal et al, 2011). Researchers in music education have recently begun to explore the various complexities that exist in the inclusion of sexuality in the music classroom (e.g., Hendricks & Boyce-Tillman, 2018; Palkki, 2016). These include identity (e.g., McBride, 2017; Natale-Abramo, 2011; Palkki, 2014), transgender students (e.g., Nichols, 2013; Palkki, 2016), and trans*+ students (e.g., Cayari, 2019).…”

Perspectives of a Transgender Music Education Student

“…So I can't talk about my personal experience with it, but I know people who have." (Joseph interview, March 14, 2016) Additionally, I found Palkki's (2016) discussion of this conflict particularly illuminating and affirming with his statement, "I believe that it is possible for cisgender researchers-remaining ever aware of their cisgender privilege-to use their position in a positive way to bring attention and respect to trans experiences and trans issues" (p. 83). My conversations with Joseph served to illuminate my understanding not just of his experiences but also of my own blind spots, especially my privilege as a straight, white, cisgender male.…”

“…Within music education specifically, researchers have suggested non-trans faculty and staff educate themselves about challenges faced by transgender students (Bartolome, 2016;Nichols, 2013;Silveira & Goff, 2016), especially since transgender students are more likely to perceive hostile campus environments than their straight and LGB counterparts (Rankin, 2003;Rankin, Weber, Blumenfeld, & Frazer, 2010;Tetreault, Fette, Meidlinger, & Hope, 2013). Despite the challenges that transgender students face, their experiences are not monolithic, as Palkki (2016) noted in his case study of three transgender choral students. He stated, "It is important to state yet again that trans people are not monolithic.…”

Finding the Trans Voice: A Review of the Literature on Accommodating Transgender Singers

“…It is likely that MtF students will have entirely different experiences and needs in the choral classroom compared with FtM students. Palkki (2016aPalkki ( , 2016b wanted choral directors to see transgender singers as less of a monolith, emphasizing that there will not be a one-size-fits-all approach to working with them. The inability to generalize the strategies used is referenced in much of the literature (Krell, 2014;Palkki, 2016aPalkki, , 2016bRastin, 2016;Sims, 2017aSims, , 2017b).…”