Estill Voice Training and the Gender Non-binary Singer

ABSTRACT

While there has been a good deal of recent research about teaching transgender singers, less has been written specifically about gender non-binary singers. When the author was approached by a student who shared that they were gender non-binary, the author examined her pedagogy to make the classroom a more inclusive space. Using a Performance as Research methodology, the author surveyed and recorded verbal interviews with her students and discovered that Estill Voice Training (EVT), the foundation of the voice training in her classes, is built to support inclusivity. In this article, the author, an Estill Master Trainer, shares her journey of working with non-binary students. Definitions and vocabulary of gender identity are discussed and the ways in which EVT supports inclusion in the voice studio are explored. At its core, EVT is free of aesthetic bias and aims to train all voices to sing in all voice qualities, supporting students’ identities and natural singing voices. By focusing on anatomy, EVT uses gender bias-free terminology and offers unlimited vocal options. In addition to detailing the ways in which EVT is an ideal model for teaching gender non-binary singers, the author offers other recommendations for fostering an inclusive environment in the classroom.

KEYWORDS:

• Voice
• singing
• Estill
• gender
• non-binary
• pronouns
• inclusion

Acknowledgments

The author wishes to thank Kimberly M. Steinhauer, Gary O. Fuqua Jr., Abigail Coats, McKenna Shaw, and the students in the 2020-21 Musical Theatre Class Voice course, University of Alabama at Birmingham Musical Theatre.

Disclosure Statement

No potential conflict of interest was reported by the author(s).

Notes

1. The participant’s name is used with permission.

2. This article uses a Performance as Research (PaR) methodology to explore Estill Voice Training and gender non-binary singing. Oram (2015) discusses PaR and how it applies to voice studies. This article uses action research with PaR to explore how this topic relates to my specific classroom. The methodology combines student interviews, surveys, and personal qualitative observation from my classroom experiences.

Additional information

Notes on contributors

Valerie Accetta

Valerie Accetta is the Head of Musical Theatre at the University of Alabama at Birmingham. She is a member of Actors’ Equity Association, an Associate Member of Stage Directors and Choreographers union, and an Estill Master Trainer. She holds a BA in musical theatre pedagogy from Otterbein University and an MFA in theatre pedagogy from Virginia Commonwealth University. Valerie played Margy in the national tour of State Fair, and her directing credits include Oklahoma!, Matilda, and Pippin. She has published in Studies in Musical Theatre, was a contributing author of The Voice Teacher’s Cookbook, and regularly presents at international conferences.