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ABSTRACT
This article is an exploration in addressing the challenges of a voice teacher training her first transgender student, specifically assigned male at birth (AMAB). The article addresses vocal fundamentals such as alignment, registration, passaggio transition points, expressivity, and repertoire selection. The article includes conversation surrounding choral assignments, fach, gender dysphoria, spiritual delving, and the personal journeys of both the student and the teacher during an academic year. Information and resources regarding hormone therapy and community engagement are offered. The author and participant hope that by sharing this journey other voice teachers will be encouraged to begin working with the transgender vocal community with curiosity, courage, and confidence.
Acknowledgments
I thank colleague and friend, Adi Cabral, for their informative and candid conversations surrounding transgender inclusiveness. Most importantly, I thank Grace, for bravely giving permission for me to publish about her personal journey.
Disclosure Statement
No potential conflict of interest was reported by the author(s).
Notes
1. The language used in this article is the most up to date to the author’s knowledge as of the publication date. It would be inappropriate to disclose a transgender person’s story without their permission, so it is important to state the author received permission from the student to publish their story, including their first name. The student has read the article and approved it.
2. The methodology of this articles follows qualitative case study design within applied education research (Creswell and Creswell Citation2018; Yin Citation2012). Within this article, I define the parameters of the case by exploring trans voice, and the voice methods I used to teach. In addition, I follow a chronological narrative, telling the story of my time coaching Grace. I use my field notes and self-reflection as data throughout the article in order to give analysis and implications.
8. James McKinney (Citation2005) explores the idea of “diagnosing” the voice in a singing studio, which is a term used widely within voice pedagogy. This kind of “diagnosing” is outside the scope of a medical diagnosis.
10. See Graham (Citation2019).
11. See the Oxford English Dictionary under dysphonia.
12. From the film Harry Potter and the Deathly Hallows, Part 2.
15. See Agha (Citation2017)
Additional information
Notes on contributors
CJ Greer
CJ Greer is an Assistant Professor of Voice/Music Theatre at the University of Nevada, Reno, where she has consulted on the development and implementation of a new musical theatre program. A former Broadway performer, she received her MFA in vocal pedagogy for music theatre and her MM for classical performance and pedagogy from Penn State University. Her research interests revolve around integrating performance disciplines to create new approaches to pedagogy for developing elite vocal performers, training music theatre voice teachers and techniques, bringing best practices for hands-on contact into the voice studio, and collaborating with the medical field exploring where science and singing can heal.