Empowering transgender voices through singing

In a recent article for Sound Connections, singer Alexander Pullinger explores some of the ways in which transgender people are denied access to traditional, organised singing spaces, such as choirs. 

Much of this stems from cisgendered expectations of voice type. Pullinger explains: 'In choral singing we frequently hear of ‘men’s’ voices (tenors and basses) and ‘women’s’ voices (sopranos and altos).

'There are certain expectations that any given voice part will belong to a particular gender (‘men sing low, women sing high’). Although these expectations are not always met, they persist, despite major developments in our understanding of sex and gender since 1990.'

These expectations make for highly cisgendered singing environments - environments in which sex and gender are assumed to be the same, and vocal range follows accordingly. 

But, as Pullinger points out, 'voice type is a product of hormones and is not defined by gender. For this reason, it can be concluded that assigning a gender to the voice in the way demonstrated by the conductor in my earlier anecdote (or in any way for that matter) does not make logical sense - even if it might seem simpler to do so.'

Pullinger goes on to suggest ways in which singing environments can be made more trans-positive. 

1. Raising awareness in singers and choir directors

Resources include The Singing Teacher’s Guide to Transgender Voices.

'The onus must be on the teacher to develop trans-awareness, and not to be reliant on the transgender student for education about gender identity.'

2. Use of language

'The use of gendered language in rehearsals immediately dictates how the group relates to voice types. To cisgender singers with higher voices, being referred to as ‘ladies’ will probably not be noticeable to those who do identify that way. But for those who do not, for example transgender men, it can be profoundly distressing and invalidating.'

3. Concert dress code

Concert dress code is typically binary and gendered (black trousers for men, black skirts for women, etc). One way round this could be 'to have the same clothing options, perhaps listed and itemised, but not to specify that any particular combination is for men or for women,' writes Pullinger. 'In practice, this leaves the singers free to choose, while still allowing them to adhere to the specified concert dress code.'

Pullinger concludes by pointing out that 'to some, the idea of overhauling all classical singing environments for the benefit of a small minority might seem extreme.

'However, removing oppressive restrictions on the most vulnerable benefits all of us.

'It will bring diversity of lived experience (meaning richer musical offerings), and foster greater compassion. Ultimately, it will allow all of us the freedom to express ourselves without being bound to rigid gender norms about what we can wear, whose voices can be heard, and whose stories can be told.'

To read the article in full, visit: https://www.sound-connections.org.uk/wp-content/uploads/Trans-inclusion-article-FINAL.pdf