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1 Navigating Transgender Identity in a Gay Men's Chorus Navigating Transgender Identity in a Gay Men’s Chorus: A Qualitative Exploration Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Brent Joseph Fisher Graduate Program in Music The Ohio State University 2020 Dissertation Committee Dr. Eugenia Costa-Giomi, Advisor Dr. Daryl Kinney Dr. David Hedgecoth 1 Copyrighted by Brent Joseph Fisher 2020 2 Abstract The concept of gender in choral music education continues to evolve not only in schools, but also in community arts organizations. With the purpose of enhancing and continuing the dialogue surrounding LGBTQ issues in choral music, I explored the musical lives and lived experiences of transgender musicians in a gay men’s chorus situated in a mid-western city in the United States. The two goals of this study were to explore (1) how transgender and non-binary singers navigate their gender identity within the context of a gay men’s chorus and (2) how transgender and non-binary singers are supported by their peers and conductor. This qualitative, collective-case study (Thomas, 2016) used purposeful sampling of six singers included two trans women, two trans men, two non-binary/gender fluid individuals, and one cisgender conductor with experience working with marginalized populations. Data were collected through interviews, rehearsal observations, and reflective journaling. Data are presented as narratives to provide an insider’s view of the experiences, perspectives, and practices of the participants. Findings and implications emerged through cross-case analyses. The results indicated that gender impacts musical spaces. Participation in a gay men’s chorus created an outlet for participants to explore their transgender or non-binary identity. Participants were shown support through a non-gendered approach to rehearsals and performances, and transparency among colleagues. This was achieved through peer ii mentorship, non-gender conforming concert attire options, non-gender rehearsal language, accessible audition materials/protocol, and name tags allowing all members to be forthcoming about their preferred pronouns. The conductor demonstrated emotional and musical support in the rehearsal setting by being aware of singer needs both personally and pedagogically. The conductor discussed the need for understanding of vocal technique in transgender and non-binary singers. Four participants (two trans men and two trans women) discussed their voice modification through testosterone and estrogen hormone therapy. The two non-binary singers, not engaged in medical voice modulation, discussed changes in their voice through singing different voice parts within the gay men’s chorus. Implications for teaching practices and future research are discussed in light of current music education trends. Research on longitudinal effects of hormone therapy on the voice is warranted. Additional scholarship is needed in working with transgender or non-binary singers not engaging in hormone replacement therapy. iii Dedication To Marlene and Joe Fisher and Sharon and Kevin Styer, for your unfailing love and support throughout this journey and countless others yet to come. To my first choir director and musical role model, Diane Thomas Rompallo, who left this Earth far too soon. Her music and inspiration touched many lives indeed. iv Acknowledgments I am indebted to my parents, Marlene and Joe, for their love and support throughout this process. Thank you for always believing in me. Aaron, thank you for always standing beside me throughout this journey. I know it hasn’t always been easy, but I would do it all over again as long as you were with me. To my advisor, Eugenia Costa-Giomi, thank you for your guidance and encouragement over the last three years. Words cannot express how grateful I am for the opportunities you have provided me. To my committee members, Daryl Kinney and David Hedgecoth, I am also appreciative of your support and valuable insight. To Julia Shaw, thank you for your writing and methodological expertise. You not only helped to inspire this study but helped to get it off the ground. Emily Mechling-Souza, you are the Grace to my Will, the Anne to my Diana. You have been an amazing classmate, colleague, and friend over the last 15 (!) years. Here’s to many more years ahead, and it won’t be long until we’re “together again.” Erin Dow, thank you for being one of my dearest friends and colleagues during this process. I’m so glad we met, and I’ll never look at a statistics class the same way again! You are definitely a kindred spirit. v Trevor Marcho, we made it! From our interview day to being office mates, thank you for being a friend and sounding board. I look forward to having many more dinner parties with you and Lynn, where ever our careers may place us! To all of my students, mentors, and friends, I thank you all for impacting my life. I am better having been in your presence and having learned from you all. Finally, I would like to thank the participants of this study who so graciously volunteered their time to meet with me. I thank you for your willingness to open the doors into your lives and choral program so that we could pursue this work. vi Vita 1984……………………………...Born – Danville, Pennsylvania 2008……………………...………B.S. Music Education, Performance Certificate in Flute Pennsylvania State University, University Park, PA 2012……………………..……….M.M. in Music Education and Choral Conducting Florida State University, Tallahassee, FL 2017-2020……………………….Graduate Teaching Associate Music Education – The Ohio State University Columbus, OH Field of Study Major Field: Music vii Table of Contents Abstract ............................................................................................................................... ii Dedication .......................................................................................................................... iv Acknowledgments............................................................................................................... v Vita .................................................................................................................................... vii List of Tables ...................................................................................................................... x List of Figures .................................................................................................................... xi Chapter 1. Introduction ....................................................................................................... 1 The Researcher………………………………………………………………………….2 Background……………………………………………………………………………..5 Problem Statement……………………………………………………………………...7 Approach……………………………………………………………………………....10 Assumptions…………………………………………………………………………...11 Rationale for Study……………………………………………………………………12 Significant of Study…………………………………………………………………...13 Document Outline……………………………………………………………………..14 Chapter 2. Review of Literature………………………………………………………....15 History and Background of Transgenderism………………………………………….14 Experiences of Transgender Individuals and Transgender Identity…………………..16 The Benefits of Choral Singing……………………………………………………….20 Transgender and Non-Binary Singing………………………………………………...34 Music Education Literature Involving Transgender and Non-Binary Singers………..40 Chapter 3. Methodology…………………………………………………………………44 Purpose of the Study…………………………………………………………………..44 Research Design………………………………………………………………………45 Theoretical Frameworks………………………………………………………………47 Setting and Description………………………………………………………………..53 Participants and Selection……………………………………………………………..55 Participant Descriptions……………………………………………………………….56 Permissions/Negotiating Access………………………………………………………58 Timeline for Study…………………………………………………………………….58 viii Data Collection/Sources……………………………………………………………….59 Data Analysis………………………………………………………………………….61 Trustworthiness Criteria……………………………………………………………….61 Chapter 4. Findings……………………………………………………………………....64 Conceptual Framework…………………………….…………….....…………………66 Explanation of Conceptual Framework……………………………………………….67 Participant Narratives………………………………………………………………….67 John…………………………………………………………………………………67 James………………………………………………………………………………..69 Jordan……………………………………………………………………………….72 Marlene……………………………………………………………………………..75 Theresa……………………………………………………………………………...78 Robin………………………………………………………………………………..80 Dr. Zbornak…………………………………………………………………………82 Emergent Themes……………………………………………………………………..85 Breaking Down Gender Barriers…………………………………………………...85 Cultivating Community…………………………………………………………….90 The Changing Voice………………………………………………………………..98 Self-Care…………………………………………………………………………..102 Knowledge of Transgender Matters……………………………………………….106 Chapter 5. Discussion…………………………………………………………………..111 Research Goal 1……………………………………………………………………...111 Research Goal 2……………………………………………………………………...116 Implications for Music Education……………………………………………………125 Suggestions for Future Research…………………………………………………….129 Limitations…………………………………………………………………………...131 Conclusion…………………………………………………………………………...131 Bibliography ................................................................................................................... 133 Appendix A. Interview Protocol ..................................................................................... 151 Appendix B. Group Announcement ............................................................................... 154 Appendix C. Letter for Research ...................................................................................
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