Forging a New Path: Transgender Singers in Popular Music
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Résumé
Some of the first issues that a cisgender voice teacher of transgender and gender nonconforming singers faces is finding role models and repertoire for the student. After all, with most students we have well established ideas of what their musical niche might be. But transgender or gender nonconforming singers might seem to bring an entirely blank slate, as if nobody had ever developed a following or composed songs as a transgender singer. Thankfully, that is not the case. There are talented transgender singers in almost every genre, and many people have cut paths for our students to explore.Few people have more expertise on music of transgender performers than JD Doyle, archivist of music of LGBTQ performers spanning the last hundred years. His websites, Queer Music Heritage and JD Doyle Archives, are both sources of understanding, appreciation, and exposure for LGBTQ singers. JD has an uncomplicated way of shining light on appropriate repertoire: [W]hat is queer music, and what makes it different, and the same, from what straight artists write and sing about? It's the same because of course LGBT people write about relationships, falling in love, wanting to be in love, and losing love...Doyle offers a number of recommendations of artists to consider that I have supplemented. It is exciting to hear the authentic and meaningful music of these artists, some who sing from their hearts with insightful, serious lyrics about their transitions, some who perform songs that say nothing specific about their transitions, and others who use comedy and bring up the edgier side of their lives.Namoli Brennet is a folk-rock singer/songwriter based out of Iowa. Her poetic lyrics have been described as insightful, moody, and inspiring. I find her ballads to be heartbreaking and her up-tempo music to be nothing but fun. Her music has been featured on the radio and in films. Namoli tours for part of every year and uses a combination of acoustic instruments and digital gadgets to create a rich tapestry of music (www.namolibrennet.com).Joe Stevens of the folk duo, Coyote Grace, is another immensely talented singer/songwriter who pours his experiences and emotions into brilliantly crafted songs. Many of Coyote Grace's songs lean toward Americana with beautifully flowing melodies and poetic lyrics. One exception is Daughterson, a comedic but unflinching solo song, which is a direct product of Joe's transitioning journey, with lyrics such as:Well, you say I'm going to hellWell, I've been down that wellAnd God is a big boy, he can speak for himself'(www.coyotegrace.com).Jennifer Leitham is a career jazz musician, bassist, composer, and vocalist. Jennifer transitioned from being known as John Leitham in 2001, well into her career as an instrumentalist; but her first recording utilizing her singing voice is The Real Me (2006). She is the subject of an award-winning documentary, I Stand Corrected, which won the best film award at the American Documentary Film Festival in April, 2012 (jenniferleitham.com www.istandcorrectedmovie.com).Lucas Silveira is best known for being the front man of Toronto band, The Cliks, and has also released a solo cover album. The music of The Cliks is pure, exciting rock infused with an infectious beat, guitar driven instrumentation, and vocals that cry out with emotion. The Cliks has opened for Cyndi Lauper, as well as Ian Astbury (www.thecliks.com).Simon de Voil is a Scottish singer-songwriter whose specialty is sacred music, now living in the Pacific Northwest. His lyrics are rich with meaning oriented toward spirituality and healing for all people. The simple guitar chords and flowing melodies pull the listener into a quiet, meditative, and beautiful place. He has released several albums, but perhaps the most intriguing to the voice teacher or FtM transitioning singer is the soundtrack of the documentary Funny Kinda Guy. Simon's transition from female to male is the subject of the movie, and the soundtrack contains songs recorded at different points in the transition, voice cracks and all, as his voice lowers. …
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Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.
Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,000 | 0,000 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,000 | 0,000 |
| Études des sciences et des technologies | 0,001 | 0,000 |
| Communication savante | 0,000 | 0,001 |
| Science ouverte | 0,000 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,000 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,001 | 0,000 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découle