
Contents
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“What’s Our Voice?” “What’s Our Voice?”
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The TCLA Sound: Blend, Balance, and Uniformity The TCLA Sound: Blend, Balance, and Uniformity
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Blend Blend
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Balance Balance
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Uniformity Uniformity
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Blend and Gender within the Voice Section Blend and Gender within the Voice Section
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Within the Voice Section in the Trans* Chorus Within the Voice Section in the Trans* Chorus
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Within the Voice Section as Trans* Singer in Non-Trans* Chorus Within the Voice Section as Trans* Singer in Non-Trans* Chorus
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Social Attunement and Representation Social Attunement and Representation
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Blend as Social Attunement Blend as Social Attunement
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Representation Representation
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Conclusion Conclusion
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Notes Notes
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References References
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45 Community Singing, the Church of England, and Spirituality: The Singer, the Song, and the Singing
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20 Blend and Balance in Trans* Choral Musicking
Get accessHolly Patch is a Postdoctoral Research Associate in Sociology of Gender Relations at TU Dortmund University. She completed her PhD in Sociology at the Bielefeld Graduate School in History and Sociology with an interdisciplinary project on trans* vocality. Centering the lived experience of singing, she investigates the gendering of vocal sounds and bodies, processes of claiming “voice,” and what the practice of singing affords trans* people. She is a junior fellow at the Center for Interdisciplinary Research at Bielefeld University.
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Published:22 May 2024
Cite
Abstract
This chapter investigates what it means to blend in a trans* chorus. In a first step, the chapter deconstructs “blend” as the hegemonic choral sound quality, illustrating the social gendering enforced in choral singing at large. Utilizing ethnographic data, including in-depth interviews with members of the Trans Chorus of Los Angeles and participant observations of the chorus, the chapter analyzes what happens to the gendering of blend and balance when trans* singers fill the choral form. The chapter neither seeks to evaluate the chorus’s tone quality nor tries to quantify or qualify what achieves a blended sound. Instead, it aims to understand the sound of the chorus with respect to gender and analyzes the practice and discourse of “blend” to do so. Furthermore, the chapter exposes other kinds of contingency in blend and its meaning for singers’ (gendered) experience.
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