The purpose of this dissertation was to tell the stories of conductors leading traditionally single-gender choral ensembles and how they considered practices and discourses surrounding gender and gender inclusion in ensembles traditionally defined by gender exclusion. In line with narrative inquiry, the research puzzles explored (1) how conductors' intra- and interpersonal experiences with gender influenced the ways they saw and experienced gender, and (a) how those experiences influenced their choral pedagogy; (2) the discourses surrounding gender in traditionally single-gender choral ensembles, (a) how those discourses were created, and (b) who created the discourses; (3) practices the conductors employed to create environments honoring and valuing a variety of gender identities; and (4) the areas in which the conductors felt they succeeded in creating or struggled to create environments honoring and valuing a variety of gender identities. The research design was emergent. Megan and Chris (pseudonyms)-two directors of women's and men's choirs, respectively, at public universities-and the singers of those ensembles co-constructed narratives surrounding gender inclusion in their choirs. Through a series of individual interviews and small-group and large-group discussions with the conductors and singers, five major themes emerged. First, both singers and conductors found the ensembles to be important spaces for meaning-making, and they problematized many of the values and challenges of choral ensembles defined by gender. Second, the conductors and singers addressed a number of stereotypes and assumptions related to women's, treble, men's, and tenor-bass ensembles and interrogated assumptions about gender, particularly as it related to trans and gender-expansive singers. Third, they addressed gender inclusion as it related to policies and practices such as uniforms, rehearsal language, and program logistics. Fourth, they stressed the importance of open communication between students and conductors, allowing for student agency and input, facilitating difficult conversations within choral ensembles, and centering the voices of trans and gender-expansive singers. Finally, allyship was a central theme to the project as singers and conductors reflected on privilege, inclusion and exclusion, and ensuring that allyship is actionable and not performative. At the end of the project, the women's choir singers and the conductor chose to move away from a gendered choral model. The conductor of the men's choir saw moving away from a gendered choral model as an essential part of creating a gender-inclusive ensemble, while the singers saw the benefits of the gendered choral model outweighing the drawbacks. Based on the themes, a number of implications, considerations, and recommendations emerged as it related to choral policies and practices. Conductors and singers can implement more inclusive policies as it relates to language, literature selection and discussion, uniforms, voice classification, external image of the ensemble, and choral program hierarchies. Regardless of ensemble classification, conductors and singers need to acknowledge and problematize the impact of gender in choral ensembles. Future research related to gender must prioritize an intersectional approach and center the voices of trans and gender-expansive individuals.
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