Panel presenters in this session will take a holistic approach to the exploration of trans and gender-expansive vocal pedagogy. We explore praxial intersections with empirical research to discuss inclusive and equitable policies and pedagogically informed practices in choral ensemble settings (Anzaldúa et al., 2022). Panelists will surface theoretical frameworks associated with their individual research while also collectively centering the lived experiences of trans and gender-expansive musicians—a core component of transgender theory (Nagoshi & Brzuzy, 2010).Panelist #1 shares preliminary findings from an in-progress self-study developing intersectional critical pedagogies as a trans+ choir director (Hess, 2017, 2019; hooks, 1994; Silverman, 2022). Studies on the experiences of trans+ vocal music students have illustrated how choral music customs reproduce gender norms which restrict queer gender performance. This panelist will also present a case study on trans+ singers’ experiences of gender euphoria in choral ensembles (Author 1, 2025), analyzed through a trans studies lens (Feinberg, 1992, 1997, 1998; Keegan 2020a, 2020b; Stryker, 2004, 2008). Findings from this recent case study of trans+ singers participating in 2SLGBTQ+ choirs highlight possibilities for affirming musical expression and gender performance in choral communities from a perspective of seeking gender euphoria (Beischel, Gauvin, & van Anders, 2022) over their fear of reproducing transphobia. Panelist #2 discusses an autoethnography that explored countertenor singing as a form of gender transgression and feminist expression. Empirical scholarship has documented trans and gender-expansive singers in choirs and applied studios, while less attention has examined the lived experiences of performers whose voices themselves disrupt gendered vocal norms. Drawing on episodes from the author’s career as a countertenor and using self-presentation theory (Boylord & Orbe, 2014), they examined how falsetto singing challenged the cultural expectation that voices align with binary categories of sex and gender. Building from Koestenbaum’s (1993) notion of falsetto as “feared” and “faggy,” they interrogated how their treble singing voice simultaneously unsettled normative masculinity and affirmed their genderqueer identity. This narrative extends existing discourse on voice as an element of gender expression (Bond, 2018; Meizel, 2020; Author 2, 2022), while also situating countertenor singing within ongoing dialogue of lived experience, identity, and vocal pedagogy. Panelist #3 presents two original voice science models, Flexible Fach Gender Affirming Singing Protocol (FFP) (Author 3, 2024) and Line Recombination (Author 3, 2022), developed to provide a holistic approach to trans and gender expansive singers’ vocal, mental, and emotional well-being. The FFP combines the primary tenets of gender affirming voice and communication therapy (Adler, Hirsch, and Pickering, 2019; Block, Papp, and Adler, 2019; Oates, 2019; Adler and Antoni, 2019; Kozan and Hammond, 2019) with voice science pedagogy (McCoy, 2019; Author 2, 2022; Ragan, 2020; McKinney, 2005; Miller, 1996). FFP is an empowering model singers may employ to alter their voice’s gender percept through specific adjustments to posture, onset, articulation, registration, and resonance. Trans and gender expansive singers pursuing a vocal transition may assimilate more easily into their desired voice part by applying the FFP in choral ensembles. For singers unable to perform their desired voice part in its entirety, due to limited range or developing technique, Line Recombination can provide a healthy alternative that takes into account the singer’s gender identity and maintains musical integrity.Panelist #4 presents new data related to the lived experiences of Trans and gender expansive (TGE) musicians and their interactions with school music teachers. TGE students are present in all schools—yet they are increasingly marginalized in U.S. school environments (Kosciw et al., 2022). Educators may not have considered complex gender diversity issues. Teachers might not have had training related to inclusive engagement of TGE students. Legislation may adversely impact school policies and curricula. Expanding on data from a previous qualitative study (Author 4, 2021), the presenter offers updated transferability of participants’ lived experiences to current U.S. school music environments. In addition, new data from one of the participants in the original study provides insight for music educators seeking inclusive engagement of a broader spectrum of students. TGE individuals speak for themselves, through their own narrative stories—a tenet of transgender theory (Nagoshi & Brzuzy, 2010)—as a way to ground contemporary praxial applications of study data. Each of the four panelists engage with and author research on trans and gender expansive vocal pedagogy. Collectively, we have teaching experience with elementary, secondary, and post-secondary learners in applied and group vocal instruction spaces. We bring our uniquely individualized cultural, geographical, teaching, gender, and sexual identities to this discussion. Our goals with this panel are to share connections between and among our research and our practices, elevate and honor the lived experiences of our trans and gender expansive collaborators, and critically explore how research informs, disrupts, and potentially changes pedagogical practices.