While there has been a good deal of recent research about teaching transgender singers, less has been written specifically about gender non-binary singers. When the author was approached by a student who shared that they were gender non-binary, the author exam ined her pedagogy to make the classroom a more inclusive space. Using a Performance as Research methodology, the author sur veyed and recorded verbal interviews with her students and dis covered that Estill Voice Training (EVT), the foundation of the voice training in her classes, is built to support inclusivity. In this article, the author, an Estill Master Trainer, shares her journey of working with non-binary students. Definitions and vocabulary of gender identity are discussed and the ways in which EVT supports inclusion in the voice studio ar e explored. At its core, EVT is free of aesthetic bias and aims to train all voices to sing in all voice qualities, supporting students’ identities and natural singing voices. By focus ing on anatomy, EVT uses gender bias-free terminology and offers unlimited vocal options. In addition to detailing the ways in which EVT is an ideal model for teaching gender non-binary singers, the author offers other recommendations for fostering an inclusive environment in the classroom. KEYWORDS Voice; singing; Estill; gender; non-binary; pronouns; inclusion Introduction “Everyone has a beautiful voice.” This quote by Jo Estill, founder of Estill Voice Training®, inspi
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