In this paper, Liz Escalle-Dyachenko discusses three pieces for strings from the 2010s by three trans and non-binary composers of contemporary music based in the United States. Rather than argue for the mere inclusion of naturalized trans “talents” in a historically cisheterosexist and racist genre, or, on the contrary, for the need to define the traits of a unified trans “culture” in music, their aim is to show how differently situated trans musical practices achieve to imagine and create spaces for reflecting on both the role that music can play in our trans hirstories and the relevance of being trans in our musical experiences, past and present. In Behind the Wallpaper, a cycle of eleven songs for amplified voice and string quartet, Alex Temple thus uses playful collages and musical quotations to bring together a dreamlike narrative of defamiliarization and transformation for her listeners to participate in. By contrast, If you lived in your body by Chrysanthe Tan, a shorter piece for spoken word and layers of violin, focuses on resonance and moving away from social assignments as a deterritorializing force that haunts both musical and non-binary subjectivities and the desire to feel anchored. Finally, in her work for string quartet and playback voices entitled Tea en mi casa, inti figgis-vizueta offers a decentering of the authority of musical notation as a site of reverse hospitality that opens up the possibility for trans and queer public to articulate what music and transness might feel and mean in their own archives.