Chapter 3 is concerned with the place of desire and disembodiment in queer musical experience. Taking as its focus the writings of John Addington Symonds, this chapter examines the representation of the voice of the chorister in late Victorian literature. The fetishization of the chorister in pederastic texts by Symonds and John Gambril Nicholson forms part of a broader eroticization of childhood innocence in Victorian culture. An examination of Victorian vocal treatises shows how such vocal innocence is figured as arising from the renunciation of the body. In this respect, Symonds’s desire for the singing voice can be understood in the light of psychoanalytic models in which the voice is understood as a Lacanian ‘lost object’. The pederastic listening practices engaged in by Symonds and his contemporaries invite a reassessment of the frequent idealization in queer studies of the singing voice as a space in which sexual desire may be freely and unproblematically explored. The discussion draws upon recent work in queer studies calling for closer engagement with those shameful and embarrassing aspects of queer history that many in the queer community today might prefer to forget.