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The Transsexual Voice

The Transsexual Voice. by Christine Kujawski. Important Vocal Characteristics in Gender Identification. Based on research: Speaking fundamental frequency (SFF) Upper limit of SFF Lower limit of SFF Intonational variability Resonance characteristics. Voice Therapy Program.

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The Transsexual Voice

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  1. The Transsexual Voice by Christine Kujawski

  2. Important Vocal Characteristics in Gender Identification • Based on research: • Speaking fundamental frequency (SFF) • Upper limit of SFF • Lower limit of SFF • Intonational variability • Resonance characteristics

  3. Voice Therapy Program • Program was developed in a university training clinic at the University of Wisconsin - Milwaukee • Clients usually seen 2x/week for hour-long sessions • Therapy continues during 12 week semester • Typical client is seen for 2-3 semesters

  4. Voice Therapy • Selecting a target pitch • Goal: raise speaking fundamental frequency (SFF) • raise SFF much more than a vocal abuse client would to get out of glottal fry • SFF should approximate 200 Hz • SFF must be at least 160-165 Hz to be perceived as female • Potential for variability • Target pitch must not be too high or upward inflections will be impossible • If able to move up several semitones from target level, pitch flexibility will most likely occur during therapy

  5. Target Pitch • Establish target • During first session • Use a pitch pipe and vocal cue from clinician • Use a visual feedback system • Vocal quality • Produce various frequencies on /ma/ • Should be “light” and clear

  6. Target Pitch (cont’d) • D3 (147 Hz) • May initially be selected • Produce a clear /ma/ • Smooth line on Visi-Pitch • Then move to a slightly higher pitch • Move up musical scale until client’s voice quality becomes unacceptable • Repeat procedure if poor performance, may be lack of familiarity • E3 (165 Hz) • Second step begins here, or lower if necessary • Model five-note ascending scale (do, re, mi, fa, sol) on /ma/ • If client can move up several semitones from beginning pitch, move to next frequency level • F3 (175 Hz) • Continue to move up semitones if successful • The semitone with greatest upward movement and voice quality becomes target pitch

  7. Habituate Target Pitch • Syllables • Practice target on several /m/-initiated CV syllables • Use “light” and clear voice • /m/ facilitates good oral resonance • /m/ allows client to find target pitch before moving into vowels • /m/ is easily tracked on Visi-Pitch • Give pitch-pipe cue and vocal model • Prolong syllables for 2-3 seconds each taking a good breath between each syllable until easy • Produce strings of 2-5 syllables • Continue vocal flexibility exercises • Emphasize good breath support and correct breathing patterns • Produce ascending scales of five notes on /ma/ • May try a combination ascending-descending scales

  8. Habituate Target Pitch (cont’d) • Words • Introduce more functional voice using words • Very challenging due to complex intonation patterns • Introduce “chanted” words and then words with speech intonation • /m/-initiations are used again • Pitch pipe and vocal model from clinician • Chant stimulus words at target pitch while watching Visi-Pitch • Clinician models again, but uses rising-falling intonation pattern • Prolong initial /m/ slightly • Raise pitch one semitone below target at the end of words • Use good breath before saying word, use full voice quality at initiation, and make highest part of intonation contour more breathy (the need for breathiness generally diminishes)

  9. Habituate Target Pitch (cont’d) • Words (cont’d) • Slow and exaggerated pitch contours are replaced with rapid, more natural-sounding productions • Replace initial /m/ with /n, w, j, l, r/ • Replace with voiced fricatives, affricates and stops, and then unvoiced fricatives, affricates and stops • Change level of propositionality • Start by reading word lists • Move to exercises using more linguistic formulations • Fill in missing words • answer questions with a single-word response • Practice words used frequently to facilitate carryover

  10. Habituate Target Pitch (cont’d) • Phrases • Use speech intonation exclusively • Chant 1-2 phrases loaded with /m/-onset words • Start with reading and then increase propositionality • Repeat and complete partial phrases • Answer questions with a phrase • Attempt role-playing activities • Introduce concept of natural-sounding phrases and avoid monotone patterns • Provide enough context for client to understand motivation behind utterances • Determine which words should be stressed and overall tone • Model several intonation patterns and have client select or “try out” different possibilities

  11. Habituate Target Pitch (cont’d) • Phrases (cont’d) • Artificial variability patterns with an excessive amount of pitch shifts are avoided • Goal is to move on to functional communication skills as soon as possible • Determine which phrases are used frequently at work or at home and practice to facilitate carryover

  12. Habituate Target Pitch (cont’d) • Sentences • Address pitch, quality, intonation, and pitch range at the same time • Client should control and clinician should monitor • Use Visi-Pitch for feedback in the beginning, but fade use as client becomes more confident • Evaluate voice for a perceptually light, clear quality without strain or roughness • Monitor declarative sentences to make sure they end with a falling intonation more often than with a rising intonation

  13. Habituate Target Pitch (cont’d) • Sentences (cont’d) • Transition client from Visi-Pitch to listening to voice recordings for a subjective pitch evaluation • Attempt different emotional styles and intensity levels • Increase propositionality • Repeat and complete partial sentences • Make up sentences using several related words • Picture descriptions • Respond to questions • Role-playing • Increase formulation responsibilities • Should prepare to spend a substantial amount of time at this level

  14. Habituate Target Pitch (cont’d) • Multiple sentences • Use multiple sentences at various levels of propositionality • Use feminine voice at all times during therapy • Introduce several non-verbal and paralinguistic behaviors • Monitor gestures and mannerisms • Target feminine word choices and language structures • Discuss strategies to promote recognition as a woman

  15. End of Therapy • Termination of therapy • Decide whether client has reached goals for pitch, quality, intensity, variability, and natural-sounding intonation patterns during spontaneous speech • Discuss whether client can successively use feminine voice at home, work, and recreational settings • Positive listener reaction

  16. Feminine Voice Techniques • 1. Sing • 2. Raise position of laryngeal cartilage • 3. Place emphasis on pitch, not volume • 4. Speak slowly, enunciate clearly • 5. Pace speech carefully • 6. Use appropriate content • 7. Pay attention to tongue position • 8. Hold mouth in right shape • 9. Develop head resonance • 10. Use feedback

  17. Voice Samples • Voice # 1 • Old • New • Voice # 2 • Old • New

  18. References • Gelfer, M.P. (1999). Voice therapy for the male-to-female transgendered client. American Journal of Speech-Language Pathology, 8. 201-208. • www.looking-glass.greenend.org.uk/ index.htm. (1997). Feminine voice techniques. Looking-Glass On-Line Publications. Retrieved on March 27, 2003. • www.tsvoice.dns2go.com. (2002).

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