Transcript The Transgender 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
• 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
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
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
Target Pitch (cont’d)
• D3 (147 Hz)
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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
Habituate Target Pitch
• Syllables
– Practice target on several /m/-initiated CV syllables
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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
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)
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
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
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
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
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
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
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
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
•
•
•
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content
7. Pay attention to
tongue position
8. Hold mouth in
right shape
9. Develop head
resonance
10. Use feedback
Voice Samples
• Voice # 1
– Old
– New
• Voice # 2
– Old
– New
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).