This is by no means a comprehensive list of suggested sources to check out when researching transgender singers, but a great starting point nonetheless. Please contact me here if you have suggested additions or changes to this list.
Azul, David. “Transmasculine people’s vocal situations: a critical review of gender-related discourses and empirical data.” International Journal of Language & Communication Disorders 50, no. 1 (Jan/Feb 2015): 31-47.
This article looks at testosterone and vocal treatment for female-to-male (FtM) transgender individuals, and overall, determines that testosterone alone is not necessarily enough to make someone perceived as male when speaking and more research is needed on the subject. Azul notes that due to the heterogeneity of the transmasculine population, other therapies may be needed and developed.
Azul, David. “Gender-related aspects of transmasculine people’s vocal situations: insights from a qualitative content analysis of interview transcripts.” International Journal of Language & Communication Disorders 51, no. 6 (Nov/Dec 2016): 672-684.
A study looking at many factors contributing to transmasculine people’s vocal situations revealing diverse accounts of the factors contributing to vocal gender production with various levels of satisfaction in their vocal situation. Azul, as in his “Transmasculine people’s” article determines transmasculine people should be considered heterogeneous and clinical therapies should reflect an individualized approach. Some of the contributing factors include subjective gender positioning, desired gender attribution, gender presentation, and gender attribution both self-given and received from others.
Azul, David, Ulrika Nygren, Maria Södersten, and Christiane Neuschaefer-Rube. “Transmasculine People’s Voice Function: A Review of the Currently Available Evidence.” Journal of Voice 31, no. 2 (2017): 261.e9-261.e23.
A review of currently available literature and studies on transmasculine people’s voice function, and it was determined much more research needs to be done, and self-evaluations by trans individuals studied are necessary to support this research.
Bartolome, Sarah J. “Melanie’s Story: A Narrative Account of a Transgender Music Educator’s Journey.” Bulletin of the Council for Research in Music Education no. 207-208 (Winter/Spring 2016): 25-47.
This is a beautiful narrative from Bartolome discussing the life and transition of a MtF identifying student on her way to becoming a music educator. It emphasizes how little research and resource truly exists for music educators and LGBTQ students, and there’s an even larger gap in literature about transgender experience. What is great to read about for those unfamiliar to this topic is the ways Mel and Bartolome communicated with each other, and the barriers Mel faced even coming to class or having to ask a professor to use a preferred name—these are things we must consider and be aware of with our students. Bartolome talks about slipping up Mel’s pronouns and the through processes she goes through before deciding to do a research project with Mel. Mel faced so many issues with Praxis tests, job applications, student teaching, choir, speaking voice, bathroom use,
Bos, Nancy. “Forging a New Path: Transgender Singers in Popular Music.” Journal of Singing 73, no. 4 (Mar/Apr 2017): 421-424.
Bos lists many artists for transgender singers to look into as role models for trans people in the music world. This is a great resource for a teacher looking for context or suggestions for students asking about trans singers.
Bos, Nancy. “Teaching Transgender and Gender Non-Conforming Singers.” VOICEPrints 14, no. 3 (Jan/Feb 2017): 6-7.
Bos brings up some statistics and a brief background about transgender singers and teaching them. She states 40 percent of transgender people have attempted suicide, and some may have internalized transphobia or even PTSD from trauma associated with being trans. She addresses differences in MtF and FtM vocal transition, and says vocal surgeries usually for MtF transition are usually not covered by insurance and expensive and side effects can be undesirable. When choosing repertoire, gendered language and range are important aspects to consider, and transposition of songs can be a useful tool—open communication with the student is key. Physical actions are also a consideration, especially chest binding for trans men who might be trying to hide breasts, or trans women speaking in a high tessitura outside of physical comfort.
Cayari, Christopher. “Demystifying trans*+ voice education: The Transgender Singing Voice Conference.” International Journal of Music Education 37, no. 1 (Dec 2018): 118-131.
This article addresses many aspects of music education for trans*+ (an inclusive, expansive term of any gender identity other than cisgender) individuals, and addresses that many music educators are uncomfortable or unsure of how to handle these students, but Cayari draws to much of the research I’ve found providing many resources but also saying to treat them like you would any other student.
Constansis, Alexandros N. “The Changing Female-To-Male (FTM) Voice.” Radical Musicology 3 (2008).
An older account from 2008, but walks through in depth some of the experiences of going through a FtM vocal change through testosterone replacement therapy (TRT). As a vocalist, the author seems to recommend a lowered hormone level which makes the vocal changes less abrupt, allowing vocal training through the transition, but it most definitely prolongs the transition. Constansis puts to shame the notion that FtM transgender people don’t need speech therapy since testosterone will do the trick—this is not the case. Many need assistive therapies to work through the transition. Constansis also addresses some risks such as enlarged vocal fold entrapment within an established laryngeal space.
Cosyns, Marjan, John Van Borsel, Katrien Wierckx, David Dedecker, Fleur Van de Peer, Tine Daelman, Sofie Laenen, and Guy T’Sjoen. “Voice in Female-To-Male Transsexual Persons After Long-Term Androgen Therapy.” The Laryngoscope 124 (June 2014): 1409-1414.
One of the largest studies to its date of writing following FtM transsexuals undergoing androgen hormone treatment for vocal pitch-lowering with 38 participants. Vocal treatment with hormones proves very effective for most, but 10% experienced pitch-lowering difficulties, likely due to diminished androgen sensitivity. Androgen replacement therapy (ART) FYI is also referred to as Testosterone Replacement Therapy (TRT).
Dacakis, Georgia. “Long-Term Maintenance of Fundamental Frequency Increases in Male-to-Female Transsexuals.” Journal of Voice 14, no. 4 (2000): 549-556.
This article addresses changes in Fundamental Frequency (F0) to Male-to-Female transgender individuals after speech therapy showing an increase from a mean of 125.2 Hz at initial consultation to 168.1 Hz at discharge with a follow-up appointment of 146.5 Hz showing a great correlation between the number of sessions and F0 increase.
Dacakis, Georgia, Jennifer Oates, and Jacinta Douglas. “Associations Between the Transsexual Voice Questionnaire (TVQMtF) and Self-Report of Voice Femininity and Acoustic Voice Measures.” International Journal of Language & Communication Disorders 52, no. 6 (Nov/Dec 2017): 831-838.
Questionnaire created to evaluate voice-related perceptions of Male-to-Female transgender individuals whose gender is opposite their birth-assigned gender. Outcomes were such that MtF women with low self-perception of vocal femininity have more frequent negative voice-related experiences.
Dacakis, Georgia, Jennifer Oates, and Jacinta Douglas. “Beyond Voice: Perceptions of Gender in Male-to-Female Transsexuals.” Current Opinion in Otolaryngology & Head and Neck Surgery 20, no. 3 (June 2012): 165-170.
Covers recent research of speech pathology for MtF (Male-to-Female) transgender individuals to portray their identity through speech, determining it is essential to include the individual’s perspective when determining the outcome of therapies. Some of the most important factors for gender perception are vocal resonance, formant frequency, and fundamental frequency. Vocal breathiness is another quality associated with the vocal quality of biological females, males tend to have higher decibel (dB) levels when speaking, and using a softer voice quality can contribute to being perceived as a feminine voice. Biological females also tend to have more precise speech articulation than males. Rate of speech has no significant impact at the time of this study. Many patients continued to have dysphonia after CTA due to lower speaking range, so a GP was sometimes done in addition. A GP reduces the ability of the vocal folds to vibrate, and can get rid of lower notes in the voice, but a CTA actually sews the folds closer together so they cannot produce lower tones, and thus raises the pitch to resemble a cisgender female larynx.
Davies, Shelagh. “Training the Transgender Singer: Finding the Voice Inside.” Intermezzo (Spring 2016).
This is a great “handout” of sorts with two pages of information with general questions pertaining to transgender singers.
Gorham-Rowan, Mary and Richard Morris. “Aerodynamic Analysis of Male-to-Female Transgender Voice.” Journal of Voice 20, no. 2 (June 2006): 251-262.
A study looking at breath flow for male and female speakers, addressing the concerns of MtF speakers trying to be perceived as having a biological female voice. It was determined that a previously suggested 160 Hz is not high enough to always be perceived as female. MtF speakers also had higher minimum flow rates of female voice production versus biologic female speakers. This aligns with typical suggestions for MtF vocal training to speak softer and with a more breathy tone to be perceived as female.
Graham, Felix. “He Said, She Said, THEY SAID: Making the Case for a Gender-Neutral Pedagogy.” VOICEPrints: The Journal of the New York Singing Teachers Association 15, no. 5 (May/June 2018): 87-91.
Graham transitioned during their career as a vocalist and voice teacher, so they bring a unique perspective having experienced the “before” and “after” while training the voice. First the author discusses basic steps like acknowledging and respecting the identity of your students. Ask for pronouns, and never assume a gender identity based on what you see or hear. They also discuss all the gendered terminology starting with the basics of voice-typing (soprano, alto, tenor, and bass all imply a male or female singer). Could we use treble, CT-dominant, or higher range/tessitura instead of soprano voices? The ways we describe timbre of the voice can also be gendered: is CT-dominant phonation described as “sweet, light, pretty,” and TA-dominant phonation as “strong, deep, or muscular” (89)? Graham also addresses register terminology, avoiding “head” or “falsetto” terminology, for example, and approaching training muscle groups and contributing to a balanced overall voice instead of promoting a chest or head voice.
Hancock, Adrienne B., Kayla D. Childs, and Michael S. Irwig. “Trans Male Voice in the First Year of Testosterone Therapy: Make No Assumptions.” Journal of Speech, Language, and Hearing Research 60 (Sept 2017): 2472-2482.
A study following seven patients undergoing TRT for vocal transitions. Like other studies, f0 is effectively lowered, but it should be noted that f0, frequency range, among other variables are not always self-reported in terms of voice masculinization equally by trans men.
Jackson Hearns, Liz, and Brian Kremer. “The Singing Teacher’s Guide to Transgender Voices.” Handout provided for the December NATS (National Association of Teachers of Singing) Chat, December 10, 2017. Available for download at https://www.nats.org/chats_schedule.html.
A great handout for teachers and students with many trans resources. See the accompanying NATS Chat under “OfficialNATS” Youtube citation.
Jackson Hearns, Liz, and Brian Kremer. The Singing Teacher’s Guide to Transgender Voices. San Diego, CA: Plural Publishing Inc., 2018.
This is the most important source on this list, and is the first comprehensive print published source on teaching trans singers. It provides a teacher conclusive knowledge on transgender singers, and the book is broken down into a few sections: The Person, The Voice, and The Experience. It breaks down many physical, emotional, and psychological experiences of transgender people and challenges the modern teacher to expand their minds and perspectives to invite and welcome transgender singers into the voice studio.
Jackson Hearns, Liz, and Brian Kremer. “What gender is your voice?” Handout provided for the December NATS (National Association of Teachers of Singing) Chat, December 10, 2017. Available for download at https://www.nats.org/chats_schedule.html.
Another simple handout with terminology for trainers of transgender voices and a masculine/feminine voice classification chart.
Jackson Hearns, Liz. One Weird Trick: A User’s Guide to Transgender Voice. Chicago: Createspace Independent Publishing Platform, 2018.
Jackson Hearns’s second resource for teaching that she describes as a “brain dump of all of these exercises we were using with our clients. They kept asking us, ‘please just write this down, put this somewhere that’s all one place.’” (Quoted in Johanson’s article). It includes a plethora of exercises to use when training trans singers and features a lot of other useful vocal techniques and even practice regimens.
Johanson, Daniel. “Collaborative Pedagogy and The Singing Teacher’s Guide to Transgender Voices: A Conversation with The Voice Lab, Inc.” Scapi Magazine. Scapi Magazine, June 7, 2018. Accessed March 22, 2020.
This article is about an interview with Liz Jackson Hearns, founder of and teacher at The Voice Lab in Chicago and Alexandra Plattos Sulack, a teacher with The Voice Lab. It discusses one of Hearns’ first experiences with a trans singing client that was integral to her experience of supporting trans vocalists at The Voice Lab.
Kelly, Victoria, Stellan Hertegard, Jenny Eriksson, Ulrika Nygren, and Maria Södersten. “Effects of Gender-confirming Pitch-raising Surgery in Transgender Women a Long-term Follow-up Study of Acoustic and Patient-reported Data.” Journal of Voice 33, no. 5 (2018): 781-791.
This study compares vocal surgeries of cricothyroid approximation (CTA) and glottoplasty (GP). 24 patients underwent one of the two surgeries and it was deemed that the variable speaking range was very restricted with the irreversible CTA, so it is no longer performed at this hospital, and GP is being developed further.
Kozan, A. “The singing voice.” In Mordaunt, N., Hirsch, S., Adler, R. K. (Eds.), Voice and communication therapy for the transgender/transsexual client: A comprehensive clinical guide (pp. 413–458). San Diego, CA: Plural Publishing, 2012.
I don’t have access to this book due to the library being out of commission, but it has a great chapter by Kozan about training transmasculine, transfeminine, and non-binary singers. A lot of these exercises from a preview I’ve seen are similar to any singer training a passaggio break and evening out and expanding registers.
Meister, Jonas, Rudolf Hagen, Wafaa Shehata-Dieler, Heike Kühn, Fabian Kraus, and Norbert Kleinsasser. “Pitch Elevation in Male-to-female Transgender Persons—the Würzburg Approach. Journal of Voice 31, no. 2 (2017): 244.e7-244.e15.
This study follows the surgical procedure of 21 patients undergoing Wendler’s glottoplasty modified by Hagen, a surgical procedure to raise the pitch of a voice for a transgender woman. The procedure was deemed effective and low-risk, but many participants still considered themselves to have a vocal disability.
Nygren, Ulrika, Agneta Nordenskjöld, Stefan Arver, and Maria Södersten. “Effects on Voice Fundamental Frequency and Satisfaction with Voice in Trans Men during Testosterone Treatment—A Longitudinal Study.” Journal of Voice 30, no. 6 (2016): 766.e23-766.e34.
Mean F0 for trans men decreased significantly after up to 12 months of testosterone treatment when compared to reference data of cisgender males. Lower F0 correlated with a higher voice satisfaction, but 24% of the participants had voice symptoms like vocal instability or fatigue, common side effects of testosterone treatment.
Hancock, Adrienne B., Julianne Krissinger, and Kelly Owen. “Voice Perceptions and Quality of Life of Transgender People.” Journal of Voice 25, no. 5 (2011): 553-558.
Adresses Transgender Self-Evaluation Questionnaire (TSEQ) used to determine Quality of Life (QoL) for transgender individuals, correlating strongly with a speakers self-perception of their own voice, and that subjective measures about QoL may be useful for determining effectiveness of voice-related therapies for transgender people.
Manternach, Brian, Michael Chipman, Ruth Rainero, and Caitlin Stave. “Teaching Transgender Singers. Part 1: The Voice Teachers’ Perspectives.” Journal of Singing 74, no. 1 (Sept/Oct 2017): 83-88.
This article discusses the appearance of articles in the Journal of Singing related to transgender singers including articles from Davies, Bos, and Sims found in this bibiliography and describes the experiences of three teachers and their work with transgender singers in the voice studio. Particularly interesting are Chipman’s experiences with T.G., a trans female who kept her low baritone fach (a valid option!), and could pursue baritone roles in operas and if needed, dress in “drag.” Another student started TRT after age 50 with a fully grown larynx, and was able to gain a decent range of voice as a baritone. In both FtM instances, the teachers found the best effects when training the singer close to how they would train a cisgender male adolescent going through puberty.
Manternach, Brian. “Teaching Transgender Singers. Part 2: The Singers’ Perspectives.” Journal of Singing 74, no. 2 (Nov/Dec 2017): 209-214.
This is the followup article to Part 1 and features the experiences of the singers mentioned. The trans woman baritone talks about how the struggle was really what to sing and not how to do it, as she kept singing in her previous baritone range. She decided estrogen therapy wasn’t what she wanted to do, and weighed risks and benefits of starting hormones or just working with the voice she had. She also discusses distinct and often misogynistic aspects of opera in relation to her gender. The seconds discusses how limited he felt his range was after TRT, making a lot of performance opportunities challenging with only one octave. He also notes how people would cry at the loss of his old voice due to the oddities of a transitioning voice in church choir—this was hard to process and this is not a way to support transitioning voices. He also discusses losing many speech elements like animal noises and other comedic sounds. The third was a trans man and echoed the last in terms of feeling like singing took more effort, and vocal stamina was an issue. Recording his lessons was also a huge confidence builder, as gender dysphoria can make a trans person perceive themselves much differently than they might actually sound on the outside.
Marsomme, Dominique, Joana Revis, and Elisabeth Thomas. “Translation, Adaptation, and Preliminary Validation of Dacakis and Davies’ ‘Transsexual Voice Questionnaire (Male to Female)’ in French.” Journal of Voice 33, no. 5 (2019): 807.e13-807.e24.
This research project translates the “Transsexual Voice Questionnaire (Male to Female)” introduced by Dacakis into French for use by French native speakers.
McNeill, Emma J. M., Janet A. Wilson, Susan Clark, and Jayne Deakin. “Perception of Voice in the Transgender Client.” Journal of Voice 22, no. 6 (2008): 727-733.
A study following MtF transgender clients looking at f0 and voice satisfaction among clients. A higher f0, nor it’s perception by speech-language pathologists (SLPs) or lay observers did not prove to always align with the satisfaction of the individual. SLTs, however, were reliable in determining what gender lay observers would perceive.
OfficialNATS. “December 2017 NATS Chat "Transgender Voices: What Voice Teachers Need to Know.” Filmed December 10, 2017. Youtube video, 1:02:58. Posted December 11, 2017. https://youtu.be/llRGW4U8KTk.
This features 3 voice teachers talking about transgender singers. Jackson Hearns describes how we are moving to a shift where the students tell us what they need, and not us prescribing a path for them—this is a great philosophy for teaching in general, but especially when working with trans singers.
Palkki, Joshua. “‘My voice speaks for itself.’: The experiences of three transgender students in American secondary school choral programs.” International Journal of Music Education 38, no. 1 (2020): 126-146.
This article explores the stories of three trans singers and their experiences in choral ensembles. Though Palkki admits to the small sample and lack of diversity of this study, it still provides great insight into the lives of transgender singers. Notable are how often these students are controlled into fitting boundaries to keep others from being uncomfortable, but in doing so create the most uncomfortable experiences for these students. The psychological and social barriers present for transgender people are just as important as any physical changes through vocal therapies.
Pausewang Gelfer, Marylou and Bethany Ramsey Van Dong. “A Preliminary Study on the Use of Vocal Function Exercises to Improve Voice in Male-to-Female Transgender Clients.” Journal of Voice 27, no. 3 (2013): 321-334.
This study addresses MtF transitioners using Stemple’s vocal function exercises (VFEs) for vocal feminization. Results showed an increased perception of vocal femininity, but did not change the perception of the subjects to female. Exercises included a sustained /i/ vowel on middle C, a glide from low to high and high to low on the word “knoll,” even without pitch, and sustained notes from G3 to D4 soft and with forward placement as long as possible on /o/.
Pausewang Gelfer, Marylou and Ruthanne M. Tice. “Perceptual and Acoustic Outcomes of Voice Therapy for Male-to-Female Transgender Individuals Immediately After Therapy and 15 Months Later.” Journal of Voice 27, no. 3 (2013): 335-347.
In the same issue as Pausewang Gelfer’s “A Preliminary Study” article showing transgender (TG) clients in a MtF voice transition after therapy and 15 months later, and it showed that after 8 weeks of voice thearapy, an individual can persist a voice change for at least the 15 months tested.
Ramseyer Miller, Jane. “Creating Choirs that Welcome Transgender Singers.” The Choral Journal 57, no. 4 (Nov 2016): 61-64.
This is an article about welcoming transgender singers in a choral setting and mentions the creation of a new Minnesota chorus ensemble, TransVoices. Ramseyer Miller mentions that those taking testosterone experience a vocal transition much like cisgender males in puberty, but they do not experience a lengthening of the folds, but a thickening, producing a lower range, and he recommends transitioning FtM singers keep singing “gently and consistently” through this transition (61). MtF transgender singers can use falsetto, but unless they’re a countertenor, finding the most comfortable range for them to sing in is most important. The author has a variety of genders in each voice part, so they refer to singers by voice part (soprano, alto, tenor, bass) instead of by any gendered terms (ladies, gentlemen, men, women). Finally, the author provides twelve tips created with help from transgender singers about creating a more welcoming choral environment.
Romano, Tessa M. "The Singing Voice During the First Two Years of Testosterone Therapy: Working with the Trans or Gender Queer Voice.” DMA diss., University of Colorado Boulder, 2018.
This is a pretty in-depth dissertation on Testosterone therapy, and includes a chart of treatment options, as well as some cost estimates and suggested methods for singers. Romano also includes many exercises for training transitioning voices. Romano also discusses chest binding in decent depth.
Silveira, Jason M. and Sarah C. Goff. “Music Teachers’ Attitudes Toward Transgender Students and Supportive School Practices.” Journal of Research in Music Education 64, no. 2 (2016): 138-158.
612 teachers questioned about support of transgender students. They found a pretty positive result across the board, but found that females and/or those identifying as more socially liberal were more likely to have a positive attitude than males and/or those more socially conservative.
Sims, Loraine. “Teaching Lucas: A Transgender Student’s Vocal Journey from Soprano to Tenor” Journal of Singing 73, no. 4 (Mar/Apr 2017): 367-375.
This is a great account of working with a student during a vocal transition on testosterone and proves just how intimate the communication between student and voice teacher can be during a very personal transition. Sims ended up training Lucas as a young tenor with many of the vocal exercises and warmups used in lessons with a round of about E3 to G4 in a fuller chest voice. Sims also ends with some important comparisons of working with both a MtF and FtM student, as both can be vastly different.
Sims, Loraine. “Teaching Transgender Students.” Journal of Singing 73, no. 3 (Jan/Feb 2017): 279-282.
This article is a basic overview of working with transgender students, especially for those unfamiliar with the topic. She discusses hormone therapy for both FtM and MtF students, and those who don’t undergo any hormone therapy. She also makes clear that each voice is tied to a human being, and we must notice how trans students are being treated even within the study, saying every uncomfortable moment is a teaching opportunity, like knowing where gender-neutral bathrooms are. Finally, she discusses surgeries and binding that students might undergo and to be aware of these implications in the voice studio. When all else fails: “teach voice” (282).
Sims, Loraine. “What the FACH? Voice Dysphoria and the Trans or Non-Binary Singer.” VOICEPrints 15, no. 5 (May/June 2018): 92-94.
Sims introduces some of the many issues of gender present in the music field. She talks about voice dysphoria among singers and speakers both before and after they may decide to undergo a vocal transition. She also considers various vocal registers a trans singer might choose depending if the singer is assigned male at birth or assigned female at birth (AMAB or AFAB).
Thornton, Jane. “Working with the transgender voice: The role of the speech and language therapist.” Sexologies 17 (2008): 271-276.
This article breaks down some of the goals of speech therapy for Mtf or FtM transgender individuals seeking a vocal change. Notable is Table 1 on p. 274 breaking down the goals for a trans female and a trans male in areas of pitch and intonation, resonance, speech and language, and articulation and speech rate.
Van Borsel, John, Kathelijne de Pot, and Griet De Cuypere. “Voice and Physical Appearance in Female-to-Male Transsexuals.” Journal of Voice 23, no. 4 (2009): 494-497.
This study investigated the interactions between physical appearance and voice in FtM transsexuals individuals since this had previously been observed in MtF transsexuals. After audio-only, video-only, and audiovisual recordings were judged, there was deemed no significant difference in gender perception, but there was some significance in results if the individual had undergone hormone treatment. There was no correlation between “maleness” and fundamental frequency which could show that a higher male voice is more accepted than a lower female voice for MtF transsexuals.
Van Borsel, J., G. De Cuypere, R. Rubens, and B. Destaerke. “Voice problems in female-to-male transsexuals.” International Journal of Language & Communication Disorders 35, no. 3 (2000): 427-442.
Commonly, it is thought that for MtF transsexuals, speech therapy is necessary for a raise in speaking pitch and overall vocal feminization, but for FtM transsexuals, it is assumed the administration of androgens, or hormones, is enough. This study examines if FtM vocal transitions are truly this straightforward, or if additional speech therapy is needed. Findings are small, due to the sample being only 16 participants, but notable is that even if the FtM individual had vocal satisfaction in a more male voice, they could still be misgendered.
Van Damme, Silke, Marjan Cosyns, Sofie Deman, Zoë Van den Eede, and John Van Borsel. “The Effectiveness of Pitch-raising Surgery in Male-to-Female Transsexuals: A Systematic Review.” Journal of Voice 31, no. 2 (2017): 244.e1-244.e5.
The study reviews the effectiveness of pitch-raising surgery for MtF transsexuals reviewing 20 studies. Fundamental frequencies were raised for participants, and anterior glottal web formation seemed more effective than CTA. The article recommends that for voice performance professionals, web formation reduces f0 range, so CTA can be a better option.
The Voice Lab Inc. “Love Your Authentic Voice.” Transgender Voice at The Voice Lab. The Voice Lab Inc. Accessed March 22, 2020. https://www.thevoicelabinc.com/transvoice.html.
A web page describing The Voice Lab’s resources for trans voices with links to their publications by Jackson Hearns, both in this bibliography. Training programs are available based on Jackson Hearns’ book, One Weird Trick: A User’s Guide to Transgender Voice.
Watt, Seth O., Konstantin O. Tskhay, and Nicholas O. Rule. “Masculine Voices Predict Well-Being in Female-to-Male Transgender Individuals.” Arch Sex Behav 47 (2018): 963-972.
A study of 77 FtM trans people looking at physiological well-being effects of vocal changes induced by TRT. Improved vocal congruence with a cisgender male deemed to have positive well-being effects on FtM individuals and the voice remains a key element of gender identity.
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