Unlocking Your True Voice: A Musical Journey to Gender Affirmation

LGBTQ+ students singing a duet

Introduction

This blog delves into the biological development of the vocal tract in both feminine and masculine forms and its impact on transgender voice practice. Around 20 to 25% of my students identify as LGBTQ+ non-binary or transgender, seeking gender-affirming speech and singing voice training. Some are singers transitioning vocal roles, while others aim to feel comfortable in their identity. These students look for help because their current methods aren't effective, or they want a fresh and enjoyable approach. Some prefer a non-binary sound without drastic changes. Many are hesitant about gender-affirming surgery, which I completely understand. For them, vocal modification is the solution. Before detailing my approach, let's consider some aspects that make working with trans students a professional challenge.

Student vs Client

First, I'd like to explain why I refer to those I work with as students rather than clients. A student is someone who continues to learn and practice independently. I provide the tools for voice development and change, but you must practice these skills and develop your musical ear to recognize differences. I act as a coach to guide you through the process. Sometimes, this journey is humorous, and we all enjoy a good laugh. The teacher-student relationship involves give and take; it's a shared experience. I believe this dynamic benefits both the learner and the teacher, fostering a strong bond. Since voice is deeply personal, we need to feel comfortable and confident in our relationship, as Gender Affirming Voice Training can be challenging and frustrating, requiring mutual comfort and non-judgment.

Challenges to Voice Development in Gender Affirming Voice Training

• Female to Male Voice

  
  

Challenges with FTM voice include the fact that testosterone therapy alone doesn't produce a sufficiently masculine sound due to the structure, shape, and resonance of the vocal tract. Even when the pitch lowers, it often isn't perceived as an adult sound. The biological size of the vocal tract can't be increased to achieve lower resonance. In my experience, most FTM students sound more like adolescent boys than adult cis men. This isn't due to the pitch lowered by testosterone but because the mechanism's size can't increase. A trans FTM won't grow significantly compared to a pubescent bio male. FTM voice work often leaves individuals frustrated with their options. The focus is on practicing lowering the larynx, opening the throat, placing the voice in a more resonant spot, and utilizing lower overtones. The science on improving performance is still evolving.

• Male to Female Voice

The MTF voice has a larger vocal tract and resonates lower, even when the pitch is raised. Thus, we need to reduce the vocal tract's shape and create a lighter pitch, but not too high. Biological males who've undergone puberty are usually taller, with a broader profile and larger chest, face, throat, and vocal tract than bio females. While surgeries exist, the people I work with prefer not to pursue them in their identity search.

The Delicate Balancing Act

Gender Affirming Voice Training is a delicate balancing act, requiring a keen musical ear and a deep understanding of vocal anatomy and physiology. This is the role of a Vocologist, like myself. Before working with a transgender student, it's essential to understand their gender transition, hormone use and dosages, if applicable, and the duration of medication use. I inquire about gender reassignment surgery and any laryngeal surgery performed. During our first meeting, I ensure clarity on the student's choice of pronouns so that both parties feel comfortable.

Now, let's examine the anatomy and physiology of the biological male and female voice:

• Biological Male and Female Physiology

In male and female bio children, the vocal tract is identical until puberty, when voices start to change. During female puberty, estrogen and progesterone produce adult voice characteristics, with the fundamental frequency dropping by a major or minor third compared to a child's voice. Growth of all body parts, including the vocal tract, occurs.

During male puberty, increased testosterone enlarges the vocal tract, including the vocal folds and thyroid cartilage, which tilts to form the "Adam's apple." As biological males grow, their facial bones enlarge, increasing resonance. These are some processes that adult transgender students must consider when altering their vocal roles. Although female voices do grow they are not as demonstrative and usually drop a bit in adolescence.

• Discovering Optimal Pitch and Modifying Pitch and Resonance

My approach to training transgender individuals involves finding their individual or "optimal" pitch. Using the piano, I have students sing, chant, and speak on specific pitches. Once we identify the optimal pitch, we work on adjusting the larynx, tongue root, vocal tract shape, tongue position in the mouth, and resonance of the voice resonators—chest, throat, nasal cavity, and lips. This requires fine-tuning the individual's ear to enable them to "hear themselves."

• Vocal Techniques

One technique I use is having students sing and chant to find their optimal pitch and to help them perceive the rise and fall of the human voice. We listen to various biologically feminine and masculine voices, comparing and contrasting these differences. We employ methods to integrate these techniques into each individual's speech and voice. We use various tools, including spectrographic analysis, recording devices, and other visual display programs. I also use mirrors and anatomical devices to help students teach themselves when I'm not present. We aim to create new muscle memories for practice.

• Conclusion

In conclusion, gender-affirming voice strategies take into consideration the biology of the student. These strategies encompass the anatomy and physiology of the voice, creating vocal methods that incorporate optimal pitch and vocal techniques. The goal is to assist the student in developing the voice they wish to achieve.