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CONSTANSIS, Alexandros N., Hybrid Vocal Personae, PhD Thesis, York (UK), University of York, 2009.
CONSTANSIS, Alexandros N., "The Changing Female-to-Male (FTM) Voice", in Radical Musicology, Vol. 3, 2008. Online: http://www.radical-musicology.org.u... (Accessed: 19.10.2012).
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GORTON, R. Nick, BUTH, Jamie, and DEAN, Spade, Medical Therapy and Health Maintenance for Transgender Men: A Guide for Health Care Providers. San Francisco, Lyon-Martin Women’s Health Services, 2005.
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GUGATSCHKA, Markus, "Sex hormones and the elderly male voice", in Journal of Voice, Vol. 24, Nº 3, 2010, p. 369-373.
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JOCKENHÖVEL, F, MINNEMANN, T, SCHUBERT, M, FREUDE, S, HÜBLER, D, SCHUMANN, C, CHISTOPH, A, and ERNST, M, "Comparison of long-acting testosterone undecanoate formulation versus testosterone enanthate on sexual function and mood in hypogonadal men", in European Journal of Endocrinology, Vol. 160, 2009, p. 815-819.
LECKLIDER, Aaron, "Introduction", in Journal of Popular Music Studies, Vol. 18, Nº 2, 2006, p. 117-250.
LEVY, Andrew, CROWN, Anna, and RUSSELL, Reid, "Endocrine intervention for transsexuals", in Clinical Endocrinology, Vol. 59, 2003, p. 409-418.
LEWIS, Rachel, "What’s Queer about Musicology Now?", in Women and Music: A Journal of Gender and Culture, Vol. 13, 2009, p. 43-53.
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MITCHELL, Martin, and HOWARTH, Charlie, Trans Research Review, Manchester, Equality and Human Rights Commission, 2009.
NIESCHLAG, Eberhard, and BEHRE, Hermann M. (eds), Testosterone, action, deficiency, substitution, Cambridge, Cambridge University Press, 2004.
NOBLE, Jean Bobby, Sons of the Movement: FtMs Risking Incoherence on a Post-queer Cultural Landscape, Toronto, Women’s Press, 2006.
PARKER, Emma, "The Real Thing: Transsexuality and Manhood in Rose Tremain’s Sacred Country", in Women: A Cultural Review, Vol. 18, Nº 3, 2007, p. 303-326, 303 & 312.
POTTER, John, Tenor: History of a Voice, New Haven and London, Yale University Press, 2009.
ROSENTHAL, M. Sara, "Ethical problems with bioidentical hormone therapy: Ethics and bioidentical hormones", in International Journal of Impotence Research, Vol. 20, No. 1, January / February 2008, p. 45-52.
"Sonority", in LATHAM, Alison (ed.), The Oxford Companion to Music. Online: www.oxfordmusiconline.com/su... (Accessed: 23.08.12).
SPIEGEL, Jeffrey H., "Phonosurgery for Pitch Alteration: Feminization and Masculinization of the Voice", in Otolaryngologic Clinics of North America, Vol. 39, 2006, p. 77-86.
SUNDBERG, Johan, "Level and Center Frequency of the Singer’s Formant", in Journal of Voice, Vol. 15, Nº 2, June 2001, p. 176-186.
SUNDBERG, Johan, The Science of the Singing Voice, DeKalb, IL, Northern Illinois University Press, 1989.
SWANSON, Frederick J., "The young male with a changing voice", in NATS Bulletin, Vol. 38, Nº 1, 1981, p. 32-34.
SWANSON, Frederick J., "Changing voices: Don’t leave out the boys", in Music Educators Journal. Vol. 70, Nº 5, 1984, p. 40-50.
TAYLOR, Jodie, "Scenes and sexualities: Queerly reframing the music scenes perspective", in Continuum: Journal of Media & Cultural Studies, Vol. 26, Nº 1, 2012, p. 143-156.
T’SJOEN, G, MOERMAN, M, VAN BORSEL, J, FEYEN, E, RUBENS, R, MONSTREY, S, HOEBEKE, P, DE SUTTER, P, and DE CUYPERE, G, "Impact of Voice in Transsexuals", inInternational Journal of Transgenderism, Vol. 9, Nº 1, 2006, p. 1-7.
T’SJOEN, Guy, Psycho-Endocrinological Aspects in Aging Males and Transsexual Persons, PhD Dissertation, Ghent, Belgium, University of Ghent, January 2006.
VAN BOREL, J, DE CUYPERE, G, RUBENS, R, and DESTAERKE, B, "Voice problems in female-to-male transsexuals", in International Journal of Language and Communication Disorders, Vol. 35, Nº 3, 2000, p. 427-442.
WILSON, D. Kenneth, Voice Problems of Children, 2nd Edition, Baltimore, The Williams and Wilkins Company, (orig. 1972) 1979.
WILCHINS, Riki Anne, Read my lips: Sexual subversion and the end of gender, New York, Firebrand, 1997.
WHITTLE, Stephen, TURNER, Lewis, and AL-ALAMI, Maryam, "Engendered Penalties: Transgender and Transsexual People’s Experiences of Inequality and Discrimination", in The Equalities Review, 2007. Online: http://www.pfc.org.uk/pdf/Engendere... (Accessed: 27.12.2010).
YASSIN, A.A, and SAAD, F, "Treatment of sexual dysfunction of hypogonadal patients with long-acting testosterone undecanoate (Nebido®)", in World Journal of Urology, Vol. 24, 2006, p. 639-644.
ZITZMANN, M.N.E, and NIESCHLAG, E, "Long-term experience of more than 8 years with a novel formulation of testosterone undecanoate (Nebido) in substitution therapy of hypogonadal men", in Aging Male, Vol. 5, 2006, p. 5.
Haut de page
Notes
HUGHES, James, "Beyond the medical model of gender dysphoria to morphological self-determination", in Lahey Clinic Medical Ethics Journal, Vol. 13, Nº 1, 2006, p. 10.
The results of herbal "medication" are negligible when compared to prescribed bioidentical hormones. Moreover, for some of the herbal alternatives, there is also concern about their long-term safety. Herbal-based "hormonal remedies", such as Tribulus Terestris, are still known to be used by transsexual men (transmen) during their early transitional stages, especially when obtaining testosterone legally is not an option.
ANDREWS, Moya L., Manual of Voice Treatment: Pediatrics through Geriatrics, 3rd Edition, San Diego, CA, Singular Publishing Group, 2006, p. 211; WILSON, D. Kenneth, Voice Problems of Children [1972], 2nd Edition, Baltimore, The Williams and Wilkins Company, 1979, p. 28.
Cf. ROSENTHAL, M. Sara, "Ethical problems with bioidentical hormone therapy: Ethics and bioidentical hormones", in International Journal of Impotence Research, Vol. 20, Nº 1, January/February 2008, p. 45-52.
CONSTANSIS, Alexandros N., "The Changing Female-to-Male (FTM) Voice", in Radical Musicology, Vol. 3, 2008, par. 32. Online: http://www.radical-musicology.org.u... (Accessed: 19.10.2012).
As part of a Case Study on the Developing FTM Voice (Stage 1: "The ability to achieve a Singer’s Formant" completed, Stage 2: in progress), which was conceived by Constansis in 2012, specialised recordings of the researcher’s voice were conducted by Prof. David M. Howard in July 2012 (Anechoic Chamber, University of York, UK). Recent acoustic analyses of the above recordings (October 2012) clearly demonstrate a singer’s formant (see Graph 3 - Appendix). According to Johan Sundberg, the singer’s formant "is a prominent spectrum envelope peak near 3Khz, typically found in voiced sounds produced by classical operatic singers." SUNDBERG, Johan, “Level and Center Frequency of the Singer’s Formant", in Journal of Voice, Vol. 15, Nº 2, June 2001, p. 176.
Stroboscopy or "video documentation of laryngeal anatomy along with its mechanical function" is claimed to be "a painless, office-based procedure". BRYSON, Paul C., et al., "Stroboscopy", in Medscape Reference, June 16, 2011, online: http://emedicine.medscape.com/artic... (Accessed: 02.04.2012). However, the intervention is not painless unless performed under local anaesthesia, especially when common anatomical irregularities, such as nasal septum deviation, are present. Certain practitioners, however, frequently prefer performing this examination without anaesthesia. This attitude made most UK participants either withdraw before the completion of the examination or refuse to participate in this side of the programme.
VAN BORSEL, John, et al., "Voice problems in female-to-male transsexuals", in International Journal of Language and Communication Disorders, Vol. 35, Nº 3, 2000, p. 437.
The Changing FTM Voice study commenced in 2002 (active stage: March 2003-March 2004). The results of this researcher’s first participation were presented in September 2004 at 6th International Congress on Gender Identity: "Reflecting Genders", Manchester, UK.
Cf. HALBERSTAM, Judith, "The Anti-Social Turn in Queer Studies", in Graduate Journal of Social Science, Vol. 5, Nº 2, 2008, p. 140-156, and NOBLE, Jean Bobby, Sons of the Movement: FtMs Risking Incoherence on a Post-queer Cultural Landscape, Toronto, Women’s Press, 2006.
Antony Hegarty’s voice does not appear to have been influenced by HRT, i.e., testosterone administration. The singer presents as androgynous and identifies as transgender.
TAYLOR, Jodie, "Scenes and sexualities: Queerly reframing the music scenes perspective", in Continuum: Journal of Media & Cultural Studies, Vol. 26, Nº 1, 2012, p. 148.
LECKLIDER, Aaron, "Introduction", in Journal of Popular Music Studies, Vol. 18, Nº 2, 2006, p. 117.
For a range of suitable approaches, see ADLER, Richard K., HIRSCH, Sandy, and MORDAUNT, Michelle (eds.), Voice Therapy and Communication for the TG/TS Client, 2nd Edition, San Diego, CA, Plural Publishing, Inc., 2012.
ISSHIKI, N, et al., “Surgical Alteration of Vocal Pitch”, in The Journal of Otolaryngology, Vol. 12, Nº 5, 1983, p. 335-340. As stated by Spiegel, the procedure involves “shortening of the anteroposterior length of the thyroid cartilage… [which] reduces the tension, reduces the length, and increases the vibratory mass of the cord, and thus, should lower the voice pitch substantially.” SPIEGEL, Jeffrey H., "Phonosurgery for Pitch Alteration : Feminization and Masculinization of the Voice", in Otolaryngologic Clinics of North America, Vol. 39, 2006, p. 79. In nine male patients, there was significant pitch reduction ranging from "38 to 178 Hz" (Ibid.)
The term transsexual man is used in this article interchangeably with other terms, such as transman, Female-to-Male, FTM, male transsexual etc. The reader should note here that the term ’male transsexual’ used to be applied inappropriately to Male-to-Female (MTF) transsexuals. Similarly, FTMs used to be referred to as ’female transsexuals’ until very recently. The remaining exponents of the insulting terminology have been challenged during the works of the most recent Biennial Symposia of the World Professional Association for Transgender Health (WPATH). The gender-inconsiderate application of the stated terminology had been introduced by all significant forerunners, such as Harry Benjamin (The Transsexual Phenomenon, New York, The Julian Press Publishers, 1966, p. 30 and p. 84 and Richard Green and John Money, eds, Transsexualism and Sex Reassignment, Baltimore, Johns Hopkins, 1969) and was still perpetuated by many medical researchers until the last decade on average. The justification was that, based on a person’s biological and genetical structure (XX or XY), the above terms were scientifically sound. Nevertheless, gender incongruence or ‘transsexualism’ is a priori defined as one person’s inner conflict with their externally presented biological or genetical sex. The role of Gender / Queer Theory at remedying such theoretical as well as practical inconsistencies within the field has been enormous. As such, the use of ‘male transsexual’ in this article in its gender-appropriate format not only reflects the range of terminology applied to male-identified trans individuals but also, most importantly, serves as a statement and, simultaneously, as a stark reminder of recent history.
GORTON, R. Nick, BUTH, Jamie, and DEAN, Spade, Medical Therapy and Health Maintenance for Transgender Men : A Guide for Health Care Providers, San Francisco, Lyon-Martin Women’s Health Services, 2005, p. 59.
For instance, intramuscular testosterone injections of 200-250 mg, administered every two weeks.
GORTON et al. (Medical Therapy and Health Maintenance for Transgender Men: A Guide for Health Care Providers, op. cit.) indicated that "injected testosterone [was] started at a range of doses (25-125 mg / week depending on the patient and clinician) and titrated upwards based on clinical effects and trough levels." (p. 59).
This is the year when this researcher started his hormonal transition.
JOCKENHÖVEL, F, et al., "Comparison of long-acting testosterone undecanoate formulation versus testosterone enanthate on sexual function and mood in hypogonadal men", in European Journal of Endocrinology, Vol. 160, 2009, p. 816. As stated by the researchers, after "the first injection, a second dose is given 6 weeks later and in the vast majority of patients an injection every 12 weeks (with variations between 11–13 weeks) maintains plasma testosterone in the physiological range." (Ibid.)
Normal range for a biological male is 290 to 900 nanograms per deciliter (ng/dl). Around 500 ng/dl is the highest Female-to-Male achievable.
LEVY, Andrew, CROWN, Anna, and RUSSEL, Reid, "Endocrine intervention for transsexuals", in Clinical Endocrinology, Vol. 59, 2003, p. 416.
Gender Recognition Act (GRA), London, 2004, Ch. 7 has been defined as an "Act to make provision for and in connection with change of gender." [p. 1] Online: http://www.legislation.gov.uk/ukpga... (Accessed: 02.04.2012).
There is plenty of evidence noted in UK and US research reports and reviews, such as theTrans Research Review (MITCHELL, Martin, and HOWARTH, Charlie, Trans Research Review, Manchester, Equality and Human Rights Commission, 2009), the "Engendered Penalties: Transgender and Transsexual People’s Experiences of Inequality and Discrimination" (WHITTLE, Stephen, TURNER, Lewis, and AL-ALAMI, Maryam, "Engendered Penalties: Transgender and Transsexual People’s Experiences of Inequality and Discrimination", in The Equalities Review, 2007) or the most recent US-based Injustice at Every Turn: A Report on the National Transgender Discrimination Survey (GRANT, Jaime M., et al., Injustice at Every Turn : A Report of the National Transgender Discrimination Survey, Washington, National Center for Transgender Equality and National Gay and Lesbian Task Force, 2011). Moreover, this researcher, in a patient’s capacity, has had direct negative experience over the last ten years. This has involved documented incidents with medical professionals, complaints and, subsequently, the necessity for changes in his medical provision. The reasons have ranged from unprofessional attitudes in doctors, including inappropriate comments and "jokes", all the way to downright abuse in the guise of "research" purposes.
WHITTLE, Stephen, TURNER, Lewis, and AL-ALAMAI, Maryam, "Engendered Penalties: Transgender and Transsexual People’s Experiences of Inequality and Discrimination", in Equalities Review, 2007. Online: http://www.pfc.org.uk/pdf/Engendere... (Accessed: 27.10.2010).
Cf. Gender Recognition Act (GRA), Ch. 7, London, 2004, p. 1. Online: http://www.legislation.gov.uk/ukpga... (Accessed: 02.04.2012).
The author began his own pre-transitional research and experimental work on FTM Voice in 2002-2003.
VAN BORSEL, John, et al., "Voice problems in female-to-male transsexuals", in International Journal of Language and Communication Disorders, Vol. 35, Nº 3, 2000, p. 427.
The devised method for the transitional stage can be found in CONSTANSIS, Alexandros N., "The Changing Female-to-Male (FTM) Voice", art. cit., pedagogical notes 1 and 2. The link is: http://www.radical-musicology.org.u... (Accessed : 19.10.2012).
Cf. Adolescent voices : ’Pattern Two’ of Swanson scale is dedicated to voices experiencing rapid puberty. This happens when the voice drops "almost overnight into the deepest regions of the bass clef (and) the treble tones disappear." SWANSON, Frederick J., "The young male with a changing voice", in NATS Bulletin, Vol. 38, Nº 1, 1981, p. 33. These boys were even described by the 1981 pioneering researcher as "neglected, discarded, wasted, lost singers." (Ibid.). Swanson, however, was among those who recommended in 1984 that the results of this rapid change can only be remedied by the introduction of good vocal habits during the changing period (Swanson, Frederick J., "Changing voices : Don’t leave out the boys", in Music Educators Journal. Vol. 70, Nº 5, 1984, p. 47). This has been corroborated in more recent research by John Cooksey, who, however, also recognised that periods of "rapid change" can make "vocal coordinations" difficult and the "voice quality […] inconsistent." Cooksey, John M., and Welch, Graham F., "Adolescence, singing development and national curricula design", in British Journal of Music Education, Vol. 15, Nº 1, 1998, p. 108. In the adult female voice, we have a very clear example of the effect of hormonal differentiation in the "premenstrual voice syndrome", where the singers experience results, such as "vocal fatigue, decreased range with a loss of pianissimo (and a) flat colourless timbre". Abitbol J, Abitbol P, Abitbol B, "Sex hormones and the female voice", in Journal of Voice, Vol. 13, Nº 3, 1999, p. 437. The above symptoms are becoming more prominent in the case of vocal syndrome of the menopause and can include, apart from the above, the lowering of vocal intensity and a loss of timbre in the spoken and singing voice. (Abitbol p. 439) Finally, as stated by Gugatschka, the aging male voice is "another aspect of the human body prone to be affected by decreasing levels of sex hormones occurring during the aging process." Gugatschka, Markus, "Sex hormones and the elderly male voice", in Journal of Voice, Vol. 24, Nº 3, 2010, p. 372.
For this reason, a more carefully-designed support for transsexuals is recommended over that period. This would need to ensure, apart from continued employment for the transitioning individuals, their safe housing as well as protection from violence, harassment and discrimination. The provision plan should be drawn by specialised-in-the-field practitioners, such as medics and social workers, and could be similar to the ones applied to other groups in need of protected accommodation and employment. However, like all protected groups, transsexuals would deserve to be treated in a way that does not negate their individual experiences. The protected groups should also be taking an active part at training and promoting equality and diversity in society.
Cf. CONSTANSIS, Alexandros N., Hybrid Vocal Personae, PhD Thesis, York (UK), University of York, 2009, and id., “The Changing Female-to-Male (FTM) Voice", art. cit. Online: http://www.radical-musicology.org.u... (Accessed : 19.10.2012).
CONSTANSIS, Alexandros N., Hybrid Vocal Personae, op. cit., p. 280.
According to Grove Music Online, Art Song is a "song intended for the concert repertory, as opposed to a traditional or popular song. The term is more often applied to solo than to polyphonic songs." "Art song", in Grove Music Online, Oxford Music Online, http://www.oxfordmusiconline.com/su..., 2012 (Accessed : 07.08.2012).
The case of the late Giuseppe Di Stefano (1921-2008), a lyric tenor, is a classic example from the operatic world. His taking on "dramatic roles that required him to expand his sound (especially at the top) beyond the reach of what turned to be a limited technique" (POTTER, John, Tenor: History of a Voice, New Haven and London, Yale University Press, 2009, p. 172-173) have been directly associated with the singer’s career spanning "little more than fifteen years." (Potter, p. 173)
For an explanation of the specific term as well as its general background, see footnote nº 41.
Case Studies 1 & 2.
However, electric keyboard / pianos (e.g., Clavinova type) whose dynamics and volume can be adjusted accordingly are even more suitable than instruments, such as the guitar. This is because they allow for the replication and reliability of experimental and / or performance conditions.
A reliable though costly example of amplification is the SoundField DSF-1 digital microphone system. Nonetheless, more economical solutions, depending on each singer’s style and repertoire, can also be effective.
Constansis re-defined concepts such as "hybrid voice" and introduced terms such as "hybrid vocal persona". Similarly to Sundberg who defined "voice sounds" as strictly originating "from an airstream from the lungs that is processed through the vocal folds and then modified by the pharynx, the mouth, and perhaps also the nose cavities" (SUNDBERG, Johann, The Science of the Singing Voice, DeKalb, IL, Northern Illinois University Press, 1989. p. 1), Hybrid Vocal Personaedeal with the results of actual vocal personae and not those of technologically manipulated or "Designer" voices (CAMERON, Deborah, "Designer Voices", in Critical Quarterly, Vol. 43, Nº 4, 2001, p. 81-85). In addition, unlike other musicological definitions, the terms "hybrid vocality" and "hybrid vocal personae" tend to focus on the effects of non-binarian, i.e., non-strictly "male" or "female", endocrinological and gender formation in singing vocality. Subsequently, these particulars are integrated and reassessed under a wide range of Humanities perspectives, apart from Musicological ones, with the incorporation of recent developments in Gender / Queer Theory and Social Sciences. This allows the drawing together of vocal personae from a variety of contexts without resulting in the pathologisation of human variation. Hybrid vocal personae, despite the presence of terminological changes, have been discovered in all civilisations. As such, their phenomenon has not been attributable to parameters, such as chronological and local convergence or divergence. A full explanation as well as the philosophical background of the terms hybrid and hybridity has been provided in Constansis, Alexandros N., Hybrid Vocal Personae, op. cit., p. 21-25.
The above has been demonstrated in Case Studies 1 & 2.
Appoggio is an Italian singing term derived from the verb appoggiare. According to Oxford Language Dictionary (http://www.oxfordlanguagedictionari...), the word has several meanings. Those most relevant to singing are associated with leaning on and resting (something) on. Even though, in the past, appoggiare used to be associated with "support", this inaccurately translated definition has been deemed to be rather confusing and restrictive and, as such, better avoided. The appoggio’s primary aims are to utilise and engage the majority of the body in order to produce better breath management (i.e., elongated breath cycle and capacity) as well as tonal clarity and accuracy.
The above participants had been taught the exercise (Vaccaj, Lesson 1: Part 1) during their participation in the Changing Voice Stage (2010-11). All participants of the Singing FTM Voice programme (Changing, Developing and Advanced Stages) follow the same detailed method of instruction.
See Appendix.
Cf. CONSTANSIS, Alexandros N., "The Changing Female-to-Male (FTM) Voice", art. cit. Online: http://www.radical-musicology.org.u... (Accessed: 19.10.2012).
The latter would have introduced unnecessary differentiation and shifted the focus of attention to secondary parameters, such as mispronunciation and accent. As such, it would have likely compromised the study design, as well as validity, reliability and generalisability of the results.
Sonority here means the "quality of tone produced" by each singer. "Sonority", Latham, Alison (ed.), The Oxford Companion to Music, online www.oxfordmusiconline.com/su... (Accessed: 23.08.12).
During their participation in Changing Voice stage, all participants receive the same detailed training on this exercise. The tuition not only explains what is required in terms of technique and performance but also what is expected in terms of a listening audience. The four of them had been among the most advanced of their group and had already demonstrated their advanced listening ability. As such, and for the demands of this exercise, the four singers were able to act as trained listeners.
For the purposes of these Studies, this researcher created four anonymous but numbered folders (each participant was allocated an individual number, which was not known to them). As a result, each folder ended up containing four files; for example, A1, A2, A3, A4, B1 etc.
The participants, due to online tuition, only met after the end of Studies 1 and 2.
To this, the notes’ values are also taken into consideration. As such, one quaver counts as 0.5, one crotchet as 1 and, finally, one minim as 2 points.
The terms biomale and cisgender baritones are used interchangeably.
LEWCOCK, Ronald et al. (signed by Sundberg, Johan), "Acoustics", Grove Music Online, Oxford Music Online, http://www.oxfordmusiconline.com/su... (Accessed: 25.08.12).
In this case, the score demands from the singer to perform the range of an octave and a half with extensive use of breath control, utilisation of the technique of legato as well as the application of a range of dynamics against a piano accompaniment also utilising the above means of expression.
The sets of recorded results, apart from being subjected to self-assessment, peer-review and researcher evaluation, are also going to be assessed using software, such as Sygyt – Overtone Analyser (http://www.sygyt.com/).
This implies the periods from August 2002 and until March 2003 (preparation stage) and from March 2003 and until March 2004 (completion of first participation of Changing Female-to-Male Voice programme).
The majority of the participants of this programme are connecting from intercontinental locations.
As discussed in CONSTANSIS, Alexandros N., Hybrid Vocal Personae, op. cit., p. 280, the method of externally-obtained laryngeal measurements can only provide us with an indication and not the full picture of vocal fold development. Based on the programme’s limited resources between 2003 and 2006 – a factor directly related to the researcher’s trans status– and the variety of geographical locations, this obtaining of these measurements was found to be the most feasible methodological approach. Moreover, this was an attempt to replicate the exact conditions of the first participation (2003-2004) when measurements had been obtained before and, regularly, after the beginning of testosterone administration. The participants’ data, even with its limitations, has provided the researcher with a reasonable indication of laryngeal development.
It is in the researcher’s plans to continue working on this study until the existing findings and results are fully replicated and confirmed.
That is from native oestrogens to bioidentical testosterone.
This included FTM and MTF singers as well as cisgender women’s vocalists.
Despite the presence of several participants of the Developing Voice section of this research project, none of them can offer the number of Constansis’ years of combined data collection.
That is presented with less noticeable peaks and troughs in the given period.
As stated, we only have long term experience of “more than 8 years with TU in 22 hypogonadal men”. YASSIN, A.A, and SAAD, F., “Treatment of sexual dysfunction of hypogonadal patients with long-acting testosterone undecanoate (Nebido®)”, in World Journal of Urology, Vol. 24, 2006, p. 640, based on ZITZMANN, M.N.E, “Long-term experience of more than 8 years with a novel formulation of testosterone undecanoate (Nebido) in substitution therapy of hypogonadal men”, in Aging Male, Vol. 9 (suppl. 1), 2006, p. 5, and NIESCHLAG, Eberhard, and BEHRE, Hermann M. (eds), Testosterone, action, deficiency, substitution, Cambridge, Cambridge University Press, 2004.
Cf. http://www.patientsville.com/medica... (Accessed: 25.10.12).
T’SJOEN, Guy, et al., “Impact of Voice in Transsexuals”, in International Journal of Transgenderism, Vol. 9, Nº 1, 2006, p. 4.
The term is defined as an “increase in red cell count, haemoglobin and packed cell volume (PCV) above the normally accepted levels.” HOWARD, Martin R., and HAMILTON, Peter J.,Haematology, 3rd Ed., Edinburgh, London and New York, Churchill Livingstone, 2008, p. 64. Polycythaemia is reported as “a rare complication in female-to male transsexual persons.” T’SJOEN, Guy, Psycho-Endocrinological Aspects in Aging Males and Transsexual Persons, PhD Dissertation, Ghent, Belgium, University of Ghent, January 2006, p. 49.
We should underline here that the researcher used to suffer from secondary and not primary polycythaemia or polycythaemia vera, “an acquired myeloproliferative disorder […] associated with thrombocytosis, leukocytosis and splenomegaly.” James, C, Ugo, V, Le Couedic, J-P et al., “A unique clonal JAK2 mutation leading to constitutive signalling causes polycythaemia vera”, inNature, Vol. 434, April 2005, p. 1144.
Cf. The anticipated side effects are among the reasons why the most renowned specialists within the field suggest that “cross-sex hormone levels (should) be maintained in the normal physiological range for the desired gender.” HEMBREE, W.C, et al., “Endocrine Treatment of Transsexual Persons: An Endocrine Society Clinical Practice Guideline”, in Journal of Clinical Endocrinology and Metabolism, Vol. 94, Nº 9, 2009, p. 3133.
The problematic third was from A´ to c, according to Helmholtz notation (Ex.1 – black font colour).
A limited number of pre-transitional FTM participants were also helped in this context.
See Ex. 1 - the interval of a fifth (red font colour), G’ to d, demonstrates the extended “gap”.
The discrepancy has been assessed, apart from during individual lessons, by listening to the vocal quality of anonymised recorded samples from all participants. Moreover, as demonstrated in Case Study 1, specific music phrases were sung and recorded at original (i.e., an officially published version) and after their transposition to three lower and more suitable keys.
This effect is, understandably, aggravated when the voice is also affected by health and other similar issues.
In May 2013, the reader will be able to find updated information as well as samples of the researcher’s most recent recordings on www.alexandrosconstansis.com. The background of two of the July 2011 recordings has also been discussed in published works, such as ADLER, Richard K., CONSTANSIS, Alexandros N., and VAN BORSEL, John, “Female-to-Male Transgender / Transsexual Considerations”, in ADLER, Richard K., HIRSCH, Sandy, and MORDAUNT, Michelle (eds.), Voice Therapy and Communication for the TG/TS Client, 2nd Edition, San Diego, CA, Plural Publishing, Inc., 2012, p. 160-162.
PARKER, Emma, “The Real Thing: Transsexuality and Manhood in Rose Tremain’s Sacred Country”, in Women: A Cultural Review, Vol. 18, Nº 3, 2007, p. 303 and p. 312.
Despite the presence of professional popular / folk style performers, such as Eli Conley, the only “loss” of vocality we can truly associate with FTMs is the unsupported popular style of singing when using the low “male” register (please note that the issue does not exist when using a falsetto-like projection). The rest of vocal ability can be improved or even remedied with the correct initial HRT and continuing exercising regime. The so-called ‘loss’ has been associated with one significant restriction: unless the FTM singer applies a classical singing technique called ‘laryngeal drop’, he cannot achieve a sufficient vocal folds’ closure and, subsequently, a clear and projectable tone, especially when using his ‘chest’ voice registers. This particular is more noticeable in singers performing live and without technical support, such as amplification and equalising. The effects of this aspect have been demonstrated in Case Study 2.
LEWIS, Rachel, “What’s Queer about Musicology Now?”, in Women and Music: A Journal of Gender and Culture, Vol. 13, 2009, p. 43-53.
BONENFANT, Yvon, “Queer Listening to Queer Vocal Timbres”, in Performance Research: A Journal of the Performing Arts, Vol. 15, Nº 3, 2010, p. 74.
BUTLER, Judith, Undoing Gender, London, Routledge, 2004, p. 65.
WILCHINS, Riki Anne, Read my lips: Sexual subversion and the end of gender, New York, Firebrand, 1997, p. 155.
CONSTANSIS, Alexandros N., “It’s up to us to Make our Voices Sing”, in Voiceprint – Australian Voice Association, 2008, p. 6.
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