Gender expansive listeners utilize a non-binary, multidimensional conception of gender to inform voice gender perception

Gender Presentation and Voice Satisfaction: Self-Perception of Voice Versus External Perception

OBJECTIVE

To verify the self-assessment of gender in voice, the concept of an ideal voice, and voice satisfaction among people of different genders; and to compare these factors with the Auditory-Perceptual Assessment (APA) of gender in voice conducted by cisgender, transgender, and non-binary judges, as well as speech-language pathologists (SLPs) specializing in voice.

METHODS

A cross-sectional study. In total, 47 individuals of different genders conducted a self-assessment of their voice's gender presentation (using a 100-point visual analog scale (VAS) ranging from very masculine to very feminine) based on two items: "My voice is" and "My ideal voice should sound." The same scale was used to measure voice satisfaction, ranging from "very dissatisfied" to "very satisfied." Subsequently, samples of connected speech (counting numbers) and expressive reading of a poem from these individuals were recorded and subjected to APA using the same VAS to evaluate gender presentation in voice. The APA was conducted by 101 cisgender judges (CJ), 70 transgender and non-binary judges (TNB), and 65 voice-specialized SLP. Descriptive and inferential analyses were performed (Friedman test, Durbin-Conover post hoc test, and Spearman correlation), considering P < 0.05 to compare the difference between the mean scores of the judges and the speakers' self-assessment and the correlation of APA with voice satisfaction.

RESULTS

For the first item, "My voice is," there was a significant difference between the speakers' self-assessment and evaluations by all three groups of judges: CJ vs self-assessment (P = 0.013), SLP vs self-assessment (P = 0.016), and TNB vs self-assessment (P =< 0.001). Regarding the item "My ideal voice should sound," a significant difference was observed only between TNB vs Ideal voice (P = 0.032); CJ and SLP vs Self-assessment did not show statistically significant differences (P = 0.262 and P = 0.298, respectively). In terms of voice satisfaction, cisgender men showed a strong negative and significant correlation with self-perception (R = -0.761, P = 0.006).

CONCLUSION

The perceptions of cisgender, transgender, non-binary judges, and voice-specialized SLPs differed significantly from the speakers' self-perception regarding gender in voice. In the conception of an ideal voice, the perceptions of cisgender and SLP judges aligned with the speakers' expectations, possibly reflecting cultural influences that reinforce traditional gender norms. The correlation of voice satisfaction indicates that more satisfied cisgender men perceive their own voice as more masculine.

Perception of Femininity and Masculinity in Voices as Rated by Transgender and Gender Diverse People, Professional Speech and Language Pathologists, and Cisgender Naive Listeners

OBJECTIVE

To explore whether cisgender naive listeners, transgender and gender diverse (TGD) listeners, and speech-language pathologists (SLPs) experienced in providing gender-affirming voice training differ in their perception of femininity and masculinity in voices.

METHODS

Samples of spontaneous speech were collected from 95 cisgender, and 37 TGD speakers. Three listener groups of cisgender naive (N = 77), TGD (N = 30), and SLP (N = 14) listeners, respectively, rated the voices on visual analog scales in two randomly ordered blocks, in which the perceived degree of femininity was rated separately from the perceived degree of masculinity.

RESULTS

The three listener groups showed similar patterns in their distribution of ratings on the femininity and masculinity scales. The TGD listeners' mean ratings did not differ from the cisgender naive listeners', whereas SLPs showed a small, but significant, difference in their ratings compared with both TGD and cisgender naive listeners and rated the voices lower on both the femininity and masculinity scales.

CONCLUSION

The results differ from previous studies as TGD, and cisgender naive listeners rated the voices very similarly. The lower ratings of femininity and masculinity by the SLPs were likely influenced by their awareness of the complexity in the perception of voices. Therefore, SLPs providing gender-affirming voice training should be attentive to how their professional training may influence their perception of femininity and masculinity in voices and encourage discussions and explorations of the TGD voice client's perceptions of voices.

Word and Gender Identification in the Speech of Transgender Individuals

Listeners use speech to identify both linguistic information, such as the word being produced, and indexical attributes, such as the gender of the speaker. Previous research has shown that these two aspects of speech perception are interrelated. It is important to understand this relationship in the context of gender-affirming voice training (GAVT), where changes in speech production as part of a speaker's gender-affirming care could potentially influence listeners' recognition of the intended utterance. This study conducted a secondary analysis of data from an experiment in which trans women matched shifted targets for the second formant frequency using visual-acoustic biofeedback. Utterances were synthetically altered to feature a gender-ambiguous fundamental frequency and were presented to blinded listeners for rating on a visual analog scale representing the gender spectrum, as well as word identification in a forced-choice task. We found a statistically significant association between the accuracy of word identification and the gender rating of utterances. However, there was no statistically significant difference in word identification accuracy for the formant-shifted conditions relative to an unshifted condition. Overall, these results support previous research in finding that word identification and speaker gender identification are interrelated processes; however, the findings also suggest that a small magnitude of shift in formant frequencies (of the type that might be pursued in a GAVT context) does not have a significant negative impact on the perceptual recoverability of isolated words.

Clinical Focus: The Development and Description of a Palette of Transmasculine Voices

PURPOSE

The study of gender and speech has historically excluded studies of transmasculine individuals. Consequently, generalizations about speech and gender are based on cisgender individuals. This lack of representation hinders clinical training and clinical service delivery, particularly by speech-language pathologists providing gender-affirming communication services. This letter describes a new corpus of the speech of American English-speaking transmasculine men, transmasculine nonbinary people, and cisgender men that is open and available to clinicians and researchers.

METHOD

Twenty masculine-presenting native English speakers from the Upper Midwestern United States (including cisgender men, transmasculine men, and transmasculine nonbinary people) were recorded, producing three sets of speech materials: Consensus Auditory-Perceptual Evaluation of Voice sentences, the Rainbow Passage, and a novel set of sentences developed for this project. Acoustic measures vowels (overall formant frequency scaling, vowel-space dispersion, fundamental frequency, breathiness), consonants (voice onset time of word-initial voiceless stops, spectral moments of word-initial /s/), and the entire sentence (rate of speech) that were made.

RESULTS

The acoustic measures reveal a wide range for all dependent measures and low correlations among the measures. Results show that many of the voices depart considerably from the norms for men's speech in published studies.

CONCLUSION

This new corpus can be used to illustrate different ways of sounding masculine by speech-language pathologists performing gender-affirming communication services and by higher education teachers as examples of diverse ways of sounding masculine.

Acoustic cues to femininity and masculinity in spontaneous speech

The perceived level of femininity and masculinity is a prominent property by which a speaker's voice is indexed, and a vocal expression incongruent with the speaker's gender identity can greatly contribute to gender dysphoria. Our understanding of the acoustic cues to the levels of masculinity and femininity perceived by listeners in voices is not well developed, and an increased understanding of them would benefit communication of therapy goals and evaluation in gender-affirming voice training. We developed a voice bank with 132 voices with a range of levels of femininity and masculinity expressed in the voice, as rated by 121 listeners in independent, individually randomized perceptual evaluations. Acoustic models were developed from measures identified as markers of femininity or masculinity in the literature using penalized regression and tenfold cross-validation procedures. The 223 most important acoustic cues explained 89% and 87% of the variance in the perceived level of femininity and masculinity in the evaluation set, respectively. The median fo was confirmed to provide the primary cue, but other acoustic properties must be considered in accurate models of femininity and masculinity perception. The developed models are proposed to afford communication and evaluation of gender-affirming voice training goals and improve voice synthesis efforts.

Gender-Affirming Voice Training for Trans Women: Acoustic Outcomes and Their Associations With Listener Perceptions Related to Gender

OBJECTIVES

To investigate acoustic outcomes of gender-affirming voice training for trans women wanting to develop a female sounding voice and to describe what happens acoustically when male sounding voices become more female sounding.

STUDY DESIGN

Prospective treatment study with repeated measures.

METHODS

N = 74 trans women completed a voice training program of 8-12 sessions and had their voices audio recorded twice before and twice after training. Reference data were obtained from N = 40 cisgender speakers. Fundamental frequency (fo), formant frequencies (F1-F4), sound pressure level (Leq), and level difference between first and second harmonic (L1-L2) were extracted from a reading passage and spontaneous speech. N = 79 naive listeners provided gender-related ratings of participants' audio recordings. A linear mixed-effects model was used to estimate average training effects. Individual level analyses determined how changes in acoustic data were related to listeners' ratings.

RESULTS

Group data showed substantial training effects on fo (average, minimum, and maximum) and formant frequencies. Individual data demonstrated that many participants also increased Leq and some increased L1-L2. Measures that most strongly predicted listener ratings of a female sounding voice were: fo, average formant frequency, and Leq.

CONCLUSIONS

This is the largest prospective study reporting on acoustic outcomes of gender-affirming voice training for trans women. We confirm findings from previous smaller scale studies by demonstrating that listener perceptions of male and female sounding voices are related to acoustic voice features, and that voice training for trans women wanting to sound female is associated with desirable acoustic changes, indicating training effectiveness. Although acoustic measures can be a valuable indicator of training effectiveness, particularly from the perspective of clinicians and researchers, we contend that a combination of outcome measures, including client perspectives, are needed to provide comprehensive evaluation of gender-affirming voice training that is relevant for all stakeholders.

Auditory-Perceptual Assessment and Acoustic Analysis of Gender Expression in the Voice

OBJECTIVE

Determine if acoustic measurements exist that are predictive of Auditory-Perceptual Assessment (APA) of gender expression in the voice of transgender, nonbinary, and cisgender Brazilian speakers by transgender, nonbinary, and cisgender judges, as well as speech-language pathologists in the area of voice studies.

METHODS

Cross-sectional study. Clips of speech (automatic speech and expressive reading of poetry) and sustained vowel emission of people of different genders were recorded and underwent APA for gender expression in the voice using a visual analog scale across 100 points, ranging from very masculine to very feminine. Sixteen acoustic measurements were extracted (noise, perturbation, spectral, and cepstral measurements). A descriptive and inferential analysis was performed using interclass coefficients of correlation and stepwise multiple linear regression, considering P < 0.05 for statistical significance.

RESULTS

Forty-seven people of different genders had their voices recorded. The perceived gender of these voices was judged by 236 people (65 speech-language pathologists, 101 cisgender people, and 70 transgender and nonbinary people). The perceptions and measurements that were predictive of gender perception in the voice differed according to the task (vowel or speech) and the group of judges. The predictive acoustic measurements that were common in all groups were: speech-median F0, harmonic-to-noise ratio (HNR), F0 standard deviation (F0sd), average width between F0 peaks, and spectral emphasis (Emph); vowels-median F0, HNR, F0sd, and average width between F0 peaks. Divergent measurements between groups were: speech-coefficient of variation of intensity, speech rate (Sr), minimum and maximum F0, jitter, and shimmer; vowels-coefficient of variation of intensity, Emph, Sr, and minimum and maximum F0.

CONCLUSION

There are acoustic measures that may predict APA; however, each group of judges considers different measures to evaluate gender, revealing an important influence of context on the evaluator in gender assessment through the voice.

Auditory free classification of gender diverse speakersa)

Auditory attribution of speaker gender has historically been assumed to operate within a binary framework. The prevalence of gender diversity and its associated sociophonetic variability motivates an examination of how listeners perceptually represent these diverse voices. Utterances from 30 transgender (1 agender individual, 15 non-binary individuals, 7 transgender men, and 7 transgender women) and 30 cisgender (15 men and 15 women) speakers were used in an auditory free classification paradigm, in which cisgender listeners classified the speakers on perceived general similarity and gender identity. Multidimensional scaling of listeners' classifications revealed two-dimensional solutions as the best fit for general similarity classifications. The first dimension was interpreted as masculinity/femininity, where listeners organized speakers from high to low fundamental frequency and first formant frequency. The second was interpreted as gender prototypicality, where listeners separated speakers with fundamental frequency and first formant frequency at upper and lower extreme values from more intermediate values. Listeners' classifications for gender identity collapsed into a one-dimensional space interpreted as masculinity/femininity. Results suggest that listeners engage in fine-grained analysis of speaker gender that cannot be adequately captured by a gender dichotomy. Further, varying terminology used in instructions may bias listeners' gender judgements.

Use of a humanoid robot for auditory psychophysical testing

Tasks in psychophysical tests can at times be repetitive and cause individuals to lose engagement during the test. To facilitate engagement, we propose the use of a humanoid NAO robot, named Sam, as an alternative interface for conducting psychophysical tests. Specifically, we aim to evaluate the performance of Sam as an auditory testing interface, given its potential limitations and technical differences, in comparison to the current laptop interface. We examine the results and durations of two voice perception tests, voice cue sensitivity and voice gender categorisation, obtained from both the conventionally used laptop interface and Sam. Both tests investigate the perception and use of two speaker-specific voice cues, fundamental frequency (F0) and vocal tract length (VTL), important for characterising voice gender. Responses are logged on the laptop using a connected mouse, and on Sam using the tactile sensors. Comparison of test results from both interfaces shows functional similarity between the interfaces and replicates findings from previous studies with similar tests. Comparison of test durations shows longer testing times with Sam, primarily due to longer processing times in comparison to the laptop, as well as other design limitations due to the implementation of the test on the robot. Despite the inherent constraints of the NAO robot, such as in sound quality, relatively long processing and testing times, and different methods of response logging, the NAO interface appears to facilitate collecting similar data to the current laptop interface, confirming its potential as an alternative psychophysical test interface for auditory perception tests.

Characterizing Gender-Affirming Voice Intervention Discussion on Social Media: A Cross-Platform Analysis

OBJECTIVES

Gender-affirming voice treatments, such as voice training and surgery, are highly impactful for transgender patients experiencing vocal dysphoria and may be discussed on social media platforms including Twitter and Reddit. Our goal was to characterize the content and sentiment of social media posts pertaining to gender-affirming voice interventions to better understand the needs of this patient population.

STUDY DESIGN

Retrospective data-mining study.

METHODS

A total of 18,695 Tweets from 2001 to 2021 and 23,742 r/Transvoice Reddit submissions and comments from 2009 to 2020 were extracted via publicly available application programming interfaces and analyzed using language processing and sentiment analysis techniques. One thousand eighty-six highly emotive r/Transvoice posts related to voice modification treatments were manually reviewed for further classification.

RESULTS

Online discussion of gender-affirming voice has increased over time and is centered on vocal feminization. Recurrent themes included use of online training resources, singing voice, and barriers to care such as cost and variable experiences with health care providers. Sentiment analysis demonstrated that posts discussing gender-affirming voice training had higher average sentiment scores than those discussing voice surgery, on both Twitter (0.252 vs 0.161; P < 0.001) and Reddit (0.349 vs 0.301; P < 0.001). Frequently appearing themes in highly negative surgery posts included mixed outcomes (9.3%), surgical complications (9.3%), and recovery time (8.5%). Common themes shared by the positive subgroup analysis included peer support, vocal quality, and importance of practice.

CONCLUSIONS

Gender-diverse patients share various concerns and resources relating to voice intervention in the online communities of Twitter and Reddit. The discussion has been growing over the past decade and is mostly positive, with significant social support and resource-sharing within the community. Aggregated online sentiment toward gender-affirming voice surgery is more negative than voice training, largely due to concerns about surgical outcomes and variability, risks, and recovery period.

Short-term effects of a speech feminization program for transgender women: listener perceptions, self-perception and satisfaction of the voice

Purpose: This study measured and compared the short-term impact of pitch elevation training (PET) and articulation-resonance training (ART) in transgender women, on self-perception, satisfaction and masculinity-femininity perceptions of listeners. Methods: A randomized controlled study with cross-over design was used. Thirty transgender women were included and received fourteen weeks of speech training. All participants started with sham training (four weeks), after which they were randomly assigned to one of two groups: one group continued with PET (five weeks), followed by ART (five weeks), the second group received both trainings in opposite order. Participants were recorded four times, in between the training blocks: pre, post 1 (after sham), post 2 (after training 1) and post 3 (after training 2). Participants did a self-evaluation through the Trans Woman Voice Questionnaire (TWVQ) and visual analogues scales (VAS) concerning their self-perception and satisfaction. Two listening experiments (n = 75) were conducted researching the continuous masculinity-femininity rating (through a VAS) and categorical masculinity-femininity attribution. Results and conclusions: Transgender women perceive their voices more feminine after the training and experience a positive impact on the vocal functioning and the voice-related impact on their daily life. However, a lot of the participants acknowledge that they need more speech training after ten weeks. Listeners rate the participants' voices more feminine after training, both during the continuous and categorical questions. Higher femininity scores were detected during self-perception and listener perceptions after the combination of both ART and PET, compared to the separate trainings. No order effects were detected between ART and PET, both for self-perception and listener perceptions. Defining outcome predictors is crucial in future research.

Differences in Sibilant Perception between Gender Expansive and Cisgender Individuals

Acoustic cues of voice gender influence not only how people perceive the speaker's gender (e.g., whether that person is a man, woman, or non-binary) but also how they perceive certain phonemes produced by that person. One such sociophonetic cue is the [s]/[ʃ] distinction in English; which phoneme is perceived depends on the perceived gender of the speaker. Recent research has shown that gender expansive people differ from cisgender people in their perception of voice gender and thus, this could be reflected in their categorization of sibilants. Despite this, there has been no research to date on how gender expansive people categorize sibilants. Furthermore, while voice gender expression is often discussed within a biological context (e.g., vocal folds), voice extends to those who use other communication methods. The current study fills this gap by explicitly recruiting people of all genders and asking them to perform a sibilant categorization task using synthetic voices. The results show that cisgender and gender expansive people perceive synthetic sibilants differently, especially from a "nonbinary" synthetic voice. These results have implications for developing more inclusive speech technology for gender expansive individuals, in particular for nonbinary people who use speech-generating devices.

Visual biases in evaluation of speakers' and singers' voice type by cis and trans listeners

Introduction

A singer's or speaker's Fach (voice type) should be appraised based on acoustic cues characterizing their voice. Instead, in practice, it is often influenced by the individual's physical appearance. This is especially distressful for transgender people who may be excluded from formal singing because of perceived mismatch between their voice and appearance. To eventually break down these visual biases, we need a better understanding of the conditions under which they occur. Specifically, we hypothesized that trans listeners (not actors) would be better able to resist such biases, relative to cis listeners, precisely because they would be more aware of appearance-voice dissociations.

Methods

In an online study, 85 cisgender and 81 transgender participants were presented with 18 different actors singing or speaking short sentences. These actors covered six voice categories from high/bright (traditionally feminine) to low/dark (traditionally masculine) voices: namely soprano, mezzo-soprano (referred to henceforth as mezzo), contralto (referred to henceforth as alto), tenor, baritone, and bass. Every participant provided voice type ratings for (1) Audio-only (A) stimuli to get an unbiased estimate of a given actor's voice type, (2) Video-only (V) stimuli to get an estimate of the strength of the bias itself, and (3) combined Audio-Visual (AV) stimuli to see how much visual cues would affect the evaluation of the audio.

Results

Results demonstrated that visual biases are not subtle and hold across the entire scale, shifting voice appraisal by about a third of the distance between adjacent voice types (for example, a third of the bass-to-baritone distance). This shift was 30% smaller for trans than for cis listeners, confirming our main hypothesis. This pattern was largely similar whether actors sung or spoke, though singing overall led to more feminine/high/bright ratings.

Conclusion

This study is one of the first demonstrations that transgender listeners are in fact better judges of a singer's or speaker's voice type because they are better able to separate the actors' voice from their appearance, a finding that opens exciting avenues to fight more generally against implicit (or sometimes explicit) biases in voice appraisal.

Gender stereotypes drive perceptual differences of vocal confidence

One's ability to express confidence is critical to achieve one's goals in a social context-such as commanding respect from others, establishing higher social status, and persuading others. How individuals perceive confidence may be shaped by the socio-indexical cues produced by the speaker. In the current production/perception study, we asked four speakers (two cisgender women/men) to answer trivia questions under three speaking contexts: natural, overconfident, and underconfident (i.e., lack of confidence). An evaluation of the speakers' acoustics indicated that the speakers significantly varied their acoustic cues as a function of speaking context and that the women and men had significantly different acoustic cues. The speakers' answers to the trivia questions in the three contexts (natural, overconfident, underconfident) were then presented to listeners (N = 26) in a social judgment task using a computer mouse-tracking paradigm. Listeners were sensitive to the speakers' acoustic modulations of confidence and differentially interpreted these cues based on the perceived gender of the speaker, thereby impacting listeners' cognition and social decision making. We consider, then, how listeners' social judgments about confidence were impacted by gender stereotypes about women and men from social, heuristic-based processes.