Escolas de canto italiana, alemã e francesa: características perceptivo-auditivas e acústicas na voz do soprano
Autor(a) principal: | |
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Data de Publicação: | 2015 |
Tipo de documento: | Tese |
Idioma: | por |
Título da fonte: | Biblioteca Digital de Teses e Dissertações da PUC_SP |
Texto Completo: | https://tede2.pucsp.br/handle/handle/12033 |
Resumo: | among singing professionals there are different positions and conflicts over the schools of singing. Some differences are as if techniques have lost identity and have merged with the passage of time. In another view, in the light of modern concepts of teaching, schools no longer exist. In practice and scientific deepening it is evident from techniques of these schools that they are still present in the singer s performance. This study was structured in order to answer some questions on the subject. PURPOSE: to compare the vocal emission sung by sopranos in Italian, German and French schools of singing, by means of perceptive-auditory and acoustic assessments. METHOD: the data were collected in Europe, because of the representativeness of the schools and languages. The sample was composed of nine sopranos, three of each nationality, Italian, French and German. There were recorded excerpts of three Arias from Opera in their respective languages. The thesis consists of two studies. Study 1 is the perceptive-auditory assessment of voices by Speech-Language Pathologists and singing teachers. The results were subjected to statistical analysis. Study 2 is the acoustic spectrum analysis of long-term average (ELT), spectral decline curve, fundamental frequency (f0) and formants. RESULTS: study 1 showed statistically significant correlations in the comparison between the sopranos in three schools. In Italy, all Italian sopranos stood out as the regular vibrato and posterior-anterior resonance, according to Speech-Language Pathologists. In the German school, two sopranos stood out in precise articulation, in the opinion of the same judges. In the French school, a smooth vocal attack was retained in the voices of the French sopranos, according to teachers. The timbre parameter next to smooth was evidenced by the German sopranos when they sang the French aria, according to two groups of judges. In study 2, the analysis of the ELT revealed that Italian sopranos presented a similar standard emission to each other, in the Italian aria, with a slight inclination of the curve of decline. The German sopranos showed sharp decline mainly in German aria. The French maintained a stroke approximately flatter curves in the spectrum, in three arias. In the analysis of the frequency values, seven among the nine sopranos performed the tune phenomenon f0-F1, in the German aria. CONCLUSION: according to the findings, the precepts of the singing schools were highlighted in the vocal quality of the sample. The Italian school stood out among the others, because the principle of posterior-anterior resonance predominated in the voice of Italian sopranos in the emission of all the arias. The German school excelled in the parameter of articulation, on the German aria, and French school had the characteristic of smooth vocal attack preserved in emission by the French sopranos |
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Andrada e Silva, Marta Assumpção dehttp://buscatextual.cnpq.br/buscatextual/visualizacv.do?id=K4216567E3Sousa, Nadja Barbosa de2016-04-27T18:12:11Z2015-11-162015-11-05Sousa, Nadja Barbosa de. Escolas de canto italiana, alemã e francesa: características perceptivo-auditivas e acústicas na voz do soprano. 2015. 104 f. Tese (Doutorado em Fonoaudiologia) - Pontifícia Universidade Católica de São Paulo, São Paulo, 2015.https://tede2.pucsp.br/handle/handle/12033among singing professionals there are different positions and conflicts over the schools of singing. Some differences are as if techniques have lost identity and have merged with the passage of time. In another view, in the light of modern concepts of teaching, schools no longer exist. In practice and scientific deepening it is evident from techniques of these schools that they are still present in the singer s performance. This study was structured in order to answer some questions on the subject. PURPOSE: to compare the vocal emission sung by sopranos in Italian, German and French schools of singing, by means of perceptive-auditory and acoustic assessments. METHOD: the data were collected in Europe, because of the representativeness of the schools and languages. The sample was composed of nine sopranos, three of each nationality, Italian, French and German. There were recorded excerpts of three Arias from Opera in their respective languages. The thesis consists of two studies. Study 1 is the perceptive-auditory assessment of voices by Speech-Language Pathologists and singing teachers. The results were subjected to statistical analysis. Study 2 is the acoustic spectrum analysis of long-term average (ELT), spectral decline curve, fundamental frequency (f0) and formants. RESULTS: study 1 showed statistically significant correlations in the comparison between the sopranos in three schools. In Italy, all Italian sopranos stood out as the regular vibrato and posterior-anterior resonance, according to Speech-Language Pathologists. In the German school, two sopranos stood out in precise articulation, in the opinion of the same judges. In the French school, a smooth vocal attack was retained in the voices of the French sopranos, according to teachers. The timbre parameter next to smooth was evidenced by the German sopranos when they sang the French aria, according to two groups of judges. In study 2, the analysis of the ELT revealed that Italian sopranos presented a similar standard emission to each other, in the Italian aria, with a slight inclination of the curve of decline. The German sopranos showed sharp decline mainly in German aria. The French maintained a stroke approximately flatter curves in the spectrum, in three arias. In the analysis of the frequency values, seven among the nine sopranos performed the tune phenomenon f0-F1, in the German aria. CONCLUSION: according to the findings, the precepts of the singing schools were highlighted in the vocal quality of the sample. The Italian school stood out among the others, because the principle of posterior-anterior resonance predominated in the voice of Italian sopranos in the emission of all the arias. The German school excelled in the parameter of articulation, on the German aria, and French school had the characteristic of smooth vocal attack preserved in emission by the French sopranosentre profissionais do canto erudito existem diferentes posicionamentos e conflitos sobre as escolas de canto. Algumas divergências se mostram como se as técnicas tivessem perdido identidade e se mesclado com o passar do tempo. Em outra visão, em função das concepções modernas de ensino, as escolas não existem mais. Na prática e no aprofundamento científico fica evidente que as técnicas advindas dessas escolas ainda estão presentes na atuação do cantor. Na perspectiva de responder a alguns questionamentos sobre o tema, a pesquisa foi estruturada. OBJETIVO: comparar a emissão vocal cantada de sopranos nas escolas de canto italiana, alemã e francesa, por meio das avaliações perceptivo-auditiva e acústica. MÉTODO: realizou-se a coleta de dados na Europa, em razão da representatividade das escolas e idiomas. A amostra foi composta por nove sopranos, sendo três de cada nacionalidade, italiana, alemã e francesa. Foram gravados trechos de três árias de ópera nos respectivos idiomas. A tese é composta por dois estudos. O estudo 1 é a avaliação perceptivo-auditiva das vozes por juízes fonoaudiólogos e professores de canto. Os resultados foram submetidos à análise estatística. O estudo 2 é a análise acústica do espectro de médio de longo termo (ELT), curva de declínio espectral, frequência fundamental (f0) e formantes. RESULTADOS: o estudo 1 evidenciou correlações estatisticamente significantes na comparação entre os sopranos nas três escolas. Na italiana, todos os sopranos italianos se destacaram quanto ao vibrato regular e à ressonância póstero-anterior, segundo os fonoaudiólogos. Na escola alemã, dois sopranos se destacaram na articulação precisa, na opinião dos mesmos juízes. Na escola francesa, o princípio de ataque vocal leve foi mantido nas vozes dos sopranos franceses, segundo os professores de canto. O parâmetro de timbre mais propenso a leve foi evidenciado pelos sopranos alemães quando cantaram a ária francesa, segundo os dois grupos de juízes. No estudo 2, a análise do ELT revelou que os sopranos italianos apresentaram um padrão de emissão similar entre si, na ária italiana, com leve inclinação da curva do declínio espectral. Os sopranos alemães apresentaram declínio acentuado principalmente na ária alemã. Os franceses mantiveram um traçado aproximado de curvas mais planas no espectro, nas três árias. Na análise dos valores de frequências, sete dentre os nove sopranos realizaram o fenômeno sintonia f0-F1, na ária alemã. CONCLUSÃO: de acordo com os achados, preceitos das escolas de canto foram evidenciadas na qualidade vocal da amostra. A escola italiana se destacou entre as demais, pois o princípio de ressonância póstero-anterior predominou na voz dos sopranos italianos na emissão de todas as árias. A escola alemã se destacou no parâmetro da articulação, na ária alemã e a escola francesa teve a característica de ataque vocal suave preservada na emissão dos sopranos francesesCoordenação de Aperfeiçoamento de Pessoal de Nível Superiorapplication/pdfhttp://tede2.pucsp.br/tede/retrieve/24885/Nadja%20Barbosa%20de%20Sousa.pdf.jpgporPontifícia Universidade Católica de São PauloPrograma de Estudos Pós-Graduados em FonoaudiologiaPUC-SPBRFonoaudiologiaCantoVozQualidade da vozAnálise acústicaSingingVoiceVoice qualityAcoustic analysisLanguage and Hearing SciencesCNPQ::CIENCIAS DA SAUDE::FONOAUDIOLOGIAEscolas de canto italiana, alemã e francesa: características perceptivo-auditivas e acústicas na voz do sopranoItalian, German and French schools of singing: perceptive-auditory and acoustic characteristics of the soprano voiceinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/doctoralThesisinfo:eu-repo/semantics/openAccessreponame:Biblioteca Digital de Teses e Dissertações da PUC_SPinstname:Pontifícia Universidade Católica de São Paulo (PUC-SP)instacron:PUC_SPTEXTNadja Barbosa de Sousa.pdf.txtNadja Barbosa de Sousa.pdf.txtExtracted texttext/plain192967https://repositorio.pucsp.br/xmlui/bitstream/handle/12033/3/Nadja%20Barbosa%20de%20Sousa.pdf.txted050eda8e69deab08d6216cd0d24687MD53ORIGINALNadja Barbosa de Sousa.pdfapplication/pdf2096681https://repositorio.pucsp.br/xmlui/bitstream/handle/12033/1/Nadja%20Barbosa%20de%20Sousa.pdf7920323ae541f250a6f87fe70695aa20MD51THUMBNAILNadja Barbosa de Sousa.pdf.jpgNadja Barbosa de Sousa.pdf.jpgGenerated Thumbnailimage/jpeg1943https://repositorio.pucsp.br/xmlui/bitstream/handle/12033/2/Nadja%20Barbosa%20de%20Sousa.pdf.jpgcc73c4c239a4c332d642ba1e7c7a9fb2MD52handle/120332022-04-27 18:14:45.455oai:repositorio.pucsp.br:handle/12033Biblioteca Digital de Teses e Dissertaçõeshttps://sapientia.pucsp.br/https://sapientia.pucsp.br/oai/requestbngkatende@pucsp.br||rapassi@pucsp.bropendoar:2022-04-27T21:14:45Biblioteca Digital de Teses e Dissertações da PUC_SP - Pontifícia Universidade Católica de São Paulo (PUC-SP)false |
dc.title.por.fl_str_mv |
Escolas de canto italiana, alemã e francesa: características perceptivo-auditivas e acústicas na voz do soprano |
dc.title.alternative.eng.fl_str_mv |
Italian, German and French schools of singing: perceptive-auditory and acoustic characteristics of the soprano voice |
title |
Escolas de canto italiana, alemã e francesa: características perceptivo-auditivas e acústicas na voz do soprano |
spellingShingle |
Escolas de canto italiana, alemã e francesa: características perceptivo-auditivas e acústicas na voz do soprano Sousa, Nadja Barbosa de Canto Voz Qualidade da voz Análise acústica Singing Voice Voice quality Acoustic analysis Language and Hearing Sciences CNPQ::CIENCIAS DA SAUDE::FONOAUDIOLOGIA |
title_short |
Escolas de canto italiana, alemã e francesa: características perceptivo-auditivas e acústicas na voz do soprano |
title_full |
Escolas de canto italiana, alemã e francesa: características perceptivo-auditivas e acústicas na voz do soprano |
title_fullStr |
Escolas de canto italiana, alemã e francesa: características perceptivo-auditivas e acústicas na voz do soprano |
title_full_unstemmed |
Escolas de canto italiana, alemã e francesa: características perceptivo-auditivas e acústicas na voz do soprano |
title_sort |
Escolas de canto italiana, alemã e francesa: características perceptivo-auditivas e acústicas na voz do soprano |
author |
Sousa, Nadja Barbosa de |
author_facet |
Sousa, Nadja Barbosa de |
author_role |
author |
dc.contributor.advisor1.fl_str_mv |
Andrada e Silva, Marta Assumpção de |
dc.contributor.authorLattes.fl_str_mv |
http://buscatextual.cnpq.br/buscatextual/visualizacv.do?id=K4216567E3 |
dc.contributor.author.fl_str_mv |
Sousa, Nadja Barbosa de |
contributor_str_mv |
Andrada e Silva, Marta Assumpção de |
dc.subject.por.fl_str_mv |
Canto Voz Qualidade da voz Análise acústica |
topic |
Canto Voz Qualidade da voz Análise acústica Singing Voice Voice quality Acoustic analysis Language and Hearing Sciences CNPQ::CIENCIAS DA SAUDE::FONOAUDIOLOGIA |
dc.subject.eng.fl_str_mv |
Singing Voice Voice quality Acoustic analysis Language and Hearing Sciences |
dc.subject.cnpq.fl_str_mv |
CNPQ::CIENCIAS DA SAUDE::FONOAUDIOLOGIA |
description |
among singing professionals there are different positions and conflicts over the schools of singing. Some differences are as if techniques have lost identity and have merged with the passage of time. In another view, in the light of modern concepts of teaching, schools no longer exist. In practice and scientific deepening it is evident from techniques of these schools that they are still present in the singer s performance. This study was structured in order to answer some questions on the subject. PURPOSE: to compare the vocal emission sung by sopranos in Italian, German and French schools of singing, by means of perceptive-auditory and acoustic assessments. METHOD: the data were collected in Europe, because of the representativeness of the schools and languages. The sample was composed of nine sopranos, three of each nationality, Italian, French and German. There were recorded excerpts of three Arias from Opera in their respective languages. The thesis consists of two studies. Study 1 is the perceptive-auditory assessment of voices by Speech-Language Pathologists and singing teachers. The results were subjected to statistical analysis. Study 2 is the acoustic spectrum analysis of long-term average (ELT), spectral decline curve, fundamental frequency (f0) and formants. RESULTS: study 1 showed statistically significant correlations in the comparison between the sopranos in three schools. In Italy, all Italian sopranos stood out as the regular vibrato and posterior-anterior resonance, according to Speech-Language Pathologists. In the German school, two sopranos stood out in precise articulation, in the opinion of the same judges. In the French school, a smooth vocal attack was retained in the voices of the French sopranos, according to teachers. The timbre parameter next to smooth was evidenced by the German sopranos when they sang the French aria, according to two groups of judges. In study 2, the analysis of the ELT revealed that Italian sopranos presented a similar standard emission to each other, in the Italian aria, with a slight inclination of the curve of decline. The German sopranos showed sharp decline mainly in German aria. The French maintained a stroke approximately flatter curves in the spectrum, in three arias. In the analysis of the frequency values, seven among the nine sopranos performed the tune phenomenon f0-F1, in the German aria. CONCLUSION: according to the findings, the precepts of the singing schools were highlighted in the vocal quality of the sample. The Italian school stood out among the others, because the principle of posterior-anterior resonance predominated in the voice of Italian sopranos in the emission of all the arias. The German school excelled in the parameter of articulation, on the German aria, and French school had the characteristic of smooth vocal attack preserved in emission by the French sopranos |
publishDate |
2015 |
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2015-11-16 |
dc.date.issued.fl_str_mv |
2015-11-05 |
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2016-04-27T18:12:11Z |
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info:eu-repo/semantics/publishedVersion |
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info:eu-repo/semantics/doctoralThesis |
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Sousa, Nadja Barbosa de. Escolas de canto italiana, alemã e francesa: características perceptivo-auditivas e acústicas na voz do soprano. 2015. 104 f. Tese (Doutorado em Fonoaudiologia) - Pontifícia Universidade Católica de São Paulo, São Paulo, 2015. |
dc.identifier.uri.fl_str_mv |
https://tede2.pucsp.br/handle/handle/12033 |
identifier_str_mv |
Sousa, Nadja Barbosa de. Escolas de canto italiana, alemã e francesa: características perceptivo-auditivas e acústicas na voz do soprano. 2015. 104 f. Tese (Doutorado em Fonoaudiologia) - Pontifícia Universidade Católica de São Paulo, São Paulo, 2015. |
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PUC-SP |
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BR |
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Fonoaudiologia |
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Pontifícia Universidade Católica de São Paulo |
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