Notas agudas: aspectos acústicos em tenores eruditos
Autor(a) principal: | |
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Data de Publicação: | 2024 |
Tipo de documento: | Dissertação |
Idioma: | por |
Título da fonte: | Biblioteca Digital de Teses e Dissertações da PUC_SP |
Texto Completo: | https://repositorio.pucsp.br/jspui/handle/handle/42183 |
Resumo: | Introduction: emitting high notes poses technical challenges for singers, regardless of the musical genre, as they require adaptations of the vocal tract structures. Tenors performing in operas face the challenge of producing their high notes without the aid of electronic equipment for amplification while maintaining the desired vocal quality. Considering the acoustic aspects, the theory of nonlinear source-filter interaction suggests that modifying the positioning of articulators and adjusting resonances in relation to the harmonics of the glottal source is necessary for emitting these notes. Objective: to describe acoustically the adjustments of the supraglottal vocal tract and the characteristics of the radiated spectrum of the highest notes in the tessitura of classical tenors. Method: the intentional sample consisted of five professional tenors active in operas. Sound emissions were recorded in a professionally treated recording studio. The emissions captured included: spontaneous speech; vowels /a/, /e/, /i/, /o/, and /u/ spoken in carrier sentences; performance of an excerpt of an opera aria; vocalization of two ascending eight-tone scales. Recordings were analyzed using the open-source software Praat version 6.2.23 and Sopran version 1.0.28, and the following were extracted: frequencies of the first two formants; amplitude of the first four harmonics and of the peak in the singer's formant region (between 2.5 and 3.5 kHz), sound pressure level, and long-term average spectrum. Results: the formants of the different vowel configurations varied along the scale. The first formant of vowels /e/ and /i/ tended to rise, and the second to fall; for vowels /o/ and /u/, both tended to rise. The vowel spaces of all subjects reduced from spoken voice to sung voice, and from low to high notes. In the passaggio zone, the tuning of the first formant with the second harmonic, and the second formant with the fourth harmonic was more frequent; above the passaggio, tuning of the second formant with the third harmonic was observed. No relationship was identified between formant tuning and the sound pressure level of the utterances. In all subjects, the sound pressure level was higher in the sung voice. In the long-term average spectra, all subjects exhibited the singer's formant and showed a less pronounced spectral slope in the sung voice. Conclusion: convergence of the frequencies of the first two formants in all vowels across the scale was observed, suggesting the need for articulatory adjustments for the production of high notes by classical tenors. The necessity of a specific formant adjustment maneuver in relation to the harmonics for emitting high notes was not identified; instead, different solutions were employed. Tuning of the second formant to the third harmonic was mainly used to manage the passaggio zone, while at the top of the scale, a more balanced distribution of energy among the lower partials was observed. These findings indicate the need for different resonance adjustments along the high tessitura of classical tenors |
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Silva, Marta Assumpção de Andrada ehttp://lattes.cnpq.br/2066177724650757http://lattes.cnpq.br/2936872657819638Ambros, Gustavo do Amaral2024-07-12T14:01:47Z2024-07-12T14:01:47Z2024-06-06Ambros, Gustavo do Amaral. Notas agudas: aspectos acústicos em tenores eruditos. 2024. Dissertação (Mestrado em Comunicação Humana e Saúde) - Programa de Pós-Graduação em Comunicação Humana e Saúde da Pontifícia Universidade Católica de São Paulo, São Paulo, 2024.https://repositorio.pucsp.br/jspui/handle/handle/42183Introduction: emitting high notes poses technical challenges for singers, regardless of the musical genre, as they require adaptations of the vocal tract structures. Tenors performing in operas face the challenge of producing their high notes without the aid of electronic equipment for amplification while maintaining the desired vocal quality. Considering the acoustic aspects, the theory of nonlinear source-filter interaction suggests that modifying the positioning of articulators and adjusting resonances in relation to the harmonics of the glottal source is necessary for emitting these notes. Objective: to describe acoustically the adjustments of the supraglottal vocal tract and the characteristics of the radiated spectrum of the highest notes in the tessitura of classical tenors. Method: the intentional sample consisted of five professional tenors active in operas. Sound emissions were recorded in a professionally treated recording studio. The emissions captured included: spontaneous speech; vowels /a/, /e/, /i/, /o/, and /u/ spoken in carrier sentences; performance of an excerpt of an opera aria; vocalization of two ascending eight-tone scales. Recordings were analyzed using the open-source software Praat version 6.2.23 and Sopran version 1.0.28, and the following were extracted: frequencies of the first two formants; amplitude of the first four harmonics and of the peak in the singer's formant region (between 2.5 and 3.5 kHz), sound pressure level, and long-term average spectrum. Results: the formants of the different vowel configurations varied along the scale. The first formant of vowels /e/ and /i/ tended to rise, and the second to fall; for vowels /o/ and /u/, both tended to rise. The vowel spaces of all subjects reduced from spoken voice to sung voice, and from low to high notes. In the passaggio zone, the tuning of the first formant with the second harmonic, and the second formant with the fourth harmonic was more frequent; above the passaggio, tuning of the second formant with the third harmonic was observed. No relationship was identified between formant tuning and the sound pressure level of the utterances. In all subjects, the sound pressure level was higher in the sung voice. In the long-term average spectra, all subjects exhibited the singer's formant and showed a less pronounced spectral slope in the sung voice. Conclusion: convergence of the frequencies of the first two formants in all vowels across the scale was observed, suggesting the need for articulatory adjustments for the production of high notes by classical tenors. The necessity of a specific formant adjustment maneuver in relation to the harmonics for emitting high notes was not identified; instead, different solutions were employed. Tuning of the second formant to the third harmonic was mainly used to manage the passaggio zone, while at the top of the scale, a more balanced distribution of energy among the lower partials was observed. These findings indicate the need for different resonance adjustments along the high tessitura of classical tenorsIntrodução: a emissão de notas agudas impõe dificuldades técnicas para os cantores, independentemente do gênero musical, uma vez que necessitam de adaptações de estruturas do trato vocal. Tenores atuantes em óperas têm o desafio de emitir seus agudos sem o auxílio de equipamentos eletrônicos para amplificação, enquanto mantêm a qualidade vocal desejada. Ao considerar o aspecto acústico, a teoria de interação não-linear fonte-filtro sugere que, para a emissão destas notas, é preciso modificar o posicionamento dos articuladores e ajustar as ressonâncias do trato vocal em relação aos harmônicos da fonte glótica. Objetivo: descrever acusticamente os ajustes do trato vocal supraglótico e as características do espectro radiado das notas mais agudas da tessitura de tenores eruditos. Método: a amostra intencional foi composta de cinco tenores profissionais, atuantes em óperas. A gravação das emissões sonoras foi realizada em um estúdio de gravação profissional, portanto acusticamente tratado. Foram captadas as emissões: fala espontânea; vogais /a/, /e/, /i/, /o/ e /u/ faladas em sentenças-veículo; execução do trecho de uma ária de ópera; vocalização de duas escalas ascendentes de oito tons. As gravações foram analisadas nos softwares de livre acesso Praat versão 6.2.23 e Sopran versão 1.0.28, e extraídos: frequências dos dois primeiros formantes; amplitude dos quatro primeiros harmônicos e do pico na região do formante do cantor (entre 2,5 e 3,5 kHz), nível de pressão sonora e espectro médio de longo termo. Resultados: as frequências dos formantes das diferentes configurações vocálicas variaram ao longo da escala. O primeiro formante das vogais /e/ e /i/ tendeu a subir e o segundo a descer; nas vogais /o/ e /u/ ambos tenderam a subir. Os espaços vocálicos de todos os sujeitos reduziram da voz falada para a voz cantada, e das notas graves para as notas agudas. Na zona de passagem, foi mais frequente a sintonia do primeiro formante com o segundo harmônico e do segundo formante com o quarto harmônico; acima da passagem, a sintonia do segundo formante com o terceiro harmônico. Não foi identificada relação entre sintonia de formantes e o nível de pressão sonora das notas. Em todos os sujeitos, o nível de pressão sonora foi maior na voz cantada. Nos espectros médios de longo termo, todos os sujeitos exibiram o formante do cantor e apresentaram declínio espectral menos acentuado na voz cantada. Conclusão: foi constatada a convergência das frequências dos dois primeiros formantes em todas as vogais ao longo das escalas, o que sugere a necessidade de ajustes articulatórios para a produção das notas agudas por tenores eruditos. Não foi identificada a obrigatoriedade de uma manobra específica de ajuste dos formantes em relação aos harmônicos para a emissão das notas agudas, mas sim o emprego de diferentes soluções. A sintonia do segundo formante ao terceiro harmônico foi utilizada principalmente para manejar a zona de passagem, enquanto no topo da escala foi mais observada a distribuição equilibrada de energia entre os parciais mais graves. Os achados indicam a necessidade de diferentes ajustes de ressonâncias ao longo da tessitura aguda de tenores eruditosporPontifícia Universidade Católica de São PauloPrograma de Pós-Graduação em Comunicação Humana e SaúdePUC-SPBrasilFaculdade de Ciências Humanas e da SaúdeCNPQ::CIENCIAS DA SAUDE::FONOAUDIOLOGIACantoQualidade da VozAcústicaTreinamento da VozSingingVoice QualityAcousticsVoice TrainingNotas agudas: aspectos acústicos em tenores eruditosinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/masterThesisinfo:eu-repo/semantics/openAccessreponame:Biblioteca Digital de Teses e Dissertações da PUC_SPinstname:Pontifícia Universidade Católica de São Paulo (PUC-SP)instacron:PUC_SPORIGINALGustavo do Amaral Ambros.pdfapplication/pdf4868452https://repositorio.pucsp.br/xmlui/bitstream/handle/42183/1/Gustavo%20do%20Amaral%20Ambros.pdfda37d727cb73c9f3e61c82f029e268bcMD51TEXTGustavo do Amaral Ambros.pdf.txtGustavo do Amaral Ambros.pdf.txtExtracted texttext/plain213792https://repositorio.pucsp.br/xmlui/bitstream/handle/42183/2/Gustavo%20do%20Amaral%20Ambros.pdf.txte631d7d66bcaf0d214099f4ac178a0cbMD52THUMBNAILGustavo do Amaral Ambros.pdf.jpgGustavo do Amaral Ambros.pdf.jpgGenerated Thumbnailimage/jpeg1252https://repositorio.pucsp.br/xmlui/bitstream/handle/42183/3/Gustavo%20do%20Amaral%20Ambros.pdf.jpgff51ce0f0df914e96eaf43f1d5a2364bMD53handle/421832024-07-25 08:24:09.283oai:repositorio.pucsp.br:handle/42183Biblioteca Digital de Teses e Dissertaçõeshttps://sapientia.pucsp.br/https://sapientia.pucsp.br/oai/requestbngkatende@pucsp.br||rapassi@pucsp.bropendoar:2024-07-25T11:24:09Biblioteca Digital de Teses e Dissertações da PUC_SP - Pontifícia Universidade Católica de São Paulo (PUC-SP)false |
dc.title.pt_BR.fl_str_mv |
Notas agudas: aspectos acústicos em tenores eruditos |
title |
Notas agudas: aspectos acústicos em tenores eruditos |
spellingShingle |
Notas agudas: aspectos acústicos em tenores eruditos Ambros, Gustavo do Amaral CNPQ::CIENCIAS DA SAUDE::FONOAUDIOLOGIA Canto Qualidade da Voz Acústica Treinamento da Voz Singing Voice Quality Acoustics Voice Training |
title_short |
Notas agudas: aspectos acústicos em tenores eruditos |
title_full |
Notas agudas: aspectos acústicos em tenores eruditos |
title_fullStr |
Notas agudas: aspectos acústicos em tenores eruditos |
title_full_unstemmed |
Notas agudas: aspectos acústicos em tenores eruditos |
title_sort |
Notas agudas: aspectos acústicos em tenores eruditos |
author |
Ambros, Gustavo do Amaral |
author_facet |
Ambros, Gustavo do Amaral |
author_role |
author |
dc.contributor.advisor1.fl_str_mv |
Silva, Marta Assumpção de Andrada e |
dc.contributor.advisor1Lattes.fl_str_mv |
http://lattes.cnpq.br/2066177724650757 |
dc.contributor.authorLattes.fl_str_mv |
http://lattes.cnpq.br/2936872657819638 |
dc.contributor.author.fl_str_mv |
Ambros, Gustavo do Amaral |
contributor_str_mv |
Silva, Marta Assumpção de Andrada e |
dc.subject.cnpq.fl_str_mv |
CNPQ::CIENCIAS DA SAUDE::FONOAUDIOLOGIA |
topic |
CNPQ::CIENCIAS DA SAUDE::FONOAUDIOLOGIA Canto Qualidade da Voz Acústica Treinamento da Voz Singing Voice Quality Acoustics Voice Training |
dc.subject.por.fl_str_mv |
Canto Qualidade da Voz Acústica Treinamento da Voz |
dc.subject.eng.fl_str_mv |
Singing Voice Quality Acoustics Voice Training |
description |
Introduction: emitting high notes poses technical challenges for singers, regardless of the musical genre, as they require adaptations of the vocal tract structures. Tenors performing in operas face the challenge of producing their high notes without the aid of electronic equipment for amplification while maintaining the desired vocal quality. Considering the acoustic aspects, the theory of nonlinear source-filter interaction suggests that modifying the positioning of articulators and adjusting resonances in relation to the harmonics of the glottal source is necessary for emitting these notes. Objective: to describe acoustically the adjustments of the supraglottal vocal tract and the characteristics of the radiated spectrum of the highest notes in the tessitura of classical tenors. Method: the intentional sample consisted of five professional tenors active in operas. Sound emissions were recorded in a professionally treated recording studio. The emissions captured included: spontaneous speech; vowels /a/, /e/, /i/, /o/, and /u/ spoken in carrier sentences; performance of an excerpt of an opera aria; vocalization of two ascending eight-tone scales. Recordings were analyzed using the open-source software Praat version 6.2.23 and Sopran version 1.0.28, and the following were extracted: frequencies of the first two formants; amplitude of the first four harmonics and of the peak in the singer's formant region (between 2.5 and 3.5 kHz), sound pressure level, and long-term average spectrum. Results: the formants of the different vowel configurations varied along the scale. The first formant of vowels /e/ and /i/ tended to rise, and the second to fall; for vowels /o/ and /u/, both tended to rise. The vowel spaces of all subjects reduced from spoken voice to sung voice, and from low to high notes. In the passaggio zone, the tuning of the first formant with the second harmonic, and the second formant with the fourth harmonic was more frequent; above the passaggio, tuning of the second formant with the third harmonic was observed. No relationship was identified between formant tuning and the sound pressure level of the utterances. In all subjects, the sound pressure level was higher in the sung voice. In the long-term average spectra, all subjects exhibited the singer's formant and showed a less pronounced spectral slope in the sung voice. Conclusion: convergence of the frequencies of the first two formants in all vowels across the scale was observed, suggesting the need for articulatory adjustments for the production of high notes by classical tenors. The necessity of a specific formant adjustment maneuver in relation to the harmonics for emitting high notes was not identified; instead, different solutions were employed. Tuning of the second formant to the third harmonic was mainly used to manage the passaggio zone, while at the top of the scale, a more balanced distribution of energy among the lower partials was observed. These findings indicate the need for different resonance adjustments along the high tessitura of classical tenors |
publishDate |
2024 |
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2024-07-12T14:01:47Z |
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2024-07-12T14:01:47Z |
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2024-06-06 |
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info:eu-repo/semantics/masterThesis |
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Ambros, Gustavo do Amaral. Notas agudas: aspectos acústicos em tenores eruditos. 2024. Dissertação (Mestrado em Comunicação Humana e Saúde) - Programa de Pós-Graduação em Comunicação Humana e Saúde da Pontifícia Universidade Católica de São Paulo, São Paulo, 2024. |
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https://repositorio.pucsp.br/jspui/handle/handle/42183 |
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Ambros, Gustavo do Amaral. Notas agudas: aspectos acústicos em tenores eruditos. 2024. Dissertação (Mestrado em Comunicação Humana e Saúde) - Programa de Pós-Graduação em Comunicação Humana e Saúde da Pontifícia Universidade Católica de São Paulo, São Paulo, 2024. |
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Pontifícia Universidade Católica de São Paulo |
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