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Singing Portuguese Nasal Vowels: Practical Strategies for Managing Nasality in Brazilian Art Songs

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Singing Portuguese Nasal Vowels: Practical Strategies for Managing Nasality in Brazilian Art Songs University of Kentucky UKnowledge Theses and Dissertations--Music Music 2017 SINGING PORTUGUESE NASAL VOWELS: PRACTICAL STRATEGIES FOR MANAGING NASALITY IN BRAZILIAN ART SONGS André Campelo University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/ETD.2017.181 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Campelo, André, "SINGING PORTUGUESE NASAL VOWELS: PRACTICAL STRATEGIES FOR MANAGING NASALITY IN BRAZILIAN ART SONGS" (2017). Theses and Dissertations--Music. 89. https://uknowledge.uky.edu/music_etds/89 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies. I retain all other ownership rights to the copyright of my work. I also retain the right to use in future works (such as articles or books) all or part of my work. I understand that I am free to register the copyright to my work. REVIEW, APPROVAL AND ACCEPTANCE The document mentioned above has been reviewed and accepted by the student’s advisor, on behalf of the advisory committee, and by the Director of Graduate Studies (DGS), on behalf of the program; we verify that this is the final, approved version of the student’s thesis including all changes required by the advisory committee. The undersigned agree to abide by the statements above. André Campelo, Student Dr. Noemi Lugo, Major Professor Dr. Michael Baker, Director of Graduate Studies SINGING PORTUGUESE NASAL VOWELS: PRACTICAL STRATEGIES FOR MANAGING NASALITY IN BRAZILIAN ART SONGS _______________________________________ DMA PROJECT _______________________________________ A document submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Voice Performance in the College of Fine Arts at the University of Kentucky By André dos Reis Campelo Lexington, Kentucky Director: Dr. Noemi Lugo, Professor of Voice Lexington, Kentucky 2017 Copyright © André Campelo 2017 ABSTRACT SINGING PORTUGUESE NASAL VOWELS: PRACTICAL STRATEGIES FOR MANAGING NASALITY IN BRAZILIAN ART SONGS The articulation of Portuguese nasalized vowels poses some articulatory problems accompanied by negative acoustic effects for the performance of Brazilian art songs. The main objective was to find strategies that permit the singer conciliate an idiomatic pronunciation of these vowels with a well-balanced resonance, a desirable quality in classical singing. In order to devise these strategies, the author examined sources dealing with nasalized vowels from varied perspectives: acoustic properties of vowel nasalization, phonetic and phonological aspects of Brazilian Portuguese (BP), historical views on nasality in singing, and recent vocal pedagogy research. In addition to the overall loss of sonority, the main effect of nasalization is felt mainly in the first formant (F1) region of oral vowels, due to the introduction of nasal formants and antiformants, and to shifts in the tongue posture. Several sources report the existence of a nasality contour in BP, by which a nasalized vowel starts with an oral phase and transitions gradually to a nasal phase. The author concludes that the basic approach to sing nasalized vowels in BP is (1) to find the tongue posture corresponding to the oral vowel congener (the “core vowel”), and (2) to adjust the nasality contour in such a way that the oral portion remains prominent in order to keep the resonance balance consistent during the emission of the vowel. Once the core vowel is determined, standard vowel modification choices can be made according to voice type and the musical context in which the vowel is being sung. Some challenging excerpts from Brazilian art songs are examined, with suggestions for the application of the discussed strategies. KEYWORDS: Brazilian Art Song, Nasality, Brazilian Portuguese, Nasalized vowels, Resonance strategies André dos Reis Campelo April 21, 2017 SINGING PORTUGUESE NASAL VOWELS: PRACTICAL STRATEGIES FOR MANAGING NASALITY IN BRAZILIAN ART SONGS By André dos Reis Campelo Dr. Noemi Lugo Director of DMA Project Dr. Michael Baker Director of Graduate Studies April 21, 2017 Date ACKNOWLEDGEMENTS I would like to express my deep gratitude to Dr. Noemi Lugo, for all the guidance throughout this process and for going the extra mile to help me with this achievement. My special thanks to Dr. Dennis Bender, who kindly provided me with opportunities to develop my skills as a class instructor in the Foreign Language Diction course. I would also like to thank Dr. Michael Baker, for his recommendations on the planning and organization of this DMA Document, and for his assistance, in the role of Director of Graduate Studies, in keeping my progress on schedule. Many thanks to Dr. Haralambos Symeonidis for joining the Advisory Committee as the outside member, and for Dr. Joseph Stemple as the outside examiner. Finally, I am grateful for the support and encouragement my parents, Willeam and Angela Campelo, and my wife Wanessa Campelo, have given me throughout my studies. iii TABLE OF CONTENTS ACKNOWLEDGEMENTS ............................................................................................... iii LIST OF TABLES ............................................................................................................. vi LIST OF FIGURES .......................................................................................................... vii LIST OF MUSICAL EXAMPLES .................................................................................... ix INTRODUCTION .............................................................................................................. 1 CHAPTER 1 – ACOUSTICS OF VOWEL NASALIZATION ......................................... 5 1.1 Introduction ....................................................................................................... 5 1.1.1 Spectral analysis of nasalized vowels ................................................ 5 1.2 Anatomical inconsistency of the nasal tract ...................................................... 7 1.3 Summary of Source-Filter Theory .................................................................. 10 1.4 The Nasalization of Vowels ............................................................................ 16 1.4.1 Side-branch effect ............................................................................ 16 1.4.2 Antiformants .................................................................................... 17 1.4.2.1 Antiformants in nasal stops ........................................................... 19 1.4.2.2 Antiformants in nasalized vowels ................................................. 21 1.5 Nasalized vowels as dynamic gestures ........................................................... 24 1.6 Spectral characteristics of nasalized vowels (visual cues) .............................. 25 1.6.1 Summary of the acoustic properties of nasalized vowels ................ 26 1.7 Additional remarks .......................................................................................... 30 1.7.1 Sinuses ............................................................................................. 30 1.7.2 Perception of nasal vowels ............................................................... 30 CHAPTER 2 – NASALITY IN SINGING AND VOCAL TRAINING: HISTORICAL TEACHERS AND MODERN RESEARCHERS ............................................................. 33 2.1 Sung versus spoken vowels ............................................................................ 33 2.2 Aesthetic parameters ....................................................................................... 35 2.3 Nasality in the Vocal Pedagogy literature ...................................................... 36 2.3.1 Historical views on nasality ............................................................. 38 2.3.2 Nasality in the perspective of contemporary voice science ............. 43 CHAPTER 3 – SINGING BRAZILIAN PORTUGUESE NASALIZED VOWELS ...... 50 3.1 Overview of the pronunciation of nasal vowels in Portuguese ....................... 50 3.1.1 Nasal vs. nasalized vowels (distinction) .......................................... 50 3.1.2 Oral and nasalized vowel congeners ................................................ 51 3.2 Spelling of Portuguese Nasalized Vowels ...................................................... 53 3.2.1 Monophthongs ................................................................................
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