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Publication
Vocalidade e oboé – influência da modificação do tracto vocal no timbre do instrumento
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| 128.25 MB | Adobe PDF |
Authors
Abstract(s)
O propósito principal do presente projeto artístico é compreender de que forma o canto e o conhecimento do funcionamento do tracto vocal podem influenciar na prática do oboé, contribuindo para uma performance mais expressiva. Nesta investigação foi assumido como factual que os cantores desenvolvem ao longo do seu percurso uma perceção mais desenvolvida do tracto vocal, algo que pode vir a ser aplicado aos oboístas.
Esta investigação divide-se em quatro capítulos, onde inicialmente será exposto um enquadramento teórico específico a cada instrumento (oboé e voz, respetivamente), discriminando vários pontos característicos a cada um, como por exemplo timbre, articulação, processo de emissão sonora, respiração e características acústicas. De seguida, abordar-se-á duas das obras que foram apresentadas no meu projeto final de Mestrado, nas quais irei realizar uma análise fonética e interpretativa, respetivamente, explorando as relações entre a linha vocal e a frase realizada pelo oboé.
O terceiro capítulo contém a realização de um questionário a dois instrumentistas de canto e o oboé – Irene Kurka e Ralph van Daal. No último capítulo irá constar uma análise a oscilogramas e espectrogramas de gravações realizadas no âmbito deste projeto académico. Com esta análise, poderei chegar a uma maior quantidade de respostas em torno do comportamento dos formantes de cada exemplo e aferir se as diferentes modificações do tracto vocal são notórias. Serão aplicados dois questionários, o primeiro aos oboístas participantes na pesquisa e o segundo a estudantes de música do ensino superior.
Os resultados indicam que, apesar do impacto do tracto vocal no caso do oboísta ser mais subtil, existe alguma influência que pode ser comprovada segundo os dados, bem como na coloração e ressonância do som. Essa diferença é mais clara nos primeiros formantes, onde os dados possuem uma maior dispersão. Entre os participantes, será possível aferir que existem diferentes graus de expressividade e controlo, sendo que o quinto oboísta apresenta a maior variação frequencial e, por isso, maior expressividade sonora.
The main purpose of this artistic project is to understand how singing and the knowledge of the vocal tract’s functioning can influence oboe playing, contributing to a more expressive performance. This investigation assumes as a fact that singers develop, throughout their training, a heightened awareness of the vocal tract, which can be applied to oboists. This research is divided into four chapters. The first presents a theoretical framework specific to each instrument (oboe and voice, respectively), outlining several distinctive aspects such as historical context, timbre, articulation, sound production process, breathing, and acoustic characteristics. The second chapter addresses two of the works performed in my Master’s final recital, providing an interpretative analysis of each and exploring the relationship between the vocal line and the phrasing produced by the oboe. The third chapter includes a questionnaire conducted with two performers of both singing and oboe — Irene Kurka and Ralph van Daal. The final chapter presents an analysis of oscillograms and spectrograms obtained from recordings made within the scope of this academic project. Through this analysis, I aim to gather further insights into the behaviour of formants in each example and to determine whether different vocal tract modifications are perceptible. Two questionnaires were administered: the first to the oboists who participated in the recordings, and the second to higher education music students. The results indicate that, although the influence of the vocal tract on oboe playing is more subtle, measurable differences can be observed both in the timbral colouring and in the resonance of the sound. These differences are most evident in the lower formants, where greater variability was found. Among the participants, distinct levels of expressiveness and vocal control were observed, with the fifth oboist showing the largest frequency variation and, consequently, the highest degree of sonic expressivity.
The main purpose of this artistic project is to understand how singing and the knowledge of the vocal tract’s functioning can influence oboe playing, contributing to a more expressive performance. This investigation assumes as a fact that singers develop, throughout their training, a heightened awareness of the vocal tract, which can be applied to oboists. This research is divided into four chapters. The first presents a theoretical framework specific to each instrument (oboe and voice, respectively), outlining several distinctive aspects such as historical context, timbre, articulation, sound production process, breathing, and acoustic characteristics. The second chapter addresses two of the works performed in my Master’s final recital, providing an interpretative analysis of each and exploring the relationship between the vocal line and the phrasing produced by the oboe. The third chapter includes a questionnaire conducted with two performers of both singing and oboe — Irene Kurka and Ralph van Daal. The final chapter presents an analysis of oscillograms and spectrograms obtained from recordings made within the scope of this academic project. Through this analysis, I aim to gather further insights into the behaviour of formants in each example and to determine whether different vocal tract modifications are perceptible. Two questionnaires were administered: the first to the oboists who participated in the recordings, and the second to higher education music students. The results indicate that, although the influence of the vocal tract on oboe playing is more subtle, measurable differences can be observed both in the timbral colouring and in the resonance of the sound. These differences are most evident in the lower formants, where greater variability was found. Among the participants, distinct levels of expressiveness and vocal control were observed, with the fifth oboist showing the largest frequency variation and, consequently, the highest degree of sonic expressivity.
Description
Keywords
Oboé Canto Tracto vocal Acústica Análise espectral e fonética Oboe Singing Vocal tract Acoustics Spectral and phonetic analysis