The underrepresentation of Brazilian art song in international concert venues and studio teaching is linked to restricted access to scores, the absence of an official International Phonetic Alphabet (IPA) for Brazilian Portuguese, and a lack of knowledge regarding Brazilian music history. This study aims to address these issues by increasing resource availability for performers and educators, thereby advancing the performance and pedagogical use of Brazilian repertoire. To achieve this goal, sixteen Brazilian art songs were selected to showcase the historical evolution of the genre. “Trovas” by Alberto Nepomuceno; “Lua Branca” by Chiquinha Gonzaga; “Cair da Tarde” and “Canção de Amor” by Heitor Villa-Lobos; “São João-da-ra-rão” by Ernani Braga; “Azulão” by Jayme Ovalle; “Berceuse da Onda” by Oscar Lorenzo Fernández; “Dona Janaína” by Francisco Mignone; “Uirapuru” and “Valsinha do Marajó” by Waldemar Henrique; “Ê-boi” by César Guerra-Peixe; “Balada da Flor da Terra”, “Amor que Partiu”, and “Ouve o Silêncio” by Claudio Santoro; “Estro Africano No.1: Duas Cantigas das Águas” by Eunice Katunda; and “Cantares” by Ronaldo Miranda. The study includes a discussion on modern Brazilian Portuguese IPA, providing IPA transcriptions, word-by-word translations, and poetic translations for each song. The appendix features the IPA applied to the vocal lines. Each song is accompanied by a brief historical context, highlighting the composer's career, stylistic elements, thematic content, and poetic background. Additionally, a pedagogical analysis addresses aspects of breath control, register, rhythm and melody, harmony, and piano accompaniment. By addressing key barriers and fostering greater familiarity with Brazilian music history and its cultural significance, this study aims to elevate the profile of Brazilian art song and promote its inclusion in the global classical music repertoire.