{"id":63567,"date":"2018-03-09T22:51:32","date_gmt":"2018-03-09T22:51:32","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/singing-driven-interfaces-for-sound-synthesizers\/"},"modified":"2018-03-09T22:51:32","modified_gmt":"2018-03-09T22:51:32","slug":"singing-driven-interfaces-for-sound-synthesizers","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/ciencias-economicas\/singing-driven-interfaces-for-sound-synthesizers\/","title":{"rendered":"Singing-driven interfaces for sound synthesizers"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Jordi Janer Mestres <\/strong><\/h2>\n<p>Los instrumentos musicales digitales se pueden separar en dos componentes: el interfaz de usuario y el motor de s\u00edntesis. El interfaz de usuario se ha denominado tradicionalmente controlador musical. El objectivo de esta tesis es el dise\u00f1o de un interfaz que permita el control de la s\u00edntesis de sonidos instrumentales a partir de la voz cantada. La presente investigaci\u00f3n pretende relacionar las caracter\u00edsticas de la voz con el sonido de los instrumentos musicales, teniendo en cuenta la descripci\u00f3n de la se\u00f1al de voz, como las correspondientes estrategias de mapeo para un control apropiado del sintetizador. Se proponen dos enfoques distintos, el control de un sintetizador de voz cantada, y el control de la s\u00edntesis de sonidos instrumentales. Para este \u00faltimo, se sugiere una representaci\u00f3n de la se\u00f1al de voz como gestos vocales, incluyendo varios algoritmos de an\u00e1lisis de voz. Los resultados obtenidos se demuestran con dos prototipos a tiempo real.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Singing-driven interfaces for sound synthesizers<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Singing-driven interfaces for sound synthesizers <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Jordi Janer Mestres <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Pompeu fabra<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 14\/03\/2008<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<h3>Direcci\u00f3n y tribunal<\/h3>\n<ul>\n<li><strong>Director de la tesis<\/strong>\n<ul>\n<li>Xavier Serra Casals<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: marcelo Bertalmio <\/li>\n<li>phillipe Depalle (vocal)<\/li>\n<li>climent Nadeu camprubi (vocal)<\/li>\n<li>emilia G\u00f3mez guti\u00e9rrez (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Jordi Janer Mestres Los instrumentos musicales digitales se pueden separar en dos componentes: el interfaz de usuario [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center 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