{"id":68593,"date":"2018-03-09T23:12:50","date_gmt":"2018-03-09T23:12:50","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/signal-processing-techniques-for-singing-and-vibrato-modeling\/"},"modified":"2018-03-09T23:12:50","modified_gmt":"2018-03-09T23:12:50","slug":"signal-processing-techniques-for-singing-and-vibrato-modeling","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/publica-de-navarra\/signal-processing-techniques-for-singing-and-vibrato-modeling\/","title":{"rendered":"Signal processing techniques for singing and vibrato modeling"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Ixone Arroabarren Aleman <\/strong><\/h2>\n<p>El canto l\u00edrico es una de las expresiones vocales menos estudiadas, dado que en un principio est\u00e1 muy alejado de las aplicaciones t\u00edpicas del procesado de habla, que ocupan a un buen n\u00famero de investigadores. Contrariamente, aquel supone un interesante reto dentro del estudio de la \u00abcalidad\u00bb de la voz debido precisamente a sus diferencias con la voz hablada. Entre las diferencias existentes entre la producci\u00f3n de habla y la producci\u00f3n de canto el vibrato es quiz\u00e1s la m\u00e1s interesante. \u00e9sta es una caracter\u00edstica exclusivamente musical, y por s\u00ed misma  ha sido tema de inter\u00e9s para muchos investigadores en \u00e1reas como la fisiolog\u00eda y musicolog\u00eda.  desde el punto de vista ac\u00fastico, el vibrato en canto l\u00edrico puede definirse como una variaci\u00f3n regular en el per\u00edodo fundamental de la se\u00f1al, el timbre y\/o el volumen. Sin embargo, el origen de estas variaciones y su relaci\u00f3n con los mecanismos de producci\u00f3n de la voz todav\u00eda resultan enigm\u00e1ticos.  el trabajo de tesis que se presenta ha buscado como objetivo la caracterizaci\u00f3n completa del vibrato en el canto l\u00edrico, partiendo de la medida e interpretaci\u00f3n de sus caracter\u00edsticas ac\u00fasticas m\u00e1s relevantes, y finalizando con el an\u00e1lisis de su origen y relaci\u00f3n con los mecanismos de producci\u00f3n de la voz. Este trabajo de investigaci\u00f3n se ha apoyado en el uso de las herramientas del procesado de se\u00f1al m\u00e1s adecuadas en cada caso, dado que el estudio del vibrato en su conjunto ha llevado impl\u00edcita la resoluci\u00f3n de problemas muy distintos, desde la estimaci\u00f3n de la frecuencia instant\u00e1nea de se\u00f1ales no-estacionarias, a la estimaci\u00f3n de la fuente a trav\u00e9s del filtrado inverso.  la principal contribuci\u00f3n del trabajo puede resumirse en la propuesta de dos modelos de se\u00f1al, de producci\u00f3n del vibrato:  1.- Un modelo no-interactivo  de producci\u00f3n del vibrato, que ha permitido relacionar sus caracter\u00edsticas ac\u00fasticas m\u00e1s importantes, variaciones en per\u00edodo fundame<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Signal processing techniques for singing and vibrato modeling<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Signal processing techniques for singing and vibrato modeling <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Ixone Arroabarren Aleman <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 P\u00fablica de navarra<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 24\/06\/2004<\/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>Alfonso Carlosena Garc\u00eda<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: pedro G\u00f3mez vilda <\/li>\n<li>xabier Serra (vocal)<\/li>\n<li>xabier Rodet (vocal)<\/li>\n<li>eduardo Lleida solano (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Ixone Arroabarren Aleman El canto l\u00edrico es una de las expresiones vocales menos estudiadas, dado que en [&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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