{"id":97162,"date":"2009-12-11T00:00:00","date_gmt":"2009-12-11T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/modeling-instrumental-gestures-an-analysis-synthesis-framework-for-violin-bowing\/"},"modified":"2009-12-11T00:00:00","modified_gmt":"2009-12-11T00:00:00","slug":"modeling-instrumental-gestures-an-analysis-synthesis-framework-for-violin-bowing","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/ciencia-de-los-ordenadores\/modeling-instrumental-gestures-an-analysis-synthesis-framework-for-violin-bowing\/","title":{"rendered":"Modeling instrumental gestures: an analysis\/synthesis framework for violin bowing"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Esteban Maestre G\u00f3mez <\/strong><\/h2>\n<p>Este trabajo presenta una metodolog\u00eda por modelar el gesto instrumental en la interpretaci\u00f3n con instrumentos musicales de excitaci\u00f3n continua. En concreto, la tesis trata el control de arco en interpretaci\u00f3n cl\u00e1sica de viol\u00edn. Se introducen t\u00e9cnicas de medida que presentan baja intrusividad, y son aplicadas para la adquisici\u00f3n de se\u00f1ales de par\u00e1metros de control dearco relacionados con el timbre del sonido, y para la construcci\u00f3n de una base de datos de interpretaci\u00f3n. Mediante la definici\u00f3n de un vocabulario de envolventes, se usan secuencias de curvas param\u00e9tricas de b\u00e9zier para modelar los contornos de velocidad del arco, fuerza aplicada al arco, y distancia entre el arco y el puente del viol\u00edn. De esta manera, se obtiene una parametrizaci\u00f3n que permite reconstruir los contornos originales con robustez y fidelidad. A partir de la parametrizaci\u00f3n de los contornos contenidos en la base de datos, se construye un modelo estad\u00edstico para el an\u00e1lisis y la s\u00edntesis de envolventes de par\u00e1metros de control de arco. Este modelo permite un mapping flexible entre anotaciones de partitura y envolventes. El entorno de modelado se usa para generar contornos sint\u00e9tics a partir de una representaci\u00f3n textual de la partitura, mediante un algoritmo de planificaci\u00f3n del uso del arco capaz de reproducir las limitaciones impuestas por las dimensiones f\u00edsicas del arco. Los par\u00e1metros de control sintetizados se utilizan con con \u00e9xito para generar interpretaciones artificiales de viol\u00edn usando dos de las t\u00e9cnicas de s\u00edntesis de sonido m\u00e1s extendidas: modelos f\u00edsicos basados en gu\u00edas digitales de onda, y s\u00edntesis basada en muestras.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Modeling instrumental gestures: an analysis\/synthesis framework for violin bowing<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Modeling instrumental gestures: an analysis\/synthesis framework for violin bowing <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Esteban Maestre G\u00f3mez <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Pompeu fabra<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 12\/11\/2009<\/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: josep Blat gimeno <\/li>\n<li>vesa V\u00ed\u00a4lim\u00ed\u00a4ki (vocal)<\/li>\n<li>Jos\u00e9 adri\u00e1n Rodr\u00edguez fonollosa (vocal)<\/li>\n<li>marcelo m. Wanderley (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Esteban Maestre G\u00f3mez Este trabajo presenta una metodolog\u00eda por modelar el gesto instrumental en la interpretaci\u00f3n con [&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 center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""}},"footnotes":""},"categories":[1890,30902,2528,18712,13227],"tags":[199220,15972,16755,199222,199221,38388],"class_list":["post-97162","post","type-post","status-publish","format-standard","hentry","category-ciencia-de-los-ordenadores","category-fisica-de-la-musica","category-inteligencia-artificial","category-pompeu-fabra","category-simulacion","tag-esteban-maestre-gomez","tag-jose-adrian-rodriguez-fonollosa","tag-josep-blat-gimeno","tag-marcelo-m-wanderley","tag-vesa-vilimiki","tag-xavier-serra-casals"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/97162","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/comments?post=97162"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/97162\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=97162"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=97162"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=97162"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}