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Síntesis Musical Humanizada Con Notación Musical Simbólica

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Síntesis Musical Humanizada Con Notación Musical Simbólica ESCUELA TÉCNICA SUPERIOR DE INGENIERÍA INFORMÁTICA INGENIERO EN INFORMÁTICA Síntesis musical humanizada con notación musical simbólica Realizado por RAFAEL DE VICENTE MILANS Dirigido por FRANCISCO J. VICO VELA DAVID D. ALBARRACÍN MOLINA Departamento LENGUAJES Y CIENCIAS DE LA COMPUTACIÓN UNIVERSIDAD DE MÁLAGA MÁLAGA, Junio de 2013. UNIVERSIDAD DE MÁLAGA ESCUELA TÉCNICA SUPERIOR DE INGENIERÍA INFORMÁTICA INGENIERO EN INFORMÁTICA Reunido el tribunal examinador en el día de la fecha, constituido por: Presidente/a Dº/Dª. ______________________________________________________ Secretario/a Dº/Dª. ______________________________________________________ Vocal Dº/Dª. ___________________________________________________________ para juzgar el proyecto Fin de Carrera titulado: Síntesis musical humanizada con notación musical simbólica realizado por Dº. Rafael De Vicente Milans tutorizado por Dº. Francisco J. Vico Vela y Dº. David D. Albarracín Molina ACORDÓ POR ________________________________ OTORGAR LA CALIFICACIÓN DE __________________________________ Y PARA QUE CONSTE, SE EXTIENDE FIRMADA POR LOS COMPARECIENTES DEL TRIBUNAL, LA PRESENTE DILIGENCIA. Málaga a de de El Presidente ___________________ El Secretario___________________ El Vocal_________________ Fdo: __________________________ Fdo: _________________________ Fdo: ____________________ Síntesis musical humanizada con notación musical simbólica ÍNDICE Capítulo 1: Introducción .............................................................................................. 15 Motivación .................................................................................................................. 15 Objetivos ..................................................................................................................... 16 Resumen de capítulos ................................................................................................. 16 Capítulo 2: Introducción a la música y su proceso de grabación ..................... 16 Capítulo 3: Proyecto Melomics ....................................................................... 17 Capítulo 4: Entorno, programas y formatos ..................................................... 17 Capítulo 5: Arquitectura del software .............................................................. 17 Capítulo 6: Generación .................................................................................... 17 Capítulo 7: Síntesis .......................................................................................... 18 Capítulo 8: Pruebas y resultados ...................................................................... 18 Capitulo 9: Conclusiones y extensiones futuras .............................................. 18 Capítulo 2: Introducción a la música y su proceso de grabación ................................ 21 2.1 Introducción .......................................................................................................... 21 2.2 Características del sonido ..................................................................................... 21 2.2.1 Altura ............................................................................................................. 22 2.2.2 Duración ........................................................................................................ 22 2.2.3 Intensidad ...................................................................................................... 22 2.2.4 Timbre ........................................................................................................... 23 2.3 Elementos de la música ........................................................................................ 23 2.4 Notación musical .................................................................................................. 24 2.5 Efectos, articulaciones y adornos ......................................................................... 29 2.6 Música por ordenador ........................................................................................... 30 2.7 Grabación musical ................................................................................................ 31 Capítulo 3: Proyecto Melomics ................................................................................... 35 3.1 Introducción .......................................................................................................... 35 3.2 Aspectos tecnológicos .......................................................................................... 35 3.2.1 Música evolutiva ........................................................................................... 35 3.3 Clúster de computación ........................................................................................ 36 3.4 De la investigación a la empresa. Melomics Media. ............................................ 37 Capítulo 4: Entorno, programas y formatos ................................................................ 41 4.1 Entorno ................................................................................................................. 41 4.1.1 Parallel Computing Toolbox ......................................................................... 41 4.1.2 Torque ............................................................................................................ 42 4.1.3 Maui ............................................................................................................... 42 4.2 Programas externos .............................................................................................. 42 4.2.1 Lilypond ........................................................................................................ 43 4.2.2 Timidity ......................................................................................................... 43 4.2.3 SoX ................................................................................................................ 43 4.2.4 Ecasound ........................................................................................................ 44 4.2.5 FluidSynth ..................................................................................................... 44 4.3 Herramientas externas adicionales ....................................................................... 44 4.3.1 Extreme Sample Converter ............................................................................ 44 4.3.2 Translator 6 .................................................................................................... 45 4.3.3 Viena .............................................................................................................. 45 4.3.4 Mixcraft ......................................................................................................... 45 4.3.5 Synthfont ....................................................................................................... 45 4.4 Formatos ............................................................................................................... 46 Capítulo 5: Arquitectura del software ......................................................................... 49 5.1 Introducción .......................................................................................................... 49 5.2 Estructura básica ................................................................................................... 49 5.3 Notación musical simbólica.................................................................................. 50 5.4 Límite de instrumentos ......................................................................................... 52 5.5 Volúmenes ............................................................................................................ 55 5.6 Optimización ........................................................................................................ 57 5.6.1 Computación paralela .................................................................................... 58 5.6.2 Estrategias de optimización ........................................................................... 60 5.6.2.1 Estrategia 1: Paralelismo en SoX ........................................................... 61 5.6.2.2 Estrategia 2: Paralelismo a nivel de instrumento.................................... 61 5.6.2.3 Estrategia 3: Paralelismo de instrumentos y mezcla .............................. 62 5.6.2.4 Estrategia 4: Paralelismo a nivel de canción .......................................... 62 Capítulo 6: Generación ................................................................................................ 65 6.1 Introducción .......................................................................................................... 65 6.2 Humanizar ............................................................................................................ 65 6.3 Recursos interpretativos ....................................................................................... 68 6.3.1 Interpretación por duplicación ....................................................................... 70 6.3.2 Interpretación por desarrollo ......................................................................... 71 6.3.2.1 Glissando ................................................................................................ 71 6.3.2.2 Arpegio ................................................................................................... 72 Capítulo 7: Síntesis .....................................................................................................
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