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Bilgisayarlı müzik Sesin analog yapısı, Sesin band genişliği, Müzik sesi frekanslarının tanımlanması, Wave ses dosyası özellikleri, Musical Instrument Digital Interface (MIDI) tanımları, Bilgisayarda ses üretimi, MIDI sequencer ve editor özellikleri, MIDI file yapısı, MIDI file üretimi, Müzik sesi sentezleme yöntemleri http://www.sfu.ca/sonic-studio/handbook/Alphabet_list.html#M_Anchor http://www.acoustics.salford.ac.uk/acoustics_info/sound_synthesis/ http://sezginalsan.angelfire.com/index.html ftp://muhogr:muh948@ftp.iticu.edu.tr/ Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik http://ww3.ticaret.edu.tr/salsan/ Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik http://music.arts.uci.edu/dobrian/ University Courses at Cornell MUSIC 2390 - Hip Hop: Beats, Rhymes and Life (crosslisted) Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik http://ww2.iticu.edu.tr/ogr/salsan/BilMusic/BilMusic2010.html Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik Cubase SX 7 Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik ftp://muhogr:muh948@ftp.iticu.edu.tr/ Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik Başarı Değerlendirme Ölçütleri 2013 Vize sınavı %20 (8-12 Nisan 2013 arasında) Ödev 1 %10 (2-3 Nisan 2013) Hex editor ile wave dosya incelenmesi Ödev 2 %10 (21-22 Mayıs 2013) Midi file yapısı ve Cubase programının uygulaması Kısa sınav 1 %5 (19-20 Mart 2013) Kısa sınav 2 %5 (14-15 Mayıs 2013) Final sınavı %50 (3 – 14 Haziran 2013) Derse %70 devam, her ders denetlenecektir. Ödev formatı : kapak sayfası + 5…10 sayfa konu + 1 sayfa sizin kendi yorumunuz Ödev sayfaları dosya içine yada poşet içine konulmadan sadece sol orta kenardan 2 adet tel zımba ile birleştirilecektir. Gecikmelerde -%1/gün uygulanacaktır. 7 Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik http://www.animations.physics.unsw.edu.au/jw/frequency-pitch-sound.htm Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik Müzik • Sürekli frekans değişimi • Tanımlı frekanslar Doğal ses cisimlerin titreşimi, zil, düdük, piyano Ritm Zaman boyunca değişimler Ses titreşim Elektronik ses Elektriksel işaretin HP ‘de sese dönüşmesi Sanat Fizik Elektronik Prof.Dr.Sezgin ALSAN Bilgisayar Bilgisayarlı Müzik MÜZİK FİZİĞİ Taylan Şengül 01.04.2007 http://www.bgst.org/temel-muzik-bilgisi/muzik-fizigi I. Sesin Oluşumu ve Özellikleri 1.1. Ses Nedir? Bir müzik notası ve genel olarak herhangi bir ses bir kaynaktan doğar, iletici bir ortam (genellikle hava) içerisinde yayılır ve bir alıcı (bir kulak veya bir mikrofon) tarafından algılanır. Bu yüzden kaynak, iletici ortam ve alıcı, akustik biliminin (müzik fiziği) üç temel öğesini oluşturur. Öncelikle ses nedir? Sesten bahsederken, genelde havada dolaşan ve insan kulağı tarafından algılanabilen mekanik titreşimlerden bahsederiz. Bilim insanları, “sesin”, insan kulağı tarafından duyulmayacak kadar yüksek ve alçak frekanslara sahip olabilen ve gaz, sıvı ve katı olmak üzere her türlü maddi ortamda yayılabilen daha kapsamlı bir tanımını kullanırlar. İster bir klarnetin sesi, ister çırpılan bir el sesi olsun, sesler her zaman bir kaynağın titreşimi sonucu oluşur. Çoğu zaman bu titreşimi fark etmek kolay değildir, özellikle el çırpması gibi sesin kısa ve keskin çıktığı durumlarda. Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik Giriş :P1 Çıkış :P2 dB(0.775 VRMS) voltage relative to 0.775 volts. (1mW) dB (sound pressure level) for sound in air and other gases, relative to 20 micropascals (μPa) = 2×10−5 Pa Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik http://www.phys.unsw.edu.au/jw/hearing.html This hearing test measures http://www.sfu.ca/sonic-studio/handbook/Sone.html PHON Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik http://hyperphysics.phy-astr.gsu.edu/hbase/audio/audiocon.html#c1 Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik http://hyperphysics.phyastr.gsu.edu/hbase/audio/mic.html#c1 16 Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik There are three main types of microphones: Shure SM 57 1) Dynamic/Moving Coil 2) Ribbon Beyer M 160 Types of Microphones 3) Condenser/Capacitor Audio Technica AT 4033 http://saba.kntu.ac.ir/eecd/ecourses/instrumentation/projects/reports/Poly %20Acoustics/Acoustic%20Transducers.htm http://artsites.ucsc.edu/EMS/Music/tech_background/TE-20/teces_20.htm 17 http://artsites.ucsc.edu/EM http://artsites.ucsc.edu/EMS/Music/ S/facilities.html Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik 18 Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik http://www.bgst.org/muzik/egitim/muzikfizigi.html Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik http://hyperphysics.phy-astr.gsu.edu/hbase/audio/geowv.html#c1 Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik http://www.phys.unsw.edu.au/jw/sound.spectrum.html http://www.animations.physics.unsw.edu.au//waves-sound/ http://www.phy.ntnu.edu.tw/ntnujava/index.php?topic=17 Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik Fourier sentezi Kare dalganın harmonikleri ve sentezi 1 0.8 0.6 0.4 0.2 0 0.00 0.20 0.40 0.60 0.80 1.00 1.20 1.40 1.60 1.80 -0.2 -0.4 -0.6 -0.8 -1 Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik 2.00 DALGA ŞEKLİ ANALİZİ http://openbookproject.net/electricCircuits/AC/AC_7.html MIXED-FREQUENCY AC SIGNALS Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik Signal Generator Spectrum Analyser Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik WavePad Sound Editor Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik "ADSR" (Attack Decay Sustain Release) envelope Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik http://casperelectronics.com/finished-pieces/casio-sa-keyboards Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik DTMF (dual-tone, multi-frequency) system http://www.polar-electric.com/DTMF/Index.html Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik 29 There are three major groups of audio file formats: • Uncompressed audio formats, such as WAV, AIFF, AU or raw headerless PCM; • Formats with lossless compression, such as FLAC, Monkey's Audio (filename extension APE), WavPack (filename extension WV), TTA, ATRAC Advanced Lossless, Apple Lossless (filename extension m4a), MPEG-4 SLS, MPEG-4 ALS, MPEG-4 DST, Windows Media Audio Lossless (WMA Lossless), and Shorten (SHN). • Formats with lossy compression, such as MP3, Vorbis, Musepack, AAC, ATRAC and Windows Media Audio Lossy (WMA lossy)). Center for Computer Research in Music and Acoustics https://ccrma.stanford.edu/courses/ https://ccrma.stanford.edu/courses/120/lectures/02/tutorial.html Fundamentals of Computer-Generated Sound Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik http://www.leegoeller.com/PBX/ONEPBX12.jpg Pulse Code Modulation (PCM) Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik 31 WAVE PCM soundfile format https://ccrma.stanford.edu/courses/422/projects/WaveFormat/ Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik http://www.atasoyweb.net/blog/ses-isleme-k7s0/wav-formatini-okuma-yazma-y75.html Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik Nota süreleri Metronome Beat Per Minute (BPM) Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik Musical Clefs Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik http://www.musictheory.net/ Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik 1,0535 Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik Bağlama Üzerinde Nota Yerleri Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik http://www.phys.u nsw.edu.au/music/ http://www.phys.un sw.edu.au/jw/notes. html Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik ENVELOPE The shape of a sound's AMPLITUDE in time. Graphical representation of the envelope of a sound object may show distinctive features in its ATTACK or onset TRANSIENTs, STATIONARY STATE, INTERNAL DYNAMICS and DECAY. FOURIER SYNTHESIS http://www.sfu.ca/sonicstudio/handbook/Fourier_Theorem.html Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik VIBRATO A periodic fluctuation or OSCILLATION in the FREQUENCY of a tone, thereby being a type of FREQUENCY MODULATION. It is also usually accompanied by a pulsation of intensity which affects the TIMBRE or colour of the tone. Instrumentalists and singers use the effect to enrich their tone, and usually regulate the speed of the vibrato to the range of seven cycles per second. http://www.sfu.ca/sonic-studio/handbook/Vibrato.html TREMOLO A periodic fluctuation or OSCILLATION in the AMPLITUDE of a tone, thereby being a type of AMPLITUDE MODULATION, and a limited version of a VIBRATO. It is used in various forms by instrumentalists but the optimum speed is usually regarded as being seven cycles per second. Tremolo is often heard with the vibraphone and certain types of electronic organ sounds http://www.sfu.ca/sonic-studio/handbook/Alphabet_list.html#M_Anchor Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik MIDI (Musical Instrument Digital Interface) http://www.midi.org/techspecs/midispec.php Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik http://hyperphysics.phy-astr.gsu.edu/hbase/electronic/serial.html#c4 http://www.electronics.dit.ie/staff/tscarff/dt080_1.htm Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik +5V M-Audio UNO MIDI Interface with One In/Out (USB) +5V +5V http://www.electronics.dit.ie/staff/tscarff/Music_technology/midi/midi_hardw are.htm http://www.electronics.dit.ie/staff/tscarff/Music_technology/key2midi/key2m idi.gif Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik MIDI vs RS232 Frame Format Baud Rate Driver (loaded) RS-232 1 start bit 5-8 data bits 1-2 stop bits optional parity bit up to 20k standard rates of 300, 600,...19k2 extended rates of 38k4, 57k6, 115k2 MIDI 1 start bit 8 data bits 1 stop bits no parity 31250 baud +/- 1% Voltage: Logic 0: +5V to +15V Logic 1: -5V to -15V +/- 25V maximum +/- 100mA maximum 3k to 7k ohm Receiver Sensitivity Receiver input range Signal rise/fall speed Maximum Minimum Maximum cable +/- 3V +/- 3V to +/-15V Current: Logic 0: 5mA Logic 1: 0mA Unspecified Unspecified Opto-isolator (otherwise unspecified) < 5 mA to turn 'on' Unspecified 30V/us (max) slew-rate Unspecified 2500pF (approx. 15m) Unspecified 2 us (max) rise/fall times 15m Isolation Unspecified Handshaking signals Transmitter: RTS, DTR Receiver: CTS, DSR, DCD, RI Opto-isolator on receiver circuit None Physical connector D25 Driver (open circuit) Driver (short circuit) Receiver Load 5-pin DIN (180 degree) http://www.personal.kent.edu/~sbirch/Music_Production/MP-II/MIDI/midi_physical_layer.htm Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik http://www.indiana.edu/~emusic/etext/MIDI/chapter3_MIDI.shtml The table below presents a summary of the MIDI Channel Voice Message codes in binary form. A MIDI channel voice message consists of a status Byte followed by one or two data Bytes. Click here for a list of currently assigned MIDI controller numbers. Status Data Byte Data Byte Message Byte 1 2 Legend 1000nnnn 0kkkkkkk 0vvvvvvv Note Off n=channel* k=key # 0-127(60=middle C) v=velocity (0-127) 1001nnnn 0kkkkkkk 0vvvvvvv Note On n=channel k=key # 0-127(60=middle C) v=velocity (0-127) 1010nnnn 0kkkkkkk 0ppppppp Poly Key Pressure n=channel k=key # 0-127(60=middle C) p=pressure (0-127) 1011nnnn 0ccccccc 0vvvvvvv Controller Change n=channel c=controller v=controller value (0-127) 1100nnnn 0ppppppp [none] Program Change n=channel p=preset number (0-127) 1101nnnn 0ppppppp [none] Channel Pressure n=channel p=pressure (0-127) 1110nnnn 0fffffff 0ccccccc Pitch Bend n=channel c=coarse f=fine (c+f = 14-bit resolution) Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik MIDI Data Format The majority of MIDI communication consists of multi-byte packets beginning with a status byte followed by one or two data bytes .Bytes are packets of 8 bits (0's or 1's). Status bytes begin with a '1' e.g. 1xxx xxxx-this is call 'set.' Data bytes begin with a '0' e.g. 0xxx xxxx--this is called 'reset.' Each byte is surrounded by a start bit and a stop bit, making each packet 10 bits long. Messages fall into the following five formats: Channel Voice Control the instrument's 16 voices (timbres, patches), plays notes, sends controller data, etc. Channel Mode Define instrument's response to Voice messages, sent over instrument's 'basic' channel System Common Messages intended to all networked instruments and devices System Real-Time Intended for all networked instruments and devices. Contain only status bytes and is used for syncronization of all devices. essentially a timing clock System Exclusive Originally used for manufacturer-specific codes, such as editor/librarians, has been expanded to include MIDI Time Code, MIDI Sample Dump Standard and MIDI Machine Control Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik MIDI serial data flows at the rate of 31.25 kilobits per second and is organised into 10-bit words. The first bit is called the START bit ( which is always 0 ), the next eight are the desired information, and the last is the STOP bit ( which is always 1 ). The start and stop bits frame the desired data and provide the required synchronization but do not carry MIDI information themselves. http://www.electronics.dit.ie/staff/tscarff/Music_technol ogy/midi/midi_messages.htm Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik http://www.csie.ntu.edu.tw/~r92092/ref/midi/midi_channel_voice.htm MIDI Channel Voice Messages Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik http://www.electronics.dit.ie/staff/tscarff/Music_technology/ midi_projects/projects.htm Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik Examinations: Music Technology Winter 2005 http://www.youtube.com/watch?v=7 y5bysWEJHY http://tomscarff.tripod.com/ Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik http://www.acoustics.salford.ac.uk/acoustics_info/sound_synthesis/ Methods of Synthesis Jeff Pressing in "Synthesizer Performance and Real-Time Techniques" gives this list of approaches to sound synthesis. • additive synthesis - combining tones, typically harmonics of varying amplitudes • subtractive synthesis - filtering of complex sounds to shape harmonic spectrum, typically starting with geometric waves. • frequency modulation synthesis - modulating a carrier wave with one or more operators • sampling - using recorded sounds as sound sources subject to modification • composite synthesis - using artificial and sampled sounds to establish resultant "new" sound • phase distortion - altering speed of waveforms stored in wavetables during playback • waveshaping - intentional distortion of a signal to produce a modified result • resynthesis - modification of digitally sampled sounds before playback • granular synthesis - combining of several small sound segments into a new sound • linear predictive coding - technique for speech synthesis • direct digital synthesis - computer modification of generated waveforms • wave sequencing - linear combinations of severtal small segments to create a new sound • vector synthesis - technique for fading between any number of different sound sources • physical modeling - mathematical equations of acoustic characteristics of sound http://hyperphysics.phy-astr.gsu.edu/hbase/audio/synth.html#c2 Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik ANALOGUE SYNTHESIS There are a number of different technologies or algorithms used to create sounds in music synthesizers. Three widely used techniques are Subtractive synthesis, Frequency Modulation (FM) synthesis and Wavetable synthesis. http://www.electronics.dit.ie/ staff/tscarff/Music_technology /Synthesis/subtractive/analog ue_synthesis.htm Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik 63 Basic components of an analogue subtractive synthesizer Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik Additive synthesis was utilized as early as on Hammond organ in 1930s. Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik Subtractive synthesis is still utilized on various synths, including virtual analog synth. Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik M synthesis was huge successful as earliest digital synthesizers. FM synthesis using 2 operators Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik http://support.fender.com/schematics/guitar_amplifiers/GDEC_schematic.pdf http://www.dz863.com/datasheet-816039663-ATSAM2133B_SoundSynthesis-Low-power-Synthesizer-With-Effects-And-Built-in-Ram/ Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik Copyright © Cirrus Logic, Inc. 2005 http://www.cirrus.com CS5361 114 dB, 192 kHz, Multi-Bit Audio A/D Converter Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik 69 Low-cost Keyboard Instrument ATSAM2133B Low-power Synthesizer with Effects and Built-in RAM Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik 70 DSPB56367PV150 Freescale Semiconductor / Motorola DSP, DSP56300 Family,Enhanced Dual Harvard Architecture,150MIPS http://www.datasheetarchive.com/DSPB56367PV150datasheet.html Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik 71 ATSAM2133B Features • Single-chip Synthesizer + Effects, Features include – High-quality Wavetable Synthesis, Serial MIDI In & Out, MPU-401 (UART) – Effects: Reverb + Chorus, on MIDI and/or Audio In – Up to 64-voice Polyphony – Surround on Two or Four Speakers with Intensity/Delay Control – Four-band Parametric Equalizer – Audio-in Processing through Reverb, Chorus, Equalizer, Surround • Low Chip Count in Applications – ATSAM2133B Synthesizer, ROM/Flash, DAC – Built-in (32K x 16) Effects RAM • Low-power – 40 mA Typical Operating Current, <1 μA Power-down – 2.5V and 3.3V Supply – Built-in Power Switch • 16-bit Samples, 44.1 KHz Sampling Rate, 24 dB Digital Filter per Voice • Available Wavetable Firmwares and Sample Sets – CleanWave8® Low-cost General MIDI 1-MB Firmware + Sample Set – CleanWave32® Top-quality 4-MB Firmware + Sample Set – Other Sample Sets Available under special conditions • Built-in ROM Debugger, Flash Programmer through Dedicated Pins Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik 73 Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik 74 Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik 75 Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik 76 Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik 77 Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik 78 GENELDE MAKAM VE MAKAMIN KURULUŞU GENELDE MAKAM VE MAKAMIN KURULUŞU Türk Mûsikîsinde Aralıklar 1) Sistemci Okul (Urmevî-Merâgî Sistemi) A) Safiyüddin Urmevî'de Aralıklar a) Küçük Aralıklar b) Büyük Aralıklar ve Cinsler B) Abdülkadir Merâgî'de Aralıklar a) Küçük Aralıklar b) Büyük Aralıklar ve Cinsler C) Sistemci Okulda Aralıklar a) Ana Makamlar b) Âvâzeler c) Şubeler d) Kantemiroğlu 'nda Makam ve Terkibat e) ... Kaynak: http://www.yenifrm.com/1-bolum-genelde-makam-vemakamin-kurulusu-t217803p4.html#ixzz1mkgm4Sob http://www.yenifrm.com/1-bolum-genelde-makam-vet217803p4.html?s=8fb71b585f114492676c424fa0cec54a&amp;s=76e7b 63b18455d3248aecf430a26c7e8&amp;s=1e5afa9f1e6e5a8528d12abd1b f99c43&amp;s=5ac41330e2de99bfc7acf084f0bf978b&amp;s=fec731d8a af2f5ef869637ce1272bcb0&amp;s=8330bb010d7a27ffb3b80352837199 51&amp;s=eed65e1a0e59d1595e530f087f468e08&amp;s=5a6cd6aef43 c542399f033a8b0c31df0&amp;s=caa4530fa1625c9d0502fec18b9b2192 &amp;s=52483d314c9fd52da674f013650bea38&amp;s=94f31e677b592 7b46dad1381ee9171b0&amp; Prof.Dr.Sezgin ALSAN Bilgisayarlı Müzik
