臺灣博碩士論文加值系統

現今音樂的呈現，已不需直接由真人演奏。以程式模擬物理特性的方式，特定樂器的樂音能栩栩如生而輕鬆地被合成。近年來，由於演算設備和技術的進步，一種被稱做波導合成的樂器物理合成法開始被廣泛運用。技術上來說，波導合成和傳統的波表合成法相當不同。後者由於基於波形的複製，其音樂情感表達能力非常地受限。而物理合成法使合成樂器和真實樂器擁有完全相同的控制參數。因此其音樂情感表達能力遠超出傳統方法所及。本論文的主要目標為實做一小提琴的物理模型，應用它模擬若干傳統合成方式難以做到的弓法，顯示其音樂情感表達能力。本論文的焦點將特別放在弓和弦的互動上。我們將利用實際錄製的真人演奏樂音和自行開發的程式產生之結果做比較。

Today, music is not necessarily generated by physical instruments playing by musicians in person. Music of a particular instrument can be easily synthesized lifelikely by modeling its physical characteristic programmatically. In the past few years, physical simulation of musical instruments, called waveguide synthesis, has been got popular due to the improvement of computational devices and techniques. Technically, waveguide synthesis is quite different from the traditional wave-table synthesis. Due to the duplicating nature of the latter, its expressibility is quite limited. With physical model of music instruments, it is possible for the synthesized instruments to have some control parameters over the real one. Its expressing ability is thus superior to the former quite a bit. The main goal of this thesis is to implement a physical model of violin and apply several bowing techniques to show its music expression power. In particular, the focus of the thesis is placed on the interaction model between the bow and the strings. The successful development of the model will enable the players to express their emotion changes dramatically. For verification, some comparisons were made on bowing techniques of ours and traditional ones by experiments.

TABLE OF CONTENTS iv
LIST OF FIGURES vi
1 INTRODUCTION 1
1.1 Overview 1
1.2 Thesis Organization 2
2 BACKGROUND 3
2.1 Overview 3
2.2 Violin Acoustics 4
2.3 Bow and String 6
2.4 Bowing Techniques 8
2.5 Traditional Synthesize Techniques 10
2.6 Physical Modeling 11
2.7 Digital Waveguide Synthesizing 12
2.8 Summary 14
3 IMPLEMENTATION OF PHYSICAL VIOLIN MODEL 15
3.1 Overview 15
3.2 Violin String Model 16
3.3 Bow-String Interaction 17
3.4 Bow Block 21
3.5 Summary 22
4 EXPERIMENTS 23
4.1 Overview 23
4.2 Test Results 23
4.2.1 Martelle 24
4.2.2 Staccato 25
4.2.3 Sautille 25
4.2.4 Ricochet 26
4.3 Summary 27
5 CONCLUSIONS AND FUTURE WORKS 30
5.1 Conclusions 30
5.2 Future Works 31
REFERENCES 32

[1] “Violin Acoustics", Joe Wolfe. UNSW School of physics: Music Acoustics
[2] “Why is the violin so hard to play?", J. Woodhouse; P.M. Galluzzo;
[3] “Bows and strings", Joe Wolfe. UNSW School of physics: Music Acoustics
[4] “Playing the violin", Wikipedia. (3.1) Bowing techniques
[5] “The Digital Waveguide Modeling", Wikipedia.
[6] “Development and Exploration of a Timbre Space Representation of Audio",Craig Andrew Nicol (2005), University of Glasgow department of Computing.(2.4) Synthesis.
[7] Digital Synthesis of Plucked String and Drum Timbres", Kevin Karplus, AlexStrong (1983). Computer Music Journal 7 (2): 43-55.
[8]“Physical Audio Signal Processing: for Virtual Musical Instruments and Digital Audio E®ects",Smith, Julius O. (2006 Edition)
[9]”Physical Modeling using Digital Waveguides", Smith, Julius O.(1992), Computer Music Journal special issue on Physical Modeling of Musical Instruments,Part I Volume 16, no. 4, pp. 74
[10] “On the oscillarions of the bow string", F.G. Friedlander (1953), Proceedings of the Cambridge Philosophy Society, vol 49, pp 516-530.
[11] “Towards complete physical modelling synthesis of performance characteristics in the violin.", J.M. Holm(2001), Proceedings of SBCM2001, Fortaleza, Brazil