0.fiis templates

8/10/2019 0.Fiis Templates

1/24

Titulo de la Tesis

Autor

15 de mayo de 2008


2/24

Resumen

In this thesis, I designed and implemented a compiler which performsoptimizations that reduce the number of low-level floating point operationsnecessary for a specific task; this involves the optimization of chains of float-ing point operations as well as the implementation of a fixed point datatype that allows some floating point operations to simulated with integerarithmetic. The source language of the compiler is a subset of C, and thedestination language is assembly language for a micro-floating point CPU.An instruction-level simulator of the CPU was written to allow testing of thecode. A series of test pieces of codes was compiled, both with and withoutoptimization, to determine how effective these optimizations were.


3/24

Indice general

1. INTRODUCCION 5

1.1. Introduccion . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

1.2. Justificacion . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

2. FORMULACION DEL PROBLEMA 7

2.1. Planteamiento del Problema . . . . . . . . . . . . . . . . . . . 72.1.1. Problema principal . . . . . . . . . . . . . . . . . . . . 72.1.2. Problemas secundarios . . . . . . . . . . . . . . . . . . 7

2.2. Objetivo de la Investigacion . . . . . . . . . . . . . . . . . . . 72.2.1. Objetivo general . . . . . . . . . . . . . . . . . . . . . 72.2.2. Objetivos especficos . . . . . . . . . . . . . . . . . . . 7

3. ANTECEDENTES Y MARCO TEORICO 10

3.1. Revision de la bibliografia . . . . . . . . . . . . . . . . . . . . 103.2. Marco Teorico . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

3.2.1. Marco teorico conceptual . . . . . . . . . . . . . . . . . 103.2.2. Marco teorico instrumental . . . . . . . . . . . . . . . . 10

4. METODOLOGIA DE LA INVESTIGACION 12

4.1. Tipo de Investigacion . . . . . . . . . . . . . . . . . . . . . . . 124.2. Tipo de Diseno . . . . . . . . . . . . . . . . . . . . . . . . . . 12

5. DISENO DE LA INVESTIGACION 13

5.1. Objeto de la Investigacion . . . . . . . . . . . . . . . . . . . . 13

5.2. Poblacion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135.2.1. Tamano de la Poblacion . . . . . . . . . . . . . . . . . 13

5.3. Muestreo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145.3.1. Tecnica de Muestreo . . . . . . . . . . . . . . . . . . . 14

1


4/24

5.4. Variables . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

5.4.1. Variables Independientes . . . . . . . . . . . . . . . . . 145.4.2. Variables Dependientes . . . . . . . . . . . . . . . . . . 145.5. Instrumentos de Medicion . . . . . . . . . . . . . . . . . . . . 14

5.5.1. Intrumentos para las Variables Independientes . . . . . 145.5.2. Intrumentos para las Variables Dependientes . . . . . . 14

5.6. Diseno del Experimento . . . . . . . . . . . . . . . . . . . . . 145.7. Hipotesis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155.8. Modelo de Solucion . . . . . . . . . . . . . . . . . . . . . . . . 15

6. PLANIFICACION 16

6.1. Cronograma de Trabajo . . . . . . . . . . . . . . . . . . . . . 16

6.1.1. Entregables por Etapa . . . . . . . . . . . . . . . . . . 166.2. Presupuesto de la Investigacion . . . . . . . . . . . . . . . . . 16

6.2.1. Fuentes de Financiamiento . . . . . . . . . . . . . . . . 16

7. CONCLUSIONES 17

7.1. Conclusiones . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177.2. Recomendaciones . . . . . . . . . . . . . . . . . . . . . . . . . 177.3. Trabajos Futuros . . . . . . . . . . . . . . . . . . . . . . . . . 17

A. Classical and Romantic: How Two Styles Express Passion 18

A.1. Mendelssohn vs. Tchaikovsky . . . . . . . . . . . . . . . . . . 18

A.1.1. Differences . . . . . . . . . . . . . . . . . . . . . . . . . 19A.1.2. Structures . . . . . . . . . . . . . . . . . . . . . . . . . 19

A.2. Summation . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

B. Classical and Romantic: How Two Styles Express Passion 20

B.1. Mendelssohn vs. Tchaikovsky . . . . . . . . . . . . . . . . . . 20B.1.1. Differences . . . . . . . . . . . . . . . . . . . . . . . . . 21B.1.2. Structures . . . . . . . . . . . . . . . . . . . . . . . . . 21

B.2. Summation . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

2


5/24

Indice de cuadros

1.1. Mendelssohn vs. Tchaikovsky . . . . . . . . . . . . . . . . . . 6



3


6/24

Indice de figuras

1.1. Fallujah . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

4


7/24

Captulo 1

INTRODUCCION

1.1. Introduccion

There are many misconceptions about the differences between the clas-sical and romantic styles. The first of these is the term romantic. Ro-mantic music is not romantic is the sense of romance or love. In this case,it refers to a story[3]. Other differences between these two styles include adifference in melody. The classical style has melodies in 4m + 4m phrases,that will usually climb to some type of goal. The romantic style has lyricalmelodies that are asymmetrical and arranged in almost endless phrases.

Figura 1.1: Fallujah

Both classical and romantic pieces can be filled with passion. Just asdifferent vehicles will transport people, different styles of music will evokepassion in the minds of the listeners.

1.2. Justificacion

The Mendelssohn Violin Concerto in e minor is considered an example ofa classical piece. Even though the Concerto is a very passionate piece andnot at all like the music of Mozart or Haydn, Mendelssohn has used much ofthe traditional classical form. Tchaikovskys Romeo and Juliet, on the otherhand, is considered and example of a romantic piece. There is no longer a

5


8/24

Cuadro 1.1: Mendelssohn vs. Tchaikovsky

true melody: only the addition of instrumental colors to the texture of thepiece[5].

These chords highlight another difference in the two style of composi-tion: harmony. Mendelssohn uses chords to support the melody. The or-chestra is frequently supporting the soloist, or playing chords in the samerhythm for a tutti section. Mendelssohn also stays away from the remotekeys. Tchaikovsky, in the romantic style, uses chords more for color, ratherthan for supporting the melody. Romeo and Juliet also modulates to veryremote keys, quite a contrast from the style of Mendelssohn.

Even the basic structure of these two pieces is different. Mendelssohn

has structured his piece much like a classical piece[2]. Tchaikovsky beginsto develop the piece from the beginning. All the winds are playing, and thestrings are whispering to themselves. This is how Tchaikovsky develops histhemes[4]. He develops constantly, not all at once as the classical composersdid.

Technically, the classicists and the romanticists are properly named.The music termed romantic is confined to music with a program, and a cer-tain style. D. Grout inA History of Western Musiccalls the Violin Concertoin e minor a work as romantic as the Italian Symphony or the HebridesOverture, but on to which not the slightest suggestion of program has ev-

er been attached. Both the classical and romantic styles can expresspassion, they differ only in form.

6


9/24

Captulo 2

FORMULACION DEL

PROBLEMA

2.1. Planteamiento del Problema

2.1.1. Problema principal

El problema es una situacion problematica. se puede comprender como:la falta o ausencia de algo; el no saber como lograr cierto objetivo; el no saberque hacer cuando se presenta cierta situacion; la necesidad de optimizar ciertoproceso; (el problema se puede replantear a traves de la investigacion)

2.1.2. Problemas secundarios

2.2. Objetivo de la Investigacion

2.2.1. Objetivo general

El objetivo de la investigacion es resolver el problema planteado: (si cam-bia el problema a resolver, se puede variar el objetivo de la investigaci on)

2.2.2. Objetivos especficos

How Two Styles Express PassionThere are many misconceptions about the differences between the clas-

sical and romantic styles. The first of these is the term romantic. Ro-

7


10/24

mantic music is not romantic is the sense of romance or love. In this case,

it refers to a story[1]. Other differences between these two styles include adifference in melody. The classical style has melodies in 4m + 4m phrases,that will usually climb to some type of goal. The romantic style has lyricalmelodies that are asymmetrical and arranged in almost endless phrases.


The Mendelssohn Violin Concerto in e minor is considered an example ofa classical piece. Even though the Concerto is a very passionate piece andnot at all like the music of Mozart or Haydn, Mendelssohn has used much ofthe traditional classical form. Tchaikovskys Romeo and Juliet, on the other

hand, is considered and example of a romantic piece. There is no longer atrue melody: only the addition of instrumental colors to the texture of thepiece[5].


Even the basic structure of these two pieces is different. Mendelssohnhas structured his piece much like a classical piece[2]. Tchaikovsky beginsto develop the piece from the beginning. All the winds are playing, and thestrings are whispering to themselves. This is how Tchaikovsky develops histhemes[4]. He develops constantly, not all at once as the classical composersdid.

Technically, the classicists and the romanticists are properly named.The music termed romantic is confined to music with a program, and a cer-tain style. D. Grout inA History of Western Musiccalls the Violin Concertoin e minor a work as romantic as the Italian Symphony or the HebridesOverture, but on to which not the slightest suggestion of program has ev-

er been attached. Both the classical and romantic styles can expresspassion, they differ only in form.

8


11/24


9


12/24

Captulo 3

ANTECEDENTES Y MARCO

TEORICO

3.1. Revision de la bibliografia

Antecedentes

3.2. Marco Teorico

3.2.1. Marco teorico conceptual

3.2.2. Marco teorico instrumental


Both classical and romantic pieces can be filled with passion. Just as

different vehicles will transport people, different styles of music will evokepassion in the minds of the listeners.

The Mendelssohn Violin Concerto in e minor is considered an example ofa classical piece. Even though the Concerto is a very passionate piece and

10


13/24


not at all like the music of Mozart or Haydn, Mendelssohn has used much ofthe traditional classical form. Tchaikovskys Romeo and Juliet, on the otherhand, is considered and example of a romantic piece. There is no longer atrue melody: only the addition of instrumental colors to the texture of thepiece[5].

These chords highlight another difference in the two style of composi-tion: harmony. Mendelssohn uses chords to support the melody. The or-chestra is frequently supporting the soloist, or playing chords in the samerhythm for a tutti section. Mendelssohn also stays away from the remotekeys. Tchaikovsky, in the romantic style, uses chords more for color, rather

than for supporting the melody. Romeo and Juliet also modulates to veryremote keys, quite a contrast from the style of Mendelssohn.


Technically, the classicists and the romanticists are properly named.The music termed romantic is confined to music with a program, and a cer-

tain style. D. Grout inA History of Western Musiccalls the Violin Concertoin e minor a work as romantic as the Italian Symphony or the HebridesOverture, but on to which not the slightest suggestion of program has ev-er been attached. Both the classical and romantic styles can expresspassion, they differ only in form.

11


14/24

Captulo 4

METODOLOGIA DE LA

INVESTIGACION

4.1. Tipo de Investigacion

Basica/aplicada, exploratoria, descriptiva

4.2. Tipo de Diseno

Experimental o no experimental

12


15/24

Captulo 5

DISENO DE LA

INVESTIGACION

5.1. Objeto de la Investigacion

El objeto de la investigacion Identifique a cada individuo de su poblacion,que caractersticas tiene apoyese disenando una tabla y colocando a los po-tenciales individuos.

5.2. Poblacion

La poblacion es

5.2.1. Tamano de la Poblacion

Determine el tamano de la poblacion, si usted no determina este datoapoye su enunciado indicando la fuente de datos. Determine si la poblaci onse puede clasificar en categoras o tipos.

13


16/24

5.3. Muestreo

5.3.1. Tecnica de Muestreo

5.4. Variables

5.4.1. Variables Independientes

Son todas aquellas variables que el investigador puede modificar direc-tamente. Un tema es potencialmente inviable si es que el tesista no tienecontrol sobre las variables independientes

5.4.2. Variables Dependientes

Son todas aquellas variables que el investigador no puede modificar di-rectamente, pero si indirectamente luego de ejecutar un experimento.

5.5. Instrumentos de Medicion

5.5.1. Intrumentos para las Variables Independientes

Es el procedimiento de toma de datos, puede ser una encuesta manual o

puede ser el registro automatico de los resultados de cada experimento. elinstrumento mide la variable?

5.5.2. Intrumentos para las Variables Dependientes

Es el procedimiento de toma de datos, puede ser una encuesta manualo puede ser el registro automatico de los resultados de cada experimento.Un tema es potencialmente inviable si es que el tesista no puede medir elresultado del experimento.

5.6. Diseno del ExperimentoEs el paso mas importante de su investigacion. Se disena los experimentos

a realizar. Se ejecuta cada experimento. Recuerde que el aplicar un exper-

14


17/24

imento puede modificar las condiciones del objeto de la investigacion. Esta

etapa incluye el desarrollo del software en caso de ser necesario.

5.7. Hipotesis

(los tesistas proponen dos hipotesis que se ajustaran durante el desar-rollo de la investigacion) Una hipotesis es una comparacion entre variablesindependientes o entre dependientes o entre independientes y dependientes.Indique que prueba estadstica va ha usar para probar su hipotesis

5.8. Modelo de Solucion

Descripcion del proceso de solucion del problema planteado.

15


18/24

Captulo 6

PLANIFICACION

6.1. Cronograma de Trabajo

6.1.1. Entregables por Etapa

6.2. Presupuesto de la Investigacion

6.2.1. Fuentes de Financiamiento

16


19/24

Captulo 7

CONCLUSIONES

7.1. Conclusiones

7.2. Recomendaciones

7.3. Trabajos Futuros

17


20/24

Apendice A

Classical and Romantic: How

Two Styles Express Passion



A.1. Mendelssohn vs. Tchaikovsky

The Mendelssohn Violin Concerto in e minor is considered an example ofa classical piece. Even though the Concerto is a very passionate piece andnot at all like the music of Mozart or Haydn, Mendelssohn has used much ofthe traditional classical form. Tchaikovskys Romeo and Juliet, on the otherhand, is considered and example of a romantic piece. There is no longer atrue melody: only the addition of instrumental colors to the texture of thepiece[5].

18


21/24

A.1.1. Differences


A.1.2. Structures


A.2. Summation

Technically, the classicists and the romanticists are properly named.

The music termed romantic is confined to music with a program, and a cer-tain style. D. Grout inA History of Western Musiccalls the Violin Concertoin e minor a work as romantic as the Italian Symphony or the HebridesOverture, but on to which not the slightest suggestion of program has ev-er been attached. Both the classical and romantic styles can expresspassion, they differ only in form.

19


22/24

Apendice B

Classical and Romantic: How

Two Styles Express Passion



B.1. Mendelssohn vs. Tchaikovsky

The Mendelssohn Violin Concerto in e minor is considered an example ofa classical piece. Even though the Concerto is a very passionate piece andnot at all like the music of Mozart or Haydn, Mendelssohn has used much ofthe traditional classical form. Tchaikovskys Romeo and Juliet, on the otherhand, is considered and example of a romantic piece. There is no longer atrue melody: only the addition of instrumental colors to the texture of thepiece[5].

20


23/24

B.1.1. Differences


B.1.2. Structures


B.2. Summation

Technically, the classicists and the romanticists are properly named.

The music termed romantic is confined to music with a program, and a cer-tain style. D. Grout inA History of Western Musiccalls the Violin Concertoin e minor a work as romantic as the Italian Symphony or the HebridesOverture, but on to which not the slightest suggestion of program has ev-er been attached. Both the classical and romantic styles can expresspassion, they differ only in form.

21


24/24

Bibliografa

[1] Stan Augarten. Bit by Bit, An Illustrated History of Computers. Tricknorand Fields, 1984.

[2] L. Peter Deutsch and Edward A. Taft. Requirements for an experimentalprogramming environment. Technical Report CSL-80-10, Xerox Palo AltoResearch Center, June 1980.

[3] J. M. Alonso Gordo. Cancer de mama. manejo desde atencion primaria.SEMERGEN, 26:491501, 2000.

[4] Daniel H. H. Ingalls. Design principles behind smalltalk. Byte, August1981.

[5] Larry Tesler. The smalltalk environment. In Byte, August 1981.

22

0.fiis templates

Documents