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LABO INTRO A TELE SOTWARE
Matlab
ADVENTIST UNIVERSITY OF THE PHILIPPINES ELECTRONICS ENGINEERING DIGITAL SIGNAL PROCESSING Instructor: Engr. Edwn R. Ar!o"#d$% &ENG'ECE &USIC SYNTHESIS USING &ATLA( &ATLA(
). &usc &usc S*nt S*nt+#s +#ss s I. R$g$ R$g$ &$",$ &$",$un uns. s. ''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''' Raga Malkauns: In Indian classical music, a raga is a musical composition based on ascending and descending scale. The The notes and their order from the musical musical alphabet and grammar from which the performer performer construct musical passages, using only the notes allowed. The performance of o f a Raga can last for a few minutes to an hour or more! Raga Malkauns is a pentatonic raga( with fie notes and the following scales:
"scending: #
$
%
& b
'
& b
%
$
#
#
#escending: '
The final note note in each scale is held twice as long as the rest. " musical composition is a combination of notes, or signals, at arious a rious fre)uencies. "n octae coers a range of fre)uencies from f * to +f *. In the western musical scale, there are + notes per octae, logarithmically e)uispaced . The fre)uencies of the notes from f * to +f * correspond to f - + k+ f * (k - *, , +,//., The + + notes are as follows (the 0 stand for sharp and the fair of notes in in the parentheses has the same fre)uency: "
("0 or & b
($0 or % b
%
&
'
('0 or # b
#
b
stand for flat, and each
(#0 or 1 b
1
$
(%0 or " b
To synthesi2e the scale of Raga Malkauns in M"T3"&, M"T3"&, start with a fre)uency fo corresponding to the first note # and go up in fre)uency to get the notes in ascending scale4 upon reaching the note #, which is an octae higher, go down in fre)uency to get the notes in the descending descend ing scale. 5ere is a M"T3"& M"T3"& code fragment. 66 f*- 78*4 d-f*4 9 pick a fre)uency and the note n ote # 66 f- f*(+;(7+4 g-f*(+;(<+4 9The notes $ and % 66 bf-f*(+;(=+4 c-f*(+;(*+4 9The notes &(flat and '
66 d+ - +d4 %enerate the sample sinusoid at these fre)uencies, using an appropriate sampling rate (say =>+524 concatenate them, assuming silent passages between each note4 play the resulting signal, using the M"T3"& command sound. ?se the following M"T3"& code fragments as a guide. 66 ts-=>+4 9sampling interal 66 t-*:ts:*.84 9Time for each note (*.8 s 66 s - *(*:ts:*.4 9@ilent period (*.s 66 s+- *(*:ts:*.*<4 9 @ilent period (*.*+4 9sampling interal 66 t-*:ts:*.84 9Time for each note (*.8 s 66 s - *(*:ts:*.4 9@ilent period (*.s 66 s+- *(*:ts:*.*<4 9 @ilent period (*.*
3ab.1Dercises: . &ig &en . @ynthesi2e the following notes, $0 (*.7
#(*.8
1(*.8
"(
"(*.8
1(*.8
$0(*.7
#(
"ll notes coer one octae and the numbers in parentheses gie a rough indication of their duration. +. EFictures of an 1DhibitionG by Mussorgsky "(7 %(
%(7 1(7
'(7 '(7
#(+ %( 1(7 #(7 "(7 %(7
'(7
1(7
# (+
"ll notes coer one octae eDcept the note % , which is an octae aboe %. The numbers in parentheses gie a rough indication of their relatie duration of the notes.
FroHect: @ynthesi2e the notes of your faorite modern song.
Tip: %et a copy of song hits containing the lyrics and guitar chords of your faorite song. "pply the principles discussed here.
@tudents are re)uired to synthesi2e only the chorus of the song. 5oweer those who can do the whole song will get an additional points. "lso this proHect re)uires a minimum of one song but those who can synthesi2e more than one will get an additional grade.
y-Aff s+ cc cc aa aa aa aa gg ff+ gg8 s gg+ gg+ gg+ gg+ gg+ aa ff ff s dd cc ff ff ff dd cc ff ff ff+ ff+ ff ff ff+ ff+ ff+ ff+ cc s+ gg aa+ s7 aa aa aa aa aa aa aa aa gg+ gg7 s8 gg+ gg+ gg gg gg gg ff+ ff7 s< dd ff ff+ ff+ ff dd cc ff ff ff dd cc ff ff+ ff+ ff+ ff+ cc s+ gg aa+ s< gg+ aa aa aa aa aa aa c*7 s= c*+ d d d c*7 aa gg+ aa s8 ff+ gg+ a a aa ff sK aa bbf bbf bbf aa ff+ ff s< ff+ ff+ ff+ ff+ ff+ aa ff aa ff aa ff< s< ff+ ff+ ff+ ff+ gg+ ee gg+ ee gg+ ee+ ee ee ee ee ee ee ffK dd7 ee ee ee ee ee ffK dd7 s+ ff+ ff+ ff+ ff s= ff+ ff ff+ ff ff+ ff+ ff+ ff s= ee ee ee ee ee ee ee ee ffK dd7 ee ee ee ee ee ffK dd+ s* ff+ aa aa aa aa gg ff gg8 s gg+ gg+ gg+ gg+ gg+ aa ff ff s dd cc ff ff ff dd cc ff ff ff< dd ff+ ff+ ff+ ff+ ff ff+ cc s+ gg aa+ s7 aa aa aa aa aa aa aa aa gg+ gg7 s8 gg+ gg+ gg gg gg gg ff+ ff7 s< dd ff ff+ ff+ ff dd cc ff ff ff dd cc ff ff+ ff+ ff+ ff+ cc s+ gg aa+ s< gg+ aa aa aa aa aa aa c*7 s= c*+ d d d c*7 aa gg+ aa s8 ff+ gg+ aa aa ff sK aa bbf bbf bbf aa ff+ ff s< ff+ ff+ ff+ ff+ ff+ aa ff aa ff aa ff< s< ff+ ff+ ff+ ff+ gg+ ee gg+ ee gg+ ee+ ee ee ee ee ee ee ffK dd7 ee ee ee ee ee ffK dd7 s+ ff+ ff+ ff+ ff s= ff+ ff ff+ ff ff+ ff+ ff+ ff s= ee ee ee ee ee ee ee ee ffK dd7 ee ee ee ee ee ffK dd+ s< ff+ ff+ ff+ ff+ ff+ aa ff aa ff aa ff< s< ff+ ff+ ff+ ff+ gg+ ee gg+ ee gg+ ee+ ee ee ee ee ee ee ffK dd7 ee ee ee ee ee ffK dd7 s+ ff+ ff+ ff+ ff s= ff+ ff ff+ ff ff+ ff+ ff+ ff s= ee ee ee ee ee ee ee ee ffK dd7 ee ee ee ee ee ffK dd+B 4 sound(y4