Titulo de la Tesis

Autor
15 de mayo de 2008

Resumen
In this thesis, I designed and implemented a compiler which performs
optimizations that reduce the number of low-level floating point operations
necessary for a specific task; this involves the optimization of chains of floating point operations as well as the implementation of a fixed point data
type that allows some floating point operations to simulated with integer
arithmetic. The source language of the compiler is a subset of C, and the
destination language is assembly language for a micro-floating point CPU.
An instruction-level simulator of the CPU was written to allow testing of the
code. A series of test pieces of codes was compiled, both with and without
optimization, to determine how effective these optimizations were.

Indice general
1. INTRODUCCION
1.1. Introduccion . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1.2. Justificacion . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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2. FORMULACION DEL PROBLEMA

2.1. Planteamiento del Problema . . . . .
2.1.1. Problema principal . . . . . .
2.1.2. Problemas secundarios . . . .
2.2. Objetivo de la Investigacion . . . . .
2.2.1. Objetivo general . . . . . . .
2.2.2. Objetivos especficos . . . . .

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3. ANTECEDENTES Y MARCO TEORICO

3.1. Revision de la bibliografia . . . . . . . . . .
3.2. Marco Teorico . . . . . . . . . . . . . . . . .
3.2.1. Marco teorico conceptual . . . . . . .
3.2.2. Marco teorico instrumental . . . . . .

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4. METODOLOGIA DE LA INVESTIGACION
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4.1. Tipo de Investigacion . . . . . . . . . . . . . . . . . . . . . . . 12
4.2. Tipo de Dise
no . . . . . . . . . . . . . . . . . . . . . . . . . . 12
DE LA INVESTIGACION
5. DISENO
5.1. Objeto de la Investigacion . . . . . .
5.2. Poblacion . . . . . . . . . . . . . . .
5.2.1. Tama
no de la Poblacion . . .
5.3. Muestreo . . . . . . . . . . . . . . . .
5.3.1. Tecnica de Muestreo . . . . .
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5.4. Variables . . . . . . . . . . . . . . . .
5.4.1. Variables Independientes . . .
5.4.2. Variables Dependientes . . . .
5.5. Instrumentos de Medicion . . . . . .
5.5.1. Intrumentos para las Variables
5.5.2. Intrumentos para las Variables
5.6. Dise
no del Experimento . . . . . . .
5.7. Hipotesis . . . . . . . . . . . . . . . .
5.8. Modelo de Solucion . . . . . . . . . .
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

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Independientes
Dependientes .
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7. CONCLUSIONES
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7.1. Conclusiones . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
7.2. Recomendaciones . . . . . . . . . . . . . . . . . . . . . . . . . 17
7.3. Trabajos Futuros . . . . . . . . . . . . . . . . . . . . . . . . . 17
A. Classical and Romantic: How Two
A.1. Mendelssohn vs. Tchaikovsky . .
A.1.1. Differences . . . . . . . . .
A.1.2. Structures . . . . . . . . .
A.2. Summation . . . . . . . . . . . .

Styles Express Passion

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B. Classical and Romantic: How Two

B.1. Mendelssohn vs. Tchaikovsky . .
B.1.1. Differences . . . . . . . . .
B.1.2. Structures . . . . . . . . .
B.2. Summation . . . . . . . . . . . .

Styles Express Passion

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Indice de cuadros
1.1. Mendelssohn vs. Tchaikovsky . . . . . . . . . . . . . . . . . .

2.1. Mendelssohn vs. Tchaikovsky . . . . . . . . . . . . . . . . . .

3.1. Mendelssohn vs. Tchaikovsky . . . . . . . . . . . . . . . . . . 11

Indice de figuras
1.1. Fallujah . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Captulo 1
INTRODUCCION
1.1.

Introduccion

There are many misconceptions about the differences between the classical and romantic styles. The first of these is the term romantic. Romantic 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 a
difference in melody. The classical style has melodies in 4m + 4m phrases,
that will usually climb to some type of goal. The romantic style has lyrical
melodies that are asymmetrical and arranged in almost endless phrases.

Figura 1.1: Fallujah

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

1.2.

Justificacion

The Mendelssohn Violin Concerto in e minor is considered an example of

a classical piece. Even though the Concerto is a very passionate piece and
not at all like the music of Mozart or Haydn, Mendelssohn has used much of
the traditional classical form. Tchaikovskys Romeo and Juliet, on the other
hand, is considered and example of a romantic piece. There is no longer a
5

Cuadro 1.1: Mendelssohn vs. Tchaikovsky

true melody: only the addition of instrumental colors to the texture of the
piece[5].
These chords highlight another difference in the two style of composition: harmony. Mendelssohn uses chords to support the melody. The orchestra is frequently supporting the soloist, or playing chords in the same
rhythm for a tutti section. Mendelssohn also stays away from the remote
keys. Tchaikovsky, in the romantic style, uses chords more for color, rather
than for supporting the melody. Romeo and Juliet also modulates to very
remote 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 begins
to develop the piece from the beginning. All the winds are playing, and the
strings are whispering to themselves. This is how Tchaikovsky develops his
themes[4]. He develops constantly, not all at once as the classical composers
did.
Technically, the classicists and the romanticists are properly named.
The music termed romantic is confined to music with a program, and a certain style. D. Grout in A History of Western Music calls the Violin Concerto
in e minor a work as romantic as the Italian Symphony or the Hebrides
Overture, but on to which not the slightest suggestion of program has ever been attached. Both the classical and romantic styles can express
passion, they differ only in form.

Captulo 2
FORMULACION DEL
PROBLEMA
2.1.
2.1.1.

Planteamiento del Problema

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 saber
que hacer cuando se presenta cierta situacion; la necesidad de optimizar cierto
proceso; (el problema se puede replantear a traves de la investigacion)

2.1.2.

2.2.
2.2.1.

Problemas secundarios

Objetivo de la Investigacion
Objetivo general

El objetivo de la investigacion es resolver el problema planteado: (si cambia el problema a resolver, se puede variar el objetivo de la investigacion)

2.2.2.

Objetivos especficos

How Two Styles Express Passion

There are many misconceptions about the differences between the classical and romantic styles. The first of these is the term romantic. Ro7

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 a
difference in melody. The classical style has melodies in 4m + 4m phrases,
that will usually climb to some type of goal. The romantic style has lyrical
melodies that are asymmetrical and arranged in almost endless phrases.
Both classical and romantic pieces can be filled with passion. Just as
different vehicles will transport people, different styles of music will evoke
passion in the minds of the listeners.
The Mendelssohn Violin Concerto in e minor is considered an example of
a classical piece. Even though the Concerto is a very passionate piece and
not at all like the music of Mozart or Haydn, Mendelssohn has used much of
the traditional classical form. Tchaikovskys Romeo and Juliet, on the other
hand, is considered and example of a romantic piece. There is no longer a
true melody: only the addition of instrumental colors to the texture of the
piece[5].
These chords highlight another difference in the two style of composition: harmony. Mendelssohn uses chords to support the melody. The orchestra is frequently supporting the soloist, or playing chords in the same
rhythm for a tutti section. Mendelssohn also stays away from the remote
keys. Tchaikovsky, in the romantic style, uses chords more for color, rather
than for supporting the melody. Romeo and Juliet also modulates to very
remote 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 begins
to develop the piece from the beginning. All the winds are playing, and the
strings are whispering to themselves. This is how Tchaikovsky develops his
themes[4]. He develops constantly, not all at once as the classical composers
did.
Technically, the classicists and the romanticists are properly named.
The music termed romantic is confined to music with a program, and a certain style. D. Grout in A History of Western Music calls the Violin Concerto
in e minor a work as romantic as the Italian Symphony or the Hebrides
Overture, but on to which not the slightest suggestion of program has ever been attached. Both the classical and romantic styles can express
passion, they differ only in form.

Cuadro 2.1: Mendelssohn vs. Tchaikovsky

Captulo 3
ANTECEDENTES Y MARCO
TEORICO
3.1.

Revision de la bibliografia

Antecedentes

3.2.

Marco Teorico

3.2.1.

Marco te
orico conceptual

3.2.2.

Marco te
orico instrumental

There are many misconceptions about the differences between the classical and romantic styles. The first of these is the term romantic. Romantic 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 a
difference in melody. The classical style has melodies in 4m + 4m phrases,
that will usually climb to some type of goal. The romantic style has lyrical
melodies that are asymmetrical and arranged in almost endless phrases.
Both classical and romantic pieces can be filled with passion. Just as
different vehicles will transport people, different styles of music will evoke
passion in the minds of the listeners.
The Mendelssohn Violin Concerto in e minor is considered an example of
a classical piece. Even though the Concerto is a very passionate piece and
10

Cuadro 3.1: Mendelssohn vs. Tchaikovsky

not at all like the music of Mozart or Haydn, Mendelssohn has used much of
the traditional classical form. Tchaikovskys Romeo and Juliet, on the other
hand, is considered and example of a romantic piece. There is no longer a
true melody: only the addition of instrumental colors to the texture of the
piece[5].
These chords highlight another difference in the two style of composition: harmony. Mendelssohn uses chords to support the melody. The orchestra is frequently supporting the soloist, or playing chords in the same
rhythm for a tutti section. Mendelssohn also stays away from the remote
keys. Tchaikovsky, in the romantic style, uses chords more for color, rather
than for supporting the melody. Romeo and Juliet also modulates to very
remote 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 begins
to develop the piece from the beginning. All the winds are playing, and the
strings are whispering to themselves. This is how Tchaikovsky develops his
themes[4]. He develops constantly, not all at once as the classical composers
did.
Technically, the classicists and the romanticists are properly named.
The music termed romantic is confined to music with a program, and a certain style. D. Grout in A History of Western Music calls the Violin Concerto
in e minor a work as romantic as the Italian Symphony or the Hebrides
Overture, but on to which not the slightest suggestion of program has ever been attached. Both the classical and romantic styles can express
passion, they differ only in form.
11

Captulo 4
METODOLOGIA DE LA
INVESTIGACION
4.1.

Tipo de Investigacion

Basica/aplicada, exploratoria, descriptiva

4.2.

Tipo de Dise
no

Experimental o no experimental

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Captulo 5
DE LA
DISENO
INVESTIGACION
5.1.

Objeto de la Investigacion

El objeto de la investigacion Identifique a cada individuo de su poblacion,

que caractersticas tiene apoyese dise
nando una tabla y colocando a los potenciales individuos.

5.2.

Poblacion

La poblacion es

5.2.1.

Tama
no de la Poblacion

Determine el tama
no de la poblacion, si usted no determina este dato
apoye su enunciado indicando la fuente de datos. Determine si la poblacion
se puede clasificar en categoras o tipos.

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5.3.
5.3.1.

5.4.
5.4.1.

Muestreo
Tecnica de Muestreo

Variables
Variables Independientes

Son todas aquellas variables que el investigador puede modificar directamente. Un tema es potencialmente inviable si es que el tesista no tiene
control sobre las variables independientes

5.4.2.

Variables Dependientes

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

5.5.
5.5.1.

Instrumentos de Medicion
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. el
instrumento mide la variable?

5.5.2.

Intrumentos para las Variables Dependientes

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

o puede ser el registro automatico de los resultados de cada experimento.
Un tema es potencialmente inviable si es que el tesista no puede medir el
resultado del experimento.

5.6.

Dise
no del Experimento

Es el paso mas importante de su investigacion. Se dise

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

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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 desarrollo de la investigacion) Una hipotesis es una comparacion entre variables
independientes 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.

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Captulo 6
PLANIFICACION
6.1.
6.1.1.

6.2.
6.2.1.

Cronograma de Trabajo
Entregables por Etapa

Presupuesto de la Investigacion
Fuentes de Financiamiento

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Captulo 7
CONCLUSIONES
7.1.

Conclusiones

7.2.

Recomendaciones

7.3.

Trabajos Futuros

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Ap
endice A
Classical and Romantic: How
Two Styles Express Passion
There are many misconceptions about the differences between the classical and romantic styles. The first of these is the term romantic. Romantic 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 a
difference in melody. The classical style has melodies in 4m + 4m phrases,
that will usually climb to some type of goal. The romantic style has lyrical
melodies that are asymmetrical and arranged in almost endless phrases.
Both classical and romantic pieces can be filled with passion. Just as
different vehicles will transport people, different styles of music will evoke
passion in the minds of the listeners.

A.1.

Mendelssohn vs. Tchaikovsky

The Mendelssohn Violin Concerto in e minor is considered an example of

a classical piece. Even though the Concerto is a very passionate piece and
not at all like the music of Mozart or Haydn, Mendelssohn has used much of
the traditional classical form. Tchaikovskys Romeo and Juliet, on the other
hand, is considered and example of a romantic piece. There is no longer a
true melody: only the addition of instrumental colors to the texture of the
piece[5].

18

A.1.1.

Differences

These chords highlight another difference in the two style of composition: harmony. Mendelssohn uses chords to support the melody. The orchestra is frequently supporting the soloist, or playing chords in the same
rhythm for a tutti section. Mendelssohn also stays away from the remote
keys. Tchaikovsky, in the romantic style, uses chords more for color, rather
than for supporting the melody. Romeo and Juliet also modulates to very
remote keys, quite a contrast from the style of Mendelssohn.

A.1.2.

Structures

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

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

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 certain style. D. Grout in A History of Western Music calls the Violin Concerto
in e minor a work as romantic as the Italian Symphony or the Hebrides
Overture, but on to which not the slightest suggestion of program has ever been attached. Both the classical and romantic styles can express
passion, they differ only in form.

19

Ap
endice B
Classical and Romantic: How
Two Styles Express Passion
There are many misconceptions about the differences between the classical and romantic styles. The first of these is the term romantic. Romantic 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 a
difference in melody. The classical style has melodies in 4m + 4m phrases,
that will usually climb to some type of goal. The romantic style has lyrical
melodies that are asymmetrical and arranged in almost endless phrases.
Both classical and romantic pieces can be filled with passion. Just as
different vehicles will transport people, different styles of music will evoke
passion in the minds of the listeners.

B.1.

Mendelssohn vs. Tchaikovsky

The Mendelssohn Violin Concerto in e minor is considered an example of

a classical piece. Even though the Concerto is a very passionate piece and
not at all like the music of Mozart or Haydn, Mendelssohn has used much of
the traditional classical form. Tchaikovskys Romeo and Juliet, on the other
hand, is considered and example of a romantic piece. There is no longer a
true melody: only the addition of instrumental colors to the texture of the
piece[5].

20

B.1.1.

Differences

These chords highlight another difference in the two style of composition: harmony. Mendelssohn uses chords to support the melody. The orchestra is frequently supporting the soloist, or playing chords in the same
rhythm for a tutti section. Mendelssohn also stays away from the remote
keys. Tchaikovsky, in the romantic style, uses chords more for color, rather
than for supporting the melody. Romeo and Juliet also modulates to very
remote keys, quite a contrast from the style of Mendelssohn.

B.1.2.

Structures

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

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

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 certain style. D. Grout in A History of Western Music calls the Violin Concerto
in e minor a work as romantic as the Italian Symphony or the Hebrides
Overture, but on to which not the slightest suggestion of program has ever been attached. Both the classical and romantic styles can express
passion, they differ only in form.

21

Bibliografa
[1] Stan Augarten. Bit by Bit, An Illustrated History of Computers. Tricknor
and Fields, 1984.
[2] L. Peter Deutsch and Edward A. Taft. Requirements for an experimental
programming environment. Technical Report CSL-80-10, Xerox Palo Alto
Research 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, August
1981.
[5] Larry Tesler. The smalltalk environment. In Byte, August 1981.

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