EP1116213B1 - Automatic music generating method and device - Google Patents

Abstract

The invention concerns a music generating method which consists in: an operation defining musical moments during which at least four notes are capable of being played, for example, bars or half-bars; an operation defining two families of note pitches, for each musical moment, the second family of note pitches having at least one note pitch which does not belong to the first family; an operation forming at least a succession of notes having at least two notes, each succession of notes being called a musical phrase, succession wherein, for each moment, each note whereof the pitch belongs exclusively to the second family is exclusively surrounded with notes of the first family; and an operation producing the output of a signal representing each pitch of each succession of notes.

Description

The present invention relates to a method and a device for generating automatic music. It applies, in particular, to the dissemination of background music, teaching aids, music on hold for telephone systems, games electronics, toys, music synthesizers, computers, camcorders, alarm devices, music telecommunication, and more generally sound illustration and musical creation.

• d'une part, la variété musicale résultant des manipulations de séquences de musiques existantes est nécessairement très limitée
• d'autre part, la manipulation des paramètres se limite à l'interprétation de l'assemblage des séquences : tempo, volume, transposition, instrumentation,
• et enfin la place mémoire utilisée par les "templates" (séquences musicales) est généralement très grande (plusieurs Mégabytes).

The methods and devices for generating music currently known use a library of stored musical sequences which serve as a basis for manipulating automatic random assemblies. These devices have three main types of drawbacks:

• on the one hand, the musical variety resulting from the manipulation of sequences of existing music is necessarily very limited
• on the other hand, the manipulation of parameters is limited to the interpretation of the assembly of sequences: tempo, volume, transposition, instrumentation,
• and finally the memory space used by the "templates" (musical sequences) is generally very large (several Megabytes).

These drawbacks limit the applications of music generation devices currently known, non-professional sound illustration or educational music.

Thus, in particular, US Pat. No. 5,375,501 describes an automatic composer of melodies, capable of composing a melody sentence by sentence. This composer is based on storage of many musical phrases and music generation indexes referring to a combination of sentences. A decoder is provided to select an index, extract the appropriate sentences and combine them, so as to obtain a melody.

• une opération de définition de moment musicaux au cours desquels au moins quatre notes sont susceptibles d'être jouées,
• une opération de définition de deux familles de hauteurs de note, pour chaque moment musical, la deuxième famille de hauteurs de note possédant au moins une hauteur de note qui n'est pas dans la première famille,
• une opération de constitution d'au moins une succession de notes possédant au moins deux notes, chaque succession de notes étant appelée une phrase musicale, succession dans laquelle, à partir d'une phrase d'au moins trois notes, chaque note dont la hauteur appartient exclusivement à la deuxième famille est précédée et suivie exclusivement de notes de la premiére famille, et
• une opération de sortie d'un signal représentatif de chaque hauteur de note de chaque dite succession.

The present invention intends to remedy these drawbacks. To this end, the present invention aims, according to a first aspect, an automatic musical generation process, characterized in that it comprises:

• an operation for defining musical moments during which at least four notes can be played,
• an operation for defining two families of note pitches, for each musical moment, the second family of note pitches having at least one note pitch which is not in the first family,
• an operation of constituting at least one succession of notes having at least two notes, each succession of notes being called a musical phrase, a succession in which, from a sentence of at least three notes, each note whose pitch belongs exclusively to the second family is preceded and followed exclusively by notes from the first family, and
• an output operation of a signal representative of each pitch of each said succession.

Thanks to these provisions, the succession of note pitches has both a great wealth because the number of successions that can be generated in this way is several billion, and harmonic coherence, because the polyphony generated is governed by constraints.

According to particular characteristics, during the operation of defining two families of note pitches, for each musical moment, we define the first family as a set of note pitches belonging to the current harmonic chord, duplicated from octave to octave.

According to other particular characteristics, during the operation of defining two families of note pitches, the second family includes at least the pitches of a range whose mode has been defined, who are not in the first family.

Thanks to these provisions, the definition of families is easy and the alternation of notes of the two families is harmonious.

According to other particular characteristics, during the operation of constitution of at least one succession of notes having at least two notes, each sentence musical is defined as a set of notes whose start times are not separated between them, two by two, more than a predetermined duration.

Thanks to these arrangements, a musical phrase is, for example, made up of notes whose beginnings are not separated by more than three sixteenth notes.

According to other particular characteristics, the method of musical generation further comprises an operation of entering values representative of physical quantities and in that at least one of the operations of defining musical moments, of defining two families of note pitches, constituting at least one succession of notes is based on the value of at least one value of physical quantity.

Thanks to these arrangements, the musical piece can be related to a physical event, such as an image, a movement, a form, a sound, a capture on keys, phases of a game of which a physical quantity is representative, ...

• un moyen de définition de moments musicaux au cours desquels au moins quatre notes sont susceptibles d'être jouées,
• un moyen de définition de deux familes de hauteurs de note, pour chaque moment musical, la deuxième famille de hauteurs de note possédant au moins une hauteur de note qui n'est pas dans la première famille,
• un moyen de constitution d'au moins une succession de notes possédant au moins deux notes, chaque succession de notes étant appelée une phrase musicale, succession dans laquelle, pour chaque moment, chaque note dont la hauteur appartient exclusivement à la deuxième famille est entourée exclusivement de notes de la première famille, et
• un moyen de sortie d'un signal représentatif de chaque hauteur de note de chaque dite succession.

According to a second aspect, the present invention relates to an automatic musical generation device, characterized in that it comprises:

• a means of defining musical moments during which at least four notes can be played,
• a means of defining two families of note pitches, for each musical moment, the second family of note pitches having at least one note pitch which is not in the first family,
• a means of constituting at least one succession of notes having at least two notes, each succession of notes being called a musical phrase, a succession in which, for each moment, each note whose pitch belongs exclusively to the second family is exclusively surrounded first family notes, and
• means for outputting a signal representative of each pitch of each said succession.

• une opération de traitement d'informations représentatives d'une grandeur physique au cours de laquelle au moins une valeur de paramétre dit « de commande » est générée,
• une opération d'association de chaque paramètre de commande avec au moins un paramètre dit « de génération musicale » correspondant, chacun, à au moins une note à jouer au cours d'un morceau musical,
• une opération de génération musicale mettant en oeuvre chaque paramètre de génération musicale pour générer un morceau musical.

The present invention aims, according to a third aspect, a method of musical generation, characterized in that it comprises:

• an operation for processing information representative of a physical quantity during which at least one so-called “control” parameter value is generated,
• an operation of associating each control parameter with at least one so-called “musical generation” parameter, each corresponding to at least one note to be played during a musical piece,
• a musical generation operation using each musical generation parameter to generate a musical piece.

Thanks to these depositions, not only a note can depend on a size physical, as in a musical instrument, but a parameter of musical generation relative to at least one note to play depends on a physical quantity.

• une opération de détermination automatique d'une structure musicale composée de moments comportant des mesures, chaque mesure comportant des temps et chaque temps comportant des emplacements de débuts de notes,
• une opération de détermination automatique de densités, probabilités d'un début de note à jouer, associées à chaque emplacement,
• une opération de détermination automatique de cadences rythmiques en fonction de densités.

According to particular characteristics, the musical generation operation successively comprises:

• an operation for automatically determining a musical structure composed of moments comprising measures, each measure comprising times and each time comprising locations for the start of notes,
• an automatic determination of densities, probabilities of the start of a note to be played, associated with each location,
• an operation for automatically determining rhythmic cadences as a function of densities.

• une opération de détermination automatique d'accords harmoniques associés à chaque emplacement,
• une opération de détermination automatique de familles de hauteurs de note en fonction de l'accord rythmique associé à un emplacement,
• une opération de sélection automatique de hauteur de note associée à chaque emplacement correspondant à un début de note à jouer, en fonction desdites familles et de règles de composition prédéterminée.

According to particular characteristics, the musical generation operation includes:

• an operation for automatic determination of harmonic chords associated with each location,
• an operation for automatically determining families of note pitches as a function of the rhythmic chord associated with a location,
• an automatic note pitch selection operation associated with each location corresponding to a start of note to be played, according to said families and predetermined composition rules.

• une opération de sélection automatique d'instruments d'orchestre,
• une opération de détermination automatique de tempo,
• une opération de détermination automatique de tonalité générale du morceau,
• une opération de détermination automatique de vélocité pour chaque emplacement correspondant à un début de note à jouer,
• une opération de détermination automatique de durée de chaque note à jouer,
• une opération de détermination automatique de cadences rythmiques d'arpèges, et/ou
• une opération de détermination automatique de cadences rythmiques d'accords d'accompagnement.

Selon des caractéristiques particulières, au cours de l'opération de génération musicale, chaque densité dépend dudit tempo (vitesse d'exécution du morceau).According to other particular characteristics, the musical generation operation comprises:

• an automatic selection of orchestral instruments,
• an automatic tempo determination operation,
• an operation to automatically determine the general tone of the song,
• an automatic velocity determination operation for each location corresponding to the start of a note to be played,
• an operation to automatically determine the duration of each note to be played,
• an operation for automatically determining the rhythmic cadences of arpeggios, and / or
• an operation for automatically determining rhythmic cadences of accompaniment chords.

According to particular characteristics, during the musical generation operation, each density depends on said tempo (speed of execution of the piece).

According to a fourth aspect, the present invention relates to a method of generation musical taking into account a family of descriptors, each descriptor relating to several possible locations for the start of notes to be played in a musical piece, process comprising, for each descriptor, an operation for selecting a value, characterized in that that, for at least part of said descriptors, said value depends on at least one quantity physical.

• un moyen de traitement d'informations représentatives d'une grandeur physique adapté à générer au moins une valeur de paramètre dit « de commande »,
• un moyen d'association de chaque paramètre de commande avec au moins un paramètre dit « de génération musicale » correspondant, chacun, à au moins une note à jouer au cours d'un morceau musical,
• un moyen de génération musicale mettant en oeuvre chaque paramètre de génération musicale pour générer un morceau musical.

According to a fifth aspect, the present invention relates to a musical generation device, characterized in that it comprises:

• means for processing information representative of a physical quantity adapted to generate at least one so-called “control” parameter value,
• means for associating each control parameter with at least one parameter called “musical generation”, each corresponding to at least one note to be played during a musical piece,
• a musical generation means implementing each musical generation parameter to generate a musical piece.

According to a sixth aspect, the present invention relates to a generation device musical taking into account a family of descriptors, each descriptor relating to several possible locations for the start of notes to be played in a musical piece, characterized in that it comprises a means for selecting, for each descriptor, a value dependent on at least one physical quantity.

Thanks to each of these provisions, the music generated is coherent, and pleasant to hear, since the musical parameters are linked together by constraints. Of moreover, the music generated is neither “free” nor accidental, nor entirely random. She corresponds to external physical quantities, and can even be done without any assistance human, thanks to the capture of values of physical quantities.

• une opération de déclenchement de génération musicale,
• une opération de sélection de paramètres de commande,
• une opération d'association de chaque paramètre de commande avec au moins un paramètre dit « de génération musicale » correspondant à au moins deux notes à jouer au cours d'un morceau musical, et
• une opération de génération musicale mettant en oeuvre chaque paramètre de génération musicale pour générer un morceau musical.

The present invention aims, according to a seventh aspect, a method of musical generation, characterized in that it comprises:

• a musical generation triggering operation,
• an operation for selecting control parameters,
• an operation of associating each control parameter with at least one parameter called "musical generation" corresponding to at least two notes to be played during a musical piece, and
• a musical generation operation using each musical generation parameter to generate a musical piece.

According to particular characteristics, the triggering operation comprises a connection operation to a network, for example the internet network.

According to other particular characteristics, the triggering operation includes a sensor read operation.

According to other particular characteristics, the triggering operation includes a music type selection operation.

According to other particular characteristics, the triggering operation includes an operation for selecting musical parameters by a user.

• une opération de détermination automatique d'une structure musicale composée de moments comportant des mesures, chaque mesure comportant des temps et chaque temps comportant des emplacements de débuts de notes,
• une opération de détermination automatique de densités, probabilités d'un début de note à jouer, associées à chaque emplacement,
• une opération de détermination automatique de cadences rythmiques en fonction de densités.

According to other particular characteristics, the musical generation operation successively comprises:

• an operation for automatically determining a musical structure composed of moments comprising measures, each measure comprising times and each time comprising locations for the start of notes,
• an automatic determination of densities, probabilities of the start of a note to be played, associated with each location,
• an operation for automatically determining rhythmic cadences as a function of densities.

• une opération de détermination automatique d'accords harmoriques associés à chaque emplacement,
• une opération de détermination automatique de familles de hauteurs de note en fonction de l'accord associé à un emplacement, à la positon de cet emplacement dans le temps d'une mesure, à la situation d'occupation des positions voisines et à l'état des éventuelles notes voisines,
• une opération de sélection automatique de hauteur de note associée à chaque emplacement correspondant à un début de note à jouer, en fonction desdites familles et de règles de composition prédéterminés.

According to other particular characteristics, the musical generation operation comprises:

• an operation for automatic determination of harmonic agreements associated with each location,
• an operation for automatically determining families of note pitches as a function of the agreement associated with a location, the position of this location in the time of a measurement, the situation of occupation of neighboring positions and the state any neighboring notes,
• an automatic note pitch selection operation associated with each location corresponding to the start of a note to be played, according to said families and predetermined composition rules.

• une opération de sélection automatique d'instruments d'orchestre,
• une opération de détermination automatique de tempo,
• une opération de détermination automatique de tonalité générale du morceau,
• une opération de détermination automatique de vélocité pour chaque emplacement correspondant à un début de note à jouer,
• une opération de détermination automatique de durée de chaque note à jouer,
• une opération de détermination automatique de cadences rythmiques d'arpèges, et/ou
• une opération de détermination automatique de cadences rythmiques d'accords d'accompagnement.

According to other particular characteristics, the musical generation operation comprises:

• an automatic selection of orchestral instruments,
• an automatic tempo determination operation,
• an operation to automatically determine the general tone of the song,
• an automatic velocity determination operation for each location corresponding to the start of a note to be played,
• an operation to automatically determine the duration of each note to be played,
• an operation for automatically determining the rhythmic cadences of arpeggios, and / or
• an operation for automatically determining rhythmic cadences of accompaniment chords.

According to other particular characteristics, during the generation operation musical, each density depends on the tempo (speed of the song).

• un moyen de déclenchement de génération musicale,
• un moyen de sélection de paramètres de commande,
• un moyen d'association de chaque paramètre de commande avec au moins un paramètre dit « de génération musicale » correspondant à au moins deux notes à jouer au cours d'un morceau musical,
• un moyen de génération musicale mettant en oeuvre chaque paramètre de génération musicale pour générer un morceau musical.

According to an eighth aspect, the present invention relates to a device for musical generation, characterized in that it comprises:

• a means of triggering musical generation,
• a means for selecting control parameters,
• means for associating each control parameter with at least one parameter called "musical generation" corresponding to at least two notes to be played during a musical piece,
• a musical generation means implementing each musical generation parameter to generate a musical piece.

According to a ninth aspect, the present invention relates to a coding method musical characterized in that the coded parameters are representative of a density, a rhythmic cadence and / or note families.

Thanks to each of these provisions, the music generated is consistent, and pleasant to hear, since the musical parameters are linked together by parameters of ordered. In addition, the music generated is neither “free” nor accidental, nor entirely random. It corresponds to command parameters, and can even be done without any human assistance, thanks to sensors.

These second to ninth aspects of the invention have the same special features and benefits as the first aspect. These are therefore not recalled here.

The invention also relates to a compact disc, an information medium, a modem, a computer and its peripherals, an alarm, a toy, an electronic game, a gadget electronic, postcard, music box, camcorder, image recorder and of sounds, an electronic music card, a music broadcaster, a music generator. an educational book, a work of art, a radio transmitter, a television transmitter. a television receiver, an audio cassette player and recorder, a player and a video cassette player, telephone, answering machine and switchboard, characterized in that they include a device such as succinctly set out above.

The invention also relates to a digital sound card, an electronic card of musical generation, an electronic cartridge (for example for video games), a chip electronics, an image and sound editing table, a computer, a terminal, computer peripherals, video camera, image recorder, video recorder sounds, microphone, compact disc, magnetic tape, information carrier analog or digital, music player, music generator, book educational, a digital educational data medium, a work of art, a modem, a radio transmitter, a television transmitter, a television receiver, a player and a player-recorder audio or video cassettes and a telephone.

• un moyen de stockage d'informations lisible par un ordinateur ou un microprocesseur conservant des instructions d'un programme informatique caractérisé en ce qu'il permet, localement ou à distance, la mise en oeuvre du procédé de l'invention telle que succinctement exposée ci-dessus,
• un moyen de stockage d'informations amovible, partiellement ou totalement, et lisible par un ordinateur ou un microprocesseur conservant des instructions d'un programme informatique caractérisé en ce qu'il permet, localement ou à distance, la mise en oeuvre du procédé de l'invention telle que succinctement exposée ci-dessus, et
• un moyen de stockage d'informations obtenues par la mise en ouvre du procédé selon la présente l'invention ou d'un dispositif selon la présente invention.

The invention also relates to:

• a means of storing information readable by a computer or a microprocessor retaining instructions of a computer program characterized in that it allows, locally or remotely, the implementation of the method of the invention as succinctly set forth herein -above,
• a removable information storage means, partially or totally, and readable by a computer or a microprocessor keeping instructions of a computer program characterized in that it allows, locally or remotely, the implementation of the process invention as succinctly set out above, and
• a means of storing information obtained by implementing the method according to the present invention or a device according to the present invention.

The preferential or particular characteristics, and the advantages of this disc compact, this information carrier, this modem, this computer, these peripherals, this alarm, this toy, this electronic game, this electronic gadget, this card post office, this music box, this camcorder, this image and sound recorder, this electronic music card, this music broadcaster, this music generator, of this educational book, this work of art, this radio transmitter, this radio transmitter television, this television receiver, this cassette player and this cassette recorder audio, this video cassette player and recorder, this phone, this telephone answering machine, this switchboard and these storage means being identical to those of the process as succinctly explained above, these advantages are not recalled here.

• la figure 1 représente, schématiquement, un organigramme de génération musicale automatique conforme à un mode de réalisation du procédé visé par la présente invention,
• la figure 2 représente, sous forme d'un schéma bloc, un mode de réalisation du dispositif de génération musicale visé par la présente invention,
• la figure 3 représente schématiquement un organigramme de génération musicale selon un premier mode de réalisation de la présente invention,
• les figures 4A et 4B représentent schématiquement un organigramme de génération musicale selon un deuxième mode de réalisation de la présente invention,
• la figure 5 représente un organigramme de détermination de paramètres de génération musicale selon un troisième mode de réalisation de la présente invention,
• la figure 6 représente un dispositif adapté à mettre en oeuvre l'organigramme illustré en figure 5, et
• la figure 7 représente un organigramme de détermination de paramètres de génération musicale selon un quatrième mode de réalisation de la présente invention,
• la figure 8 représente schématiquement un organigramme de génération musicale selon un aspect de la présente invention,
• la figure 9 représente un dispositif adapté à mettre en oeuvre les organigrammes illustrés en figures 3, 4A et 4B,
• la figure 10 représente un support d'information selon un aspect de la présente invention,
• la figure 11 schématise un dispositif adapté à mettre en oeuvre un autre mode de réalisation du procédé objet de l'invention,
• la figure 12 représente des structures internes de temps et de mesures, ainsi que des tableaux de valeurs, utilisés pour mettre en oeuvre le mode de réalisation avec le dispositif de la figure 11,
• les figures 13 à 23 représentent un organigramme du mode de réalisation correspondant aux figures 11 et 12, et
• les figures 24 et 25 illustrent des critères de détermination de la famille de notes en certains emplacements en fonction de leur voisinage direct, pour la mise en oeuvre du mode de réalisation illustré sur les figures 11 à 23.

Other advantages and characteristics of the invention will emerge from the description which follows, given with reference to the appended drawings in which:

• FIG. 1 represents, diagrammatically, a flowchart of automatic musical generation in accordance with an embodiment of the method targeted by the present invention,
• FIG. 2 represents, in the form of a block diagram, an embodiment of the music generation device targeted by the present invention,
• FIG. 3 schematically represents a flow diagram of musical generation according to a first embodiment of the present invention,
• FIGS. 4A and 4B schematically represent a flow diagram of musical generation according to a second embodiment of the present invention,
• FIG. 5 represents a flowchart for determining parameters of musical generation according to a third embodiment of the present invention,
• FIG. 6 represents a device suitable for implementing the flow chart illustrated in FIG. 5, and
• FIG. 7 represents a flowchart for determining parameters of musical generation according to a fourth embodiment of the present invention,
• FIG. 8 schematically represents a flow diagram of musical generation according to one aspect of the present invention,
• FIG. 9 represents a device suitable for implementing the flowcharts illustrated in FIGS. 3, 4A and 4B,
• FIG. 10 represents an information medium according to one aspect of the present invention,
• FIG. 11 shows diagrammatically a device suitable for implementing another embodiment of the method which is the subject of the invention,
• FIG. 12 represents internal structures of time and measures, as well as tables of values, used to implement the embodiment with the device of FIG. 11,
• FIGS. 13 to 23 represent a flow diagram of the embodiment corresponding to FIGS. 11 and 12, and
• FIGS. 24 and 25 illustrate criteria for determining the family of notes in certain locations as a function of their direct vicinity, for the implementation of the embodiment illustrated in FIGS. 11 to 23.

Figure 1 shows, schematically, a generation flowchart automatic musical conforming to an embodiment of the process referred to herein invention.

After the start 10, during an operation 12, musical moments are defined at the during operation 12. For example, during operation 12, a song is defined musical comprising measures, each measure comprising beats, each beat having note locations. In this example, operation 12 consists in assigning a number of measures to the musical piece, a number of beats for each measure and a number note locations at each beat or minimum note duration.

During operation 12, each musical moment is defined in such a way that at least four notes are likely to be played during its duration.

Then, during an operation 14, two families of note pitches are defined for each musical moment, the second family of note pitches having at least one note pitch which is not in the first family. For example, every half measure of the a musical piece is assigned a scale and a chord, the first family comprising the pitch of this chord, duplicated from octave to octave and the second family comprising at least the note pitches of the range which are not in the first family. We observe that different musical moments or consecutive musical moments can have the same families of note pitches.

Then, during an operation 16, at least one succession of notes having at minus two notes is created with, for each moment, each note whose pitch belongs exclusively to the second family being surrounded exclusively by notes from the first family. For example, a succession of notes is defined as a set of notes whose start times are not separated from each other, two by two, more than a duration predetermined. Thus, in the example explained with operation 14, for each half-measure, a succession of notes does not have two consecutive note pitches which are exclusively in the second family of note pitches.

During an operation 18, a signal representative of the note pitches of each estate is issued. For example, this signal is transmitted to a sound synthesizer or to a medium of information. The musical generation then stops at operation 20.

FIG. 2 represents, in the form of a block diagram, an embodiment of the musical generation device covered by the present invention. In this embodiment, the device 30 comprises, connected together by at least one signal line 40, a generator families of note pitches 32, a generator of musical moments 34, a generator of musical phrases 36 and an output port 38. The output port 38 is connected to a signal line external 42.

Signal line 40 is a line capable of conveying a message or information. For example, it is an electrical or optical conductor of known type. The generator musical moments 34 defines musical moments in such a way that at the heart of each musical moment, four notes are likely to be played. For example, the generator musical moments defines a musical piece by a number of measures it contains and for each measure, a number of beats, and for each beat, a number of locations of possible note start or minimum note duration.

The note height family generator 32 defines two families of note heights. note, for each musical moment. The generator 32 defines the two families of heights of note so that the second family of note pitches has at least one pitch which is not in the first family of note pitches. For example, every half measure of the musical piece are assigned a scale and a chord, the first family comprising the pitch of this chord, duplicated from octave to octave, and the second family comprising at least the note pitches of the scale which are not in the first family. We observe that different musical moments or consecutive musical moments can have the same families of note pitches.

The musical phrase generator 36 generates at least one succession of notes having at least two notes, each succession being constituted in such a way that, for every moment, every note whose pitch belongs exclusively to the second family is surrounded exclusively by notes from the first family. For example, a succession of notes is defined as a set of notes whose start times are not separated between them, two by two, more than a predetermined duration. So, in the example explained with the generator of families of note heights 32, for each half-measure, a succession of notes does not have two consecutive note pitches that are exclusively in the second family of note pitches.

The output port 38 transmits, via the external signal line 42, a signal representative of the note pitches of each succession. For example, this signal is transmitted, through the intermediary of external line 42, to a sound synthesizer or to a medium of information.

The music generation device 30 comprises, for example, a user computer general programmed to implement the present invention, a MIDI sound card connected to a computer bus, MIDI synthesizer connected to the MIDI sound card output, stereo amplifier connected to the audio outputs of the MIDI synthesizer and the speakers connected to the outputs of the stereo amplifier.

In the description of the second and third embodiment, and in particular in the description of FIGS. 3, 4A and 4B, the expression "random or not" is used to express that, independently of each other, each parameter to which this expression can be drawn randomly or be determined by a value of a physical quantity (for example captured by a sensor) or a choice made by a user (for example by use of keys on a keyboard), according to the variant embodiments of the present invention.

• une opération 102 de détermination, aléatoire ou non, de la durée la plus courte qu'une note peut posséder dans le morceau musical et d'intervalle maximum, exprimé en nombre de demi-tons entre deux hauteurs de note consécutives (voir opération 114),
• une opération 104 de détermination, aléatoire ou non, sur une échelle temporelle, de nombre d'occurrences de chaque élément (introduction, demi-couplets, couplets, refrains, demi-refrains, final) d'un morceau musical et d'identités entre ces éléments, d'un nombre de mesures qui composent chaque élément, d'un nombre de temps qui composent chaque mesure, et d'un nombre d'unités temporelles, appelées dans la suite « positions » ou « emplacements », chaque emplacement temporel possédant une durée égale à la note la plus courte à générer, de chaque temps ;
• une opération 106 de définition, aléatoire ou non, d'une valeur de densité pour chaque emplacement de chaque élément du morceau, la densité d'un emplacement étant représentative de la probabilité qu'en cet emplacement temporel, une note de la mélodie y soit positionnée (c'est-à-dire pour la phase de jeu, que la note commence à être jouée);
• une opération 108 de génération de cadence rythmique, déterminant, de manière aléatoire ou non, pour chaque position ou emplacement, en fonction de la densité associée à cette position ou à cet emplacement au cours de l'opération 106, si une note de la mélodie y est positionnée, ou non ;
• une opération 110 de copie de cadences rythmiques correspondant à des mêmes éléments répétés (refrains, couplets, demi-refrains, demi-couplets) du morceau musical ou à des éléments identiques (introduction, final), (ainsi, à la fin de l'opération 110, les positons des notes sont déterminées mais pas leur hauteur, c'est-à-dire leur fréquence fondamentale),
• une opération 112 d'attribution de hauteurs de note aux notes appartenant à la cadence rythmique, au cours de laquelle :
  • au cours d'une opération 112A, pour chaque demi-mesure, deux familles de hauteurs de note sont déterminées (par exemple, la première famille composée de hauteurs de note correspondant à un accord d'une gamme, éventuellement dupliqué d'octave en octave et la deuxième famille composée de hauteurs de note de la même gamme qui ne sont pas dans la première famille), aléatoirement ou non, et
  • au cours d'une opération 112B, pour chaque ensemble de notes (appelé par la suite succession ou phrase musicale) dont les instants de début ne sont pas séparés entre eux, deux à deux, de plus qu'une durée prédéterminée (correspondant, par exemple, à trois positions), aux emplacements de rangs pairs dans ladite succession, on affecte aléatoirement des hauteurs de note de la première famille de notes et aux emplacements de rangs impairs dans ladite succession, on affecte aléatoirement des hauteurs de note de la deuxième famille de notes (on observe que si les familles changent au cours de la succession, par exemple au changement de demi-mesure, la règle continue à être observée tout au long de la succession),
• une opération 114 de filtrage, éventuellement intégrée dans l'opération d'attribution de hauteurs de note 112, au cours de laquelle si deux hauteurs de notes consécutives dans la succession, sont plus espacées entre elles que l'intervalle déterminé au cours de l'opération 102, exprimé en nombre de demi-tons, on redéfinit aléatoirement la hauteur de la deuxième note et on répète l'opération 114,
• une opération 116 d'assignation de hauteur de note à la dernière note de la succession, hauteur de note prise dans la première famille de hauteurs de note, et
• une opération 120 de jeu effectuée par la commande d'un module synthétiseur de telle manière qu'il joue la ligne mélodique définie au cours des opérations précédentes et une éventuelle orchestration.

As illustrated in FIG. 3, in a second simplified embodiment with a view to only generating and playing the melodic line (or song), the process aimed by the present invention implements:

• an operation 102 of determining, randomly or not, the shortest duration that a note can have in the musical piece and of maximum interval, expressed in number of semitones between two consecutive note pitches (see operation 114) ,
• an operation 104 of determining, randomly or not, on a time scale, the number of occurrences of each element (introduction, half-verses, verses, refrains, half-refrains, final) of a musical piece and of identities between these elements, a number of measures that make up each element, a number of beats that make up each measure, and a number of time units, hereinafter called "positions" or "locations", each time location having a duration equal to the shortest note to generate, of each beat;
• an operation 106 of defining, randomly or not, a density value for each location of each element of the piece, the density of a location being representative of the probability that in this time location, a note of the melody is there positioned (i.e. for the playing phase, that the note begins to be played);
• an operation 108 of generating rhythmic cadence, determining, randomly or not, for each position or location, as a function of the density associated with this position or this location during operation 106, if a note of the melody is positioned there, or not;
• an operation 110 of copying rhythmic cadences corresponding to the same repeated elements (choruses, couplets, half-choruses, half-couplets) of the musical piece or to identical elements (introduction, final), (thus, at the end of the operation 110, the positrons of the notes are determined but not their pitch, that is to say their fundamental frequency),
• an operation 112 for assigning note pitches to notes belonging to the rhythmic cadence, during which:
  • during an operation 112A, for each half measure, two families of note pitches are determined (for example, the first family composed of note pitches corresponding to a chord of a scale, possibly duplicated from octave to octave and the second family composed of note pitches of the same range which are not in the first family), randomly or not, and
  • during an operation 112B, for each set of notes (hereafter called succession or musical phrase) whose start times are not separated from each other, two by two, by more than a predetermined duration (corresponding, for example, at three positions), at even row locations in said succession, random pitch heights of the first family of notes are assigned and at odd row locations in said succession, random pitch heights of second family are assigned notes (we observe that if the families change during the succession, for example at the change of half measure, the rule continues to be observed throughout the succession),
• a filtering operation 114, possibly integrated into the note pitch allocation operation 112, during which if two consecutive note pitches in the succession are more spaced apart than the interval determined during the operation 102, expressed in number of semitones, the pitch of the second note is randomly redefined and operation 114 is repeated,
• an operation 116 for assigning a note pitch to the last note in the succession, note pitch taken from the first family of note pitches, and
• a game operation 120 performed by the command of a synthesizer module in such a way that it plays the melodic line defined during the previous operations and a possible orchestration.

During operation 120, the playing times of the melody notes are drawn randomly without, however, overlapping the play of two consecutive notes, the velocities of the note pitches are drawn randomly. The durations and velocities are repeated for each element copied during operation 110 and an automatic orchestration is generated from known manner. Finally, the instruments of the melody and the orchestra are determined by randomly or not.

• pour les basses : les notes placées sur le temps sont plus fortes que celles placées à contretemps, les rares intermédiaires étant encore plus fortes ;
• arpèges : comme pour les bases sauf que les intermédiaires sont moins fortes ;
• accords rythmiques : les notes placées sur le temps sont moins fortes que celles placées à contretemps, les intermédiaires moins fortes encore ; et
• tierce : vélocités plus faibles que celles de la mélodie mais proportionnelles aux vélocités de la mélodie, note par note.Si le couplet est joué deux fois, les vélocités sont répétées pour les même notes et les mêmes instruments. De même pour le refrain.

In the embodiment illustrated in FIG. 3, there is only one type of velocity: the notes placed against the beat are played louder than the notes placed over the beat. However, a random draw seems more human. For example if we aim for a velocity average of 64 for a note positioned at the first location of a beat, we randomly draw a velocity between 60 and 68 for beat. And if we aim for a velocity average of 76 for a note positioned at the third location of a beat, we draw a random velocity between 72 and 80 for this note. For the notes positioned at the second and fourth locations of the beat, a velocity value which depends on the velocity of the previous or next note and lower than this reference velocity is chosen. As an exception, a note at the start of a musical phrase, if its pitch is in the first family of note pitch, we choose a high velocity, for example 85. By exception, too, a last note in a musical phrase is associated with a low velocity, for example 64.
For the velocities of the different accompaniment instruments, we choose, for example:

• for the basses: the notes placed on time are stronger than those placed against the beat, the rare intermediaries being even stronger;
• arpeggios: as for the bases except that the intermediaries are less strong;
• rhythmic chords: the notes placed on the beat are weaker than those placed against the beat, the intermediaries even less strong; and
• third: velocities lower than those of the melody but proportional to the velocities of the melody, note by note. If the verse is played twice, the velocities are repeated for the same notes and the same instruments. The same goes for the chorus.

Regarding the durations of the notes played, they are drawn so random with weights which depend on the number of locations over time. When the duration available before the next note is one unit of time, the duration of the note is one unit of time. When the available duration is two time units, a draw random is performed between the following durations: a full eighth note (5 chances out of 6) or a sixteenth note followed by a quarter sigh (1 in 6 chances). When the time available is three time units, a random draw is made between the following durations: an eighth note full pointing (4 in 6 chances), an eighth note followed by a quarter sigh (2 in 6 chances). When the available duration is four time units, a random draw is made between the following durations: a full quarter note (7 in 10 chances), a dotted eighth note followed by a quarter sigh (2 in 10 chances) or an eighth note followed by a half sigh (1 in 10 chance). When the available time is more than four time units, a random draw is made to choose the full available time (two out of 10 chances), half the available time (2 chances out of 10), a black one (2 chances out of 10), if the available time allows it, a white one (2 odds out of 10) or a round (2 chances out of 10). of a musical phrase, the playing of the note is stopped unless the note belongs to families counterparts before and after the change of family.

It is observed that, as a variant, during operation 112A, the second family of note pitches possibly includes at least one note pitch from the first family and during operations 112B and 114, the pitch of each succession is defined so that two consecutive notes of the same half measure and the same inheritance cannot belong exclusively to the second family of note pitches.

A/la structure interne au temps, comportant :

• une opération 202 de définition, aléatoirement ou non, d'un nombre maximum d'emplacements ou de positions (correspondant chacun à la durée minimum d'une note dans le morceau) à jouer par temps, ici, par exemple, 4 emplacements dénommès successivement e1, e2, e3 et e4 ;

B/ la structure interne à la mesure, comportant :

• une opération 204 de définition, aléatoire ou non, du nombre de temps par mesure, ici, par exemple, 4 temps par mesure, ce qui correspond donc à 16 positions ou emplacements ;

C/ la structure générale du morceau, comportant :

• une opération 206 de définition, aléatoire ou non, des durées des éléments du morceau musical (refrain, demi-refrain, couplet, demi-couplet, introduction, final), en nombres de mesures, et du nombre de reprises des éléments dans le morceau, ici l'introduction possède une durée de 2 mesures, le couplet une durée de 8 mesures, le refrain une durée de 8 mesures, chaque refrain et chaque couplet étant joué deux fois et le final étant la répétition du refrain;

D/ l'instrumentation, comportant :

• une opération 208 de détermination, aléatoire ou non, d'un orchestre composé d'instruments accompagnés de valeurs de réglage ( volume général, réverbération, échos, panoramique, enveloppe, brillance, ...) ;

E/ le tempo, comportant :

• une opération 210 de génération, aléatoire ou non, d'une vitesse d'exécution du jeu ;

F/ la tonalité, comportant :

• une opération 212 de génération, aléatoire ou non, d'une valeur, positive ou négative, de transposition, la tonalité de base dont la valeur de transposition est = 0 = étant, arbitrairement, le Do majeur a transposition est une valeur qui décale la mélodie et son accompagnement de un ou plusieurs tons, vers le haut ou vers le bas, par rapport à la tonalité première (conservée en mémoire morte). La partie percussion n'est pas affectée par la transposition. Cette valeur "transposition" est reprise au cours de l'étape d'interprétation et est ajoutée à chaque hauteur de note juste avant de les envoyer au synthétiseur, (sauf sur la « piste » de percussions) et cette valeur peut être, soit comme ici constante pendant toute la durée du morceau, soit variable pour un changement de ton lors d'une reprise par exernple ;

G/ les accords harmoniques, comportant :

• une opération 214 de tirage, aléatoire ou non, de mode de tirage d'accords parmi deux possibles ;
• si le premier mode de tirage d'accords est tiré, une opération 216 de tirage, aléatoire ou non, d'accords harmoniques ;
• si le deuxième mode de tirage d'accords est tiré, une opération 218 de tirage, aléatoire ou non, de suites d'accords harmoriques, d'une part pour le refrain et, d'autre part, pour le couplet.

Ainsi, la suite d'accord est constituée :

• soit par tirage, aléatoire ou non, accord par accord (chaque accord tiré étant choisi ou rejeté en fonction de contraintes selon les règles de l'art musical), cependant dans d'autres modes de réalisation,cette suite d' accords peut être soit saisie par l'utilisateur-compositeur, soit engendrée par la conséquence harmonique d'une première ligne mélodique dense (exemple : deux, trois, quatre notes par temps) à caractère algorithmique (exemple: la fugue) ou non, et dont les notes sont issues (par tirage aléatoire ou non) de gammes et de modes harmoniques choisis aléatoirement ou non.
• soit par tirage, aléatoire ou non, d'un groupe de huit, accords stockés en mémoire parmi une centaine d'autres groupes. Chaque accord étant relatif ici à une mesure, huit mesures sont concernées par un groupe de huit accords.

Dans le mode de réalisation décrit et représenté, l'invention est appliquée à la génération de chansons, les accords harmoniques utilisés sont choisis parmi les accords parfaits mineurs et majeurs, les accords diminués, les accords de septième de dominante, de onzième, de neuvième, de septième majeure.

H/ la mélodie, comportant :

H1/ la cadence rythmique de la mélodie, incluant une opération 220 d'attribution, aléatoire ou non, de densités, à chaque emplacement d'un élément du morceau musical, ici à chaque emplacement d'un temps de refrain et à chaque emplacement d'un temps de couplet, puis de génération, aléatoire ou non, de trois cadences rythmiques de deux mesures chacune, le couplet recevant les deux premières cadences rythmiques répétées 2 fois et le refrain la troisième cadence rythmique répétée 4 fois. Dans l'example décrit et représenté en figure 4, les emplacements e1 et e3 ont, en moyenne de tous les tirages de densités, une densité moyenne plus grande que les emplacements e2 et e4 (par exemple de l'ordre de grandeur de 1/5). Cependant, chaque densité est pondérée par un coefficient multiplicatif inversement proportionnel à la vitesse d'exécution du morceau (plus la vitesse est élevée, plus la densité est faible).

H2/ les hauteurs de note, incluant une opération 222 de tirage de hauteurs des notes définies par la cadence rythmique. Au cours de cette opération 222, deux familles de hauteurs de note sont constituées. La première famille de hauteurs de note est constituée des hauteurs de note de l'accord harmonique associé à la position de la note et la deuxième composée par les hauteurs de note de la gamme de l'harmonie générale de base (tonalité en cours) amputée (ou non, en variante) des hauteurs de note de la première famille de hauteurs de note. Au cours de cette opération 222, au moins l'une des régles de contraintes suivantes est appliquée au choix des hauteurs de note:

• il n'y a jamais de succession de deux notes qui soient exclusivement dans la deuxième famille,
• les hauteurs des notes tirées pour les emplacements e1 (positions 1, 5, 9, 13, 17, ...) appartiennent toujours à la première famille (sauf cas exceptionnels, c'est-à-dire moins d'un quart des cas),
• deux débuts de notes placées en deux positions successives appartiennent alternativement à l'une des deux familles de hauteurs de note puis à l'autre (« règle d'alternance »),
• lorsqu'il n'y a aucun début de note à jouer aux emplacements e2 et e4, la hauteur de note de l'éventuelle note qui commence en e3 est dans la deuxième famille de hauteurs de note,
• la dernière note d'une succession de débuts de note suivie d'au moins trois positions sans début de note possède une hauteur de note dans la première famille (par violation locale de la règle d'alternance),
• la hauteur de note en e4 appartient à la première famille de note lorsqu'il y a changement d'accord harmonique à la position suivante (e1) (par violation locale en e4 de la règle d'alternance), et
• l'intervalle de hauteur entre deux débuts de notes en deux positions successives est limité à 5 demi-tons.

H3/ la vélocité des notes de la mélodie, incluant une opération 224 de génération, aléatoire ou non, de vélocité (volume) des notes de la mélodie en fonction de leur emplacement dans le temps et de leur position dans le morceau ;

H4/ les durées des notes, incluant une opération 226 de génération, aléatoire ou non, d'instant de fin de chaque note jouée ;

I/ l'arrangement musical, comportant :

• une opération 228 de génération, aléatoire ou non, de deux cadences rythmiques des notes d'arpèges, longues d'une mesure chacune, la première étant recopiée pour être associée à l'ensemble du couplet et la seconde étant recopiée pour être associée à l'ensemble du refrain ;
• une opération 230 de génération, aléatoire ou non, des hauteurs de notes d'arpèges parmi les hauteurs de note de la première famille de hauteurs de note, avec un intervalle entre deux hauteurs de notes successives intérieur ou égal à 5 demi-tons ;
• une opération 232 de génération, aléatoire ou non, des vélocités (volume) des notes d'arpèges. Ainsi, chacune des deux cadences rythmiques « arpèges » d'une mesure reçoit des valeurs de vélocité aux emplacements des notes « à jouer ». Chacune des deux mesures de vélocités d'arpège est répartie (copiée) sur la partie du morceau concerné : l'une sur le couplet, l'autre sur le refrain ;
• une opération 234 de génération, aléatoire ou non, de durées des notes d'arpège ;
• une opération 236 de génération, aléatoire ou non, de deux cadences rythmiques pour le jeu des accords harmoniques, copiées pour être réparties l'une sur le couplet et l'autre sur le refrain, accords d'arrangement qui sont joués quand les arpèges ne jouent pas (La cadence rythmique des accords d'accompagnement, par exemple joués par la guitare, reçoit des valeurs aléatoires, ou non, selon la même méthode que les cadences rythmiques des notes d'arpèges. Ces valeurs déclenchent ou non le jeu de la guitare d'accompagnement. Si, au même moment, une note d'arpège devait être jouée, l'accord est prioritaire et la note d'arpège est annulée) ;
• une opération 238 de génération, aléatoire ou non, de vélocités des accords rythmiques;
• une opération 240 de génération, aléatoire ou non, de renversements d'accords ; et

J/ le jeu du morceau, comportant une opération 242 de transmission à un synthétiseur de toutes les valeurs de réglage et de jeu des différents instruments définis au cours des opérations précédentes.

As illustrated in FIGS. 4A and 4B, in a third embodiment, the method and the device of the present invention implement operations for determining:

A / the internal structure over time, comprising:

• an operation 202 for defining, randomly or not, a maximum number of locations or positions (each corresponding to the minimum duration of a note in the song) to be played by time, here, for example, 4 locations named successively e1, e2, e3 and e4;

B / the internal structure of the measurement, comprising:

• an operation 204 for defining, randomly or not, the number of beats per measure, here, for example, 4 beats per measure, which therefore corresponds to 16 positions or locations;

C / the general structure of the piece, comprising:

• an operation 206 for defining, randomly or not, the durations of the elements of the musical piece (chorus, half-chorus, verse, half-verse, introduction, final), in numbers of measures, and the number of times the elements in the song are repeated , here the introduction has a duration of 2 measures, the verse a duration of 8 measures, the chorus a duration of 8 measures, each chorus and each verse being played twice and the final being the repetition of the chorus;

D / instrumentation, comprising:

• an operation 208 for determining, randomly or not, an orchestra composed of instruments accompanied by adjustment values (general volume, reverberation, echoes, pan, envelope, brightness, etc.);

E / the tempo, comprising:

• an operation 210 of generating, randomly or not, a speed of execution of the game;

F / the tone, comprising:

• an operation 212 of generation, random or not, of a value, positive or negative, of transposition, the basic tone whose transposition value is = 0 = being, arbitrarily, the C major has transposition is a value which shifts the melody and its accompaniment of one or more tones, up or down, compared to the first tone (kept in ROM). The percussion part is not affected by the transposition. This "transposition" value is taken up during the interpretation step and is added to each pitch just before sending them to the synthesizer, (except on the percussion "track") and this value can be either as here constant throughout the duration of the song, or variable for a change of tone during a resumption for example;

G / harmonic chords, comprising:

• a drawing operation 214, whether random or not, of chord drawing mode among two possible;
• if the first chord drawing mode is drawn, an operation 216 of drawing, random or not, harmonic chords;
• if the second chord drawing mode is drawn, a drawing operation 218, random or not, of sequences of harmonic chords, on the one hand for the chorus and, on the other hand, for the verse.

Thus, the chord suite is made up:

• either by drawing, random or not, chord by chord (each chord drawn being chosen or rejected according to constraints according to the rules of the musical art), however in other embodiments, this sequence of chords can be either input by the user-composer, either generated by the harmonic consequence of a dense first melodic line (example: two, three, four notes per beat) of algorithmic nature (example: the fugue) or not, and whose notes are (randomly or not) from scales and harmonic modes chosen randomly or not.
• either by drawing, randomly or not, a group of eight, chords stored in memory among a hundred other groups. Each chord being relative here to a measure, eight measures are concerned by a group of eight chords.

In the embodiment described and shown, the invention is applied to the generation of songs, the harmonic chords used are chosen from perfect minor and major chords, diminished chords, dominant seventh, eleventh, ninth chords , of seventh major.

H / the melody, comprising:

H1 / the rhythmic cadence of the melody, including an operation 220 of allocation, random or not, of densities, at each location of an element of the musical piece, here at each location of a chorus time and at each location d '' a verse time, then generation, random or not, of three rhythmic cadences of two measures each, the verse receiving the first two rhythmic cadences repeated 2 times and the chorus the third rhythmic rhythm repeated 4 times. In the example described and represented in FIG. 4, the locations e1 and e3 have, on average of all the density prints, a higher average density than the locations e2 and e4 (for example of the order of magnitude of 1 / 5). However, each density is weighted by a multiplicative coefficient inversely proportional to the speed of execution of the piece (the higher the speed, the lower the density).

H2 / note pitches, including an operation 222 for drawing note pitches defined by the rhythmic cadence. During this operation 222, two families of note pitches are formed. The first family of note pitches consists of the note pitches of the harmonic chord associated with the position of the note and the second composed by the note pitches of the range of basic general harmony (tone in progress) amputated. (or not, as a variant) of the note pitches of the first family of note pitches. During this operation 222, at least one of the following constraint rules is applied to the choice of note pitches:

• there is never a succession of two notes which are exclusively in the second family,
• the heights of the notes drawn for the locations e1 (positions 1, 5, 9, 13, 17, ...) always belong to the first family (except in exceptional cases, that is to say less than a quarter of the cases )
• two beginnings of notes placed in two successive positions belong alternately to one of the two families of note pitches then to the other ("alternation rule"),
• when there is no start of note to play at locations e2 and e4, the note pitch of the possible note that begins at e3 is in the second family of note pitches,
• the last note of a succession of note beginnings followed by at least three positions without start of note has a note pitch in the first family (by local violation of the alternation rule),
• the pitch of the note in e4 belongs to the first family of notes when there is a change in harmonic chord at the following position (e1) (by local violation in e4 of the alternation rule), and
• the pitch interval between two beginnings of notes in two successive positions is limited to 5 semitones.

H3 / the velocity of the notes of the melody, including an operation 224 of generation, random or not, of velocity (volume) of the notes of the melody according to their location in time and their position in the song;

H4 / the durations of the notes, including an operation 226 of generation, random or not, of instant of end of each note played;

I / the musical arrangement, comprising:

• an operation 228 of generating, randomly or not, two rhythmic cadences of the arpeggio notes, one measure long each, the first being copied to be associated with the entire verse and the second being copied to be associated with the 'whole chorus;
• an operation 230 of generating, randomly or not, pitch heights of arpeggios among the pitch pitches of the first family of pitch pitches, with an interval between two successive pitch pitches inside or equal to 5 semitones;
• an operation 232 of generating, randomly or not, the velocities (volume) of the arpeggio notes. Thus, each of the two “arpeggio” rhythmic cadences of a measure receives velocity values at the locations of the “to play” notes. Each of the two measures of arpeggio velocities is distributed (copied) over the part of the song concerned: one on the verse, the other on the chorus;
• an operation 234 for generating, randomly or not, durations of the arpeggio notes;
• an operation 236 of generating, randomly or not, two rhythmic cadences for the playing of harmonic chords, copied to be distributed one on the verse and the other on the chorus, arrangement chords which are played when the arpeggios do not not play (The rhythmic cadence of the accompaniment chords, for example played by the guitar, receives random values, or not, according to the same method as the rhythmic cadences of the arpeggio notes. These values trigger or not the play of the accompaniment guitar. If, at the same time, an arpeggio note was to be played, the chord has priority and the arpeggio note is canceled);
• an operation 238 of generating, randomly or not, velocities of the rhythmic chords;
• an operation 240 of generating, randomly or not, chord reversals; and

J / the playing of the song, comprising an operation 242 of transmitting to a synthesizer all the setting and playing values of the different instruments defined during the previous operations.

• une connexion physique entre les instruments, qui prend la forme d'une interface série bidirectionnelle par laquelle transitent les informations avec un débit donné, et
• une norme d'échange d'informations (" general MIDI ") par les câbles reliés aux connexions physiques, la signification de séquences numériques prédéterminées correspondant à des actions prédéfinies des instruments de musique (par exemple, pour jouer la note " do " en milieu de clavier sur le premier canal d'un synthétiseur polyphonique, la séquence 144, 60, 80). Le langage MIDI concerne tous les paramètres de jeu de note, d'arrêt de note, de hauteur de note, de choix d'instrument, de réglage des "effets" du son de l'instrument :
• réverbération, effet chorus, échos, panoramique, vibrato, glissando.

Ces paramètres suffisent pour produire une musique avec plusieurs instruments : on dispose, en MIDI de 16 canaux polyphoniques parallèles. Par exemple avec le système G800 de la marque ROLAND, on pourrait obtenir 64 notes jouées simultanément.In the second embodiment described and shown, a musical piece is composed and interpreted using the "MIDI" standard. "MIDI" is the abbreviation of "Musical Instrument Digital Interface" (which can be translated, in French, word for word, by "digital interface of musical instrument") and which means digital communication interface between musical instruments ). This standard implements:

• a physical connection between the instruments, which takes the form of a bidirectional serial interface through which the information passes with a given speed, and
• a standard for exchanging information ("general MIDI") by cables connected to physical connections, the meaning of predetermined digital sequences corresponding to predefined actions of musical instruments (for example, to play the note "do" in the middle keyboard on the first channel of a polyphonic synthesizer, the sequence 144, 60, 80). The MIDI language concerns all the parameters of note playing, note stop, note pitch, choice of instrument, adjustment of the "effects" of the sound of the instrument:
• reverb, chorus effect, echoes, panoramic, vibrato, glissando.

These parameters are sufficient to produce music with several instruments: in MIDI, there are 16 parallel polyphonic channels. For example with the R800 brand G800 system, we could get 64 notes played simultaneously.

However, the MIDI standard is only an intermediary between the melody generator and the instrument.

In the case where a specific electronic circuit (for example of the ASIC type, abbreviation Application Specific Integrated Circuit for specific application) implementation, compliance with the MIDI standard will not be essential.

The game phase is coupled with a real interpretation phase thanks to variations, random or not, in real time, operated note by note, on the expression, the vibrato, the panoramic, glissando and fine tuning (known by the English name of "tune"), and this on the set of notes for each instrument.

We observe here that all the random draws relate to whole numbers, possibly negative and that a draw in an interval bounded by two values can give one of these two values. Preferably, the pitch range of the melody notes is limited to the range of the human voice. The pitches of the notes are then distributed over a range of about an octave and a half, that is, in Midi language, from note 57 to note 77.
With regard to the pitch of the bass line (for example, the double bass), in the embodiment described, the bass game plays once and over time (location "e1").
In addition, a correlation of play is established with the melody: when the velocity of a note of the melody exceeds a certain threshold, this leads to the generation of a possibly additional note of the bass which may not be located over time , but part-time (location "e3") or in intermediate locations (locations "e2" and "e4"). The pitch of this bass note, additional or not, takes the same pitch as that of the melody but two octaves below (in Midi language, note 60 becomes 36).

FIG. 5 represents a fifth and a sixth embodiment of the present invention in which at least one physical quantity (here information representative image) influences at least one of the musical parameters used for the automatic musical generation in accordance with the present invention.

• la durée la plus courte qu'une note peut posséder dans l'oeuvre musicale,
• le nombre d'unités temporelles par temps,
• le nombre de temps par mesure,
• une valeur de densité associée à chaque emplacement,
• la première famille de hauteurs de note,
• la deuxième famille de hauteurs de note,
• l'intervalle ou nombre de demi-tons prédéterminé qui constitue l'intervalle maximum entre deux hauteurs de notes consécutives,

est représentatif d'une grandeur physique, ici une grandeur physique optique représentée par une source d'information d'image.As illustrated in FIG. 5, in a fifth embodiment associated with the third embodiment (FIG. 3), at least one of the following musical generation parameters:

• the shortest duration that a note can have in the musical work,
• the number of time units per time,
• the number of beats per measure,
• a density value associated with each location,
• the first family of note pitches,
• the second family of note pitches,
• the predetermined interval or number of semitones which constitutes the maximum interval between two consecutive note pitches,

is representative of a physical quantity, here an optical physical quantity represented by a source of image information.

• nombre d'emplacements ou positions par temps,
• nombre de temps par mesure,
• durée d'un refrain,
• durée d'un couplet,
• durée d'introduction,
• durée de final,
• nombre de reprise des éléments du morceau,
• le choix de l'orchestre,
• les réglages des instruments de l'orchestre (volume général, réverbération, échos, panoramique, enveloppe, brillance, ...),
• le tempo,
• la tonatité,
• la sélection des accords harmoniques,
• une densité associée à un emplacement,
• pour chaque emplacement, chaque famille de hauteurs de note,
• chaque règles applicable ou non aux hauteurs de note,
• l'intervalle de hauteur maximal entre deux hauteurs de note successives,
• la vélocité associée à chaque emplacement,
• la durée des notes,
• les densités associées aux emplacements pour les arpèges,
• la vélocité associée à chaque emplacement pour les arpèges,
• la durée des notes d'arpège,
• les densités associées aux emplacements pour les accords harmoniques, et
• la vélocité associée à chaque emplacement pour les accords rythmiques,

est représentatif d'une grandeur physique, ici une grandeur physique optique représentée par une source d'information d'image.
Ainsi, en figure 5, au cours d'une opération 302, un mode de fonctionnement est sélectionné entre un mode de fonctionnement par séquence et chant et un mode de fonctionnement « au fil de l'eau », par modification progressive de paramètres de génération musicale.
Lorsque le premier mode de fonctionnement est sélectionné, au cours d'une opération 304, l'utilisateur sélectionne une durée du morceau musical et sélectionne, avec un clavier (figure 6) un début et une fin de séquence d'images animées. Puis, au cours d'une opération 306, une séquence d'images ou les dix dernières secondes d'images provenant d'une caméra vidéo ou d'une mémoire d'images (par exemple un magnétoscope, un camescope ou un lecteur de support d'information numérique) est traitée selon des techniques de traitement d'images connues de l'homme du métier, pour déterminer au moins l'un des paramètres suivants :

• la luminance moyenne de l'image,
• l'évolution de la luminance moyenne de l'image,
• fréquence de fortes variation de luminance,
• amplitude de variation de luminance,
• chrominance moyenne de l'image,
• l'évolution de la chrominance moyenne de l'image,
• fréquence de forte variation de chrominance,
• amplitude de variation de chrominance,
• durée des plans (détectée par l'évolution brutale entre deux images successives de luminance moyenne et/ou de la chrominance moyenne),
• mouvements dans l'image (caméra ou objet).

As illustrated in FIG. 5, in a sixth embodiment associated with the fourth embodiment (FIGS. 4A and 4B), at least one of the following musical generation parameters:

• number of locations or positions per time,
• number of beats per measure,
• duration of a chorus,
• duration of a verse,
• duration of introduction,
• duration of final,
• number of repeats of the elements of the song,
• the choice of the orchestra,
• the settings of the orchestra's instruments (general volume, reverberation, echoes, pan, envelope, brightness, ...),
• the tempo,
• tone,
• the selection of harmonic chords,
• a density associated with a location,
• for each location, each family of note pitches,
• each rule applicable or not to the note pitches,
• the maximum pitch interval between two successive note pitches,
• the velocity associated with each location,
• the duration of the notes,
• the densities associated with the locations for the arpeggios,
• the velocity associated with each location for the arpeggios,
• the duration of the arpeggio notes,
• the densities associated with the locations for harmonic chords, and
• the velocity associated with each location for rhythmic chords,

is representative of a physical quantity, here an optical physical quantity represented by a source of image information.
Thus, in FIG. 5, during an operation 302, an operating mode is selected between a mode of operation by sequence and song and a mode of operation "on the run", by progressive modification of generation parameters. musical.
When the first operating mode is selected, during an operation 304, the user selects a duration of the musical piece and selects, with a keyboard (FIG. 6), a start and an end of a sequence of moving images. Then, during an operation 306, a sequence of images or the last ten seconds of images from a video camera or from an image memory (for example a video recorder, a camcorder or a media player digital information) is processed using image processing techniques known to those skilled in the art, to determine at least one of the following parameters:

• the average luminance of the image,
• the evolution of the average luminance of the image,
• frequency of large variations in luminance,
• amplitude of luminance variation,
• average chroma of the image,
• the evolution of the average chrominance of the image,
• frequency of strong chrominance variation,
• amplitude of chrominance variation,
• duration of the shots (detected by the sudden evolution between two successive images of average luminance and / or average chrominance),
• movements in the image (camera or object).

Then, during an operation 308, each parameter value determined during operation 306 is mapped to at least one generation parameter value described above.

Then, during an operation 310, a song (first mode of or two elements (chorus and verse, second mode of operation) of a song are generated according to the associated musical generation embodiment (third and fourth embodiments, illustrated in FIGS. 3 and 4).

Finally, during an operation 312, the piece of music generated is played in synchronization with the display of the moving image, stored on an information medium.

In the second operating mode (musical generation "on the water" progressively evolving), the parameters of musical generation progressively evolve from musical moment to the next.

• une horloge 402, qui cadence le fonctionnement du dispositif,
• une source d'information d'image 403 (par example un caméscope, un magnétoscope ou un lecteur d'images numériques animées),
• une mémoire vive 404 dans laquelle sont conservées des données intermèdiaires de traitement des variables et des résultats de traitements,
• une mémoire morte 405, dans laquelle est conservé le programme de fonctionnement du dispositif,
• un processeur (non représenté), qui est adapté à faire fonctionner le dispositif et à organiser les flux sur le bus 401, pour mettre en oeuvre le programme conservé dans la mémoire 405.
• un clavier 407 qui permet à l'utilisateur de choisir un mode de fonctionnement du dispositif et, éventuellement de désigner un début et une fin de séquence (premier mode de fonctionnement).
• un afficheur 408 qui permet à l'utilisateur de dialoguer avec le dispositif et de voir l'affichage de l'image animée,
• un synthétiseur musical polyphonique 409,
• un amplificateur 411, à deux voies, relié à la sortie du synthétiseur musical polyphonique 409, et deux haut-parleurs 410 reliés à la sortie de l'amplificateur 411.

In FIG. 6 are shown, for the implementation of different embodiments of the method of musical generation of the present invention illustrated in FIGS. 3 to 5, linked together by a data and address bus 401:

• a clock 402, which clock the operation of the device,
• a source of image information 403 (for example a camcorder, a video recorder or a digital animated image player),
• a random access memory 404 in which intermediate data for processing variables and results of processing are stored,
• a read-only memory 405, in which the operating program of the device is kept,
• a processor (not shown), which is adapted to operate the device and organize the flows on the bus 401, to implement the program stored in the memory 405.
• a keyboard 407 which allows the user to choose an operating mode of the device and, optionally to designate a start and an end of the sequence (first operating mode).
• a display 408 which allows the user to interact with the device and see the display of the moving image,
• a polyphonic 409 musical synthesizer,
• a two-way amplifier 411, connected to the output of the polyphonic musical synthesizer 409, and two speakers 410 connected to the output of the amplifier 411.

The polyphonic musical synthesizer 409 has functions and devices adapted to the "MIDI" standard allowing it to communicate with other machines equipped with this same location and thus understand the Genenal MIDI codes which designate the main parameters of the constituent elements of a musical work, these parameters being provided by the processor via a MIDI interface (not shown).

As an example, the 409 polyphotic musical synthesizer is from the ROLAND brand and commercial reference E70. It works with three built-in amplifiers each having a maximum output power of 75 watts for high and medium sounds and 15 Watts for bass sounds.

• la durée la plus courte qu'une note peut atteindre dans l'oeuvre musicale,
• le nombre d'unités temporelles par temps,
• le nombre de temps par mesure,
• une valeur de densité associée à chaque emplacement,
• la première famille de hauteurs de note,
• la seconde famille de hauteurs de note,
• l'intervalle ou nombre de demi-tons prédéterminé qui constitue l'intervalle maximum entre deux hauteurs de notes consécutives,

est représentatif d'une grandeur physique provenant d'un capteur, ici un capteur d'images.As illustrated in FIG. 7, in a seventh embodiment associated with the embodiment illustrated in FIG. 3, at least one of the following musical generation parameters:

• the shortest duration that a note can reach in the musical work,
• the number of time units per time,
• the number of beats per measure,
• a density value associated with each location,
• the first family of note pitches,
• the second family of note pitches,
• the predetermined interval or number of semitones which constitutes the maximum interval between two consecutive note pitches,

is representative of a physical quantity coming from a sensor, here an image sensor.

• nombre d'emplacements ou positions par temps,
• nombre de temps par mesure,
• durée d'un refrain,
• durée d'un couplet,
• durée d'introduction,
• durée de final,
• nombre de reprise des éléments du morceau,
• le choix de l'orchestre,
• les réglages des instruments de l'orchestre (volume général, réverbération, échos, panoramique, enveloppe, brillance, ...),
• le tempo,
• la tonalité,
• la sélection des accords harmoniques,
• une densité associée à un emplacement,
• pour chaque emplacement, chaque famille de hauteurs de note,
• chaque règles applicable ou non aux hauteurs de note,
• l'intervalle de hauteur maximal entre deux hauteurs de notes consécutives,
• la vélocité associée à chaque emplacement,
• la durée des notes,
• les densités associées aux emplacements pour les arpèges,
• la vélocité associée à chaque emplacement pour les arpèges,
• la durée des notes d'arpège,
• les densités associées aux emplacements pour les accords harmoniques, et
• la vélocité associée à chaque emplacement pour les accords rythmiques,

est représentatif d'une grandeur physique provenant d'un capteur, ici un capteur d'image.As illustrated in FIG. 7, in an eighth embodiment associated with the embodiment illustrated in FIGS. 4A and 4B, at least one of the following musical generation parameters:

• number of locations or positions per time,
• number of beats per measure,
• duration of a chorus,
• duration of a verse,
• duration of introduction,
• duration of final,
• number of repeats of the elements of the song,
• the choice of the orchestra,
• the settings of the orchestra's instruments (general volume, reverberation, echoes, pan, envelope, brightness, ...),
• the tempo,
• Tone,
• the selection of harmonic chords,
• a density associated with a location,
• for each location, each family of note pitches,
• each rule applicable or not to the note pitches,
• the maximum pitch interval between two consecutive note pitches,
• the velocity associated with each location,
• the duration of the notes,
• the densities associated with the locations for the arpeggios,
• the velocity associated with each location for the arpeggios,
• the duration of the arpeggio notes,
• the densities associated with the locations for harmonic chords, and
• the velocity associated with each location for rhythmic chords,

is representative of a physical quantity coming from a sensor, here an image sensor.

• position moyenne horizontale du corps, des mains ou d'une baguette de chef d'orchestre,
• position moyenne verticale du corps, des mains ou d'une baguette de chef d'orchestre,
• plage de positions horizontale (écart type) du corps, des mains ou d'une baguette de chef d'orchestre,
• plage de positions verticale (écart type) du corps, des mains ou d'une baguette de chef d'orchestre,
• pente moyenne du nuage de positions du corps, des mains ou d'une baguette de chef d'orchestre, et
• battement de position moyenne verticale et horizontale (définissant les quatre emplacement dans un temps, et les vélocités associées à ces emplacements).

Thus, in FIG. 7, during an operation 502, the image coming from a video camera or a camcorder is processed according to image processing techniques known to those skilled in the art, to determine at least one of the following parameters of the user's body position, and preferably of manual position on a monochrome background (preferably white):

• average horizontal position of the body, hands or baton of a conductor,
• average vertical position of the body, hands or baton of a conductor,
• horizontal position range (standard deviation) of the body, hands or conductor's baton,
• vertical position range (standard deviation) of the body, hands or a conductor's baton,
• average slope of the cloud of positions of the body, hands or a baton of a conductor, and
• vertical and horizontal middle position beat (defining the four locations in time, and the velocities associated with these locations).

Then, during an operation 504, each parameter value determined during operation 502 is mapped to at least one generation parameter value described above.

Then, during an operation 506, two elements (chorus and verse) of a piece are generated according to the associated musical generation embodiment (second or third embodiment, illustrated in Figures 3 and 4).

Finally, during an operation 508, the piece of music generated is played or stored on an information medium.
The musical generation parameters (rhythmic cadence, pitch, chords) corresponding to a copied part (chorus, verse, half-chorus, half-verse or movement of a song) progressively evolve from one musical moment to the next while the velocities and durations of the notes change immediately in relation to the parameters captured.

It is observed that the embodiment of the device illustrated in FIG. 6 is suitable for putting implementation of the fourth embodiment of the method of musical generation of the present invention, illustrated in Figure 7.

• un actimètre,
• un tensiomètre,
• un capteur de pouls,
• un capteur de frottements, par exemple sur des draps ou un oreiller (pour constituer un réveil matin qui suive le réveil de l'utilisateur),
• un capteur de pression en différents points de gants et/ou de chaussures,
• un capteur de pression sur muscles de bras et/ou de jambe,

permettent de générer des valeurs de paramètres représentatif de grandeurs physiques qui, une fois mis en correspondance avec des paramètres de génération musicale, permettent la génération de morceaux musicaux.In the same way as set out with reference to FIGS. 5 to 7, and according to arbitrary mappings, other sensors of physical quantities than the image sensors can be implemented in accordance with other embodiments of the present invention. Thus, in another embodiment of the present invention, sensors of physiological quantities of the user's body, such as:

• an actimeter,
• a blood pressure monitor,
• a pulse sensor,
• a friction sensor, for example on sheets or a pillow (to constitute an alarm clock which follows the alarm clock of the user),
• a pressure sensor at different points of gloves and / or shoes,
• a pressure sensor on arm and / or leg muscles,

allow to generate values of parameters representative of physical quantities which, when matched with parameters of musical generation, allow the generation of musical pieces.

In another embodiment, not shown, the representative parameters of a physical quantity are representative of the voice of the user, via a microphone. In an exemplary implementation of an embodiment, a microphone allows the user to hum part of a melody, for example a verse and the analysis of his voice directly gives values of the parameters of musical generation, so that the composed song contains the part of the melody hummed by the user.

• traduction en langage midi de notes de mélodie chantée,
• tempo (vitesse d'exécution),
• intervalle de hauteur maximal entre deux notes jouées successivement,
• tonalité,
• plage harmonique,
• orchestre,
• vélocités des emplacements,
• densités des emplacements,
• durées des notes.

Thus, the following music generation parameters can be directly obtained by processing the signal leaving a microphone:

• translation into midi language of sung melody notes,
• tempo (speed of execution),
• maximum pitch interval between two notes played successively,
• tone,
• harmonic range,
• orchestra,
• location velocities,
• site densities,
• note durations.

In another embodiment, not shown, associated or not or previous embodiment, a text is supplied by the user and a voice synthesis system makes this text “sing” on the melody.
In another embodiment, not shown, the user uses a keyboard, for example a computer keyboard, to make all or part of the choices of musical generation parameter.
In another embodiment, not shown, the determination of the values of musical parameters is carried out as a function of lengths of text sentences, of words used in this text, of their connotation in a dictionary of text-emotion-musical parameter links, a number of feet per line, rhymes of this text, ... This embodiment combines favorably with other embodiments set out above.

In another embodiment, not shown, the determination of the values of musical parameters is carried out according to graphic objects implemented in a drawing or graphic design software, based on mathematical curves, results in spreadsheet software, responses to a fun questionnaire (choice of animal, flower, name, country, color, geometric shape, object, style ...), description of a gourmet menu.

• traitement d'image d'une peinture,
• traitement d'images d'une sculpture,
• traitements d'images d'une oeuvre architecturale,
• traitement de signaux provenant de capteurs olfactifs ou gustatifs (pour associer un morceau musical à un vin dans lequel au moins un capteur gustatif est positionné ou à un parfum).

In another embodiment, not shown, the determination of the values of the musical parameters is carried out according to one of the following treatments:

• image processing of a painting,
• image processing of a sculpture,
• image processing of an architectural work,
• processing signals from olfactory or taste sensors (to associate a musical piece with a wine in which at least one taste sensor is positioned or with a perfume).

Finally, in an embodiment not shown, at least one of the parameters of automatic musical generation depends on at least one physical quantity captured by a video game sensor and / or a sequence of games in progress.

In an embodiment illustrated in FIG. 9, the present invention is applied to a mobile music generation device; such as a car radio or portable music player.

• un circuit électronique 701, qui effectue les opérations illustrées en figure 3 ou les opérations illustrées en figures 4A et 4B, pour la génération d'un signal audio stéréophonique ;
• une mémoire non volatile 702 ;
• une touche de sélection de programme 703 ;
• une touche de passage au morceau suivant 704 ;
• une touche de mise en mémoire de morceau 705 ;
• au moins un capteur de conditions de circulation 706 ; et
• deux transducteurs électro-acoustiques 707 qui diffusent la musique (pour l'application à un baladeur, ces transducteurs sont de petits haut-parleurs intégrés dans des écouteurs d'oreille et dans l'application à un auto-radio, ces transducteurs sont des haut-parleurs intégrés dans l'habitacle d'un véhicule).

This mobile musical generation device comprises, linked together by a data and control bus 700:

• an electronic circuit 701, which performs the operations illustrated in FIG. 3 or the operations illustrated in FIGS. 4A and 4B, for the generation of a stereophonic audio signal;
• a non-volatile memory 702;
• a program selection key 703;
• a jump key to the next song 704;
• a song memory button 705;
• at least one traffic condition sensor 706; and
• two 707 electro-acoustic transducers that play music (for application to a portable music player, these transducers are small speakers integrated into earphones and in application to a car radio, these transducers are high -speakers integrated into the passenger compartment of a vehicle).

In the embodiment of the present invention illustrated in FIG. 9, the key song memory 705 is used to write the parameters to non-volatile memory 702 of the musical piece being broadcast. In this way, the user who appreciates more especially a musical piece, can keep it for a new listening later.

• un programme « wake-up », destiné à le réveiller ou à le maintenir en éveil, programme dans lequel les morceaux sont particulièrement rythmés ;
• un programme « cool-driver », destiné à le détendre (par exemple dans les embouteillages), programme dans lequel les morceaux sont calmes, et plus lents que dans le programme « wake-up » (et sont destinés à réduire l'impatience liée aux embouteillages) ; et
• un programme « easy-listening », comportant principalement de la musique gaie.La touche de passage au morceau suivant 704 permet à l'utilisateur qui n'apprécie pas un morceau en cours d'écoute, de provoquer le passage à un nouveau morceau.

The program selection key 703 allows the user to choose a type of program, for example according to his physical condition or traffic conditions. For example, the user can choose between three types of program:

• a “wake-up” program, intended to wake him up or keep him awake, a program in which the songs are particularly rhythmic;
• a "cool-driver" program, intended to relax him (for example in traffic jams), a program in which the tracks are calm, and slower than in the "wake-up" program (and are intended to reduce the impatience linked traffic jams); and
• an “easy-listening” program, consisting mainly of gay music. The button for switching to the next song 704 allows the user who does not like a song being listened to, to switch to a new song.

• une horloge, qui détermine la durée de conduite depuis le dernier arrêt du véhicule ou du dispositil (cette durée étant représentative de l'état de fatigue de l'utilisateur) ;
• un capteur de vitesse, relié au compteur de vitesse du véhicule qui détermine la vitesse moyenne du véhicule sur une durée de quelques minutes (par exemple les cinq dernières minutes) pour, en fonction de seuils prédéterminés (par exemple 15 km/h et 60 km/h), déterminer si le véhicule se trouve dans une circulation dense (embouteillée), moyenne (sans embouteillage), ou sur autoroute dégagée ;
• un capteur de vibrations, qui mesure l'intensité moyenne des vibrations pour déterminer les conditions de circulations (arrêt répétés en circulation dense, vibrations élevées sur autoroute), entre les morceaux ;
• un capteur de la vitesse de la boite de vitesse qui est enclenchée (le fréquent passage en première ou en seconde correspondant à une circulation en zone urbaine ou embouteillée alors que le maintien de l'une des deux dernières vitesses correspondant à une circulation sur autoroute) ;
• un capteur de conditions météorologiques, température extérieure, humidité et/ou détecteur de pluie ;
• un capteur de température à l'intérieur du véhicule ;
• une horloge donnant l'heure dans la joumée ; et,
• plus spécifiquement adapté à un baladeur, un podomètre, qui capte le rythme de la marche.

Each traffic condition sensor 706 provides a signal representative of traffic conditions. For example, the following sensors can constitute sensors 706:

• a clock, which determines the duration of driving since the last stop of the vehicle or device (this duration being representative of the state of fatigue of the user);
• a speed sensor, connected to the vehicle speedometer which determines the average speed of the vehicle over a period of a few minutes (for example the last five minutes) for, according to predetermined thresholds (for example 15 km / h and 60 km / h), determine if the vehicle is in heavy traffic (congested), medium (without congestion), or on a clear highway;
• a vibration sensor, which measures the average intensity of the vibrations to determine the traffic conditions (repeated stops in heavy traffic, high vibrations on the highway), between the tracks;
• a gearbox speed sensor which is engaged (the frequent passage in first or second corresponds to traffic in urban or congested areas while maintaining one of the last two speeds corresponding to traffic on motorways) ;
• a weather, outdoor temperature, humidity and / or rain sensor;
• a temperature sensor inside the vehicle;
• a clock giving the time in the day; and,
• more specifically adapted to a walkman, a pedometer, which captures the rhythm of walking.

Depending on the signals from each sensor 706 (possibly compared to previously memorized signal values), and if the user has not chosen a program musical, this is selected by the electronic circuit 701.

In Figure 8 is shown, schematically, a generation flowchart musical according to an aspect of the present invention, in which, during an operation 600, the user initiates the music generation process, for example, by electrically supplying electronic circuits, by pressing a music generation selection key.

Then, during a test 602, it is determined whether the user can select musical parameters, or not. When the result of test 602 is positive, during an operation 604, the user has the possibility to select musical parameters, for example by via a keyboard, potentiometers, selectors or a recognition system voice, by choosing a page of a site of a computer network, for example the network Internet, according to signals from sensors.

The operations 600 to 604 jointly constitute a triggering operation 606.
When the user has selected each musical parameter which he can select or when a predetermined duration has passed without selection of a parameter by the user, or even when the result of test 602 is negative, during in an operation 608, the device determines random parameters, including for each parameter which could have been selected but which has not already been selected during the operation 604.

During an operation 610, each parameter, random or selected, is set correspondence with a musical generation parameter, in accordance with the implementation implemented (for example one of the embodiments illustrated in FIGS. 3, or 4A and 4B).

During an operation 612, a piece is generated by implementing the musical parameters selected during operation 604 or generated during operation 606, in accordance with the embodiment implemented. Finally, during a 614 operation, the generated musical piece is played as explained above.

In FIG. 10, an embodiment of the present invention is represented. applied to an information medium 801, for example a compact disc (CD-ROM, CD-I, DVD, ...). In this embodiment, the parameters of each song, explained opposite the Figures 3, 4A and 4B, are kept on the information medium and allow savings of 90% of the sound-music memory space, compared to music compression devices currently in use.

In the same way, the present invention applies to networks, for example the internet network, to transmit music accompanying "web" pages, without transfer of large "midi" or "audio" files, only a predetermined game order (by the "Web-Master") of a few bits is transmitted to a device using the invention, whether or not integrated into the computer, or simply a plug-in (program) for music generation coupled with a simple sound card.

In another embodiment not shown, the invention is applied to toilet and the device is started by a sensor (a contact, for example) for the presence of a user sitting on toilet seat.

In other embodiments, not shown, the present invention is applied to an interactive terminal (sound illustration), to a vending machine (music ambience) or to an input ringtone (so as to vary the sound emission of these devices while drawing the attention of their user).

In another embodiment of the present invention, not shown, the melody is entered by the user, for example, using a musical keyboard and all others parameters of the musical piece (musical arrangement) sort defined by the implementation of the present invention.

In another embodiment, not shown, the user imposes the rate rhythm and the other musical parameters are defined by the device object of the present invention.

In another embodiment of the present invention, not shown, the user selects the number of play points, for example according to phonemes, syllables or words of a spoken or written text.

In another embodiment, not shown, the present invention is applied to a telephone receiver, for example to control a music ringtone and personalized by the called party.

According to a variant, the musical ringtone is automatically associated with the number of caller's phone.

According to another variant, the music generation device is included in a receiver telephone or located on a telematic server connected to the telephone network.

In another embodiment, not shown, the user selects chords for generating the melody. For example, the user can select up to 4 agreements by measure.

In another embodiment not shown, the user selects a harmonic grid and / or a repeat structure.

In another embodiment not shown, the user selects, at plays the bass game, and the other musical parameters are selected by the object device of the present invention.

In another embodiment of the present invention, not shown, a software is downloaded to a communication network user's computer (for example internet network) and this software allows automatic implementation, either by triggering the user, either by triggering by a network server, of one of the embodiments of the invention.

According to a variant not shown, when a server transmits a web page, it transmits all or part of the musical parameters of an accompanying music intended for accompany the reading of the page in question.

In an embodiment not shown, the present invention is implemented works in conjunction with a game, for example a video game or a portable electronic game of such so that at least one of the parameters of the musical pieces played depends on the phase of game and / or player results, while ensuring diversity between musical sequences successive.

In another embodiment, not shown, the present invention is applied to a telephone device, for example a switchboard, to broadcast a diversified and harmonious waiting music.

Alternatively, the auditor changes song by pressing a key on the keyboard of his phone, for example, the star key or the pound key.

In another embodiment, not shown, the present invention is applied to an answering machine or to a messaging system, to introduce the music musically message from the device owner.

According to a variant, the owner changes the song by pressing a key on the answering machine keyboard.

According to a variant not shown, the musical parameters are modified each time call.

In an embodiment not shown, the device, or method, object of the present invention is implemented in a radio, in a tape recorder, in a player compact discs or audio cassettes, in a television, in an audio broadcaster or multimedia, a selector makes it possible to select the musical generation in accordance with the present invention.

Another embodiment is set out with reference to FIGS. 11 to 25, by way of non-limiting example.

• Au cours d' une opération 1200, le synthétiseur est initialisé et commuté en mode General Midi par l 'envol de codes spécifiques Midi. Il devient de ce fait un expandeur Midi "esclave" prêt à lire et à exécuter des ordres.
• Au cours des opérations 1202 et 1204, l' unité centrale 1106 lit les valeurs des constantes, correspondant à la structure du morceau à générer, et stockées dans la mémoire morte (ROM) 1105, puis les transfère dans la mémoire vive (RAM) 1104.

In this embodiment described and shown, all the random draws carried out by the central unit 1106 relate to whole numbers positive or negative and a draw in an interval bounded by two values can give one of these two values.

• During a 1200 operation, the synthesizer is initialized and switched to General Midi mode by the flight of specific Midi codes. It therefore becomes a "slave" Midi expander ready to read and execute orders.
• During operations 1202 and 1204, the central unit 1106 reads the values of the constants, corresponding to the structure of the song to be generated, and stored in the read-only memory (ROM) 1105, then transfers them to the random access memory (RAM) 1104 .

• Toujours au cours de l' opération 1202, l'unité centrale 1106 lit également la valeur de constante 4, correspondant à la structure interne de la mesure (Fig.12-1150,1160). Cette valeur définit le nombre de temps par mesure.

To define the internal structure of a beat (Fig. 12-1150), the value 4 is given for the maximum number of possible slots to be played per beat, 4 slots called "e1", "e2", "e3" and "e4" (terminology specific to the invention). Each beat of the entire song has 4 identical locations. Other modes of applications can use a different value or even several values corresponding to binary or ternary divisions of time. Example, for a ternary division of time: 3 places per beat, that is 3 eighth notes in triplet in measures 2/4, 4 / 4,6 / 4 ... or 3 quarter notes in triplet in measures 2 / 2,3 / 2 ... Which then gives only 3 locations "e1", "e2" and "e3" per time. The number of these locations conditions some of the following operations.

• Still during operation 1202, the central unit 1106 also reads the value of constant 4, corresponding to the internal structure of the measurement (Fig. 12-1150,1160). This value defines the number of beats per measure.

• Au cours de l'opération 1204, l'unité centrale 1106 lit des valeurs de constantes correspondant à la structure générale du morceau (Fig.13-1204) et plus précisément aux longueurs, en mesures, des "moments". Couplet et refrain reçoivent chacun une valeur de longueur en mesures égale à 8.

Thus, the general structure of the song will be composed of 4-beat measures (4/4), where each beat can contain a maximum of 4 sixteenth notes, offering 16 (4x4) positions of notes, note duration or rests per measured.
This simple measurement choice is arbitrarily decided to facilitate the reader's understanding.

• During operation 1204, the central unit 1106 reads values of constants corresponding to the general structure of the piece (Fig.13-1204) and more precisely to the lengths, in measures, of "moments". Verse and chorus each receive a length value in measures equal to 8.

Verse and chorus therefore represent a total of 16 measures of 4 beats each containing 4 locations.
Either a total of time units or "positions" of 16 x 4 x 4 = 256 positions

• Au cours des opérations 1202 et 1204, et à la suite de chacune des lectures des constantes stockées dans la mémoire morte (ROM) 1105, l' unité centrale 1106 transfère ces valeurs de structure dans la mémoire vive (RAM) 1104.
• Au cours d' une opération 1206, l' unité centrale 1106 effectue une réservation de tableaux de variables associées (dans le temps) et d' allocation de tableaux de chiffres entiers, chaque tableau comptant 256 entrées, correspondant aux 256 positions du morceau (J= 1 à 256 ). Les valeurs éventuellement conservées par chaque tableau sont mises à zéro (pour le cas où le programme est mis en boucle afin de générer des musiques continues). Les tableaux principaux ainsi réservés, alloués et initialisés sont (Fig.12-1170) :
  • le tableau des accords harmoniques,
  • le tableau de la cadence rythmique de la mélodie,
  • le tableau de la hauteur des notes de la mélodie,
  • le tableau de la longueur (durée) des notes de la mélodie,
  • le tableau des vélocités des notes de la mélodie,
  • le tableau de la cadence rythmique des notes des arpèges,
  • le tableau de la hauteur des notes des arpéges,
  • le tableau de la vélocité des notes des arpèges,
  • le tableau de la cadence rythmique des accords rythmiques,
  • le tableau de la vélocité des accords rythmiques.

The values corresponding to the number of times "moments" are read also during the game phase. During the game phase, the introduction will be the reading and playing of the first two measures of the verse played twice, the "verse and chorus "will be played each 2 times and the final (coda) will be the repetition of the chorus, these arbitrary values being able, in other modes of applications, to be different or even, between imposed limits, random.

• During operations 1202 and 1204, and following each of the readings of the constants stored in the read-only memory (ROM) 1105, the central processing unit 1106 transfers these structure values into the random access memory (RAM) 1104.
• During an operation 1206, the central unit 1106 makes a reservation of tables of associated variables (over time) and of allocation of tables of whole numbers, each table having 256 entries, corresponding to the 256 positions of the song (J = 1 to 256). The values possibly kept by each table are set to zero (for the case where the program is looped in order to generate continuous music). The main tables thus reserved, allocated and initialized are (Fig. 12-1170):
  • the table of harmonic chords,
  • the table of the rhythmic cadence of the melody,
  • the table of the pitch of the melody notes,
  • the table of the length (duration) of the melody notes,
  • the velocity table of the melody notes,
  • the table of the rhythmic cadence of the notes of the arpeggios,
  • the arpeggios note height table,
  • the velocity table of the arpeggios notes,
  • the table of the rhythmic cadence of the rhythmic chords,
  • the velocity table for rhythmic chords.

• au type d' instrument (ou de son)
• aux réglages de chacun de ces instrument (volume général, réverbération, échos, panoramique, enveloppe, brillance ...),

qui conditionnent les opérations suivantes.Then during an operation 1208, the central unit 1106 performs a random orchestra draw, from a set of orchestras composed of instruments specific to a specific style of music (varieties, classical ...). This orchestral value being accompanied by the corresponding values:

• the type of instrument (or sound)
• the settings of each of these instruments (general volume, reverberation, echoes, pan, envelope, brightness ...),

which condition the following operations.

• Ensuite au cours d' une opération 1212, l' unité centrale 1106 effectue le tirage aléatoire du tempo du morceau à générer, sous la forme d' une valeur d' horloge correspondant à la durée d' une unité de temps ("position"), c'est à dire, en longueur de note, d' une double-croche exprimée en 1/200 ème de seconde. Cette valeur est tirée au hasard entre 17 et 37. Par exemple la valeur 25 correspond à une durée de noire de 4 x 25/2000ème seconde= 1/2 seconde, soit un tempo de 120 à la noire. Cette valeur est mise en mémoire dans le registre "tempo" de la mémoire vive 1104.

These values are stored in the "instrumentation" register of the random access memory 1104.

• Then during an operation 1212, the central unit 1106 performs the random drawing of the tempo of the song to be generated, in the form of a clock value corresponding to the duration of a unit of time ("position") , that is to say, in note length, a sixteenth note expressed in 1/200 th of a second. This value is drawn at random between 17 and 37. For example, the value 25 corresponds to a quarter note duration of 4 x 25 / 2000th second = 1/2 second, or a tempo of 120 to the quarter note. This value is stored in the "tempo" register of the RAM 1104.

The result of this operation influences the following operations, the melody and musical arrangement being denser (more notes) if the tempo is slow, and vice versa.

Then during an operation 1214, the central unit 1106 performs a draw random between -5 and +5. This value is stored in the "transposition" register of the RAM 1104.

Transposition is a value that defines the key (or basic harmony) of the song, it shifts the melody and its accompaniment by one or more semitones, towards the up or down, relative to the first tone of zero and kept in memory dead.

The basic tone of value '0', being arbitrarily C major (or its relative minor: A minor).

During an operation not shown, the central unit performs a binary draw and, at the during a test 1222 determines whether the value drawn is equal to "1" or not. When the test result 1222 is negative, the draw for one of the preprogrammed suites of 8 chords (1 per measure) is performed in read-only memory 1105, operations 1238 to 1242. If the result of test 1222 is positive, the chords are drawn, one by one, randomly for each measure, operations 1224 to 1234.

During operation 1236, the central unit performs the random draw of two digits between '1' and the 'total number' of preprogrammed sequences of chords contained in the "chords" register of ROM 1105. Each sequence chord numbers have eight chord numbers, each represented by a number between 0 and 11 (chromatic scale, semitone by semitone, from do to si),
alternating with eight mode values (Major = 0, minor = 1).

For example, the following 8 chords and 8 modes:
9, -1, 4, -1, 9, -1, 4, -1, 7, 0, 7, 0, 0.0, 0, 0
corresponds to the table below: agreements Lam mim Lam mim Ground Ground Do Do Values 9 4 9 4 7 7 0 0 Shift / min -1 -1 -1 -1 0 0 0 0

Table in which, in the "Shift / min" line, each major chord is represented with a zero and each minor chord with '-1'.

We will see later, during operation 1411, that with each series of agreements, is associated an array of chord reversals whose values are 1, 2 and 3.

During an operation 1238, these different values are written and distributed in the chord table at the positions corresponding to the length of the verse ( positions 1 to 128).

During operation 1240, a procedure identical to operation 1236 is performed but this time for the chorus.

During an operation 1242, these different values are written and distributed in the chord table at the positions corresponding to the length of the chorus ( positions 129 to 256).

When the result of test 1222 is positive, the central unit 1106 performs a random draw of a single chord preprogrammed in ROM 1105, then during operation 1228 and from position 17 (J = 17) compares the chord drawn with the chord of the measure previous (J = J-16). According to the rules of the art (neighboring tones, minor relative, seventh chords dominant ...), the compared chord is accepted or not. If the agreement is refused, during a operation 1226, there is a new chord draw alone for the same position 'J' and this until the agreement is accepted. Then during operation 1230, the value of the agreement is copied along with its mode and reversal values, in RAM in the table chords, on the 16 positions of the current measure.

Each measurement is thus processed in leaps of 16 positions made by the operation 1234. Test 1232 checks if the position of 'J' is not the last position of the song (J = (256-16) +1), i.e. the first position of the last measure.

Operation 1230 on the one hand, and operations 1238 and 1242 on the other hand allow in the rest of the flow of the organization chart to know the current agreement at each of the 256 song positions.

Une opération de tirage aléatoire de suites d' accords prépragrammés destinées à chacun des deux moments fondamentaux : couplet puis refrain,

Une opération de tirage aléatoire d' accords parmi des accords disponibles, pour chaque mesure, suivant les contraintes des règles de l' art,

le choix de l' une ou l' autre des deux opérations précédentes étant lui-même aléatoire.

In general, we can schematize these operations concerning the chords of the song to be generated:

An operation of random drawing of sequences of prepragrammed chords intended for each of the two fundamental moments: verse then refrain,

An operation to randomly select chords from available chords, for each measure, according to the constraints of good practice,

the choice of one or the other of the two preceding operations being itself random.

It should be noted here that the embodiment described and represented generates "song" or "easy listening" style music, so the available chords are limited voluntarily in chords: perfect minor and major, diminished, by seventh dominant, of eleventh. Harmony (chord) participates in determining the style of music. So the getting a "Latin American" style, for example, requires a library of chords seventh major, augmented fifth, ninth ...

Figure 15 regroups the random generation operations of one of the three rhythmic cadences of two measures each spread over the whole piece, determining the positions of the notes to play the melody and more precisely the positions of the beginning of the notes to play ("note-on") of the melody, the other positions being by way of consequence, rests, note durations or end of note durations (or "notes-off") described later in "Duration of notes").

mesures: 1 2

temps : 1 2 3 4 1 2 3 4

emplacements : 1234 1234 1234 1234 1234 1234 1234 1234

positions à jouer : 1000 1010 0000 1000 1000 0000 1110 0000

Example of a rhythmic cadence of two measures at 4/4,
or 32 positions:

measures: 1 2

time: 1 2 3 4 1 2 3 4

locations: 1234 1234 1234 1234 1234 1234 1234 1234

positions to play: 1000 1010 0000 1000 1000 0000 1110 0000

The line of positions to play represents the rhythmic rhythm, the number '1' indicating the position that will later receive a note pitch and the number '0' indicating the positions which will receive rests, or, as we will see later, durations (or lengths) of note, and "note-off".

The verse receives the first two cadences repeated 2 times, and the chorus receives the third cadence repeated 4 times.

The operation of generating a rhythmic cadence is carried out in four stages in order to apply a density coefficient specific to each location ("e1" to "e4") inside of the measurement time. The values of these coefficients therefore determine the particular rhythmic rhythm of a given style of music.

For example, a density equal to zero, and applied to each of the locations "e2" and "e4", results in obtaining a melody composed only of eighth notes in locations "e1" and "e3". However, a maximum density applied to the 4 locations has the consequence of obtaining a melody composed entirely of sixteenth notes with locations "e1", "e2," e3 "and" e4 "(general rhythmic cadence of the fugue).

• dans un premier temps il faut traiter les positions aux emplacements "e1" positions 1, 5, 9, 13, .... jusqu'à 253
• dans un deuxième temps, les positions aux emplacements "e3" positions 3, 7, 11, 15 .... jusqu'à 255
• ensuite indifféremment les autres emplacements "e2" et "e4". positions 2, 6, 10, 14.... jisqu'à 254
  positions 4, 8, 12, 16.... jusqu'à 256

The drawing of the random rhythmic cadences of the melody, ie the drawing of the "playing positions" in time (universal) at the "locations" e1 "to" e4 "is done in anticipation, here in leaps of 4 in 4 positions:

• first, you must process the positions at locations "e1" positions 1, 5, 9, 13, .... up to 253
• secondly, the positions at locations "e3" positions 3, 7, 11, 15 .... up to 255
• then indifferently the other locations "e2" and "e4". positions 2, 6, 10, 14 .... up to 254
  positions 4, 8, 12, 16 .... up to 256

Positions are therefore not processed chronologically, except obviously, during the first processing of the positions in "e1". This allows, for prints following (in order: positions "e3", "e2" and "e4") to know the previous time neighborhood (past) and next (future) of the note to be processed (except in "e1 'where we only know the previous to from the second to shoot).

This knowledge of the past and future of each position will condition decisions to take for the different treatments in "e3", "e2" then "e4" (presence or absence of note to previous and next locations conditioning the existence of the note to be processed and later the same principle will be applied to the drawing of note pitches to treat intervals, duplicates, durations, etc ...).

Here the time is divided into four sixteenth notes but this principle remains valid for all another division of time.

Example:

In the present embodiment, the existence of the notes in the locations "e2" and "e4" is conditioned by the presence of a note, either at the previous position or at the next position. In other words, if this position has no immediate vicinity, neither before nor afterwards, it cannot be a position to play and will be a position of silence or duration of note or note-off.

• les emplacements "e1" de la première partie du couplet ont une densité permettant un nombre minimum de 2 notes pour deux mesures et un nombre maximum de 6 notes, pour deux mesures,
• les emplacements "e3" de le première partie du couplet ont une densité permettant un nombre minimum de 5 notes pour deux mesures et un nombre maximum de 6 notes, pour deux mesures,
• les emplacements "e2" et "e4" de la première partie du couplet ont une densité très faible :1 chance sur 12 d' avoir une note à ces emplacements,
• les emplacements "1" de la deuxième partie du couplet ont une densité permettant un nombre minimum de 5 notes pour deux mesures et un nombre maximum de 6 notes pour deux mesures,
• les emplacements "e3" de le deuxième partie du couplet ont une densité permettant un nombre minimum de 4 notes pour deux mesures et un nombre maximum de 6 notes pour deux mesures,
• les emplacements "e2" et "e4" de la deuxième partie du couplet ont une densité très faible : 1 chance sur 12 d' avoir une note à ces emplacements.
• les emplacements "1" du refrain (entier) ont une densité permettant un nombre minimum de 6 notes pour deux mesures et un nombre maximum de 7 notes pour deux mesures,
• les emplacements "e3" du refrain ont une densité permettant un nombre minimum de 5 notes pour deux mesures et un nombre maximum de 6 notes pour deux mesures,
• les emplacements "e2" et "e4" du refrain ont une densité très faible : 1 chance sur 14 d' avoir une note à ces emplacements.

Cette option de densité a pour conséquence l' obtention d' une cadence rythmique de style "chanson" ou "easy listening". La densité de la cadence rythmique est inversement proportionnelle à la vitesse d' exécution (tempo) du morceau, aussi, plus le morceau est rapide moins la densité est forte.In the embodiment described and shown, the different cadences have a length of two measures, so there are eight possible locations ("e1" to "e4"), of notes to be played.

• the locations "e1" in the first part of the verse have a density allowing a minimum number of 2 notes for two measures and a maximum number of 6 notes, for two measures,
• the "e3" locations of the first part of the verse have a density allowing a minimum number of 5 notes for two measures and a maximum number of 6 notes, for two measures,
• the locations "e2" and "e4" in the first part of the verse have a very low density: 1 in 12 chance of having a note in these locations,
• the locations "1" in the second part of the verse have a density allowing a minimum number of 5 notes for two measures and a maximum number of 6 notes for two measures,
• the locations "e3" in the second part of the verse have a density allowing a minimum number of 4 notes for two measures and a maximum number of 6 notes for two measures,
• the locations "e2" and "e4" in the second part of the verse have a very low density: 1 in 12 chance of having a note in these locations.
• the locations "1" of the chorus (whole) have a density allowing a minimum number of 6 notes for two measures and a maximum number of 7 notes for two measures,
• the "e3" slots of the chorus have a density allowing a minimum number of 5 notes for two measures and a maximum number of 6 notes for two measures,
• the slots "e2" and "e4" of the chorus have a very low density: 1 chance out of 14 to have a note in these locations.

This density option results in a rhythmic rhythm of "song" or "easy listening" style. The density of the rhythmic rhythm is inversely proportional to the speed of execution (tempo) of the song, also, the faster the song is less the density is strong.

If test 1232 is positive, during an operation 1252 a binary draw is made. If the draw result is positive, the rhythmic cadences of the melody are generated according to the random mode.

During an operation 1254, the density is drawn for each location "e1 to" e4 "of one of the three cadences of two measurements to be generated (two for the verse, only one for the chorus). The counter 'J' of the positions is initialized at the first position (J = 1) during operation 1256, in order to process the positions at first "e1" locations.

• les emplacements "e3": l' initialisation est : J=3
• les emplacements "e2": l' initialisation est : J=2
• les emplacements "e4": l' initialisation est : J=4

Then, during an operation 1258, a binary draw ('0' or "1") is carried out in order to determine whether this position 'J' should receive a note or not. As mentioned above, depending on the location in time (here "e1") of the position to be treated, the chances of obtaining a positive result are greater or less, The result obtained ('0' or ' 1 ') is entered in the table of rhythmic cadences of the melody, at position J.
If the result of test 1260 is negative, that is to say that there remain positions at locations "e1" in the rate of two measurements in progress, J is incremented by the value '4' to "jump" to the position "e1" next.
If the result of test 1260 is positive, test 1266 checks whether all the positions of all the locations have been processed. If this test 1266 is negative, an operation 1264 proceeds to initialize the position J as a function of the new location to be processed. To process locations "e1", 'J' was initialized to 1, and to process

• "e3" locations: initialization is: J = 3
• "e2" locations: initialization is: J = 2
• "e4" locations: initialization is: J = 4

Thus, the loop of operations 1254, 1256, 1258, 1260, 1266 is carried out as long as test 1266 is negative.

This same process is used for each of the 3 cadences of two measures (two for the verse, one for the chorus).

If the result of test 1252 is negative, an operation 1268 proceeds to a draw random of one of the cadences of two measures preprogrammed in read-only memory 1105.

This same process is used for each of the 3 cadences of two measures (two for the verse, one for the chorus).

la première cadence de deux mesures (soit 32 positions) est copiée deux fois sur les quatre premières mesures du morceau. A ce stade, la moitié du couplet est traitée soit 64 positions.

la deuxième cadence de deux mesures (soit 32 positions) est reproduite deux fois sur les quatre mesures suivantes. A ce stade, la totalité du couplet est traitée soit 128 positions.

la troisième et dernière cadence de deux mesures (soit 32 positions ) est reproduite 4 fois sur les huit mesures suivantes. A ce stade, la totalité du couplet et du refrain est traitée soit 256 positions.

If the result of test 1266 is positive, an operation 1269 copies the 3 rhythmic cadences obtained over the entire song into the table of rhythmic cadences of the melody:

the first cadence of two measures (32 positions) is copied twice to the first four measures of the song. At this stage, half of the verse is processed, i.e. 64 positions.

the second cadence of two measures (i.e. 32 positions) is reproduced twice on the following four measures. At this stage, the entire verse is processed, ie 128 positions.

the third and last cadence of two measures (32 positions) is reproduced 4 times on the following eight measures. At this stage, the entire verse and chorus are processed, ie 256 positions.

Then during operations 1270 to 1342, the note pitches are drawn,
at the positions defined by the rhythmic cadence (positions of notes to be played).

• l' harmonie générale de base
• l' accord associé à la même position du morceau
• son emplacement ("e1" à "e4") dans le temps de sa propre mesure.
• l' intervalle qui la sépare de la hauteur de note précédente, et de la note suivante.
• son éventuel voisinage immédiat (présence d' une note à la position précédente
  ou (et) suivante.

A note pitch is conditioned by five main elements:

• basic general harmony
• the chord associated with the same song position
• its location ("e1" to "e4") in time of its own measure.
• the interval which separates it from the pitch of the previous note, and the next note.
• its possible immediate vicinity (presence of a note at the previous position
  or (and) next.

• une opération de génération de deux "familles de notes" est constituée :
  • une première famille de notes dites "notes de base "constituée par les notes composant l' accord "associé à la "position" de la note à traiter et
  • une famille de notes dites "notes de passage "constituée par les notes de la gamme de l' harmonie générale de base (tonalité en cours) amputée ou non des notes composant l' accord associé à la position de la note à traiter.

Also, as was done during the drawing of the rhythmic cadence of the melody, the drawing of the note pitches of the melody is carried out, in part, in anticipation. The note positions to be played on the whole song, defined by the rhythmic rhythm of the melody (above), are not processed chronologically.

• an operation for generating two "note families" is made up:
  • a first family of notes called "base notes" constituted by the notes composing the chord "associated with the" position "of the note to be processed and
  • a family of notes called "passing notes" constituted by the notes of the range of the basic general harmony (current tone), whether or not amputated from the notes composing the chord associated with the position of the note to be processed.

In the embodiment described and shown, the family of pass marks consists of the notes of this scale and amputated of the notes composing the associated chord in order to avoid successive repetitions of the same note pitches (duplicates).

For example, in the C scale, the underlined notes make up the F chord, and form the family of base notes. The other notes form the family of passing notes.
la si, d o , ré, mi fa , sol, la si, do, ré, mi fa ...
In the embodiment described and represented, and with the exceptions described below, the melody consists of an alternation of passing notes and base notes
H3 / Drawing the pitch of the melody note (Fig. 16 to 19)

For a better understanding of the reader, it is not repeated, in what follows, that these are the pitch pitches at the playing positions defined by the rhythmic cadence of the melody and that the draws are random. There is obviously no anticipation during the first draw of each of the following two operations.

A first operation (Fig.16) in anticipation of drawing note pitches in the family of "base notes", where only the positions placed at the start of time ("e1"), are processed (positions 1, 5, 9, 13, 17, etc.).

• une troisième opération (Fig.18) de tirage de hauteurs de note aux emplacements "e2" (positions 2,6,10,14,18, etc...). Ce tirage s' effectue dans l' une ou l' autre famille selon le voisinage éventuel (note ou silence) précédent en "e1" et (ou) suivant en "e3" (Fig. 24). Selon le cas, ce tirage peut provoquer un changement de famille de la note suivante en "e3" afin de respecter l' alternance ici imposée : note de base/note de passage (Fig. 24).
• une quatrième opération (Fig.19) de tirage de hauteurs de note aux emplacements "e4" (positions 4,8,12,16,20, etc...). Ce tirage s' effectue dans l' une ou l' autre famille selon le voisinage éventuel (note ou silence) précédent en "e3" et (ou) suivant en "e1" (Fig. 24). Selon le cas, ce tirage peut provoquer un changement de famille de la note précédente en "e3" afin de respecter une alternance note de base/note de passage ici imposée (Fig. 25).

A second operation (Fig.17) in anticipation of drawing note pitches, in the family of "passing notes", where only the positions placed at "half time"("e3"), are processed (positions 3 , 7, 11, 15, 19, etc ...).

• a third operation (Fig.18) for drawing note pitches at the locations "e2" (positions 2,6,10,14,18, etc ...). This draw is made in one or the other family according to the possible neighborhood (note or silence) preceding in "e1" and (or) following in "e3" (Fig. 24). Depending on the case, this drawing can cause a change of family from the following note to "e3" in order to respect the alternation imposed here: basic note / passing note (Fig. 24).
• a fourth operation (Fig.19) for drawing note pitches at the locations "e4" (positions 4,8,12,16,20, etc ...). This draw is made in one or the other family according to the possible neighborhood (note or silence) preceding in "e3" and (or) following in "e1" (Fig. 24). Depending on the case, this draw can cause a change of family from the previous note to "e3" in order to respect an alternation of base note / passing note imposed here (Fig. 25).

• la dernière note d' une phrase musicale est tirée dans la famille des notes de base quelque soit sont emplacement ("e1" à "e4") dans le temps de la mesure en cours (Fig.20), ici une note de fin de phrase est considérée comme telle si elle est suivie par un minimum de 3 positons de silences (sans note).
• la note en "e4" est tirée dans la famille des notes de base dans le cas où il y a un changement d' accord à la position suivante en "e1".
• Pour certains styles (ex: variétés américaines, jazz), on accepte une note de passage représentant la seconde (note de la la mélodie ré, avec en accompagnement, un accord parfait de Do Majeur) à l'emplacement "e1" (même si l'accord est un accord parfait de Do majeur), alors que dans le mode de réalisation décrit et représenté (style chanson), en "e1" sont acceptées uniquement les notes de base .

Exceptions to the alternation base / passage note:

• the last note of a musical phrase is taken from the family of basic notes whatever their location ("e1" to "e4") in the time of the current measure (Fig.20), here an end note of sentence is considered as such if it is followed by a minimum of 3 positrons of rests (without note).
• the note in "e4" is taken from the family of base notes in the event that there is a chord change at the following position in "e1".
• For certain styles (eg American varieties, jazz), we accept a passing note representing the second (note of the melody D, with an accompaniment, a perfect C major chord) in the location "e1" (even if the chord is a perfect C major chord), while in the embodiment described and represented (song style), in "e1" only the base notes are accepted.

The operations and tests of figure 16 concern the drawing of the notes to be played at "e1" slots; thus, as previously in the drawing of rhythmic cadences, the the positions concerned are processed in 4-position jumps (positions 1, then 5, then 9 ...).

During an operation 1270, the position indicator 'J' is initialized on the position '1', then during test 1272, the central unit 1106 checks, in the rate table rhythm of the melody, if the position 'J' corresponds to a note to be played.

If test 1272 is positive, after reading the current agreement (at this same position J), the central unit 1106 proceeds with the random drawing of one of the note pitches of the family of base notes.

It is recalled that the positions at locations "e1" only receive notes of the basic family except very rare exception already described.

During a 1276 test, and obviously from the second position to be processed, the unit central 1106 checks if the previous location ("e1") is a note position to play. If it's in the case, a calculation of the interval separating the two notes is carried out. If this interval (in semitones) is too large, the central unit draws again in 1274 for the same position J.

The size of the maximum interval allowed between the notes of the pitches "e1" here has a value of 7 semitones.

If the 1276 test is positive, the note pitch is placed in the table of note pitches at position J. Test 1278 then checks whether 'J' is the last location "e1" treat. If this is not the case, the variable 'J', corresponding to the position of the song, is incremented by 4 and the same operations 1272 to 1278 are performed for the new position.

If test 1272 is negative, (there will be no note at position 'J'), 'J' is incremented by 4 (position "e1" next) and the same operations 1272 to 1278 are performed for the new position.

The operations and tests of figure 17 concern the drawing of the notes to be played at "e3" slots, so as previously in the draw for "e1" slots, the the positions concerned are processed in 4-position jumps (positions 3, then 7, then 11 ...).

During an operation 1270 bis, the position indicator 'J' is initialized on the position '3', then during test 1272 bis, the central unit 1106 checks, in the rate table rhythm of the melody, if the position 'J' corresponds to a note to be played.

If the 1272 bis test is positive, after reading the current agreement (at this same position J) and the range of the basic harmony (key) to constitute the family of notes of passage described above, the central unit 1106 proceeds to randomly draw one of the family note pitch heights

Positions in locations "e3" receive notes from the family of passage, given the very low density of the passing notes "e2" and "e4" in this mode of realization (in song style).

These notes in "e3" will eventually be corrected later, during the draws concerning the positions at locations "e2" and "e4" (Fig.24 and 25).

• "e1"=note de base , "e2"=note de passage ,
• "e3"=note de base , "e4"=note de passage

For other styles of music, such as the fugue for example, the density of the four locations is very high, which has the effect of generating a note to play by location ("e1" to "e4"), it is at say four sixteenth notes per beat for a 4/4 measure. In this case, to respect the alternation imposed in the embodiment described and represented (basic note then passing mark), the drawing of the note pitches at the locations "e3" would be carried out in the family of basic notes:

• "e1" = basic grade, "e2" = passing grade,
• "e3" = basic grade, "e4" = passing grade

• "e1"=note de base , "e2"=silence, "e3"=note de passage, "e4"=silence

In the embodiment described and shown, (where the notes, at the locations "e2" and "e4" of the time, are very rare taking into account the density chosen), the family of the passing notes is chosen for the notes to be played at locations "e3" because most often the result of the draws is the following for each time:

• "e1" = base note, "e2" = silence, "e3" = passing grade, "e4" = silence

So on ... There is indeed alternation of basic notes and passing notes imposed by the embodiment described and shown.

During a test 1276 bis, the central unit 1106 seeks the position to be played previous ("e1" or "e3") and the pitch of the note at this position. A calculation of the interval separating both notes is performed. If this interval is too large, the central unit 1106 performs a new print in 1274 bis for the same position J.

The maximum amount of interval allowed between the notes of the pitches "e3" and 5 previous notes here has a value of 5 semitones.

If the 1276 bis test is positive, the note pitch is placed in the table of note pitches at position J. Test 1278 bis then checks whether 'J' is the last location "e3" to be processed. If this is not the case, the variable 'J', corresponding to the position of the song, is incremented by 4 and the same operations 1272 bis to 1278 bis are performed for the new position.

If test 1272 bis is negative, (there will be no note at position 'J). 'J' is incremented by 4 (position "e1" next) and the same operations 1272 bis to 1278 bis are performed at the new position.

The operations of figure 18 concern the drawing of the notes to be played at the slots "E2". As before, in the draw at the locations "e1" then "e3", the processing of concerned positions are performed by 4-position jumps (positions 2, then 6, then 10 ...).

During an operation 1310, the position indicator 'J' is initialized on the position '2', then during test 1312, the central unit 1106 checks, in the rate table rhythm of the melody, if the position 'J' corresponds to a note to be played.

If the test 1312 is positive, during an operation 1314, the central unit reads, in the chord table at position 'J', the current chord and the range of the basic harmony (tone). The central unit 1106 then proceeds to the random drawing of one of the note pitches of the family of passing marks.

-elles sont isolées, c'est à dire sans note immédiatement devant (passé) et sans note immédiatement derrière (futur).

-il n'y a pas pas de note à jouer et placée à la position suivante (futur) en "e3"

Positions in locations "e2" always receive passing family notes, unless:

- they are isolated, that is to say without note immediately in front (past) and without note immediately behind (future).

-there is no note to play and placed in the next position (future) in "e3"

In these cases, the "e2" slots receive base grades. We aknowledge here again, the advantage of the advance draw process.

The presence of a note to play in "e2" implies the correction of the following note and immediately adjacent to "e3" (Fig.24).

The central unit 1106 searches for the previous playing position ("e1" or "e3") and the pitch of note at this position. A calculation of the interval separating the previous note and the note during the draw is made. If this interval is too large, test 1318 is negative. So unity central 1106 proceeds, during an operation 1316, to a new draw at the same position J.

The maximum amount of interval allowed between the notes of the pitches "e2" and the previous (past) note on the one hand, and the next (future) note on the other hand, has a value of 5 here semitones.

If the 1318 test is positive, the note pitch is placed in the table of heights of note at position J.

During an operation 1320, and in the event that the following position is drawn (D + 1) was done in the family of pass marks (as it is here), the unit central 1106 proceeds to the new drawing (correction) of the note located at the following position (D + 1 in "e3"), but this time the draw is made in the notes of the basic family to respect the "base-passage" alternation imposed here.

The test 1322 then checks whether 'J' is the last location "e2" to be processed. If this is not the case, the variable 'J', corresponding to the position of the song, is incremented by 4 and the same operations 1312 to 1322 are carried out at the new position J.

If test 1322 is negative, (there will be no note at position 'J'), and during an operation 1324, 'J' is incremented by 4 (position "e2" following) thus the same operations 1312 to 1322 are performed at the new position.

The operations and tests of figure 19 concern the drawing of the notes to be played at "e4" locations. As before, in the draw at locations "e1", "e3" then "e2", the positions concerned are processed by 4-position hops (positions 2, then 6, then 10 ...).

During an operation 1330, the position indicator 'J' is initialized on the position '4', then during test 1332, the central unit 1106 checks, in the rate table rhythm of the melody, if the position 'J' corresponds to a note to be played.

If test 1332 is positive, during another test 1334 the central unit 1106 checks if the chord located at the next position D + 1 is different from that of the current position J.

If the result of test 1334 is negative, the central unit 1106 during an operation 1336, reads in the chord table at position 'J', the current chord and the scale of harmony basic (tone). The central unit 1106 then proceeds to randomly draw one of the heights of family grade passing grades

• l'accord placé à la position suivante J+1 est différent de celui de la position en cours 'J'.
• la position à traiter est isolée, c'est à dire sans note immédiatement devant (passé) et sans note immédiatement derrière (futur).
• la position suivante (futur en "e1") est une position de silence.

Dans tous ces cas d'exceptions, la position à l'emplacement "e4" reçoit une note de base . Positions in locations "e4" always receive passing family notes except in the following exceptional cases:

• the chord placed at the next position J + 1 is different from that of the current position 'J'.
• the position to be processed is isolated, that is to say without a note immediately in front (past) and without a note immediately behind (future).
• the next position (future in "e1") is a position of silence.

In all these exceptions, the position at location "e4" receives a base score.

The presence of a note to play in "e4" implies the correction of the note previous and immediately adjacent to "e3" (Fig.25).

During a test 1339, the central unit 1106 seeks the position to be played previous ("e1", "e2" or "e3") then the note pitch at this position.

A calculation of the interval separating the previous note and the note being drawn is done. If this interval is too large, test 1339 is negative. Then the central unit 1106 proceeds, during an operation 1336, to a new drawing at the same position J.

The maximum amount of interval allowed between the notes of the pitches "e4" and the previous (past) note on the one hand, and the next (future) note on the other hand, has a value of 5 here semitones.

If the 1339 test is positive, the note pitch is placed in the table of note pitches at position J.

During an operation 1340, and in the event that the drawing of the position previous (J-1) was done in the family of passing notes, the central unit 1106 proceeds to the new drawing (correction) of the note located in the previous position (d-1 therefore in "e3"), but this time the draw is made in the notes of the basic family to respect the "base-passage" alternation imposed here.

Test 1342 then checks whether 'J' is the last location ("e4") to be processed. If this is not the case, the variable 'J', corresponding to the position of the song, is incremented by 4 and the same operations 1332 to 1342 are carried out for the new position J.

If test 1342 is negative, (there will be no note at position 'J'), and during an operation 1344. 'J' is incremented by 4 (position "e4" next) thus the same operations 1332 to 1342 are performed at the new position.

• de calculs des longueurs (durées) de note,
• de tirage des vélocités (volume) des notes,
• de recherche et de correction des notes situées en fin des différentes phrases musicales générées précédemment.

Then, figure 20 represents the operations (always concerning the notes of the melody),

• note length (duration) calculations,
• drawing velocities (volume) of notes,
• search and correction of the notes located at the end of the different musical phrases previously generated.

These operations are processed chronologically from position '1' to position '256'.

During an operation 1350, the variable 'J' is initialized to 1 (first position) then during a test 1352 the central unit 1106 reads, in the table rhythmic cadences of the melody, if the position 'J' is to be played.

If test 1352 is positive (the current position 'J' is a position to play), the unit central 1106 counts the positions of rest located behind (future) the position 'J' in progress.

During an operation 1354, the central unit 1106 calculates the duration of the note placed at position J: the (integer) number corresponding to half of the total of the positions of silences found.

In a sub-table of note durations, also comprising 256 positions , a value '1' indicating "note-off" is placed at the position corresponding to the end of the last duration position. This instruction will be read during the game phase and will allow you to "cut" the note at this precise moment.

The "note-off" determines the end of the length of the previous note, the smallest length here being the sixteenth note (only one position of the piece).

Example: 4 empty positions were found following a note placed at the position '1' (J = 1). The duration of the note is then 2 positions (4/2 ... It is recalled here that these are positions on a time scale) to which we add the duration of the initial position 'J' of the note itself, either a total of 3 positions duration corresponding here to 3 quarters of sigh or a half sigh point.

Here the eighth notes that follow are linked together (a single empty position between they).

• quantification du silence : durée correspondant à un multiple de l'unité de temps. (ici la double-croche soit en valeur de silence le quart de soupir).
• aliongement maximum de la durée pour les chants dits "larges".
• dédoublement de la durée initiale pour les notes jouées piquées.
• durées choisies par tirage aléatoire, limitées par le nombre de positions de silence disponible (entre 1 et 7 par example).

Other note duration calculation systems can be implemented for other embodiments or other styles of music:

• quantification of silence: duration corresponding to a multiple of the time unit. (here the sixteenth note is in silence value the quarter sigh).
• maximum lengthening of the duration for so-called "wide" songs.
• splitting of the initial duration for the notes played pitted.
• durations chosen by random draw, limited by the number of silence positions available (between 1 and 7 for example).

• de l' emplacement ("e1" à "e4") des notes dans le temps, et
• de leur position dans le morceau.

During an operation 1355, the central unit 1106 reads the different velocity values in the read-only memory 1105, and assigns them to the table of velocities of the notes of the melody, according to:

• the location ("e1" to "e4") of the notes over time, and
• of their position in the song.

Velocities of the notes to be played according to their location in time of the measure: Location Velocity (Midi code: 0 to 127) "E1" 65 "E3" 75 "E2" 60 "E4" 58

• ici, la vélocité des notes de fin de phrase est égale à 60 (faible vélocité), à moins que la noteà traiter soit isolée avec plus de 3 positions de silences devant (passé) et derniére (futur) où dans ce cas la vélocité de la note est égale à 80 (vélocité moyennement forte).

The velocity of the notes, in relation to the location, contributes to giving character, style, to the music generated.

• here, the velocity of end-of-sentence notes is equal to 60 (low velocity), unless the note to be processed is isolated with more than 3 positions of rest before (past) and last (future) where in this case the velocity of the note is equal to 80 (moderately strong velocity).

Then, during a test 1356, the central unit 1106 checks whether the number of rests after the note calculated during operation 1353, is equal to or greater than 3.

If test 1356 is positive and the note to be played at position 'J' is from the family of passing notes, the current position note (J) is considered an "end note of musical phrase "and must be removed from the family of base notes when operation 1360.

Then, a test 1362 checks if the position J is equal to 256 (end of the tables). If the test 1362 is negative 'J' takes the value J + 1 and operations and tests 1352 to 1362 are performed at new to new position.

If test 1362 is positive a binary draw operation is carried out to decide how to generate the rhythmic rhythm of the arpeggios.

When the result of the draw is positive, during an operation 1372 the value 1 is gives variable J.

Then, during an operation 1374, a binary random draw is performed.

When the result of the draw for operation 1374 is positive, a value '1' is registered in the table of rhythmic cadences of the arpeggios.

Test 1376 then checks if J = 16 ?.

It is specified here, that two different cadences of a measure (16 positions) are drawn randomly and repeated one on all 8 measures of the verse, and the other on all 8 measures of the chorus.

The operations relating to a single cadence are here represented in the figure 21, those relating to the second cadence being identical.

If test 1376 is negative, during an operation 1377 J is incremented by "1" and operations 1374 to 1376 are performed again.

If test 1376 is positive, during an operation 1378, the central unit 1106 make an identical copy of this cadence measurement on all the measurements of the moment concerned (verse or chorus).

If test 1370 is negative, during an operation 1371, the central unit 1106 randomly draws one of the measures (16 positions) of rhythmic cadences preprogrammed in read only memory 1105.

Then during an operation 1380, J is reinitialized by taking the value '1'.

Then during a test 1382, the central unit 1106 checks in the table of rhythmic cadences of the melody if this position 'J' is a position of note to play.

If the result of test 1382 is positive, during an operation 1384, the unit central reads the current chord, then randomly draws a note from the family basic.

Then during an operation 1386 the central unit performs a interval comparison of the drawn note and the previous note.

If the interval exceeds the maximum authorized interval (here 5 semitones), the operation 1384 is renewed.

If the interval does not exceed the maximum authorized interval, during an operation 1387, the central unit then proceeds to randomly draw the velocity of the arpeggio note from among the numbers read in read-only memory (ex: 68, 54, 76, 66 ...) and writes it in the velocity table of arpeggio notes at position J.

During test 1388, the central unit checks if J = 2567

If test 1388 is negative, the value J is incremented by 1 and operations 1382 at 1388 are again performed at the new position.

If test 1388 is positive, during operation 1400 the value J is initialized at the value "1".

During a 1404 test, the central unit reads in the arpeggio table if it exists an arpége note to play at location J.

If the result of test 1404 is positive, position J of the cadence table rhythm of chords keeps a value "0" during operation 1406.

Then, during a test 1412 the central unit checks if J = 256?

If the result of test 1412 is negative, the variable J is incremented by "1", and operation 1404 is then repeated.

If the result of test 1404 is negative, during operation 1408, position J of the table of the rhythmic cadence of the chords takes the value "1" (chord to be played when there is no note arpeggios to play).

Then during operation 1410, the central unit 1106 proceeds to draw a of the two values (here 54 and 74) of velocities of the rhythmic chords stored in ROM 1105 and writes it in the table corresponding to position J.

Then during operation 1411, the central unit 1106 proceeds to draw a of the two values (1, 2 or 3) for reversing rhythmic chords stored in read-only memory 1105 and writes it in the chord reversal table at position J.

• renversement 1= do3, mi3, sol3 (tonique, tierce, quinte.)
• renversement 2= sol2, do3, mi3 (quinte, tonique, tierce.)
• renversement 3= mi3, sol3, do4 (tierce, quinte, tonique.)

Each of these values defines the place of the notes to be played in the chord.
Example of reversals of a C major chord:

• reversal 1 = do3, mi3, sol3 (tonic, third, fifth.)
• reversal 2 = sol2, do3, mi3 (fifth, tonic, third.)
• reversal 3 = mi3, sol3, do4 (third, fifth, tonic.)

The numbers '2', '3', and '4', placed behind the note, indicating the height of octave.

Then during a test 1412, the central unit 1106 checks if J is equal to 16 (end cadence measurement).

If test 1412 is negative, during an operation 1414 J is incremented by '1' and operation 1404 is renewed for the new position J.

• la mesure de cadence est copiée sur l'ensemble du couplet (position 1 à 128) dans le sous-tableau "cadence rythmique des accords".
• la mesure de vélocités est copiée sur l'ensemble du couplet (position 1 à 128) dans le sous-tableau "vélocités des accords rythmiques".
• la mesure de renversements est copiée sur l'ensemble du couplet (position 1 à 128) dans le sous-tableau "renversements des accords rythmiques".

If the 1412 test is positive, during an operation 1416

• the cadence measurement is copied to the entire verse (position 1 to 128) in the "rhythmic chord cadence" sub-table.
• the velocity measurement is copied over the entire verse (position 1 to 128) in the sub-table "velocities of rhythmic chords".
• the measure of reversals is copied over the entire verse (position 1 to 128) in the sub-table "reversals of rhythmic chords".

It is specified that operations 1400 to 1416 above concerning the verse are the same for the chorus (posit 129 to 256).

Then during an operation 1420, the central unit sends the various General Midi configuration parameters, instrumentation and sound adjustments to the 1109 synthesizer, via the Midi 113 interface. It is recalled that the synthesizer was initialized during of operation 1200.

Then during operation 1422, the central unit proceeds to initialize the clock t = 0.

Then, if the value of 't' is 20, the set of results of the operations at position 'J', described below (and shown in Figure 23), will be sent to the synthesizer.

These sendings are carried out every 20 / 200th second, and this for each position (1 to 258), respecting the repetitions of the different "moments".

Then during an operation 1424, the position 'J' is initialized and receives the value '1'.

The central unit 1106, during an operation 1426, reads the values of each table and sends them to the 1428 synthesizer in Midi protocol form.

After sending all the game parameters, the central unit 1106 waits for the 20 / 200th seconds have elapsed (t = t + 20 in the example chosen).

During operation 1431, the central unit resets 't' ('t' = 0).

Then, during a test 1434, the central unit 1106 checks whether the position J is the end of the "moment" in progress (end of introduction, verse ...).

If test 1434 is negative, then during a test 1436, the central unit 1106 check if the position J (according to the recovery values) is not that corresponding to the end of the piece.

If test 1436 is negative, J is incremented by 1 during operation 1437 then operation 1426 is repeated.

If the 1434 test is positive, we return to the start of the "moment" (ex: at the start of verse).

It is recalled that the introduction has a length of 2 measures, (these are the two first measures of the verse), the verse has a length of 8 measures, the chorus of 8 measures.

Each moment is played successively 2 times and the final (coda) is the repetition of the chorus (three times with fade out).

• fin de l'introduction:   J=J-32
• fin du couplet :   J=J-(8x16)
• fin du refrain :   J=J-(8x16)
• Répétition refrain (Coda) :   J=J-(8x16)

Also, during operation 1435, the variable J successively takes the following values:

• end of introduction: D = D-32
• end of verse: J = J- (8x16)
• end of chorus: J = J- (8x16)
• Chorus repetition (Coda): J = J- (8x16)

Then operation 1426 is renewed at the new position J.

If the 1436 test is positive, all operations are completed, unless all the music generation process described above is looped. In this case, listening musical is continuous.

So, depending on the speed of calculation of the microprocessor used, the different pieces follow each other after a silence of a few tenths of a second, during which, the "score" of a new song is generated.

Claims (41)

1. An automatic music generation procedure, characterized in that it comprises:

   an operation (12) of defining musical moments during which at least four notes are capable of being played;

   an operation (14) of defining two families of note pitches, for each musical moment, the second family of note pitches having at least one note pitch which is not in the first family;

   an operation (16) of forming at least one succession of notes having at least two notes, each succession of notes being called a musical phrase, in which succession, for each moment, each note whose pitch belongs exclusively to the second family is surrounded exclusively by notes of the first family; and

   an operation (18) of outputting a signal representative of each note pitch of each said succession.
2. The music generation procedure as claimed in claim 1, characterized in that, during the operation (14) of defining two families of note pitches, for each musical moment, the first family is defined as a set of note pitches belonging to a chord duplicated from octave to octave.
3. The music generation procedure as claimed in claim 2, characterized in that, during the operation (14) of defining two families of note pitches, the second family of note pitches includes at least the note pitches of a range which are not in the first family of note pitches.
4. The music generation procedure as claimed in any one of claims 1 to 3, characterized in that, during the operation (16) of forming at least one succession of notes having at least two notes, each musical phrase is defined as a set of notes the starting times of which are not mutually separated, in pairs, by more than a predetermined duration.
5. The music generation procedure as claimed in any one of claims 1 to 4, characterized in that it furthermore includes an operation (306) of inputting values representative of physical quantities and in that at least one of the operations of defining (12) musical moments, of defining (14) two families of note pitches, of forming (16) at least one succession of notes, is based on at least one value of a physical quantity.
6. The music generation procedure as claimed in claim 5, characterized in that said physical quantity is representative of a movement.
7. The music generation procedure as claimed in claim 5, characterized in that said physical quantity is representative of an input on keys.
8. The music generation procedure as claimed in claim 5, characterized in that said physical quantity is representative of an image.
9. The music generation procedure as claimed in claim 5, characterized in that said physical quantity is representative of a physiological quantity of the user's body, preferably obtained by means of at least one of the following sensors:

   an actimeter;

   a tensiometer;

   a pulse sensor;

   a friction sensor;

   a sensor for detecting the pressure at various points on gloves and/or shoes; and

   a sensor for detecting pressure on arm and/or leg muscles.
10. The music generation procedure as claimed in any one of the preceding claims, characterized in that it comprises:

    an operation (306, 502, 604) of processing information representative of a physical quantity during which at least one value of a parameter called a "control parameter" is generated;

    an operation (308, 504, 610) of associating each control parameter with at least one parameter called a "music generation parameter" corresponding to at least two notes to be played during a musical fragment; and

    a music generation operation (310, 506, 612) using each music generation parameter to generate a musical fragment.
11. The music generation procedure as claimed in claim 10, characterized in that the music generation operation comprises, successively:

    an operation (104) of automatically determining a musical structure composed of moments comprising bars, each bar having times and each time having note start locations (e1, e2, e3, e4) ;

    an operation (106) of automatically determining densities, probabilities of the start of a note to be played, these being associated with each location; and

    an operation (108) of automatically determining rhythmic cadences according to densities.
12. The music generation procedure as claimed in either of claims 10 and 11, characterized in that the music generation operation comprises:

    an operation (216, 218) of automatically determining harmonic chords which are associated with each location (e1, e2, e3, e4);

    an operation (222) of automatically determining families of note pitches according to the rhythmic chord which is associated with a position; and

    an operation (230) of automatically selecting a note pitch associated with each location corresponding to the start of a note to be played, according to said families and to predetermined composition rules.
13. The music generation procedure as claimed in any one of claims 10 to 12, characterized in that the music generation operation comprises:

    an operation (208) of automatically selecting orchestral instruments;

    an operation (210) of automatically determining a tempo;

    an operation (212) of automatically determining the overall tonality of the fragment;

    an operation (224) of automatically determining a velocity for each location corresponding to the start of a note to be played;

    an operation (226) of automatically determining the duration of the note to be played;

    an operation (228) of automatically determining rhythmic cadences of arpeggios; and/or

    an operation (236) of automatically determining rhythmic cadences of accompaniment chords.
14. The music generation procedure as claimed in claim 13, characterized in that, during the music generation operation, each density depends on said tempo.
15. The music generation procedure as claimed in any one of claims 10 to 14, characterized in that said procedure comprises a music generation initiation operation (600) comprising an operation of connection to a network, for example the Internet network.
16. The music generation procedure as claimed in any one of claims 10 to 15, characterized in that said procedure comprises a music generation initiation operation (600) comprising an operation of transmitting a predetermined play order via a network server to a tool capable of carrying out the music generation operation.
17. The music generation procedure as claimed in either of claims 15 and 16, characterized in that it comprises an operation of downloading, into the computer of a user, a software package allowing the music generation operation to be carried out.
18. The music generation procedure as claimed in any one of claims 10 to 14, characterized in that said procedure comprises a music generation initiation operation (600) comprising an operation of reading a sensor.
19. The music generation procedure as claimed in any one of the preceding claims, characterized in that at least one of the notes has a pitch which depends on the pitch of the notes which surround it.
20. The music generation procedure as claimed in any one of the preceding claims, characterized in that it includes a first operation of determining the pitch of notes which are positioned at predetermined locations (e1, e3) and a second operation of determining the pitch of other notes during which the pitch of a note depends on the note pitches of the notes which surround said note and which are at said predetermined locations (e1, e3).
21. The music generation procedure as claimed in any one of the preceding claims, characterized in that the note pitches are determined in an achronic order.
22. An automatic music generation system, characterized in that it comprises:

    a means (34) of defining musical moments during which at least four notes are capable of being played;

    a means (32) of defining two families of note pitches, for each musical moment, the second family of note pitches having at least one note pitch which is not in the first family of note pitches;

    a means (36) of forming at least one succession of notes having at least two notes, each succession of notes being called a musical phrase, in which succession, for each moment, each note whose pitch belongs exclusively to the second family is surrounded exclusively by notes of the first family; and

    a means (38) of outputting a signal representative of each note pitch of each said succession.
23. The music generation system as claimed in claim 22, characterized in that the means (32) of defining two families of note pitches is designed to define, for each musical moment, the first family as a set of note pitches belonging to a chord duplicated from octave to octave.
24. The music generation system as claimed in claim 23, characterized in that the means (32) of defining two families of note pitches is designed to define the second family of note pitches so that it includes at least the note pitches of a range which are not in the first family of note pitches.
25. The music generation system as claimed in any one of claims 22 to 24, characterized in that the means (36) of forming at least one succession of notes having at least two notes is designed so that each musical phrase is defined as a set of notes the starting times of which are not mutually separated, in pairs, by more than a predetermined duration.
26. The music generation system as claimed in any one of claims 22 to 25, characterized in that it furthermore includes a means of inputting values representative of physical quantities and in that at least one of the means of defining musical moments, of defining two families of note pitches, of forming at least one succession of notes, is designed to take into account said value of at least one value of a physical quantity.
27. The music generation system as claimed in any one of claims 22 to 26, characterized in that it comprises:

    a means of processing information representative of a physical quantity designed to generate at least one value of a parameter called a "control parameter";

    a means of associating each control parameter with at least one parameter called a "music generation parameter" each corresponding to at least two notes to be played during a musical fragment;

    a music generation means using each music generation parameter to generate a musical fragment.
28. The music generation system as claimed in any one of claims 22 to 27, characterized in that the means (36) of forming a succession is designed so that at least one of the notes has a pitch which depends on the pitch of the notes which surround it.
29. The music generation system as claimed in any one of claims 22 to 28, characterized in that the means (36) of forming a succession is designed to determine pitches of notes positioned at predetermined locations (e1, e3) and to determine pitches of other notes during which the pitch of a note depends on the note pitches of the notes which surround said note and which are at said predetermined locations (e1, e3).
30. The music generation system as claimed in any one of claims 22 to 29, characterized in that the means (36) of forming a succession is designed to determine the note pitches in an achronic order.
31. An electronic and/or video game comprising a music generation system as claimed in any one of claims 22 to 30.
32. The game as claimed in claim 31, characterized in that at least one parameter of musical fragments played by means of the music generation system depends on a phase of the game and/or on the results of a player.
33. A computer comprising a music generation system as claimed in any one of claims 22 to 30.
34. A television transmitter comprising a music generation system as claimed in any one of claims 22 to 30.
35. A television receiver comprising a music generation system as claimed in any one of claims 22 to 30.
36. A telephone receiver comprising a music generation system as claimed in any one of claims 22 to 30.
37. The telephone receiver as claimed in claim 36, characterized in that the music generation system is designed to control a musical ringing tone and in that said telephone receiver comprises means for customizing said ringing tone by the subscriber.
38. The telephone receiver as claimed in claim 36, characterized in that said telephone receiver comprises means for automatically associating a telephone ringing tone with the telephone number of the caller.
39. A datacom server intended to be connected to a telephone network, comprising a music generation system as claimed in any one of claims 22 to 30.
40. A music broadcaster, preferably consisting of a synthesizer, comprising a music generation system as claimed in any one of claims 22 to 30.
41. An electronic chip comprising a music generation system as claimed in any one of claims 22 to 30.

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