EP0371042B1 - Procede et dispositif utilisant la musique comme support d'un entrainement physique - Google Patents

Procede et dispositif utilisant la musique comme support d'un entrainement physique Download PDF

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Publication number
EP0371042B1
EP0371042B1 EP88905813A EP88905813A EP0371042B1 EP 0371042 B1 EP0371042 B1 EP 0371042B1 EP 88905813 A EP88905813 A EP 88905813A EP 88905813 A EP88905813 A EP 88905813A EP 0371042 B1 EP0371042 B1 EP 0371042B1
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EP
European Patent Office
Prior art keywords
music
movement
sections
pulse
beats
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EP88905813A
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German (de)
English (en)
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EP0371042A1 (fr
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Frank L. Mertesdorf
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Individual
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Priority claimed from DE19873722468 external-priority patent/DE3722468A1/de
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    • A—HUMAN NECESSITIES
    • A63—SPORTS; GAMES; AMUSEMENTS
    • A63B—APPARATUS FOR PHYSICAL TRAINING, GYMNASTICS, SWIMMING, CLIMBING, OR FENCING; BALL GAMES; TRAINING EQUIPMENT
    • A63B22/00—Exercising apparatus specially adapted for conditioning the cardio-vascular system, for training agility or co-ordination of movements
    • A63B22/0002—Exercising apparatus specially adapted for conditioning the cardio-vascular system, for training agility or co-ordination of movements involving an exercising of arms
    • A63B22/001—Exercising apparatus specially adapted for conditioning the cardio-vascular system, for training agility or co-ordination of movements involving an exercising of arms by simultaneously exercising arms and legs, e.g. diagonally in anti-phase
    • A—HUMAN NECESSITIES
    • A63—SPORTS; GAMES; AMUSEMENTS
    • A63B—APPARATUS FOR PHYSICAL TRAINING, GYMNASTICS, SWIMMING, CLIMBING, OR FENCING; BALL GAMES; TRAINING EQUIPMENT
    • A63B22/00—Exercising apparatus specially adapted for conditioning the cardio-vascular system, for training agility or co-ordination of movements
    • A63B22/06—Exercising apparatus specially adapted for conditioning the cardio-vascular system, for training agility or co-ordination of movements with support elements performing a rotating cycling movement, i.e. a closed path movement
    • A63B22/0605—Exercising apparatus specially adapted for conditioning the cardio-vascular system, for training agility or co-ordination of movements with support elements performing a rotating cycling movement, i.e. a closed path movement performing a circular movement, e.g. ergometers
    • A—HUMAN NECESSITIES
    • A63—SPORTS; GAMES; AMUSEMENTS
    • A63B—APPARATUS FOR PHYSICAL TRAINING, GYMNASTICS, SWIMMING, CLIMBING, OR FENCING; BALL GAMES; TRAINING EQUIPMENT
    • A63B71/00—Games or sports accessories not covered in groups A63B1/00 - A63B69/00
    • A63B71/06—Indicating or scoring devices for games or players, or for other sports activities
    • A63B71/0619—Displays, user interfaces and indicating devices, specially adapted for sport equipment, e.g. display mounted on treadmills
    • A63B71/0622—Visual, audio or audio-visual systems for entertaining, instructing or motivating the user
    • A—HUMAN NECESSITIES
    • A63—SPORTS; GAMES; AMUSEMENTS
    • A63B—APPARATUS FOR PHYSICAL TRAINING, GYMNASTICS, SWIMMING, CLIMBING, OR FENCING; BALL GAMES; TRAINING EQUIPMENT
    • A63B71/00—Games or sports accessories not covered in groups A63B1/00 - A63B69/00
    • A63B71/06—Indicating or scoring devices for games or players, or for other sports activities
    • A63B71/0686—Timers, rhythm indicators or pacing apparatus using electric or electronic means
    • A—HUMAN NECESSITIES
    • A63—SPORTS; GAMES; AMUSEMENTS
    • A63B—APPARATUS FOR PHYSICAL TRAINING, GYMNASTICS, SWIMMING, CLIMBING, OR FENCING; BALL GAMES; TRAINING EQUIPMENT
    • A63B22/00—Exercising apparatus specially adapted for conditioning the cardio-vascular system, for training agility or co-ordination of movements
    • A63B22/0076—Rowing machines for conditioning the cardio-vascular system
    • A—HUMAN NECESSITIES
    • A63—SPORTS; GAMES; AMUSEMENTS
    • A63B—APPARATUS FOR PHYSICAL TRAINING, GYMNASTICS, SWIMMING, CLIMBING, OR FENCING; BALL GAMES; TRAINING EQUIPMENT
    • A63B2220/00—Measuring of physical parameters relating to sporting activity
    • A63B2220/10—Positions
    • A63B2220/16—Angular positions
    • A—HUMAN NECESSITIES
    • A63—SPORTS; GAMES; AMUSEMENTS
    • A63B—APPARATUS FOR PHYSICAL TRAINING, GYMNASTICS, SWIMMING, CLIMBING, OR FENCING; BALL GAMES; TRAINING EQUIPMENT
    • A63B2220/00—Measuring of physical parameters relating to sporting activity
    • A63B2220/17—Counting, e.g. counting periodical movements, revolutions or cycles, or including further data processing to determine distances or speed
    • A—HUMAN NECESSITIES
    • A63—SPORTS; GAMES; AMUSEMENTS
    • A63B—APPARATUS FOR PHYSICAL TRAINING, GYMNASTICS, SWIMMING, CLIMBING, OR FENCING; BALL GAMES; TRAINING EQUIPMENT
    • A63B2220/00—Measuring of physical parameters relating to sporting activity
    • A63B2220/80—Special sensors, transducers or devices therefor
    • A63B2220/805—Optical or opto-electronic sensors
    • A—HUMAN NECESSITIES
    • A63—SPORTS; GAMES; AMUSEMENTS
    • A63B—APPARATUS FOR PHYSICAL TRAINING, GYMNASTICS, SWIMMING, CLIMBING, OR FENCING; BALL GAMES; TRAINING EQUIPMENT
    • A63B69/00—Training appliances or apparatus for special sports
    • A63B69/0028—Training appliances or apparatus for special sports for running, jogging or speed-walking

Definitions

  • the invention relates to a method for supporting fitness training, in which the exercising person repeats movement cycles periodically, by means of playing music, and a device for carrying out this method.
  • rhythmic movements are carried out, among other things, by the arms and / or legs, for example using bicycle ergometers or exercise bikes with arm and / or leg actuation devices, during running training and trimming trotting, and when training with rowing machines and the like.
  • the devices mentioned and running are suitable for training endurance fitness, which is an important means of maintaining psychophysical well-being and keeping the cardiovascular system healthy.
  • Good training effects can be achieved with a load that leads to a heart rate of approximately 70% of the individual maximum heart rate over a period of between approximately 20 to 40 minutes.
  • sensations of exertion and / or boredom often associated with such training forms lead to such a feeling Training isn't particularly popular.
  • the perception of unpleasant sensations can be reduced in rhythm with rhythmic music during training.
  • the practitioner adjusts the tempo of each movement cycle to the tempo of the music so that a movement cycle is accompanied by a certain number of beat times of the music.
  • the training person has to turn part of his attention to keeping to the rhythm and to adapt his rhythm of movement again and again so that the training-facilitating pacemaker effect of the music and the reduced perception of unpleasant sensations come into full effect.
  • WO-A-87/03498 describes a device which triggers a drum sound pattern of an electronic drum kit when a body part is guided past a sensor device, so that the exerciser can experience his exercises rhythmically.
  • the device according to DE-A-2 433 121 wide sound bodies, which sound a melody when the practitioner touches the hand. In both documents, automatic synchronization of the playing tempo of pieces of music with the movement speed of the exerciser is not provided.
  • DE-A-2 949 630 and GB-A-2 114 901 training devices with audio-visual devices are described, the playback speed of which changes in proportion to the movement speed of the training device. Only in GB-A-2 114 901 parts of the device are described which - how in the present invention - establish the synchronization between the movement speed of the exerciser and the playback speed of an audio-visual player. This publication is therefore to be regarded as the closest prior art.
  • the present invention is intended to achieve the object of improving the motivational effect of the music in that a special concentration for adapting the rhythm of movement and the beats and beat times of the music is no longer required.
  • a development of the method according to claim 2 enables its use even in the case of a non-predictably varying length of the movement cycles.
  • the music to be played is in digital form, because the synchronization - with preferred pitch independence from the changes in the movement speed of the person performing it - is particularly simple.
  • Music can be in the form of digital codes, especially for pitch, touch dynamics, tone length of note values and further features such as after-touch, modulation and sound, which means that the parameters of all notes of the music to be played can be stored digitally to the required extent.
  • a tempo control by clock-related timing clock codes and output of codes for note parameters to a synthesizer with rhythm machine is possible here without changing the pitch.
  • the music tempo can be changed clock-related when the playback speed changes using a digital-to-analog converter.
  • Compact disks or digital audio tapes can also be used without constant music tempo when recording for the tempo control described below, if clock-related Clock signals can also be saved.
  • “fitness training” means any type of sporting and / or gymnastic exercise that is suitable for maintaining or improving the physical well-being, performance and / or health of the exercising person.
  • “Music” is understood to mean any type of sound reproduction in which rhythmic combinations of sounds are emitted. This is the case, among other things, with pure rhythm devices, but also with melodic pieces of music.
  • the "beat time” or “beat time” is the metric subunit of a measure. Their duration is given as a fraction of an entire grade. The tempo of the music is the speed of the beat times. It is indicated by the number of metronome beats per minute. The time from the beginning of one to the beginning of the next metronome beat is usually the length of a quarter note.
  • Beats can also consist of sound sequences perceived as a unit and are acoustic progression forms that stand out clearly from the entirety of the sound sequences of music. They typically return periodically in successive beat times and, when moving to the rhythm of music, provide an acoustic orientation for moving "in time". You can provide psychological support for phases of increased tension and / or accentuated movement during fitness training that repeat rhythmically in successive movement cycles.
  • the invention allows changes in the frequency with which the movement cycles are repeated periodically - that is, changes in the movement speed - without being out of step, since the tempo of the music adapts to the movement speed.
  • Starting points or phases and number of beats of the music within a movement cycle can be predetermined and do not change with the movement speed if they are not changed by the practitioner.
  • a beat begins at the beginning of a Beating time or constant time delay, its point of use within the movement cycle can be predetermined and changed by the beginning of the beating time. It has been shown that the motivating effect is only pronounced when the beats are used in certain individually different phases of a movement cycle.
  • the practitioner also has the option of selecting and changing desired starting points of the beats from selectable starting points for beating times distributed over the entire movement cycle according to his acoustic impression of the starting points of the associated beats during practice.
  • the assignment of the beats to certain movement phases is thus decisive for his choice of the starting points of the beating times. It does not matter whether they start with the start of the beat times or are delayed in relation to them.
  • the practitioner could choose a starting point of the beating times that matches the average starting point of the beats within the movement cycle and understand temporal variations of the emphasized tone sequences in his movement cycle.
  • an integral number of beat times is assigned to the movement cycle of the body parts predominantly involved in an exercise, which leads to the usual music tempos at the usual frequencies for these movement cycles.
  • the beat times for the rhythmic music used are preferably the length of a quarter note.
  • the beat times for the rhythmic music used are preferably the length of a quarter note.
  • the instantaneous and total performance and the difference to one preset target performance can be used, which the exercising person can check regularly as required.
  • the exercise bike shown in FIG. 1 has a foot actuation device 1 and handle bars 10 which are eccentrically connected to the toothed rim (drive wheel) 1A and which drive a flywheel 7 as an energy absorption unit (DE-A-517 775, DE-A-2742 719). This is braked mechanically at 8. Because of the possibility of coordinated rhythmic movement of the arms and legs, the use of such a device is particularly suitable for a training supported by the rhythm of music.
  • a pedal frequency of approximately 50 to 80 revolutions per minute is recommended to synchronize the music. This frequency range is relatively pleasant for most people and, at the same time, allows a beat time with the length of a quarter note to be inserted during the leg extension of each leg and the simultaneous arm movements during a pedal revolution.
  • Some exercisers also prefer rotational frequencies in the range of 100 pedal revolutions per minute for a short time. With two beat times of the length of a quarter note per pedal rotation, this corresponds to music tempos of around 200 (presto).
  • the also adjustable inclination of the handles 35 with respect to the horizontal - about 30 to 40 degrees - should allow a middle position between pronation and supination of the forearm.
  • a setting is recommended that allows a relatively upright posture of the upper body (about 15 to 20 degrees from the vertical to the front) even when an arm is stretched while pushing a handle bar forward. This can help the relatively static muscle work of the arms when supporting the weight of the inclined upper body, which occurs mainly when the handlebars are in the bent position, be greatly reduced. Static muscle work leads to muscle fatigue even at low loads due to the associated continuous muscle contraction.
  • a forward movement of the handle bars 10, which is approximately downward from the horizontal, is usually perceived as more pleasant. It can easily be achieved by choosing a pivot point closer to the foot actuation device for fastening the end of the handlebar lever to the drive rod 37 (corresponding to DE-A-2742 719) in connection with an extension of the handlebars 10 via the adjusting device 35A.
  • FIG. 5 An alternative embodiment to the device for coordinated actuation of the handle bars 10 and foot pedals 1B according to DE-A-2742 719 shown in FIG. 1 is shown in FIG. 5. It corresponds in principle to the description in DE-A-517 774 with the difference that the driving force emanating from the handle bars 10 does not come from the gearwheel connected to the foot pedals 1B 1A, but via a gear 41 which is separate therefrom and which is located in front of the handle bars 10, acts on the flywheel 7 as an energy absorption unit. As a result, the drive rods 37 no longer move as in FIG. 1 in the area of the foot pedals 1B. This has the advantage that the range of motion of the feet is less restricted, fewer injury protection measures are required and the entire arrangement can be attached to many trim bicycles as an additional device without any design change, in particular the drive device 1. 5 shows the following different arrangement from FIG. 1:
  • the handlebars 10 are connected to drive rods 37 directed away from the practitioner and these are movably connected with pins 38.
  • the pins 38, crank arms 39 and a drive shaft 40 are rotatably connected to one another and to a gear 41.
  • the gearwheel 41 transmits the movement of the handlebars 10 via a chain in a selectable transmission ratio to a gearwheel 42 which is connected to the flywheel 7 or - if present - to the freewheel of the flywheel 7 in a rotationally fixed manner.
  • gear 41 and the gear 42 of the flywheel 7 connected to it via a chain choose the same gear ratio as between gears 1A and 7A to ensure the generally preferred equality of frequency of arm and leg movement cycles.
  • gear ratio 41 and 42 it is also easy for some practitioners to halve the frequency of arm movements compared to leg movements by halving the gear ratio 41 and 42 accordingly.
  • the other components correspond analogously to those in FIG. 1.
  • the described adjustability and displacement of the range of rotation of the handlebars 10 and the transmission of the drive force of the handlebars 10 to the flywheel 7 by means of a device located away from the practitioner are improvements which are also useful when using an exercise bike with handlebars which can be moved in coordination with the foot pedals without music.
  • a synchronization and playback unit is shown schematically in FIG. 3; it consists of a microcomputer 20 (for example an IBM-compatible personal computer) with sequencer software for digital storage and playback of music (for example Sequencer Plus mk III, Fa, Voyetra Technologies, Mamaroneck, USA), an intelligent MIDI interface 21 (e.g.
  • MIDI is the abbreviation for Musical Instruments Digital Interface, described in S. Philipp, MIDI Compendium 2; Franconian-Crumbach 1986.
  • flywheel 7 For external tempo control, on the right side of the flywheel 7 are twelve magnets 5 serving as pulse generators at equal distances from one another on a circumference 7B of a flywheel 7 attached.
  • a gear 1A connected to the handlebars 10 and foot pedals 1B of a foot actuation device 1 and the gear 7A attached to the flywheel 7 there is exactly fourfold translation 4. This means that the sensor 6 with a half turn of the gear 1A and the pedals 1B twenty-four magnetic pulses records.
  • the sensor 6 generates - using a circuit and voltage supply not specified in more detail - with a battery, which is not specifically shown in the drawing, since known per se, each time a magnet is passed, an electrical 5-volt rectangular pulse 12 and conducts it to a 5-volt Clock input 21A of the MIDI interface 21 of the microcomputer 20.
  • Corresponding pulses 12 can also be generated with an optical sensor 29A and pulse windows 28 in the sleeve 1D (see FIG. 4) of the foot control device 1.
  • the sequencer program and the digitally stored music are loaded into the working memory and the program is synchronized with "external" 24 clock pulses per quarter note set so that every half pedal turn can be accompanied by a beat time with the length of a quarter note. With each electrical impulse, 1/24 of the notes of a beat time - including the associated pauses - are played.
  • a beat time of the length of a quarter note contains, for example, a tone and a pause of an eighth note length
  • the tone continues after the start with a first clock pulse during the following pulses and ends with the thirteenth pulse.
  • the first pulse forwarded by sensor 6 to start playing the notes of the first beat time is selected so that the first beat at the desired one Position while depressing foot pedal 1B.
  • This can be set manually or achieved, for example, by using a magnet 2 as a pulse generator on the gearwheel 1A connected to the foot pedals 1B and an associated sensor 3 attached to the frame.
  • Sensor 3 and magnet 2 can be positioned so that the sensor 3, after pressing a start / stop button 9, which closes a relay 22 via a line 13 (FIG. 3), forwards a first pulse via a line 11 and 11A when the right foot pedal has reached the desired point of impact of the stroke times in its movement cycle. This pulse switches a relay 23, which closes a contact 23A of a line 12A for tempo control. After the forwarding of the first pulse of the magnets 5 via the line 12A, the first beat time begins to play. The start of playback can be postponed by moving the magnet 2 so that the beat of a beat time coincides with the desired phase of the muscle contractions as precisely as possible.
  • the start / stop button 9 only be pressed after pedaling has started and before pedaling breaks. If a shift of the point of use nevertheless occurs or if it is desired by the practitioner, it can be set by the practitioner himself using a simple device.
  • the forwarding of pulses 12 can be interrupted and the pedal position at the point of use of the stroke times can be shifted back by forty-eighth part of a pedal rotation with each suppressed pulse 12.
  • a switch on the control panel 9A can be used to switch to a 5-volt square-wave generator.
  • the latter can transmit square-wave pulses 12 at the frequency required for the desired music tempo (tempo times 24) to the 5-volt clock input 21A using a frequency which can be varied by means of a rotary knob.
  • the embodiment described above can be installed with little effort.
  • it has the disadvantage that the setting of an application point which deviates from the position of the foot pedals 1B in the event of a pulse 12 from the sensor 3 of the beat times, as well as checks of the maintenance of the preselected starting point and in the event of inadvertent backward pedaling (exceptionally also in the case of pulse irregularities), corrections required an audiovisual observation of the starting point of the beats by the practitioner and the manual shifting of the starting point via buttons on the control panel 9A.
  • the microcomputer 24 which only carries out such control and correction tasks, can be a single-board computer.
  • the microcomputer 20 can take over these tasks in addition to sending timing clock and note codes to the playback device 25.
  • a personal or home computer with mass storage for the digital codes for playing music is suitable for this purpose.
  • the microcomputer 24 could continuously calculate the ratio of the pulses emitted by the sensors 3 and 6 and, if the ratio deviates from the ratio 1.48 per pedal revolution, to restore the ratio accordingly suppress many pulses to the 5 volt clock input 21A. You can also forward a corresponding number of additional impulses or combine both correction methods.
  • the synchronization pulses from Pulse generators are triggered, which are preferably arranged on a circumference of the gear wheel 1A, which is fixedly connected to the pedal rotation, or parallel to the latter.
  • a device for recognizing the direction of pedaling when freewheeling is therefore particularly expedient.
  • Two sensors 29A and 29B fitted into a recess in the sleeve 1D and comprising the outer edge of the pulse disk 33 (the manufacturer is, for example, the TRW Electronic Components Group, Optoelectronics Division, Carrollton, USA; see Optoelectronics Data Book, OPB980 Series, page 292) can deliver from the scanning of the windows 28 per pedal rotation over two lines 30A and 30B forty-eight pulse sequences 33A and 33B offset by 90 degrees with a pulse-pause ratio of approximately 1: 1.
  • the sensors 29A and 29B are arranged so that the pulses 33A lead the pulses 33B by 90 degrees when the pedals 1B are advanced.
  • the microcomputer 24 or 20 can derive the direction of rotation 32 from this.
  • a further optical sensor 31 can deliver a reference pulse 34 per pedal rotation via line 34A to the microcomputers 24 or 20 by scanning the window 31A.
  • the evaluation of the rising and falling edges of both pulse sequences enables the registration of forty-eight pulses independent of the direction of rotation per pedal revolution and the simultaneous determination of the direction of rotation by a computer.
  • the microcomputers 24 or 20 can use the pulses 33A, 33B and 34 emitted by the sensors 29A, 29B and 31 via the lines 30A, 30B and 34A Record via parallel inputs and determine in the manner described later whether the conditions for further music play are given.
  • the microcomputer 24 (for example a single-board computer) can initiate the playback by sending square-wave pulses to the 5 V clock input 21A or simple midi timing clock codes to midi in 21B of the midi interface 21.
  • microcomputer 20 for example a personal or home computer
  • the use of the microcomputer 20 for the recording and processing of the pulses 33A, 33B and 34 and further inputs described later is more economical than the use of the microcomputer 24, since the former performs these tasks in addition to transmitting MIDI signals.
  • Transfer timing clock codes and note codes for music generation to a player for music 25 can.
  • a synthesizer card as a slot for a personal computer (for example the expander module FB01 from Yamaha, Japan for IBM-compatible PCs).
  • the MIDI codes required to play each piece of music can be generated in a program-controlled manner by entering its note values with a music editor program or by importing it with a keyboard, saved on a floppy disk or hard disk and loaded into the main memory at the start of the training.
  • An assembler program was developed for the tasks of the microcomputers 24 or 20 described in more detail below.
  • the use position for a beat time which can be set with a coding switch, can be read in via a parallel input of the microcomputers 24 or 20 when a reference pulse 31A arrives during forward rotation of the pedals.
  • the microprocessor program-controlled waits for the following subsequent pulses 33A during forward rotation, the position of the selected foot pedal 1B corresponds to the position chosen by the practitioner for a striking time the length of a quarter note.
  • the starting point of the next stroke time is then automatically at the corresponding position of the other foot pedal.
  • the practitioner who is acoustically oriented to the beats, will advance the starting point of the beating times within the movement cycle by a corresponding number of pulses 33A.
  • the transmitted timing clock codes can be added to zero by resetting the counter at 48 each and when the reference pulse is reached during forward rotation, after completing reverse corrections, it can be checked whether the number of timing clock codes changes the target number of pulses 33A for forward rotation from the reference pulse to the point of use added to 48. With a total of more than 48, there are no timing clock codes for the number of the following pulses 33A corresponding to the difference when rotating forward to be sent out and, if the total is less than 48, to send out a corresponding number of additional codes.
  • the position of the coding switch for the operating position can also be read in for each reference pulse 34 during forward rotation and, apart from during corrections of pulses 33A during backward pedaling, a deviation of the addition with the number of timing clock codes of 48 corrected as just shown will.
  • An automatic correction after kicking backwards can also be carried out by continuing to play the music with the next bar or the next quarter note at the intended point of use. This procedure is also suitable for continuing playback after a pause with an appropriate input.
  • a MIDI stop code can be automatically sent on pulses 33A while pedaling backwards.
  • a song position pointer code with two data bytes can be transmitted from the microcomputer 24 via a MIDI interface to external control by SPP, MIDI timing clock and chase mode can be automatically set to the sequencer program.
  • a MIDI timing clock code is forwarded to the input MIDI-In 21B for tempo control, as previously described, until a MIDI stop code is again provided by a pulse 33A Kicking backwards is triggered.
  • the microcomputer 20 directly records and evaluates the pulses 33A and 33B, it can accordingly play back by sending the timing clock codes and note codes for the beginning of the next bar or also the next sixteenth note at the corresponding following pulse 33A Continue forward rotation to Syntheziser 20.
  • the setting to one of the two operating modes can be made via a changeover switch and read in via a parallel input from microcomputer 24 or 20.
  • the microcomputer 24 timing clock codes or the microcomputer 20 timing clock codes with the associated note codes with a constant Send out frequency When switching from motion-controlled to a predetermined music tempo, the microcomputer 24 timing clock codes or the microcomputer 20 timing clock codes with the associated note codes with a constant Send out frequency.
  • the desired constant music tempo can be selected from 15 different tempos, for example, using the coding switch, which is now not required for setting the deployment points.
  • the speed corresponding to the last current speed when switching (speed x 2) can be adopted as a default.
  • the playback can then be continued with the next bar when the point of use for the beat times has been reached.
  • the microcomputers 24, 20 or a second processor 26 can calculate the instantaneous and average number of revolutions per minute from the time differences with each revolution of sensor 31 and on a screen 26A the positive or negative difference of the total number of revolutions to a preset target number per unit of time Output continuously in graphic form (DE -A-2753041), as well as the pedal position at the beginning of the beat and possibly other parameters.
  • the microcomputer 20 can, in principle, also control the playback speed of digital measured values of a sampled piece of music by means of analog-digital converters instead of sending note codes to a synthesizer.
  • the successive synchronization pulses could each start playing a section at a constant tempo. If the synchronization pulse for the following unit arrives more quickly, the sample points to be assigned to the previous pulse but not yet played back would have to be skipped. If the pulse train was slowed down and the playback speed was constant, small gaps would arise, which could possibly be bridged by repetitions.
  • the possibilities of tempo control of music with a trim bike are generally applicable to ergometers with frequency-independent load settings. It is advantageous to use the latter with a device for controlling the tempo of music for the rehabilitation of the heart-damaged, because speeding up the pace brings variety without endangering the excessive stress.
  • Goniometers (manufacturer is Penny & Giles, Blackwood / GB; see data sheet) are suitable for this via goniometer), the output voltage of which changes in proportion to the flexion of the joint.
  • the synchronization and playback unit according to FIG. 3 can also be used in principle in this exemplary embodiment.
  • the extreme position in the movement cycle of each thigh during the transition from bending to stretching can be a starting point for the beating times after the extreme position and the time difference from the respectively corresponding corresponding extreme position of the respective one other thighs as the basis for estimating the time difference to the next corresponding extreme position of this leg or the time difference between the corresponding points of use for the stroke times.
  • the influence of higher-frequency artifacts can be reduced in real time by hardware bandpass filtering and / or moving averaging.
  • the phase shifts dependent on the selected cut-off frequencies or the number of averaged values must be taken into account.
  • Artifact suspected higher frequency voltage changes can also be eliminated by software from microcomputer 24 or 20. For this purpose, he can determine the change in voltage for each of the digitized voltage values and check whether this change lies above a predetermined limit value, which corresponds to a diffraction change per unit of time, which experience has shown that can no longer occur when the intended type is running. Values above this can be discarded as artifacts.
  • the microcomputer 24 or 20 can instantly compare whether the voltage maxima of the goniometers 14 are at maximum flexion in the hip or knee while running, for each voltage value sampled by the analog / digital converter, whether it reaches or exceeds a minimum value that one Diffraction corresponds to the minimum that is generally recognized as the maximum between flexion and extension during running movements of the intended type. After registering such a minimum voltage maximum, the following values can be checked to see whether they are above and the highest value can be recorded.
  • Passing a diffraction maximum can be recognized as soon as the one following the diffraction maximum Stretching an artifact-adjusted tension value is reached, which falls below the previous maximum by a predetermined percentage of the maximum value or absolute amount, which corresponds to a certain degree of diffraction.
  • a moving average value can also be used for the estimate from a small number of the last quotation differences use the next time difference.
  • Unrecognized flexion and subsequent stretching phases for example due to insufficient leg elevation or artifacts, would result in the last played note being continued.
  • a series of synchronization codes could alternatively be sent at the same time interval from one another in accordance with the last estimated time difference.
  • the estimate can also be reduced somewhat. 1/24 of the reduced estimated time difference is then available for each timing clock code.
  • the forwarding of the timing clock codes to the synchronization unit or, in the case of microcomputers 20 (with note codes), to the playback device 25 can be delayed by a certain percentage of the time difference if the beat is more in the middle between the maximum lifting of the thigh or should contact the ground. Before sending the timing clock codes, it should be checked whether the forwarding the previous timing clock code series has ended.
  • the following series of MIDI timing clock codes can only be sent after the corresponding (possibly to the maximum possible frequency) forwarding of the forwarding has ended outstanding timing clock codes from the previous series - also accelerated according to the delay - can be sent (or could fail).
  • the determination of an upper extreme position and the necessary calculations, controls and preparations for the start of a pulse series should only take about a millisecond so that the beat can start shortly after this extreme position, if desired.
  • the music synchronized by the running rhythm can be transmitted with a transmitter 19 connected to the sound output 25A of the playback device 25 to a receiver 16 with headphones 17 which can be carried by the runner.
  • the method described can be used accordingly, for example using pressure transducers in each shoe, if one wants to synchronize the insertion of the beats with a later section in the stretching phase of each leg.
  • a miniaturized version of the synchronization and playback unit with digitally stored music that the runner wears on the body is already inexpensive to produce.
  • the scope of the stored music and the synthesis performance are still limited.
  • the signals of the goniometer 14 can be forwarded to an egg-board computer with an integrated preamplifier, analog / digital converter and memory for the codes of pieces of music, which, according to the calculations described, corresponds to the timing clock codes and codes for note values in accordance with the personal computer 20 Synthesizer module forwards.
  • the music tempo can not only be controlled by running, but also by (preferably faster) walking.
  • Such a portable synchronization and playback unit with inputs for the pulses of the sensors 29A and 29B and 31 instead of the analog / digital converter is a portable form of the synchronization and playback unit described in the exemplary embodiment for training with an exercise bike.
  • pulse generators After installing pulse generators in the sleeve 1D of the axis 1C of a gearwheel 1A, it can also be used regardless of location when riding with any normal bicycle to play music at movement-controlled speed.
  • FIG. 4 For pulse generation, the arrangement according to FIG. 4 can be implemented in accordance with the attachment to gearwheel 1A with a disk fixed parallel to the flywheel on its axis. In the following description, we refer to the arrangement having the same effect according to FIG. 4 with sensors 29A and 29B, detection of the direction of rotation and sensor 31 for a reference pulse 34 and pulse disk 33 (for example with 96 pulse windows).
  • the window for a reference pulse 34 per movement phase which, like the exercise bike, can be used for controls and for determining the position of the starting point of the stroke times, is to be positioned in such a way that it is triggered approximately in the middle between the maximum possible forward and backward movement of the handle, i.e. at a position that is also passed with a small amount of movement.
  • a microcomputer 24 or 20 can continuously determine the reversal points during forward and backward movement from the change in the direction of rotation of the sensors 29A and 29B and from this - as well as from the point of use entered by the trainee for the first beat time, the specification of which is based on the point of use of the first beat during a train phase on the premise that the striking times should be distributed spatially equidistantly, estimate the operating points, for example, a further three striking times of a movement cycle. It is possible to determine the starting point of the first beat time of the train phase in relation to the number of pulses 33A and 33B before or after the reference pulse 34.
  • the number of pulses 33A and 33B between the extreme points reached in each case and their distance from pulse 34 of sensor 31 must be recorded and divided by 48 in accordance with the required number of control pulses for, for example, two beat times per phase.
  • the result indicates at how many pulses a MIDI timing clock code F8 (H) has to be passed on. For example, with 1.5 pulses per code, a MIDI timing clock code F8 (H) would have to be omitted for every third pulse in order to maintain the ratio.
  • the playing of the music expediently begins with a train phase, after the reversal points, the ratio of pulses 30A or 30B to timing clock codes and the point of use for the first beat time have been registered in the preceding forward movement.
  • the point of use can be determined by the number of pulses from sensors 29A and 29B before or after reference pulse 34, taking into account the direction of rotation.
  • timing clock codes can be sent in the calculated ratio up to the rear turning point for the registered impulses.
  • the pulses 33A and 33B and timing clock codes added up and the lowering of the rear turning point calculated from the value estimated after the previous phase.
  • the ratio of pulses and codes to the next reversal point is re-estimated taking into account the missing or additionally sent codes up to this pump.
  • deviations from the estimated number of pulses per movement phase can be corrected by sending additional codes or by omitting codes, in accordance with the procedure in the exemplary embodiment for running training.
  • music with the so-called disco rhythm and any other music in which the "beat" coincides with the start of the counting time or has started or is emphasized evenly or periodically after the beginning of the counting time has proven to be particularly suitable for the method according to the invention .
  • pieces of music in which the onset of the beats shifts somewhat irregularly can also be perceived as pleasant.
  • music in three-four time with rhythm accompaniment in waltz rhythm With the exercise bike, one pedal turn - as with 4/4 and 2/4 cycles - can be assigned two stroke times.
  • the stressed first stroke time changes from one leg to the other.

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  • Engineering & Computer Science (AREA)
  • Cardiology (AREA)
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  • Electrophonic Musical Instruments (AREA)
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Abstract

Selon un procédé d'utilisation de la musique comme soutien d'une personne se soumettant à un entraînement physique au cours duquel elle répète périodiquement des mouvements cycliques, on améliore l'effet encourageant de la musique en synchronisant celle-ci avec les mouvements cycliques, de sorte qu'un temps ou un battement de la musique à un moment déterminé du mouvement cyclique corresponde à un mouvement d'au moins une partie du corps de la personne. Un dispositif d'application de ce procédé comprend un générateur d'impulsions (2, 31A, 5; 14; 28) selon les phases d'un mouvement cyclique effectué par une personne, une unité de synchronisation qui traite les impulsions du générateur d'impulsions et un appareil de reproduction de musique commandé par l'unité de synchronisation.

Claims (3)

1. Procédé qui modifie la cadence de la musique émanant d'un dispositif musical, selon la cadence de cycles de mouvements répétés périodiquement par au moins une partie du corps lors d'un entrainement physique, à l'aide de signaux générés par le mouvement et d'un dispositif synchronisant installé entre les signaux et le dispositif musical:
a.) des transmetteurs de signaux envoient continuellement ou en brefs intervalles des signaux au dispositif synchronisant qui permettent de reconnaitre la position du mouvement et de répartir le cycle du mouvement en séctions; des signaux peuvent étre transmis au dispositif synchronisant, qui déterminent le point de début des temps musicaux à l'intérieure du cycle de mouvement
b) on utilise un dispositif musical qui permet de commander d'une manière digitale les sections successives des temps musicaux passés, p. ex. en entrant des codes qui incitent un synthétiseur à générer des sons ou en entrant des signaux qui indiquent au dispositif musical le début de chaque section des temps musicaux à jouer et
c) le dispositif synchronisant - de préférence un micro-ordinateur - détermine le passage des sections de temps musicaux successives pendant les sections du cycle de mouvement auquels ils étaient attribués en émettant des signaux digitaux au dispositif musical- pourvu que le nombre des temps musicaux par cycles de mouvement, le point de début des temps musicaux à l'intérieure d'un cycle de mouvement et l'attribution des sections de temps musicaux aux sections successives d'un cycle de mouvement soient prédétermines.
2. Procédé comme descrit en 1: le dispositif synchronisant - de préférence un micro-ordinateur - évalue la durée des sections d'un cycle de mouvement d'après les sections précédentes et - en cas de variations imprévisibles et lorsque des sections de temps musicaux ne sont pas jouées ou jouées trop top - il maintient complètement ou dans une large mesure le début du temps musical suivant prévu et attribué au cycle de mouvement, en prolongeant ou diminuant les sections successives des temps musicaux
3. Dispositif avec émetteurs d'impulsions, un micro-ordinateur et un synthétiseur avec un générateur de rythme pour réaliser le procédé comme descrit en 1 ou 2, avec
a.) émetteurs d'impulsions placées sur la circonférence (5 et 28), au volant (7), à la roue de propulsion (1A), ou au disque d'impulsions (33) d'un vélo d'intérieur et des émetteurs d'impulsions (2, 31A) pour des impulsions de référence qui émettent des signaux au micro-ordinateur (20 ou 24) pendant la rotation des pédales, ainsi que des émetteurs d'impulsions - p. ex. un commutateur codé installé à un pupitre de commande (9A) - afin d'entrer les points de debut des temps musicaux à l'intérieure d'un cycle de mouvement, ou
b.) deux goniomètres émettent au micro-ordinateur (20 ou 24) les signaux continuellement variants à la fléxion et à l'extension des jambes d'un coureur après une conversion analogue et digitale, ainsi que des émetteurs d'impulsions - p.ex. un commutateur codé installé à un pupitre de commande - afin d'entrer les point de début des temps musicaux au cours d'un cycle de mouvement, ou
c.) emétteurs d'impulsions distribués sur la circonférence au disque d'impulsions (33) avec un émitteur de référence (31A) à l'appareil pour ramer qui émettent des signaux pendant les cycles de mouvement au micro-ordinateur (20 ou 24), et ainsi que des émitteurs d'impulsions - p. ex un commutateur codé - afin d'entrer les points de début des temps musicaux dans un cycle de mouvement et
d.) un micro-ordinateur (20 ou 24), qui enregistre les signaux de a:), b.) ou c.) par des entrées parallèles, détermine des sections de mouvement, attribue à ces sections des sections successives des temps musicaux, d'après le nombre prédéterminé des temps musicaux et les points de début choisis, et incite une génération des sons - correspondant aux signes des notes des sections des temps musicaux - en émettant des codes -MIDI à l'aide de l'interface MIDI (21) à un synthétiseur avec un générateur de rhythme (25) ou en émettant des codes d'intervalle à un deuxième ordinateur (20) avec un synthesizer et un générateur de rhythme (25).
EP88905813A 1987-07-08 1988-07-07 Procede et dispositif utilisant la musique comme support d'un entrainement physique Expired - Lifetime EP0371042B1 (fr)

Applications Claiming Priority (6)

Application Number Priority Date Filing Date Title
DE19873722468 DE3722468A1 (de) 1987-07-08 1987-07-08 Verfahren zur unterstuetzung von "fitness-training" mittels musik sowie vorrichtung zum durchfuehren dieses verfahrens
DE3722468 1987-07-08
DE19873729691 DE3729691A1 (de) 1987-07-08 1987-09-04 Verfahren zur unterstuetzung von "fitness-training" mittels musik sowie vorrichtung zum durchfuehren dieses verfahrens
DE3729691 1987-09-04
DE3807241 1988-03-05
DE19883807241 DE3807241A1 (de) 1987-07-08 1988-03-05 Verfahren zur unterstuetzung von "fitness-training" mittels musik sowie vorrichtung zum durchfuehren dieses verfahrens

Publications (2)

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EP0371042A1 EP0371042A1 (fr) 1990-06-06
EP0371042B1 true EP0371042B1 (fr) 1992-06-10

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US (1) US5137501A (fr)
EP (1) EP0371042B1 (fr)
JP (1) JPH02503996A (fr)
DE (1) DE3871957D1 (fr)
WO (1) WO1989000064A1 (fr)

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WO1989000064A1 (fr) 1989-01-12
EP0371042A1 (fr) 1990-06-06

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