EP2043089B1 - Verfahren und Vorrichtung zur Humanisierung von Musiksequenzen - Google Patents

Verfahren und Vorrichtung zur Humanisierung von Musiksequenzen Download PDF

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Publication number
EP2043089B1
EP2043089B1 EP07117541A EP07117541A EP2043089B1 EP 2043089 B1 EP2043089 B1 EP 2043089B1 EP 07117541 A EP07117541 A EP 07117541A EP 07117541 A EP07117541 A EP 07117541A EP 2043089 B1 EP2043089 B1 EP 2043089B1
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Prior art keywords
sequence
music
time
random
offsets
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EP07117541A
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English (en)
French (fr)
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EP2043089A1 (de
Inventor
Holger Hennig
Ragnar Fleischmann
Fabian Theis
Theo Geisel
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Max Planck Gesellschaft zur Foerderung der Wissenschaften eV
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Max Planck Gesellschaft zur Foerderung der Wissenschaften eV
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    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10H—ELECTROPHONIC MUSICAL INSTRUMENTS; INSTRUMENTS IN WHICH THE TONES ARE GENERATED BY ELECTROMECHANICAL MEANS OR ELECTRONIC GENERATORS, OR IN WHICH THE TONES ARE SYNTHESISED FROM A DATA STORE
    • G10H1/00—Details of electrophonic musical instruments
    • G10H1/0033—Recording/reproducing or transmission of music for electrophonic musical instruments
    • G—PHYSICS
    • G04—HOROLOGY
    • G04F—TIME-INTERVAL MEASURING
    • G04F5/00—Apparatus for producing preselected time intervals for use as timing standards
    • G04F5/02—Metronomes
    • G04F5/025—Electronic metronomes
    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10H—ELECTROPHONIC MUSICAL INSTRUMENTS; INSTRUMENTS IN WHICH THE TONES ARE GENERATED BY ELECTROMECHANICAL MEANS OR ELECTRONIC GENERATORS, OR IN WHICH THE TONES ARE SYNTHESISED FROM A DATA STORE
    • G10H1/00—Details of electrophonic musical instruments
    • G10H1/36—Accompaniment arrangements
    • G10H1/40—Rhythm
    • G10H1/42—Rhythm comprising tone forming circuits
    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10H—ELECTROPHONIC MUSICAL INSTRUMENTS; INSTRUMENTS IN WHICH THE TONES ARE GENERATED BY ELECTROMECHANICAL MEANS OR ELECTRONIC GENERATORS, OR IN WHICH THE TONES ARE SYNTHESISED FROM A DATA STORE
    • G10H2210/00—Aspects or methods of musical processing having intrinsic musical character, i.e. involving musical theory or musical parameters or relying on musical knowledge, as applied in electrophonic musical tools or instruments
    • G10H2210/155—Musical effects
    • G10H2210/161—Note sequence effects, i.e. sensing, altering, controlling, processing or synthesising a note trigger selection or sequence, e.g. by altering trigger timing, triggered note values, adding improvisation or ornaments or also rapid repetition of the same note onset
    • G10H2210/165—Humanizing effects, i.e. causing a performance to sound less machine-like, e.g. by slightly randomising pitch or tempo
    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10H—ELECTROPHONIC MUSICAL INSTRUMENTS; INSTRUMENTS IN WHICH THE TONES ARE GENERATED BY ELECTROMECHANICAL MEANS OR ELECTRONIC GENERATORS, OR IN WHICH THE TONES ARE SYNTHESISED FROM A DATA STORE
    • G10H2210/00—Aspects or methods of musical processing having intrinsic musical character, i.e. involving musical theory or musical parameters or relying on musical knowledge, as applied in electrophonic musical tools or instruments
    • G10H2210/341—Rhythm pattern selection, synthesis or composition
    • G10H2210/356—Random process used to build a rhythm pattern
    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10H—ELECTROPHONIC MUSICAL INSTRUMENTS; INSTRUMENTS IN WHICH THE TONES ARE GENERATED BY ELECTROMECHANICAL MEANS OR ELECTRONIC GENERATORS, OR IN WHICH THE TONES ARE SYNTHESISED FROM A DATA STORE
    • G10H2250/00—Aspects of algorithms or signal processing methods without intrinsic musical character, yet specifically adapted for or used in electrophonic musical processing
    • G10H2250/131—Mathematical functions for musical analysis, processing, synthesis or composition
    • G10H2250/211—Random number generators, pseudorandom generators, classes of functions therefor
    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10H—ELECTROPHONIC MUSICAL INSTRUMENTS; INSTRUMENTS IN WHICH THE TONES ARE GENERATED BY ELECTROMECHANICAL MEANS OR ELECTRONIC GENERATORS, OR IN WHICH THE TONES ARE SYNTHESISED FROM A DATA STORE
    • G10H2250/00—Aspects of algorithms or signal processing methods without intrinsic musical character, yet specifically adapted for or used in electrophonic musical processing
    • G10H2250/295—Noise generation, its use, control or rejection for music processing
    • G10H2250/301—Pink 1/f noise or flicker noise

Definitions

  • the present invention relates to a method and a device for humanizing music sequences.
  • it relates to humanizing drum sequences.
  • Beats divide the time axis of a piece of music or a musical sequence by impulses or pulses.
  • the beat is intimately tied to the meter (metre) of the music as it designates that level of the meter (metre) that is particularly important, e.g. for the perceived tempo of the music.
  • a well-known instrument for determining the beat of a musical sequence is a metronome.
  • a metronome is any device that produces a regulated audible and/or visual pulse, usually used to establish a steady beat, or tempo, measured in beats-per-minute (BPM) for the performance of musical compositions. Ideally, the pulses are equidistant.
  • a sound may correspond to a note or a beat played by an instrument. Each sound has a temporal occurrence t within the music sequence.
  • Figure 1 shows a plot of a natural drum signal or beat compared with a metronome signal. Compared to a real audio signal, the plot is stylized for the purpose of describing the present invention, which only pertains to the temporal occurrence patterns of sounds. The skilled person will immediately recognize that in reality, each beat or note played is composed of an onset, an attack and a decay phase from which the present description abstracts.
  • the human drummer's beats occur on times t' 1 , t' 2 and t ' 3 and constitute an irregular sequence.
  • the above definitions may also be generalized in order to track deviations of a sequence from a given metric pattern instead from a metronome.
  • a more complex metronome signal can be generated wherein distances between clicks are not equal but are distributed according to a more complex pattern.
  • the pattern may correspond to a particular rhythm.
  • the offsets of human drum sequences may be described by Gaussian distributed 1 / f ⁇ noise, where f is a frequency and ⁇ is a shape parameter of the spectrum.
  • this kind of noise is also referred to as 'pink noise'.
  • the parameter ⁇ is then equivalent to the absolute value of the slope of the graph.
  • the parameter ⁇ may be estimated empirically by comparing the beat sequence generated by a human drum player (or several of them) with a metronome. More particularly, the temporal differences between the human and the artificial beats correspond to the off sets o i of figure 1 and the estimation of ⁇ may be carried out by performing a linear regression on the offsets' power spectral frequency plot, wherein the frequency axis has been transformed by two logarithmic transformations for linearization.
  • drums have been chosen because in the analysis, the distinction between accentuation and errors is easiest when analyzing sequences that contain time-periodic structures, such as drum sequences.
  • the methods according to the invention may also be applied to other instruments played by humans. For example, for a piano player playing a song on the piano, it is expectable that after removal of accentuation, the relevant noise obeys the same 1 / f ⁇ -law as discussed above with respect to drums.
  • FIG 3 shows a flowchart of a method for humanizing music sequences according to a first embodiment of the invention.
  • the music sequence is assumed to comprise a series of sounds, which may be notes, played by an instrument such as a drum, each occurring on a distinct time t .
  • the time t may be taken as the onset of the note, which may automatically be detected by a method in the prior art (cf. e.g. Bello et al., A tutorial on Onset Detection In Music Signals, IEEE Transactions on Speech and Audio Processing, Vol. 13, No. 5, September 2005 ).
  • step 310 the method is initialized.
  • step 320 a random offset o i is generated for the present sound or note at time t i .
  • step 330 the random offset o i is added to the time t i in order to obtain a modified time t ' i .
  • the offset o i may also be negative.
  • step 340 the present sound s i is output at the modified time t' i .
  • the outputting step may comprise playing the sound in an audio device. It may also comprise storing the sound on a medium, at the modified time t' I for later playing.
  • step 350 the procedure loops back to step 320 in order to repeat the procedure for the remaining sounds.
  • the random offsets are generated such that their power spectral density obeys the law 1 f ⁇ . wherein ⁇ > 0.
  • the parameter ⁇ may be set according to the empirical estimates obtained as described in relation to figure 2 .
  • Figure 4 shows a block diagram of a device 400 for humanizing a music sequence according to an embodiment of the invention.
  • the music sequence (S) comprises a multitude of sounds (s 1 ... s n ) occurring on times (t 1 , ..., t n ).
  • the device may comprise means 410 for generating, for each time (t i ) a random offset (o i ).
  • the device may further comprise means 420 for adding the random offset (o i ) to the time (t i ) in order to obtain a modified time (t i + o i ).
  • the device may also comprise means 430 for outputting a humanized music sequence (S') wherein each sound (s i ) occurs on the modified time (t i + o i ).
  • the power spectral density of the random offsets has the form 1 f ⁇ , wherein 0 ⁇ ⁇ ⁇ 2.
  • Generators for 1/2 ⁇ - or 'pink' noise are commercially available.
  • Figure 5 shows another block diagram of a device for humanizing music sequences according to another embodiment of the invention.
  • the device comprises a metronome 510, a noise generator 520, a module 530 for adding the random offsets to obtain a modified time sequence, a module 540 for outputting the sounds at the modified times, a module 550 for receiving an input sequence and a module 560 for analyzing the input sequence in order to automatically identify the relevant sounds.
  • the deviation of human drum sequences from a given metronome may be well described by Gaussian distributed 1/f ⁇ noise, wherein the exponent ⁇ is distinct from 0.
  • the results do also apply to other instruments played by humans.
  • the method and device for humanizing musical sequence may very well be applied in the field of electronic music as well as for post processing real recordings.
  • 1/f ⁇ -noise is the natural choice for humanizing a given music sequence.

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  • Physics & Mathematics (AREA)
  • Engineering & Computer Science (AREA)
  • Multimedia (AREA)
  • Acoustics & Sound (AREA)
  • General Physics & Mathematics (AREA)
  • Electrophonic Musical Instruments (AREA)
  • Auxiliary Devices For Music (AREA)

Claims (8)

  1. Verfahren zum Humanisieren einer Musiksequenz (S), wobei die Musiksequenz (S) eine Vielzahl von Tönen (s1, ..., sn) umfasst, die zu Zeiten (t1, ..., tn) auftreten, umfassen die Schritte:
    - für jede Zeit (ti) der Zeiten (t1 bis tn), erzeugen eines zufälligen Abstands (oi), und
    - addieren des zufälligen Abstands (oi) zu der Zeit (ti), um eine modifizierte Zeit (ti + oi) zu erhalten;
    - ausgeben einer humanisierten Musiksequenz (S'), in welcher jeder Ton (si) zu der modifizierten Zeit (ti + oi) auftritt,
    dadurch gekennzeichnet, dass die spektrale Leistungsdichte der Sequenz von zufälligen Abständen die Form 1 f α
    Figure imgb0008
    hat, wobei f eine Frequenz der Reihe von zufälligen Abständen, α ein Formparameter des Spektrums und 0 < α < 2 ist.
  2. Verfahren gemäß Anspruch 1, wobei die Töne Trommelschlägen entsprechen.
  3. Verfahren gemäß Anspruch 1, wobei die Töne Noten sind, die mit einem Klavier gespielt werden.
  4. Verfahren gemäß Anspruch 1, wobei die Musiksequenz (S) durch Editieren einer menschlich-erzeugten Musiksequenz erhalten werden.
  5. Verfahren gemäß Anspruch 1, wobei das Mittel und/oder die Standardabweichung der Abstände (oi) gemäß empirischer Schätzungen gesetzt wird.
  6. Verfahren gemäß Anspruch 1, wobei das Ausgeben einer humanisierten Musiksequenz (S') ein Speichern der Musiksequenz (S') auf einem maschinenlesbaren Medium umfasst.
  7. Verfahren zum Humanisieren einer Musiksequenz (S), umfassen die Schritte:
    - erhalten (510) einer regelmäßigen Zeitsequenz (t1, ..., tn);
    - erzeugen (520) einer Sequenz von zufälligen Abständen (o1-on);
    - addieren (530) der Sequenz von zufälligen Abständen (o1, ..., on) zu der Zeitsequenz (t1, ..., tn), um eine modifizierte Zeitsequenz (t1', ..., tn') zu erhalten;
    - empfangen (550) einer Eingabesequenz;
    - analysieren (560) der Eingabesequenz, um automatisch Töne zu identifizieren, und
    - ausgeben (540) der Töne zu den modifizierten Zeiten (t1' bis tn');
    dadurch kennzeichnet, dass das Leistungsdichtespektrum der der Sequenz von zufälligen Abständen die Form 1 f α
    Figure imgb0009
    hat, wobei f eine Frequenz der Sequenz von zufälligen Abständen ist, α ein Formparameter des Spektrums und 0 < α < 2.
  8. Vorrichtung zum Humanisieren einer Musiksequenz (S), wobei die Musiksequenz (S) eine Vielzahl von Tönen (s1, ..., sn) umfasst, die zu Zeiten (t1, ..., tn) auftreten, umfassend:
    - Mittel zum Erzeugen, für jede Zeit (ti) der Zeiten (t1, ..., tn) eines zufälligen Abstands (oi),
    - Mittel zum Addieren des zufälligen Abstände (oi), zu jeder Zeit (ti), um eine modifizierte Zeit (ti +oi) zu erhalten; und
    - Mittel zum Ausgeben einer humanisierten Musiksequenz (S'), wobei jeder Ton (si) zu einer modifizierten Zeit (ti + oi) auftritt,
    dadurch gekennzeichnet, das die spektrale Leistungsdichte der Sequenz von zufälligen Abständen die Form 1 f α
    Figure imgb0010
    hat, wobei feine Frequenz der Sequenz von zufälligen Abständen ist, α ein Formparameter des Spektrums und 0 < α < 2.
EP07117541A 2007-09-28 2007-09-28 Verfahren und Vorrichtung zur Humanisierung von Musiksequenzen Not-in-force EP2043089B1 (de)

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US3974729A (en) * 1974-03-02 1976-08-17 Nippon Gakki Seizo Kabushiki Kaisha Automatic rhythm playing apparatus
JP3293515B2 (ja) * 1997-04-16 2002-06-17 ヤマハ株式会社 楽音発生装置
FR2785438A1 (fr) * 1998-09-24 2000-05-05 Baron Rene Louis Procede et dispositif de generation musicale

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