EP2793222B1 - Methode zur Implementierung einer automatischen Jam Session - Google Patents

Methode zur Implementierung einer automatischen Jam Session Download PDF

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Publication number
EP2793222B1
EP2793222B1 EP13197613.6A EP13197613A EP2793222B1 EP 2793222 B1 EP2793222 B1 EP 2793222B1 EP 13197613 A EP13197613 A EP 13197613A EP 2793222 B1 EP2793222 B1 EP 2793222B1
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EP
European Patent Office
Prior art keywords
audio
user
loop
loops
instrument
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Active
Application number
EP13197613.6A
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English (en)
French (fr)
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EP2793222A1 (de
Inventor
Tilman Herberger
Titus Tost
Current Assignee (The listed assignees may be inaccurate. Google has not performed a legal analysis and makes no representation or warranty as to the accuracy of the list.)
Bellevue Investments GmbH and Co KGaA
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Bellevue Investments GmbH and Co KGaA
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Publication date
Priority claimed from US13/720,552 external-priority patent/US10496250B2/en
Application filed by Bellevue Investments GmbH and Co KGaA filed Critical Bellevue Investments GmbH and Co KGaA
Publication of EP2793222A1 publication Critical patent/EP2793222A1/de
Application granted granted Critical
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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
    • G10H1/36—Accompaniment arrangements
    • 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
    • G10H1/0008—Associated control or indicating means
    • G10H1/0025—Automatic or semi-automatic music composition, e.g. producing random music, applying rules from music theory or modifying a musical piece
    • 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
    • G10H1/38—Chord
    • G10H1/383—Chord detection and/or recognition, e.g. for correction, or automatic bass generation
    • 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
    • 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
    • G10H2210/031—Musical analysis, i.e. isolation, extraction or identification of musical elements or musical parameters from a raw acoustic signal or from an encoded audio signal
    • G10H2210/066—Musical analysis, i.e. isolation, extraction or identification of musical elements or musical parameters from a raw acoustic signal or from an encoded audio signal for pitch analysis as part of wider processing for musical purposes, e.g. transcription, musical performance evaluation; Pitch recognition, e.g. in polyphonic sounds; Estimation or use of missing fundamental
    • 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
    • G10H2210/031—Musical analysis, i.e. isolation, extraction or identification of musical elements or musical parameters from a raw acoustic signal or from an encoded audio signal
    • G10H2210/081—Musical analysis, i.e. isolation, extraction or identification of musical elements or musical parameters from a raw acoustic signal or from an encoded audio signal for automatic key or tonality recognition, e.g. using musical rules or a knowledge base
    • 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
    • G10H2210/101—Music Composition or musical creation; Tools or processes therefor
    • G10H2210/125—Medley, i.e. linking parts of different musical pieces in one single piece, e.g. sound collage, DJ mix
    • 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
    • G10H2210/101—Music Composition or musical creation; Tools or processes therefor
    • G10H2210/141—Riff, i.e. improvisation, e.g. repeated motif or phrase, automatically added to a piece, e.g. in real time
    • 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
    • G10H2210/325—Musical pitch modification
    • G10H2210/331—Note pitch correction, i.e. modifying a note pitch or replacing it by the closest one in a given scale
    • G10H2210/335—Chord correction, i.e. modifying one or several notes within a chord, e.g. to correct wrong fingering or to improve harmony
    • 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
    • G10H2220/00—Input/output interfacing specifically adapted for electrophonic musical tools or instruments
    • G10H2220/091—Graphical user interface [GUI] specifically adapted for electrophonic musical instruments, e.g. interactive musical displays, musical instrument icons or menus; Details of user interactions therewith
    • G10H2220/101—Graphical user interface [GUI] specifically adapted for electrophonic musical instruments, e.g. interactive musical displays, musical instrument icons or menus; Details of user interactions therewith for graphical creation, edition or control of musical data or parameters
    • G10H2220/106—Graphical user interface [GUI] specifically adapted for electrophonic musical instruments, e.g. interactive musical displays, musical instrument icons or menus; Details of user interactions therewith for graphical creation, edition or control of musical data or parameters using icons, e.g. selecting, moving or linking icons, on-screen symbols, screen regions or segments representing musical elements or parameters
    • 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
    • G10H2220/00—Input/output interfacing specifically adapted for electrophonic musical tools or instruments
    • G10H2220/091—Graphical user interface [GUI] specifically adapted for electrophonic musical instruments, e.g. interactive musical displays, musical instrument icons or menus; Details of user interactions therewith
    • G10H2220/101—Graphical user interface [GUI] specifically adapted for electrophonic musical instruments, e.g. interactive musical displays, musical instrument icons or menus; Details of user interactions therewith for graphical creation, edition or control of musical data or parameters
    • G10H2220/106—Graphical user interface [GUI] specifically adapted for electrophonic musical instruments, e.g. interactive musical displays, musical instrument icons or menus; Details of user interactions therewith for graphical creation, edition or control of musical data or parameters using icons, e.g. selecting, moving or linking icons, on-screen symbols, screen regions or segments representing musical elements or parameters
    • G10H2220/111—Graphical user interface [GUI] specifically adapted for electrophonic musical instruments, e.g. interactive musical displays, musical instrument icons or menus; Details of user interactions therewith for graphical creation, edition or control of musical data or parameters using icons, e.g. selecting, moving or linking icons, on-screen symbols, screen regions or segments representing musical elements or parameters for graphical orchestra or soundstage control, e.g. on-screen selection or positioning of instruments in a virtual orchestra, using movable or selectable musical instrument icons
    • 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
    • G10H2230/00—General physical, ergonomic or hardware implementation of electrophonic musical tools or instruments, e.g. shape or architecture
    • G10H2230/025—Computing or signal processing architecture features
    • G10H2230/031—Use of cache memory for electrophonic musical instrument processes, e.g. for improving processing capabilities or solving interfacing problems
    • 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
    • G10H2240/00—Data organisation or data communication aspects, specifically adapted for electrophonic musical tools or instruments
    • G10H2240/075—Musical metadata derived from musical analysis or for use in electrophonic musical instruments
    • 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
    • G10H2240/00—Data organisation or data communication aspects, specifically adapted for electrophonic musical tools or instruments
    • G10H2240/121—Musical libraries, i.e. musical databases indexed by musical parameters, wavetables, indexing schemes using musical parameters, musical rule bases or knowledge bases, e.g. for automatic composing methods
    • G10H2240/131—Library retrieval, i.e. searching a database or selecting a specific musical piece, segment, pattern, rule or parameter set
    • 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
    • G10H2240/00—Data organisation or data communication aspects, specifically adapted for electrophonic musical tools or instruments
    • G10H2240/171—Transmission of musical instrument data, control or status information; Transmission, remote access or control of music data for electrophonic musical instruments
    • G10H2240/175—Transmission of musical instrument data, control or status information; Transmission, remote access or control of music data for electrophonic musical instruments for jam sessions or musical collaboration through a network, e.g. for composition, ensemble playing or repeating; Compensation of network or internet delays 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
    • G10H2240/00—Data organisation or data communication aspects, specifically adapted for electrophonic musical tools or instruments
    • G10H2240/171—Transmission of musical instrument data, control or status information; Transmission, remote access or control of music data for electrophonic musical instruments
    • G10H2240/281—Protocol or standard connector for transmission of analog or digital data to or from an electrophonic musical instrument
    • G10H2240/295—Packet switched network, e.g. token ring
    • G10H2240/305—Internet or TCP/IP protocol use for any electrophonic musical instrument data or musical parameter transmission purposes
    • 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
    • G10H2240/00—Data organisation or data communication aspects, specifically adapted for electrophonic musical tools or instruments
    • G10H2240/171—Transmission of musical instrument data, control or status information; Transmission, remote access or control of music data for electrophonic musical instruments
    • G10H2240/281—Protocol or standard connector for transmission of analog or digital data to or from an electrophonic musical instrument
    • G10H2240/311—MIDI transmission

Definitions

  • the present invention relates generally to the field of multimedia editing and, more generally, to automatically composing musical works with intuitive user interaction.
  • a system and method that supports a user when generating music, wherein the level of support is adjustable by the user.
  • the level of support should be variable and include approaches such as fully automatic, user driven selection, and real-time automatic accompaniment generation for a user who is playing an instrument. Additionally what is needed is a system and method that smoothly combines the traditional approach to music creation - with instruments - with a computer based music clip driven approach.
  • EP1557836 defines composing/editing media clips by automatic selection of themes and of (harmony-) compatible replacement clips and by pointing on-screen on a media track. Criteria are clip-type, -tempo, -start and - ending time. However there is no audio loops in the description, although Figure 4 shows audio loops, only audio clips are meant; and not real time interactive music composition is disclosed.
  • XP031481665 Browsing Musical Loop Libraries_, CONTENT BASED MULTIMEDIA INDEXING, 2009. CMBI 09. SEVENTH INTERNATIONAL WORKSHOP ON, IEEE, PISCATAWAY, NJ, USA, 3June 2009 (2009-06-03), pages 73-80 discloses music loop library browser displaying music according to similarity in timbre, harmony and rhythm. Spatial sound is obtained by playing several extracts at the same time, including beat synchronous loop play and pitch alteration.
  • US2004089141 provides a top-down and interactive auto-composition approach. It defines patterns used as building blocks for real time interactive music composition, or a user modifying an auto-composed music in real time. Improvisation is also disclosed as well as data structures having instrument, chord, tempo, key, style and structure indexed by part. It does not disclose audio loops or that individual parts can be utilized as parts, it discloses sub-blocks or riffs but no loops. It discloses the storage of MIDI-loops however these are not utilized within the disclosed algorithm.
  • US2012297959 defines particular loop replacement according to a score versus a specific harmony matrix. A default instrument is automatically selected for each given audio track. However these tracks are key adjusted note by note, not loop by loop.
  • US2012312145 defines a music composition automation system combining 'phrases_ which can be pre-recorded audio clips, synthesizer loops or other types of audio data sources.
  • Each instrument in the style includes a set of phrases that can be played, associated with a specific song section type using this data structure.
  • the music style library data structure includes fields: Phrase to loop_, style, re-trigger flag, chord, start, end, genre, instrument and volume.
  • the audio recordings library data structure includes type, tempo, beats per bar, key and chords. It does not disclose a real time interactive algorithm, no jam session capability and no recursive algorithm.
  • E P1666967 discloses automatically creating an emoti on-controlled soundtrack for use with an existing video work.
  • An algorithm initiates loop insertions according to emotion tag and style. The selected music loops will be cut, looped, cross-faded, etc., to create a seamless audio soundtrack with additional automatic insertion of fade-ins or fade-outs before and after selected music loops to smooth the audio transitions into / out of a section.
  • This reference discloses clips/loops, tags, it does not however disclose a part-suitability tag or field. Additionally it does disclose beat insertion of clips bases on similar beat length, not beat synchronicity.
  • US5877445 defines an audio block sequence compiler selecting segments from a segments library classified in a characteristic compatibility table by: Duration; suitability for begin or end of a sequence, compatibility with each block.
  • the compiler generates audio sequences using the characteristic table and user criteria (duration, mood, intensity), it does not define however audio loops, it utilizes looping of individual segments, additionally there is no tempo selection, no style selection and no disclosure of an iterative algorithm.
  • At least a portion of the instant invention will be implemented in form of software running on a user's computer 100.
  • a computer will have some amount of program memory and hard disc storage (whether internal or accessible via a network) as is conventionally utilized by such units.
  • an external camera 110 of some sort be utilized with - and will preferably be connecti bl e to - the computer so that video and/or graphic information can be transferred to and from the computer.
  • the camera 110 will be a digital video camera, although that is not a requirement, as it is contemplated that the user might wish to utilize still images from a digital still camera in the creation of his or her multimedia work. Further given the modern trend toward incorporation of cameras into other electronic components (e.g.
  • the camera might be integrated into the computer or some other electronic device and, thus, might not be a traditional single-purposes video or still camera.
  • the camera will preferably be digital in nature, any sort of camera might be used, provided that the proper interfacing between it and the computer is utilized.
  • a microphone 130 might be utilized so that the user can add voice-over narration to a multimedia work or can control his or her computer via voice-recognition software.
  • a CD or DV D burner 120 could be useful for storing content on writable or rewritable media.
  • a mobile data storage device 140 might be connected to the computer, such as an mp3 player for example, for storage of individual music clips or other data as needed by the instant invention.
  • the user would bring a smart phone 150 or other touch based device (e.g., a tablet computer such as a M icrosoft ⁇ Surface ⁇ table or an iPad ⁇ , or other device with a touch-sensitive display) into communication with the computer in order to, for example, control the computer or exchange data between the computer and the device.
  • a smart phone 150 or other touch based device e.g., a tablet computer such as a M icrosoft ⁇ Surface ⁇ table or an iPad ⁇ , or other device with a touch-sensitive display
  • the user might also be able to connect instruments such as a keyboard 160 to the computer to allow for the input and recording of music data directly from the user.
  • the process of the instant invention will provide a user-friendly preferably touch-based graphical user interface via music generation and editing software.
  • the method will preferably utilize MIDI loops or audio clips organized into styles, with these MIDI loops being enhanced with a classification into song parts.
  • the loops will also be tagged with data that is then used by the instant invention during the music generation process. These tags represent a classification of the loops - as song parts, pitch and melody qualification.
  • a well organized and tagged database of MIDI loops or audio loops is an essential part of the instant invention. Such a database of MIDI loops or a selection of individual styles referring to the MIDI loops will preferably be provided by the instant inventors.
  • the type, layout and interaction possibilities of the graphical user interface will be accessible, in some embodiments, by the user with mouse and keyboard. However, the instant invention will be especially useful when used in connection with a touch interface, if the device(s) on which the instant invention is executed provide such a possibility.
  • the music generation, or jam mode of the instant invention will react to the user interactions and user input in real time, incorporating the users activities into the music generation process. This will give the user instantaneous dynamic feedback and sense of achievement.
  • Each different interaction of the user, the selection of a different tone pitch, the selection and de-selection of a different instrument or the definition of a different song part will be incorporated almost instantly by the instant invention, however in a preferred embodiment only after the next bar is reached.
  • the present invention will preferably begin with the initiation by the user of the music generation process - the live jam mode.
  • the live jam mode might be a component part of a general music generation software or it might be a standalone program
  • the user will be presented with a graphical user interface 200 containing controls for all essential settings. All of these controls will be selectable and changeable by the user at any time both before and during the music generation process, with the selections made by the user being incorporated by the instant invention into the music generation process in real time.
  • the user preferably will preferably start with the selection of a music style 210, a style which will then be used in connection with the created music work as long as it is selected.
  • the user will also be able to define and change the tempo 220 of the music work.
  • a vol ume control 230 will be provided which will allow the user to change the output vol ume.
  • the vol ume control 230 will affect only the voice that is currently selected in the instrument bank 270 (e.g., keyboard 275), thereby adjusting the vol ume of the selected voice as compared with the other currently active / selected voices 260. In other instances, it could be used to control the total audio volume as heard through an attached speaker or headphones.
  • the overall volume setti ng will general ly not be stored by the instant invention during the music generati on process (i.e., preferably the setting of the output volume will not effect the volume of the musical work that is subsequently saved), although in some instances it might be tracked in order to adjust the relative vol ume of one instrument / part with respect to another during playback.
  • an embodi ment there will be a number of controls and settings that allow the user to direct the music generation process, i.e., to influence the live jam mode on a deeper level.
  • the user will be able to define and select individual song parts 240 whi ch can be combined to create a complete song. That is, in some embodiments the user will be able to signal to the instant invention that he or she wants the music that is being created to transition into the next phase, e.g., from the introduction, to the verse.
  • the instant invention will then select and play MIDI or music loops that are compatible with or representative of the selected song section.
  • the instant invention will provide the user with an assortment of different song parts that allow the user to control the song structure.
  • the instant invention will incorporate at least one music or MIDI loop that is tagged with the 'intro_ tag and has a tempo, chord structure, etc., compatible with an introduction.
  • Other possibilities include such parts as verse, chorus, bridge, outro, etc., as those terms are known in the music arts.
  • the instant invention in this embodiment has provided parts labeled 'Ending_, 'VAR1_, 'Fill_ and 'VAR2,_ selection of which will cause the instant program to insert different music or MIDI loops that contain music that adheres to the selected style, and pitch and to the selected song part.
  • 'VAR1_ and 'VAR2_ stand for variations and 'Fill_ represents music material that is usable as fill material as those terms are known and understood in the art.
  • the selection of 'Ending_ will insert a music or MIDI loop that provides an ending to the current music piece, allowing the user to end the generated song in a musically pleasing and/or correct fashion.
  • the instant invention will preferably cycle through the audio loop material that is available to prevent the same audio loops from being sel ected for, by way of example, four consecutive bars.
  • the instant invention will preferably do that for all audio loops, including both loops containing melody based instruments as well as loops contai ni ng drum and bass audio material.
  • the instant invention will preferably generate and select the song parts automatical ly (e.g., intro, verse, chorus, outro, ending) and the user will be provided with a fully rough structured song.
  • the instant invention will provide an effects option 242.
  • an opportunity will be provided to apply, modify, or remove various audio effects (e.g., filters, reverb, flange, etc.).
  • the instant invention when the user selects the PLAY control 292 the instant invention will automatically start the music generation process. In this example, this will cause the program to utilize the user's selected style, song parts, tone pitch / key and instruments in the generation process.
  • the REC control 295 will be activated too, thereby initiating the recording process.
  • the user will indicate to the instant invention that the generation and recordi ng of the current music work is to be ended. In this instance, the instant invention will insert a music loop representing an ending in order to complete the music generation process for the current music piece.
  • a pitch setting 250 will also be provided in some embodiments. This option will allow the user to select individual tone pitch / note values manually or to select an automatic setting wherein the instant invention will automatically generate tone pitch / note changes accordingly.
  • the currently selected and active tone pitch will be displayed in the graphical user interface.
  • the real key will also be displayed to the user, so that the user who playing along with the instant invention via a connected instrument will be able to play in the correct key.
  • the instant invention will preferably select tone pitch / note settings in order to adapt to generated song to the playing of the user, thereby generating a musically pleasing music work. If a specific tone pitch has been selected by the user then the instant invention will generate the music - i.e., it will initiate the jam mode in the selected tone pitch / key as long as it is selected.
  • the user will also be able to define and select the instruments that are to be used in generating the music.
  • the graphical user interface will provide an instrument selection bar 260 displays the current voice selection (i.e., the instrument bank 270).
  • the user will be able to select and de-select individual instruments dynamically which changes will be reflected in real time via external speakers, headphones, etc.
  • the inclusion / exclusion and change of instruments can be done at any time and without any restrictions, although the instant invention also provides an automatic setting, which when activated, utilizes and automatically selects instruments that are available according to the currently selected style. The instant invention will select / deselect and change these instruments in an alternating fashion to generate a pleasing music work.
  • Figure 3 provides a summary of a preferred workflow of the instant invention.
  • the user will activate the jam mode 300.
  • the user will select a style 310, the tempo 320, the tone pitch 330, the individual song parts 340 and the preferred instruments 350.
  • these settings do not necessarily need to be defined sequentially before the start of the music generation process. They will be selectable and changeable the whole time that the jam mode is active. This will encourage the user to alternate between multiple ones of the available settings 360.
  • the instant invention will automatically incorporate the changed settings into the jam mode - the music generation process will be modified dynamically in real time.
  • the instant invention will record 370 the generated music while jam mode is active and store it on a computer.
  • the store might be hard disc, a flash based memory device, etc.
  • the recording will then be available for the user for further additional processing if that is desi red.
  • Figure 4 illustrates a preferred data structure of the instant invention.
  • the instant invention utilizes, in an embodiment, an organized and data structure.
  • This database will be provided in some instances by the instant inventors.
  • a limited set of styles might be provided initially, with additional styles available on demand and for a fee.
  • additional styles the order will be initiated by the user, with the new styles being transmitted digitally directly to the user.
  • the purchased styles might be shipped on a storage medi um after purchase.
  • the user's styles could be stored either locally on the user's computer, or remotely and access via a LAN, Wi-Fi, the Internet, etc.
  • Each style will preferably be stored and named internally according to a simple naming scheme.
  • Style A 400 where each style has a specific number of audio loops associated with that style.
  • each of these loops (audio loop A 405, audio loop B 410, and audio loop C 415) need not be strictly associated with a single style. It is preferable and possible that an audio loop might be associated with multiple different styles (style b 420).
  • Figure 5 depicts a preferred data structure of one of the individual styles 500 of the instant invention.
  • the data record associated with a style 500 will preferably contain information about the number of individual song parts that are available and selectable 510. Additionally, the number and type of individual instruments 520 that are part of the style will preferably stored in the data structure of each individual style.
  • Each style will preferably have a predefined tempo 530. However it should be noted that once the user selects the style and interacts with the user controls, the predefined tempo might be changed automatically and/or manually by the user.
  • each style will have a predefined tone pitch 540 or key that can be modi fi ed by the user.
  • each style will contain icons 550 and animations 560 that represent the corresponding instrument and/or the particular style. These pictures and animations will preferably be displayed in the graphical user interface as is generally indicated in Figure 5 .
  • the icons / images will be ani mated so that the user will be able to see a representation of a musician playing the selected instrument.
  • a nother preferred data value that could be stored with each style is the name 570 of that style which will be the name that is displayed in the graphical user interface for selection by the user.
  • Figure 6 depicts a preferred data structure for use with the individual audio loops 600.
  • the audio loops in addition to the audio material , might contain information about the styles 610 with which they have been associated. This might be a plurality of styles, or only one style.
  • the audio loop has a specific predefined inherent tempo value 620, which is also stored in the data structure of the audio loop. Additionally information about the usability of the audio loop as a part 630 (intro, variance 1, variance 2, ending, etc.) in the music generation process will be stored in this data structure.
  • Each audio loop will additionally, and preferably, be associated with information regarding the instrument 640 the loop was taken from or created by.
  • an important value in the data structure of the audio loops will be the information about the harmony suitability 650 or compatibility of each clip with respect to the others. This quantity will indicate, in a general way, whether or not one audio loop is musically compatible with another.
  • the harmony suitability could either be provided by the user and inserted into the data structure, or designed by the creator of the database based on a scale that indicates compatibility with another currently selected audio loop.
  • the instant invention will determine the harmony suitability by first analyzing the data values of a selected audio loop and then comparing those values to the data of another audio loop to determine respective pitch, tempo, note scale (e.g., blues, minor, rock, etc.).
  • respective pitch, tempo, note scale e.g., blues, minor, rock, etc.
  • the user might be provided with the option to modify the filter effects in real time.
  • the effects button 242 has been activated which has brought a filter parameter window 810 to the forefront.
  • the user has been provided with the option of simultaneously adjusting two parameters by way of a stroke 820 across the face of the open window 810.
  • the user will be able to simultaneously modify two parameters, although it should also be clear that a single parameter (or three or more) could be similarly modified.
  • the audio center frequency might be modified ('HIGH_ to 'LOW_) and/or the reverb ('HEAVY_ to 'LIGHT_).
  • the user has elected to increase the center frequency and increase the reverb by virtue of this single stroke 820.
  • this approach is possible and have been specifically contemplated by the instant inventors.
  • the instant invention will be used in practi ce generally as indicated in this figure.
  • the jam mode will be activated (step 700). This will initiate the computer program that implements the instant invention on the device selected by the user which might include a desktop computer, a laptop computer, a smart phone, a tablet computer, etc.
  • the style, tempo, and musical key of the work will be selected (step 705).
  • the instrument bank 270 might include a vocal performance of scat lyrics.
  • the selection of style might automatically populate the voice bank with horns, strings, woodwinds, etc., each of which will preferably have been selected to compliment the style selected by the user.
  • the associated instruments might include claves and/or drums (on percussion), acoustic guitar(s), bass, piano, flute, etc.
  • the time signature will often be 12/8 or 6/8, but, in some embodiments it will be 4/4, 2/2, or 2/4.
  • the default instruments might be drums, guitar(s) (e.g., electric, slide, or acoustic), bass, harmonica, keyboard, fiddle (violin), etc.
  • the time signature would most commonly be 4/4, but other choices are certainly possible.
  • the form of the music could follow, by default, the standard 12 bar or 8 bar blues chord progressions, as those terms are known in the art
  • the solo instruments e.g., lead guitar, harmonica, keyboard, etc.
  • the user will accept the default instrument bank 270 or select alternative instruments or vocal s. That is, in some embodiments, the user might prefer, by way of example only, a distorted guitar sound as opposed to an acoustic guitar sound. In such an instance, the user will be abl e to either accept the instruments/vocals offered or replace any of those with another instrument or vocal sound.
  • the user will activate a first instrument (step 715) which will cause it to begin playing according to the parameters previously selected by the user.
  • the activated instruments 275, 280, and 285 will preferably be highlighted on the screen so that the user can readily tell which instrument or instruments have been activated and are, thus, in the current mix.
  • the instant invention when the instant invention will execute on a tablet computer or other device with a touch-sensitive screen. In such environments, the user will merely need to touch the associated icon in order to activate or mute an instrument
  • the instant invention Upon activation of the first instrument, the instant invention will preferably automatically begin a performance of that instrument accordi ng to the selected style, at the selected tempo, and in the selected key or according to a sel ected pitch (step 725), etc.
  • the current state of the work will be communicated to the user as it is generated via a local speaker or, if the user is wearing headphones, to the user's headphones.
  • This first instrument that is selected will provide the foundation for what is to follow. In many cases, the first instrument that is activated will be the drums, but that is not a requirement.
  • the instant invention will, in some embodiments, begin to continuously record the performance (step 730).
  • the first iteration there will typically be a single instrument that is playing but, subsequently, more instruments will be added as is discussed below.
  • the recordi ng will be initiated using all appropriate instruments. In that case, the user will select/deselect and modify the instruments that are currently playing as described below.
  • the starting and stopping of the recording will be under the control of the user and the recording may not commence until after the user has added several instruments to the mix, at which time it will begin automatically. In other cases, no recording will be performed until the user specifically selects that option (e.g., via the on-screen "Record_ button 295 in Figure 2 ).
  • the instant invention will preferably follow the 'YES_ branch.
  • the instant invention will preferably branch to step 725 and thereby continue to perform and, optionally, record the performance accordi ng the step 730.
  • a test will be performed to determi ne whether or not the change that has been made is an i ndi cati on that the user wishes to stop the music generation process (decision item 738). If the user has decided to end the music creation process (i.e., the 'YES_ branch of decision item 738), the instant invention will preferably write whatever recording was made to nonvolatile computer storage / computer readable media (e.g., magnetic di sk, flash memory, CD, DV D, etc.) and stop the music creation process (step 750).
  • nonvolatile computer storage / computer readable media e.g., magnetic di sk, flash memory, CD, DV D, etc.
  • the user will be given an opportunity to make changes in the performance environment (step 740).
  • the user will be given the option of replacing any or all of the items in the instrument bank 270, adjusting the relative volume of each instrument in the mix, adjusting the tempo of the entire work, changing the style of the entire musical work, it's key, time signature, etc.
  • the user will be given the option of modifying any performance-related parameter in real time while the performance and/or recording is taking place (step 740).
  • changed parameters will be instantly reflected in the audio output of the work, where 'instantly_ should be understood to mean that the changes will be performed at the next moment when it would make musical sense to do so (e.g., at the next beat, at the start of the next measure, etc.), i.e., at a moment that is musically synchronous with the instruments/style/tempo that are already in the performance.
  • any change that the user makes in a performance variable will be immediately reflected in the audio output of the performance.
  • the change or changes i ndi cated by the user will be implemented in the musical performance (step 745) in such a way as to harmoniously combine the additional, changed, or removed (muted) instruments/vocals with the current performance.
  • This might mean, by way of example, matching the tempo of the current performance, its key, etc.
  • the new instrument will not enter the mix until the start of the next full measure of the performance but that is not a requirement.
  • the instant invention provides a highly creative work method for both novice and professional user when generating music or just enjoying music and the music generati on process.
  • the instant invention will adapt to the knowledge and professionalism of the user providing individual options and features for selection that either adds complexity (for professionals) or minimizes complexity (for novice users).
  • the instant invention will enter a random creativity mode, wherein the method will automatically change and replace loops, instruments and pitch. This mode will be entered when the user interaction level is very low.
  • the user can link an instrument with the instant invention and the method will 'listen_to the input from the instrument of the user and will accordingly select song parts, instruments and pitch to therewith generate a music work.

Claims (12)

  1. Eine Methode zur automatischen Komposition von Musikstücken mit intuitiver Nutzerinteraktion umfasst folgende Schritte:
    a. zugreifen auf eine Audio Loop Datenbank, welche eine Vielzahl von Audio Loops (600) enthält, jeder der Vielzahl von Audio Loops (600) ist verknüpft mit mindestens einem Musikstil (610), einem Harmonie-Tauglichkeitswert (650), einer Information über die Verwendbarkeit des Audio Loop als ein Song Bestandteil (630), einem Tempowert (620) und einer Information hinsichtlich des mindestens einem Instruments (640) von welchem das Loop erstellt oder entnommen wurde;
    b. verlangen vom Nutzer der Auswahl eines Musikstils (210, 310, 705), dieser Musikstil (210) ist verknüpft mit einer spezifischen Anzahl von Audio Loops (600), einer Vielzahl von Instrumenten (640), einer Vielzahl von Song Bestandteilen (240, 340), einem Tempowert (220, 320), einem vordefinierten Tonhöhenwert (250, 330) der einen Bezug zu den Instrumenten hat und einer Tonart die einen Bezug zu dem gesamten Musikstück hat, eine Vielzahl von Bildsymbolen, oder Bildern (550), Animationen (560) und einen Namen (570);
    c. verlangen vom Nutzer der Auswahl eines Tempowertes (220, 320) und eines Tonhöhenwertes (250, 330), somit bestimmen eines Tempowertes des Musikstücks und des Tonhöhenwertes des Musikstücks;
    d. zusammenstellen einer Instrumentenbank (270), wobei die Instrumentenbank (270) einen oder mehrere Audio Loops (600) aus der Vielzahl von Audio Loops umfasst, jeder der zusammengestellten einen oder mehreren Audio Loops (600) hat mindestens einen der genannten Musikstile (310) welcher kompatibel mit dem ausgewählten Musikstil (310) ist.
    e. bereitstellen einer Darstellung von einem oder mehreren Instrumenten (260) verknüpft mit dem ausgewählten Musikstil zum Nutzer auf einem Darstellungsgerät, sowie einer Darstellung einer Vielzahl von individuellen aufeinanderfolgenden Songbestandteilen (240) und einer Darstellung von Tonhöhenwert (250) und Tempo (220);
    f. verlangen vom Nutzer der Auswahl aus der bereitgestellten Darstellung der Instrumente mindestens ein Instrument, somit auswählen aus der Instrumenten Bank (270) eines ersten Audio Loops aus den verknüpften einen oder mehreren Audio Loops (600);
    g. algorithmische Veränderung des ausgewählten ersten Audio Loop (600) zumindest gemäß des Tempowertes (220, 320) und der Tonart, somit Erstellung eines modifizierten ersten Audio Loop (600);
    h. initiieren einer Wiedergabe (725) des ausgewählten modifizierten erstem Audio Loop (600) in dem gewählten Musikstil (210, 310);
    i. erstellen einer hörbaren Darstellung der Wiedergabe des ausgewählten modifiziertem ersten Audio Loop (600) für den Nutzer;
    j. verlangen (735) vom Nutzer der Auswahl aus der bereitgestellten Darstellung von Instrumenten (260, 350) mindestens eines der anderen Instrumente und einen anderen Song Bestandteil (240, 340) und einen Tonhöhenwert (250, 330) und einen Tempowert (220, 320) und einen Stil (210, 310) somit Auswahl aus der Instrumentenbank (270) einen anderen Audio Loop (600), wobei die Auswahl des anderen Audio Loop (600) abhängig von dem Harmonie-Tauglichkeitswert (650) ist, die Information über die Verwendbarkeit des Audio Loop als einen Song Bestandteil (240, 340) und dem Tempowert (220, 320) verknüpft mit jedem Audio Loop (600);
    k. algorithmisches verändern (740, 745) des ausgewählten anderen Audio Loop (600) mindestens gemäß des Tempowertes (220, 320) oder der Instrumentenauswahl, oder der Auswahl als Song Bestandteil (240, 340) oder des Tonhöhenwertes (250, 330);
    l. hinzufügen des modifizierten anderen Audio Loop (600) zur Wiedergabe des ausgewählten modifizierten ersten Audio Loop (600) in Echtzeit während der Wiedergabe des ausgewählten modifizierten ersten Audio Loop (600) zur Erstellung einer kombinierten Wiedergabe, wobei der modifizierte andere Audio Loop (600) zum nächsten Takt hinzugefügt wird, musikalisch synchron mit der Wiedergabe des modifizierten ersten Audio Loop (600) und gemäß der Information über die Verwendbarkeit als ein Song Bestandteil (630);
    m. erstellen (725) einer hörbaren Darstellung der kombinierten Wiedergabe für den Nutzer;
    n. durchführen von mindestens Schritten (j) (725) bis (1) (745) mehrmals für eine Vielzahl von verschiedenen Darstellungen von Instrumenten (640), somit automatische Komposition von Musikstücken.
  2. Eine Methode zur automatischen Komposition von Musikstücken mit intuitiver Nutzerinteraktion gemäß Anspruch 1, worin die Audio Loops (600) ausgewählt werden aus einer Gruppe bestehend aus einem Horn, einer Gitarre, einer gesanglichen Vorstellung, einem Schlagzeug, einer Harmonika und einer Violine ausgewählt werden.
  3. Eine Methode zur automatischen Komposition von Musikstücken mit intuitiver Nutzerinteraktion gemäß Anspruch 1, enthält den folgenden weiteren Schritt:
    n. Speicherung von mindestens einem Teil des komponierten Musikstücks auf einem Computer lesbaren Medium.
  4. Eine Methode zur automatischen Komposition von Musikstücken mit intuitiver Nutzerinteraktion gemäß Anspruch 1, wobei der Harmonie-Tauglichkeitswert (650) anzeigt ob ein Audio Loop (600) musikalisch kompatibel mit einem anderen Audio Loop ist.
  5. Eine Methode zur automatischen Komposition von Musikstücken mit intuitiver Nutzerinteraktion gemäß Anspruch 1, wobei der Harmonie-Tauglichkeitswert (650) entweder vom Nutzer bereitgestellt wird, vom Ersteller der Datenstruktur generiert wurde, oder durch eine Analyse ausgewählter Audio Loops bestimmt wurde (600).
  6. Eine Methode zur automatischen Komposition von Musikstücken mit intuitiver Nutzerinteraktion gemäß Anspruch 5, wobei die Analyse die musikalischen Werte von ausgewählten Audio Loops (600) bestimmt und diese Werte mit musikalischen Werten von anderen Audio Loops vergleicht.
  7. Eine Methode zur automatischen Komposition von Musikstücken mit intuitiver Nutzerinteraktion gemäß Anspruch 1, wobei die Information über die Verwendbarkeit des Audio Loop (600) als Song Bestandteil (630) die Verwendbarkeit von jedem Audio Loop für individuelle Bestandteile der Musikstücke definiert.
  8. Eine Methode zur automatischen Komposition von Musikstücken mit intuitiver Nutzerinteraktion gemäß Anspruch 7, wobei die individuellen Song Bestandteile der Musikstücke aus einer Gruppe bestehend aus Intro, Varianz und Ende ausgewählt warden.
  9. Eine Methode zur automatischen Komposition von Musikstücken mit intuitiver Nutzerinteraktion gemäß Anspruch 1, wobei die Selektion von anderen Instrumenten (640), einem Tempowert (530) und einem vordefinierten Tonhöhenwert (540) automatisch nach der Auswahl eines automatischen Modi durchgeführt wird.
  10. Eine Methode zur automatischen Komposition von Musikstücken mit intuitiver Nutzerinteraktion gemäß Anspruch 1, wobei die intuitive Nutzerinteraktion auf einem anpassparen Nutzerinteraktionslevel basiert.
  11. Eine Vorrichtung so konfiguriert, das von dieser alle Schritte der Methode von jedem der vorhergehenden Ansprüche ausgeführt werden können.
  12. Ein Computerprogramm so konfiguriert, das von diesem alle Schritte der Methode von jedem der vorhergehenden Ansprüche ausgeführt werden können.
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