JP3942568B2 - Composition support device and composition support program - Google Patents

Description

The present invention relates to a music composition support apparatus and a music composition support program , and in particular, for example, a music composition is composed, and the composed music is compared with a music composed by a professional and a music composed by an amateur, and is output visually and output. The present invention relates to a music composition support apparatus and a music composition support program that make use of the comparison results to improve music.

There are several systems and methods for assisting in composition. The technique disclosed in Patent Document 1 is an example of a music composition support system and method. With this technology, music template data created based on existing music or extracted from existing music is stored on the server, and music template data stored on the server is selected and downloaded on the mobile terminal. A new music different from the existing music is created based on the music template data.
JP 2002-169552 A [G10H 1/00 102]

  In this way, with the conventional composition support system and method, the composition analysis is limited to the composition of the music, and the analysis result of the music can be visually checked so that the composed music can be compared with the music created by professionals and the music created by other amateurs. There is no system and method that can output the results of the analysis and use the analysis results to improve the music that was composed.

Therefore, the main purpose of the present invention is to visually output the analysis result of the music so that the composed music can be compared with the music created by professionals and the music created by other amateurs. It is to provide a music composition support apparatus and a music composition support program that can know which is closer to the music composed by or the music composed by amateurs, and can use this analysis result to improve the composed music.

The invention of claim 1 is a program of a composition support device that supports composition by an operator by comparing and analyzing two pieces of music and outputting the comparison analysis result so as to be visible.
Composition support apparatus includes a computer, respectively the computer, two respective song data input means for inputting the two music data including at least pitch and duration intensity of time and sound of the sound of the music, the two music data Analytical means for analyzing the pitch, duration and intensity of the sound included, and the pitch, duration and intensity of the pitch included in the analysis result analyzed by the analytical means, It is a music composition support program that functions as an output means that outputs in a visually observable manner together with a mutual relationship existing between sound intensities .

According to the first aspect of the present invention, the music data is analyzed and an analysis result is created and displayed or printed. Therefore, according to the invention of claim 1, the pitch, the duration of the sound, and the strength of the sound included in the analysis result, together with the mutual relationship existing between the pitch, the duration of the sound and the strength of the sound. By referencing, it is possible to find a difference between music data composed by professionals and music data composed by amateurs.

According to the present invention, by the reference to the analysis result output visibly, music and amateur music and professionals themselves are composed, was composed can know the difference between music was written.

  The above object, other objects, features and advantages of the present invention will become more apparent from the following detailed description of embodiments with reference to the drawings.

  FIG. 1 shows the overall configuration of an embodiment of the composition support system 10 according to the present invention. In this composition support system 10, an operator 16 composes a song, and a song composed by a professional and other amateurs are composed. Compare and analyze the composed music and output the comparison analysis result. The operator 16 knows whether the music composed by the professional is closer to the music composed by the professional or the music composed by the amateur from the output of the comparative analysis result, and the music composed by the professional, the music composed by the professional, and others. You can learn the difference from music composed by amateurs, and use it to improve the music you compose.

  With reference to FIG. 1, the music composition support system 10 includes a computer 24. The computer 24 executes “music creation processing” and “music analysis processing”. Specifically, the computer 24 is configured as shown in FIG. That is, the CPU 60 is connected to the RAM 62, display 64, keyboard 66, mouse 68, video processing circuit 70, video processing circuit 72, audio processing circuit 74, and HDD (Hard Disk Drive) 76 via the bus 86. An analysis program 78 (to be described later) is recorded on a hard disk (not shown) provided in the HDD 76. The hard disk includes a professional composition database 80 storing music data composed by professionals, an amateur composition database 82 storing music data composed by amateurs, music data composed by operators 16, and music data composed by professionals. And an analysis result database for accumulating the results of analyzing music data composed by amateurs has been constructed.

  First, music creation will be described. With reference to FIG. 1, the music composition support system 10 also includes a camera 12, which is installed, for example, above the table 14 so that the entire upper surface of the table 14 can be photographed. The operator 16 can hold the card 18 by hand and place the card 18 on the table 14 or change the position thereof.

  FIG. 3 shows an example of the card 18. The card 18 includes, for example, a rectangular marker 20 formed on the surface thereof, and a symbol 22 displayed in the marker 20. The marker 20 and the symbol 22 have a meaning that can be read by the computer 24 and the operator 16. That is, the marker 20 means that a symbol 22 to be identified is described in the marker 20, and the symbol 22 is predetermined according to the pattern or predetermined for the musical expression. It has the meaning of operation. However, the shapes of the marker 20 and the symbol 22 in FIG. 3 are merely examples, and other arbitrary shapes may be selected.

  The camera 12 photographs the table 14 and the card 18 arranged thereon by the operator 16 and provides a camera video signal to the computer 24 shown in FIG. As will be described in detail later, the computer 24 captures the position, orientation, or arrangement information of the card 18 based on the camera video signal input from the camera 12, and the meaning of the symbol 22 written on the card 18. And determine or identify musical expression.

  When the symbol 22 on the card 18 means a musical note, hereinafter, this card will be specifically referred to as a musical note card 18. When the card is a note card 18, the note symbol 22 on the card has a predetermined tone color, height (pitch) of a predetermined instrument according to the type of symbol (pattern) meaning the note, Means a sound with a loudness and duration. FIG. 3 shows a case where the card is a note card 18. The operator 16 creates a music phrase by placing such a note card 18 on the table 14.

  The operator 16 determines a coordinate system as shown in FIG. That is, the operator 16 sets, for example, one point on the left side of the operator 16 and close to the operator 16 on the table 14 facing the operator 16 as an origin. Further, the operator 16 sets the X axis in the horizontal direction of the operator 16 passing through the origin in the plane of the table 14, and designates the right hand side of the operator 16 as the positive direction of the X axis. Further, the operator 16 sets the axis perpendicular to the X axis and passing through the origin as the Y axis in the plane of the table 14, and designates the positive direction of the Y axis in the direction away from the operator 16. Further, the operator 16 takes the Z axis in the direction perpendicular to the plane of the table 14 through the origin, and designates the upper direction as the positive direction.

  When the operator 16 places the note card 18 on the table 14 in which such a coordinate system is set in advance, the computer 24 selects the markers 20 on the note card 18 based on the camera video signal input from the camera 12. Identify the symbol 22 and know that it is a note symbol. Further, two-dimensional information on the coordinate system of the table 14 of the note card 18 is detected. The two-dimensional information of the note card 18 is, for example, the X coordinate and the Y coordinate of the center of the note card 18 in the coordinate system of FIG. 4, and although not shown here, it passes through the center of the card and is parallel to the Z axis. This is the rotation angle of the card around the axis (hereinafter this axis will be referred to as the Z ′ axis). A meaning is given in advance that the X-axis represents the time axis, and the larger the X-coordinate represents the later time. Similarly, the meaning that the Y axis represents the pitch of the sound and that the higher the Y coordinate is, the higher the sound is given in advance. Furthermore, the meaning that the rotation angle around the Z ′ axis represents the loudness of the sound and that the larger the rotation angle, the louder the sound is given in advance.

  Based on these pieces of information, the computer 24 generates a tone of a predetermined instrument previously associated with the identified note symbol 22 and having a predetermined duration at a height corresponding to the detected Y coordinate of the note card 18. The music data (MIDI data) is converted into music data such as MIDI data that can be played in a size corresponding to the detected rotation angle around the Z ′ axis. As the music data, MIDI data is used in the embodiment. However, when an electronic musical instrument different from the embodiment is used, other similar music data may be used.

  Then, the computer 24 repeatedly outputs this MIDI data, for example, with a silent period of 2 seconds. MIDI data output from the computer 24 is provided to the electronic musical instrument 26. In this embodiment, the electronic musical instrument 26 is a MIDI sound source (a sound source that receives MIDI data and produces sound, and includes a keyboard type with a keyboard, a module type without a keyboard, a board type or a card type to be installed in a computer slot. )including. In other words, the electronic musical instrument 26 is, for example, a scale, a tempo, a timbre, etc. It is a musical instrument that can electronically control the music expression elements. When the electronic musical instrument 26 is enabled by the computer 24, the music corresponding to a sound that lasts for a specified time at a specified instrument sound (tone), specified height, and specified magnitude according to the received MIDI data. Output a signal. A music signal from the electronic musical instrument 26 is output as a sound from the speaker 30 via the amplifier 28. Since MIDI data from the computer 24 is repeatedly output with a silence period of, for example, 2 seconds, a sound based on the MIDI data is also repeated at regular intervals.

  The computer 24 further converts the camera video signal received from the camera 12 (camera video signal indicating the arrangement state of the cards on the table 14) into a video signal that can be displayed by the video projector 32, and will be described later. If necessary, computer graphics video created by the computer 24 is also superimposed on the camera video signal and given to the video projector 32. The video projector 32 displays on the screen 34 an image showing the card arrangement state on the table 14 and, in some cases, an image on which CG is superimposed. The video projector 32 and the screen 34 constitute a large screen display.

  Next, the operator 16 has another note card 18 of the same type as the note card 18, for example, and along the X axis, the other note note somewhere on the right side of the note card 18 placed earlier, for example. Put the card 18. At this time, based on the camera video signal received from the camera 12, the computer 24 detects the Y coordinate of the note card 18 (center: hereinafter omitted) placed this time and the rotation angle around the Z ′ axis to perform the performance. Decide the pitch and volume of the sound to be played. Further, the duration of the sound to be played corresponding to the previously placed note card 18 is determined by the difference between the X coordinate of the currently placed note card 18 and the X coordinate of the previously placed note card 18. However, if there is no subsequent note card 18, the duration of the sound corresponding to the note card 18 placed this time is the (default) duration previously assigned to the note symbol. As shown in FIG. 5, if the current note card 18 is placed at the same X coordinate position as the previously placed note card 18 and at a different Y coordinate position, these two note cards 18 Two sounds of different heights are played at the same time. Again, if there is no subsequent card behind (right side) these cards, the duration of these two sounds will be the default.

  In this way, the operator 16 is played by the electronic musical instrument 26 based on the camera video signal indicating the arrangement of the note cards 18 at the same time while visually checking the arrangement of the note cards 18 arranged on the table. I can hear the sound repeatedly. If the operator 16 does not like the sound flow, the position of any card may be changed. Then, the sound to be played is also changed accordingly. Further, when the operator 16 successively arranges a plurality of musical note cards 18 on the table 14, the computer 24 identifies each musical note card 18 and their arrangement from the camera video signal, and corresponds to a melody corresponding in real time. Play. This performance is also repeated with a silence period of 2 seconds, for example. The operator 16 changes the position and arrangement of the note card 18 on the table, and at the same time listens to the performance sound of the electronic musical instrument 26 corresponding to the changed arrangement in real time, while listening to the phrase that this series of sound flows likes. Until then, card placement can continue. Such an arrangement pattern of note cards 18 is considered to have a series of note event information. In that sense, such an arrangement of the note cards 18 may be hereinafter referred to as a note event pattern. The card arrangement in FIG. 5 is an example of such a note event pattern.

  The operator 16 can record the phrase thus created as his own work in a hard disk (not shown) provided in the HDD 76 of the computer 24, and can create a phrase card 36 meaning this phrase. An example of the phrase card 36 corresponding to the note event pattern of FIG. 5 is shown in FIG. Similar to the note card 18, the phrase card 36 also includes a marker 38 and a symbol 40 described in the marker 38. To physically create the phrase card 36, for example, the computer 24 and the printer 42 (FIG. 1) connected thereto are used to print the marker 38 and the corresponding phrase symbol 40 on a paper such as a postcard. That's fine. Of course, the note card 18 may be created in advance by this method.

  Once the note event pattern as shown in FIG. 5 is recorded on the phrase card 36 as shown in FIG. 6, the note event pattern, that is, the phrase is fixed. Can be removed. In this way, the operator 16 can move to the creation of the next phrase card 36, that is, the composition of the next phrase.

  When some of his / her phrases are completed in this way, the operator 16 performs in-phrase editing. First, the operator 16 activates the phrase performance mode on the menu screen. Next, when the operator 16 places one phrase card 36 to be operated on the table 14, the computer 24 displays the note event pattern held by the phrase card 36 on the screen 34 as a score. FIG. 7 shows an example of a score displayed in graphics. On the screen 34, the upper surface of the table 14 and the phrase card 36 placed on the table 14 are also displayed as a video image, and this score graphic is superimposed on the image of the corresponding phrase card 36 on the table. Is displayed. Further, the computer 24 repeatedly plays this musical note event pattern.

  Here, when the operator 16 wants to give a change to the inside of the phrase, that is, to perform editing in the phrase, the operator 16 activates the in-phrase editing mode from the menu screen. Subsequently, the operator 16 takes out a card called a note change card 44 as shown in FIG. On the note change card 44, for example, a note and a spanner are drawn side by side as symbols 48 in the marker 46.

  When the computer 24 identifies the unique symbol 48 of the note change card 44 from the camera video signal, the computer 24 first replaces the video display of the phrase card 36 placed on the table 14 on the screen 34 with a corresponding note event pattern. (FIG. 5: a series of note cards 18 arranged) is displayed as a graphic. Also, a score graphic as shown in FIG. 7 is displayed. The computer 24 displays a spanner on the screen in computer graphics (hereinafter, CG) in accordance with the position of the current note change card 44. This display is displayed superimposed on the graphic display of the note event.

  Subsequently, the operator 16 changes the note change card 44 to one of the note cards 18 to be changed (hereinafter, the note card 18 is called a CG note card since it is displayed in graphics). When you take it up, a small dot called the handle appears at the center and top right corner of the CG note card. If the operator 16 wants to change the pitch of the CG note card 18, the position of the note change card 44 is adjusted, and the hexagonal portion of the CG displayed spanner (hereinafter referred to as CG spanner) is changed to the CG. In accordance with the handle at the center of the note card, for example, it is stopped for 2 seconds (hereinafter the same). Thereby, the CG spanner can grasp the center of the CG note card by a predetermined process of the computer 24. Subsequently, the operator 16 moves the note change card 44 by the necessary amount in the direction of the height axis, and rests again at that position for 2 seconds. As a result, the handle is released from the CG spanner. In this way, the operator 16 can change the position of the height axis of the CG note card. The same applies when the CG note card is moved in the time axis direction.

  To change the volume of the sound, align the hexagonal part of the CG spanner with the handle in the upper right corner of the CG note card and let it stand for 2 seconds, and then grab the handle. The handle is released from the CG spanner by rotating it by the required angle and resting at that position for 2 seconds. In this way, the operator 16 can rotate the CG note card by the required angle. When the operator 16 runs the CG phrase definition mode from the menu screen and then activates the CG phrase performance, the operator 16 can repeatedly hear the melody and rhythm of the CG phrase just defined as sounds. The above operation can be repeated any number of times until the CG phrase that you like is created.

  When the operator 16 completes the necessary change of the note card 18 in the phrase as described above, the operator 16 removes the note change card 44 from the table 14 and then activates the phrase symbol generation and card storage mode on the menu screen. .

  This causes the computer 24 to request the operator 16 to enter a symbol for the new phrase card 36 representing the last note event pattern. In this case, a method may be considered in which the computer 24 displays an unused symbol for the phrase card 36 prepared in advance on the computer screen as a candidate and allows the operator 16 to select it. When the operator 16 designates a symbol for a new phrase card 36, the computer 24 stores the new phrase card 36 and prints it out as a phrase card 36. Also, instead of the graphic display of the note event pattern, the newly defined phrase card 36 is displayed on the screen 34 as a graphic.

  Here, when the operator 16 places the new phrase card 36 on the table 14 and activates the phrase performance mode from the menu screen, the operator 16 can hear the melody and rhythm of the new phrase card 36.

  Each phrase card 36 completed as described above is arranged as a physical entity (for example, a card printed on paper such as a postcard as described above). The operator 16 then proceeds to the phrase performance stage. For this purpose, the operator 16 places at least one phrase card 36 on the table 14 and then activates the phrase performance mode on the menu screen.

  In the phrase performance mode, if the operator 16 places two phrase cards 36 next to each other along the time axis on the table 14, the computer 24 performs the phrase cards 36 in order in time. At this time, the duration of the last sound of the first phrase card 36 is determined by the position on the time axis where the second phrase card 36 is placed. The performance in this case is also performed repeatedly with a silence period of about 2 seconds, for example. The operator 16 can judge whether it is good or bad while listening to the melody and rhythm of the combination of the phrase cards 36 in real time. The phrase card 36 can be used. Such an operation is also performed by starting the symbol generation and card storage mode of the phrase card 36 on the menu screen displayed on the screen of the computer 24. If the phrase cards 36 are placed at the same position in the time axis direction and adjacent to each other in the height axis direction, these phrases are played simultaneously. These phrases can be played on a single musical instrument according to instructions from the operator 16 to the computer 24, or can be played as different tracks (parts) of different musical instruments. Such an instruction is also made by starting the symbol generation and card storage mode of the phrase card 36 on the menu screen displayed on the screen of the computer 24.

  In this way, by using this system, it is possible to compose a larger phrase and finally compose one piece of music. The music data (MIDI data) completed as one music is recorded on a hard disk provided in the HDD 76.

  The music data (MIDI data) recorded on the hard disk has the configuration shown in FIG. One line of data starting from “loop” corresponds to one note card 18, and as shown in FIG. 9, one line of data includes “loop”, “card”, “pitch”, “position”. , “On_off”, “velocity”, and “duration” are included. The item “loop” is for indicating a phrase, and the same number constitutes one phrase. The item “card” represents the type of note card by its number. The item “pitch” indicates the pitch (indicating tone), and the higher the value, the higher the sound. The item “position” indicates the order of performance according to the number. The item “on_off” indicates whether the card is in the camera. The value of this item is 0 or 127. When the value is 0, it indicates that the card is not shown in the camera (the card does not exist), and when the value is 127, the card is shown in the camera ( The card is present). When this value is “0”, no sound is generated, but data with a value of 0 is significant as preparation data. The item “velocity” indicates the strength of the sound, and the larger the value, the stronger the sound. The item “duration” indicates the duration of the sound, and the larger the value, the longer the time.

  The values of these items (except “on_off”) are set to continuous values between 0 and 127, for example, but may be discrete values. For example, in the case of the “duration” item, “A” indicating the length of a quarter note (rest) and “B” indicating the length of a half note (rest) as values representing the duration of the sound. It is conceivable to use discrete values such as

  When the composition is completed, the operator 16 activates an analysis routine from the menu screen, and performs a comparative analysis between the composed music and the music composed by the professional and the music composed by another amateur. For the comparative analysis, an analysis program 78 (FIG. 2) using a decision tree creation algorithm called C4.5 developed by Quinlan J. R is used. When C4.5 is used, it is possible to analyze discrete continuous data and obtain a logical relationship existing between the data.

  MIDI data is not directly input to the analysis program 78, but music data converted by a predetermined filter is input so as to be easily analyzed by the analysis program 78 using the algorithm C4.5. The professional composition database 80 and the amateur composition database 82 store MIDI data to be compared and analyzed with the compositions composed by the operator 16. The professional music composition database 80 stores a plurality of music data composed by professional music composers, and the amateur music composition database 82 stores a plurality of music data composed by amateurs other than the operator 16.

  The music data composed by the operator 16, the plurality of music data stored in the professional music composition database 80, and the plurality of music data stored in the amateur music composition database 82 are converted by the above-described filter and sequentially input to the analysis program 78 and analyzed. The

  The computer 24 analyzes these music data using the analysis program 78 and displays the analysis result as shown in FIG. The analysis result can be printed out using the printer 42. In FIG. 10, “P” indicates a professional group, and “A” indicates an amateur group. “A1” indicates the operator 16. That is, the analysis by the analysis program 78 shows the characteristics of the music composed by the professionals and the characteristics of the music composed by the amateurs, and the music composed by the operator 16 composed by the professionals and the amateurs. It becomes clear what kind of relationship it is compared with music.

  In the analysis result of FIG. 10, whether it is a professional (P) or an amateur (A) is classified depending on the data item and its value. That is, when “pitch” is 51 or less and “duration” is 58 or more, it is an amateur. If “duration (sound duration)” is greater than 58 and “loop” is 28 or less, “on_off (with or without note card 18)” is 0, so that the player is professional. Further, when “on_off (with or without the note card 18)” is 127, if “velocity” is 59 or less, it is an amateur. Also, if “velocity” is greater than 59 and less than or equal to 114, it is professional. The “velocity (sound intensity)” is larger than 114 in the music composed by the operator 16.

  Therefore, if the “velocity” is adjusted to be 114 or less, the music composed by the operator 16 is included in the group of music composed by the professional. Therefore, the music composed by the operator 16 It turns out that it is closer to the music composed by professionals than the music composed.

  Thus, according to the music composition support system 10, it is possible to know whether the music composed by the user is close to an amateur or a professional, and how to improve the music.

  In the following, the operation of the CPU 60 of the computer 24 in the embodiment of FIG. 1 outlined above will be described in detail by referring to the respective flow charts.

  FIG. 11 shows each mode activated from the menu screen. After displaying the menu screen, the operator 16 requests the desired mode by clicking the mouse 68, for example. However, it operates in the previous mode unless the next request is input. When a new request is input, the previous mode is reset and a new mode is set.

  The “coordinate system generation” routine shown in FIG. 11 is a mode for setting or forming the coordinate system (X, Y, Z) on the table 14 described above, but detailed description thereof is omitted. Similarly, detailed description of the creation and storage of the note card 18 or the creation and storage of the phrase card 36 or the definition of the CG phrase is omitted.

  Details of the phrase composition mode are shown in FIG. In the first step S <b> 1 of FIG. 12, the computer 24 (FIG. 1) captures the camera video signal from the camera 14. Specifically, the camera video signal is digitally converted and stored in the computer 24 as color video data. Then, the color image data is processed, and the previously set coordinate system is arranged on the upper surface image of the table 14.

  In the next step S2, the computer 24 sets the two-dimensional coordinate systems X1, Y1 and X2, Y2 as X1 = 0, Y1 = 0, X2 = ΔX, and Y2 = ΔY, respectively. However, ΔX and ΔY each indicate an increment when changing the range. For example, a value of about the width operator 16 height of the note card 18 is used. In the next step S3, it is determined whether or not the note card 18 as shown in FIG. 2 is placed within the X-axis range (X = X1 to X2) and the Y-axis range (Y = Y1 to Y2).

  If “YES” is determined in step S3, in the next step S4, the computer 24 creates MIDI data according to the position and / or arrangement information of the note card 18 and sets it in the output data area, or to add. That is, by identifying the symbol 22 of the note card 18, the tone color (musical instrument type) is set, the X coordinate is detected and the duration is set, the Y coordinate is detected and the height (pitch) is set, The size is set by detecting the rotation angle around the Z ′ axis. However, as described above, the duration is set as the duration of the previous note as the difference from the previous measurement value. If there is no previous note, silence is selected as the previous note, and the X coordinate After providing a silent duration according to the above, the current duration will be the default.

  After determining “NO” in the previous step S3 or after step S4, the computer 24 updates the Y coordinate position in step S5 (Y1 + ΔY → Y1, Y2 + ΔY → Y2). In step S6, it is determined whether the coordinate position Y2 is within a (predetermined) range of the entire table, for example.

  If Y2 is within the predetermined range, “YES” is determined in the step S6, and the process proceeds to the next step S7. In step S7, the computer 24 determines whether or not the note card 18 is placed within the X-axis range (X = X1 to X2) and the Y-axis range (Y = Y1 to Y2). If “NO”, the process returns to the previous step S5. If “YES”, MIDI data is created in accordance with the position and / or arrangement information of the note card 18 and set in the output data area or added in the same manner as in step S4.

  However, if “NO” is determined in the step S6, the computer 24 updates the X coordinate position in the subsequent step S9 (X1 + ΔX → X1, X2 + ΔX → X2). In step S10, it is determined whether the coordinate position X2 is within a (predetermined) range of the entire table, for example. If “YES”, the process returns to step S3, and if “NO”, the process proceeds to step S11, and silence data for 2 seconds is set or added to the output data area.

  In this way, by updating the coordinates in steps S5 and S9, the “phrase composition” mode is executed according to the flowchart shown in FIG. 12, and the computer 24 stores MIDI data in the output data area in steps S4, S8 or S11. In step S12, the MIDI data is output and provided to the electronic musical instrument 26 (FIG. 1). The MIDI data is sent to the electronic musical instrument 26 every cycle of the routine shown in FIG. 12. However, the electronic musical instrument 26 accumulates a certain number of MIDI data and then discards the overflowed MIDI data.

  Details of the phrase performance mode are shown in FIG. In the first step S21 in FIG. 13, the computer 24 captures the camera video signal from the camera 14 as in the previous step S1. In the next step S22, the two-dimensional coordinates X1, Y1 and X2, Y2 are set in the same manner as in the previous step S2. In the next step S23, it is determined whether or not a phrase card 36 as shown in FIG. 6 is placed within the range of the X axis (X = X1 to X2) and within the range of the Y axis (Y = Y1 to Y2).

  If "YES" is determined in the step S23, in the next step S24, the computer 24 analyzes the note event pattern shown in the phrase card 36 and displays the note event pattern on the screen 34 (FIG. 1). Display graphics. However, the CG display is superimposed and displayed on the actual video of the phrase card 36 by the camera video signal. At the same time, in step S25, MIDI corresponding to the note event included in the note event pattern is set in the output data area.

  After determining “NO” in the previous step S23 or after step S25, the computer 24 updates the Y coordinate position in step S26 as in step S5 of FIG. In step S27, it is determined whether the coordinate position Y2 is within a predetermined range.

  When Y2 is within the predetermined range, “YES” is determined in the step S27, and in the next step S28, the computer 24 is within the range of the X axis (X = X1 to X2) and within the range of the Y axis (Y = Y1). It is determined whether or not the phrase card 36 is placed in .about.Y2). If “NO”, the process returns to the previous step S26. If “YES”, similarly to the previous steps S24 and S25, in step S29 and S30, the note event pattern shown in the phrase card 36 is displayed as a graphic on the screen 34 and included in the note event pattern. The MIDI corresponding to the note event is set in the output data area.

  However, if “NO” is determined in the step S27, the computer 24 updates the X coordinate position in the subsequent step S31, similarly to the step S9 in FIG. In step S32, it is determined whether the coordinate position X2 is within a predetermined range. If “YES”, the process returns to step S23. If “NO”, the process proceeds to step S33 to add 2-second silent MIDI data to the output data area.

  In this way, by updating the coordinates in steps S26 and S31, the "phrase performance" mode is executed according to the flowchart shown in FIG. The computer 24 sets the MIDI data in the output data area in step S25, S30 or S33, outputs the MIDI data in step S34, and gives it to the electronic musical instrument 26 (FIG. 1).

  The “CG phrase performance” mode shown in FIG. 14 is executed in order to listen to a melody before changing the phrase card 36 in the in-phrase editing mode or the entire phrase operation and storing it. In the first step S51, the computer 24 determines whether or not the CG phrase card 36 has already been designated on the screen 34. If “YES”, in step S52, the note event pattern included in the CG phrase card 36 is displayed in CG, and in step S53, MIDI data corresponding to the note event is set in the output data area. In step S55, the MIDI event pattern is set. The data is output to the electronic musical instrument 26. Therefore, by executing the flowchart of FIG. 14, when the phrase card 36 is changed, the changed point can be confirmed as a sound each time.

  The in-phrase editing mode using the note change card 44 (FIG. 8) is shown in detail in FIGS. In the first step S61 of the in-phrase editing mode, the camera video signal from the camera 12 is captured in the same manner as in step S1 of FIG. Then, in the next step S62, the computer 24 determines whether one phrase card 36 is placed on the table 14 based on the camera video signal. Similarly, it is determined from the camera video signal whether or not the note change card 44 is placed on the table in step S63. If “NO” is determined in step S62 and / or S63, since editing within the phrase is not possible, after the warning is displayed, the process returns to the “Requested” check in FIG. 11 and starts to determine the request again. Restart the process.

  If “YES” is determined in both steps S62 and S63, in the next step S64, the computer 24 determines whether there is only one note change card on the table 14. Since two or more note change cards cannot be used at the same time, if there are two or more note change cards on the table at the same time, after a warning, return to the “Requested” check in FIG. Restart the process starting from re-determination.

  When “YES” is determined also in step S64, that is, when one phrase card 36 and one note change card 44 exist simultaneously on the table 14, the computer 24 proceeds to the subsequent step S65. The note event pattern of the phrase card 36 is displayed in CG, and the score corresponding to the note event pattern as shown in FIG. 7 is displayed in CG, for example. In step S66, the positions X and Y on the coordinates of the note change card are detected, and the CG spanner is displayed at the position where the note change card exists. In a succeeding step S67, it is determined whether or not the CG spanner is displayed overlapping the CG note card.

  If “NO” is determined in the step S67, the process returns to the step S65. If “YES”, in the next step S68, the computer 24 displays a handle on the CG note card, and in step S69, It is determined whether the handle is pinched by the hexagonal part of the CG spanner. If “NO”, the process returns to the step S68. If "YES", in the next step S70, it is determined whether or not the handle on the CG note card is the center of the CG note card. If "NO", it is determined in step S71 whether the handle on the CG note card is the upper right corner of the CG note card. If “NO” in the step S71, the process returns to the step S68.

  If “YES” is determined in the step S70, the operator 16 wants to change the pitch (pitch) of the note card 18, so the process proceeds to the step S72 in FIG. In step S72, the computer 24 initializes the counter i to 0. Steps S72 to S78 are routines for determining whether or not the hexagonal portion of the CG spanner has been substantially stationary for 10 times for 0.2 seconds, and the counter i is counted as 10 times. Use. After step S72, in step S73, the Y position Y (i) of the hexagonal portion of the CG spanner when the counter value is i is measured. Specifically, this means that the Y position Y (i) of the note change card 44 is measured (the same applies hereinafter). Next, in step S74, the process waits for 0.2 seconds. If 0.2 seconds have elapsed, the counter i is incremented by "1" in step S75. Next, in step S76, the Y position Y (i) of the hexagonal portion of the CG spanner at the new count value is measured. In step S77, whether or not the absolute value of the difference between the current measurement value Y (i) and the previous measurement value Y (i-1) is less than or equal to a small value “Δ1” that can be regarded as almost stationary. Check out. If “NO”, the CG spanner determines that it is being moved by the operator 16, returns to step S72, initializes the counter i indicating the number of continuous stationary state detections to 0, and again. Repeat the above judgment.

  If “YES” in the step S77, it is determined that the camera is stationary for this 0.2 second, and in the next step S78, the computer 24 checks whether or not the counter i has reached “10”. . If “NO”, the process returns to the step S74, and the operation for checking the next 0.2 second is started.

  If “YES” in the step S78, it is determined that the hexagonal portion of the CG spanner is stationary for 10 consecutive times every 0.2 seconds, that is, for a total of 2 seconds, and the process proceeds to the next step S79. In step S79, the computer 24 measures the Y position of the hexagonal portion of the CG spanner at that time, and displays the Y position of the CG note card accordingly.

  In steps S79 to S86, it is determined whether or not the second stationary state lasted for 2 seconds by checking again whether or not the stationary state for 0.2 seconds lasted 10 times. If it is determined that there is not, the routine displays the CG note card in accordance with the Y position of the CG spanner measured every 0.2 seconds. By this routine, the display position of the CG note card moves along the Y coordinate in accordance with the movement of the note change card 44. Therefore, the operator 16 holds the handle at the center of the CG note card as if by the CG spanner. An operation feeling as if the CG note card is moved can be obtained.

  Returning to the description of the operation subsequent to step S79, in the next step S80, the computer 24 initializes the counter i to zero. Subsequently, in step S81, the Y position Y (i) of the hexagonal portion of the CG spanner when the counter value is i is measured. Next, in step S82, the process waits for 0.2 seconds. If 0.2 seconds have passed, the counter i is incremented by “1” in step S83. Next, in step S84, the Y position Y (i) of the hexagonal portion of the CG spanner at the new count value is measured. In step S85, whether or not the absolute value of the difference between the current measurement value Y (i) and the previous measurement value Y (i-1) is less than or equal to a small value “Δ1” that can be regarded as almost stationary. Find out.

  If “NO”, the CG spanner determines that it is being moved by the operator 16 and returns to step S79, and the computer 24 measures the Y position of the hexagonal portion of the CG spanner at that time. Then, the Y position of the moving CG note card is displayed in accordance therewith. Subsequently, in step S80, a counter i indicating the number of times of continuous stationary state detection is initialized to 0, and the above determination is repeated again.

  If “YES” in the step S85, it is determined that the camera has been stationary for 0.2 seconds, and it is checked whether or not the counter i has reached “10” in the next step S86. If “NO”, the process returns to the step S82, and the operation for examining the next 0.2 second is started. If “YES” in the step S78, it is determined that the hexagonal portion of the CG spanner is stationary for 10 consecutive times for 0.2 seconds, that is, for a total of 2 seconds, and the process proceeds to the next step S86-1. In step S86-1, the computer 24 measures the Y position of the hexagonal portion of the CG spanner at that time, displays the Y position of the CG note card accordingly, and then checks “Requested” in FIG. Return and restart the process starting from re-determination of the request.

  If “YES” is determined in the step S71, the operator 16 wants to change the loudness of the note event, so the process proceeds to the step S87 in FIG. In step S87, the computer 24 initializes the counter i to 0. Steps S87 to S93 are routines for determining whether or not the hexagonal portion of the CG spanner is substantially stationary for 10 consecutive times every 0.2 seconds, and the counter i is counted for 10 times. Use. After step S87, in step S88, the X and Y positions X (i) and Y (i) of the hexagonal portion of the CG spanner when the counter value is i are measured. Next, in step S89, the process waits for 0.2 seconds. If 0.2 seconds have passed, the counter i is incremented by “1” in step S90. Next, in step S91, the X and Y positions X (i) and Y (i) of the hexagonal portion of the CG spanner at the new count value are measured. In step S92, the absolute value of the difference between the current measurement value X (i) and the previous measurement value X (i-1) is equal to or smaller than a small value “Δ2” and the current measurement value Y ( It is checked whether the absolute value of the difference between i) and the previous measured value Y (i−1) is also less than or equal to a small value “Δ3”.

  If “NO”, the CG spanner determines that it is being moved by the operator 16, returns to step S87, initializes the counter i indicating the number of continuous stationary state detections to 0, and again. Repeat the above judgment.

  If “YES” in the step S92, it is determined that the camera has been stationary for 0.2 seconds, and it is checked whether or not the counter i has reached “10” in the next step S93. If “NO”, the process returns to the step S89 to enter an operation for examining the next 0.2 seconds. If “YES” in the step S92, it is determined that the hexagonal portion of the CG spanner is stationary for 10 consecutive times for 0.2 seconds, that is, for a total of 2 seconds, and the process proceeds to the next step S94. In step S94, the computer 24 measures the X and Y positions of the hexagonal portion of the CG spanner at that time, calculates the rotation angle of the hexagonal portion of the CG spanner, and further inserts the CG note card into the CG note note. The card is rotated around the Z ′ axis of the card by the rotation angle.

  In steps S94 to S101, it is determined whether or not the second stationary state lasts for 2 seconds by checking again whether the stationary state for 0.2 seconds has continued 10 times, and the stationary state for 0.2 seconds is determined. If it is determined that there is not, the routine displays a CG note card in accordance with the rotation angle calculated from the X and Y positions of the CG spanner measured every 0.2 seconds. By this routine, the display of the CG note card rotates around the Z ′ axis in accordance with the movement of the note change card. Therefore, the operator 16 holds the handle on the upper right corner of the CG note card with the CG spanner and holds the CG It is possible to obtain an operational feeling as if the note card is rotating.

  Returning to the description of the operation subsequent to step S94, in the next step S95, the computer 24 initializes the counter i to zero. Subsequently, in step S96, the X and Y positions X (i) and Y (i) of the hexagonal portion of the CG spanner when the counter value is i are measured. Next, in step S97, the process waits for 0.2 seconds. If 0.2 seconds have elapsed, the counter i is incremented by “1” in step S98. Next, in step S99, the X and Y positions X (i) and Y (i) of the hexagonal portion of the CG spanner at the new count value are measured. In step S100, the absolute value of the difference between the current measurement value X (i) and the previous measurement value X (i) is equal to or smaller than a small value “Δ2” and the current measurement value Y (i). Whether the absolute value of the difference between the previous measurement value Y (i−1) and the previous measurement value is also a small value “Δ3” or less is examined. If “NO”, the CG spanner determines that the CG spanner is being moved by the operator 16 and returns to step S94, where the X, Y of the hexagonal portion of the CG spanner (moving) at that time is returned. After the position is measured, the rotation angle of the hexagonal portion of the CG spanner is calculated, and the CG note card is rotated around the Z ′ axis of the CG note card and displayed. Subsequently, in step S95, a counter i indicating the number of continuous stationary state detections is initialized to 0, and the above determination is repeated again.

  If “YES” in the step S100, it is determined that the camera has been stationary for 0.2 seconds of this time, and in the next step S101, the computer 24 determines whether or not the counter i has reached “10”. Investigate. If “NO”, the process returns to the step S97, and the operation for checking the next 0.2 seconds is started. If “YES” in the step S101, it is determined that the hexagonal portion of the CG spanner is stationary for 10 consecutive times for 0.2 seconds, that is, for a total of 2 seconds, and the process proceeds to the next step S102. In step S101-1, after measuring the X and Y positions of the hexagonal portion of the CG spanner at that time, the rotation angle of the hexagonal portion of the CG spanner is calculated, and further the CG note card is replaced by the CG note card. After rotating and displaying the rotation angle around the Z ′ axis, the process returns to the “Requested” check in FIG. 11 and restarts the process starting from re-determination of the request.

  When music is created through the above modes, music data (MIDI data) as shown in FIG. 9 is created on the hard disk. In this music data, one line of data corresponds to one note card 18. One line of data includes seven items of “loop”, “card”, “pitch”, “position”, “on_off”, “velocity”, and “duration”.

  Once such music data is created, an analysis routine is then executed. By this analysis routine, the music composed by the operator 16, the music composed by the professional, and the music composed by the amateur are compared and analyzed, and the music composed by the operator 16 is composed of the music composed by the professional and the music composed by the amateur. Comparable analysis data is created and displayed on the display 64 of the computer 24. The analysis routine is shown in detail in FIG.

  In the first step S103 of the analysis routine, predetermined filtering is applied to the MIDI data of the music composed by the operator 16, the MIDI data stored in the professional music composition database 80, and the MIDI data stored in the amateur music composition database 82, respectively. Is done. Data necessary for the analysis program 78 is extracted from each MIDI data by this filtering process.

  In step S104, the analysis program 78 is activated. In step S105, the music data composed by the operator 16, the music data composed by the professional, and the music data composed by the amateur, which have been filtered in step S103, are processed. Incorporation into the analysis program 78 is started. Each of the music data composed by the operator 16, the music data composed by the professional, and the music data composed by the amateur includes a label indicating that the music was composed by the operator 16, a label indicating that the music was composed by the professional, and Labels indicating that the music was composed by an amateur are attached, and the analysis program 78 identifies each piece of music data by these labels. In step S106, analysis of the captured music data is started.

  When all the music data has been taken in and analyzed, YES is determined in step S107. In step S109, the analysis result obtained by the analysis is recorded in the analysis result database 84. In step S 110, the analysis result as shown in FIG. 10 recorded in the analysis result database 84 is displayed on the display 64 of the computer 24. In step S111, the analysis program 78 is terminated, the process returns to the “request present” check in FIG. 11, and the process starting from re-recognizing the request is restarted.

The operator 16 refers to the analysis result displayed on the display 64, or closer to either like scale of the music was the composer of the music which is composed such as by amateurs scale of music is composed by professional scale such as the As well as learning how to change the composition of the composition, you can get closer to the scale of the composition composed by professionals. Then, the composed music can be read from the hard disk and corrected, or a new music can be made based on the analysis result.

  In the above-described embodiment, the analysis program 78 using the decision tree creation algorithm called C4.5 is used for the analysis of the music data. However, the analysis program 78 is not limited to the one using the algorithm of C4.5. But, for example, Ohsawa Y. , Benson N.E., and Yachida M. can also be used as an analysis program 78 using an association rule creation algorithm called Key Graph. If an analysis program 78 using this algorithm is used, the relationship between the input items can be obtained as a graph. In other words, when music data (MIDI data) as shown in FIG. 9 is input, the “card”, “pitch”, “position”, “on_off”, “velocity”, “duration” items exist between each other. Can know the relationship.

  FIG. 19 shows the result of analyzing music data composed by professionals using the Key Graph algorithm, and FIG. 20 shows the result of analyzing music data composed by amateurs using the Key Graph algorithm. It is.

  19 and 20, hatched circles and double circles indicate items of music data. The double-circle item indicates that it is a key element of the music structure compared to the hatched circle. The broken line and the solid line indicate the relationship between the items, and the items connected by the broken line and the solid line indicate that they appear on the data with a close relationship with each other. That is, there is a high probability that items connected by a broken line and a solid line appear on the data at the same time. Then, it is shown that the items connected by the solid line are more closely related than the items connected by the broken line.

  As can be seen from FIG. 19 and FIG. 20, the music composed by professionals has a higher degree of concentration because each item is related to each other than the music composed by amateurs. Conversely, music composed by amateurs has a thin and distributed relationship between items.

  In addition, in music composed by professionals, items with a "duration" value of 1 and items with a "position" value of 2 have a high appearance rate and occupy an important position in the composition of the music. It can also be seen that in the music that has been played, an item with a “velocity” value of 100 and an item with a “duration” value of 20 play a central role.

  19 and 20 is compared with the analysis result (not shown) by the analysis program 78 using the Key Graph algorithm of the music composed by the operator 16, the characteristics of the music composed by the operator 16 can be obtained. As well as being known, it is possible to know whether the music composed by the operator 16 is closer to the professional or the amateur, and how it can be made closer to the music composed by the professional by improving.

  In the above example, music data as shown in FIG. 9 is created by the method using the note card 18 and the phrase card 36, and this music data is used for music analysis, so there are seven data items. However, in order to analyze music, at least three data of pitch (“pitch”), sound duration (“duration”), and sound intensity (“velocity”) need to exist. It may be data of another format created.

  Moreover, although the thing using C4.5 and Key Graph were used as the music data analysis program 78, the analysis program 78 is not limited to these, and the music composed by the professional 16 Any data that can be compared with music created by an amateur and can be output visually can be used.

It is an illustration figure which shows the whole structure of one Example of this invention. It is a block diagram which shows an example of a structure of a computer. FIG. 4 is an illustrative view showing one example of a note card 18. It is an illustration figure explaining the axis setting on a table. It is an illustration figure which shows a mode that the note card 18 was placed on the table. 4 is an illustrative view showing one example of a phrase card 36. FIG. It is an illustration figure which shows the example of the score displayed by graphics. It is an illustration figure which shows an example of a note change card. It is an illustration figure which shows the data structure of music data. It is an illustration figure which shows an example of the analysis result by C4.5. It is a flowchart which shows a series of operation | movement of CPU in the Example of FIG. It is a flowchart which shows the detail of the phrase composition routine contained in the flowchart of FIG. It is a flowchart which shows the detail of the phrase performance routine contained in the flowchart of FIG. It is a flowchart which shows the detail of the CG phrase performance routine contained in the flowchart of FIG. It is a flowchart which shows the detail of the edit routine in a phrase contained in the flowchart of FIG. FIG. 16 is a flowchart following the flowchart of FIG. 15. FIG. 16 is a flowchart following the flowchart of FIG. 15. It is a flowchart which shows the detail of the comparison analysis routine contained in the flowchart of FIG. It is an illustration figure which shows the result of having analyzed the music which the professional composed by Key Graph. It is an illustration figure which shows the result of having analyzed the music which the amateur composed by Key Graph.

Explanation of symbols

10 ... Composition support system 12 ... Camera 18 ... Musical note card 18
24 ... computer 36 ... phrase card 36
44 ... Note change card 78 ... Analysis program 80 ... Professional composition database 82 ... Amateur composition database 84 ... Analysis result database

Claims (5)

A program for a composition support device that supports composition by an operator by comparing and analyzing two pieces of music and outputting the result of the comparison analysis so as to be visible.
The music composition support apparatus includes a computer, and the computer includes :
Music data input means for inputting two music data including at least the pitch, sound duration and sound intensity of each of the two music pieces;
Analyzing means for analyzing the pitch, duration of sound and sound intensity included in each of the two music data; and
The pitch, the duration of the sound and the intensity of the sound included in the analysis result analyzed by the analyzing means are visibly output together with the mutual relationship existing between the pitch, the duration of the sound and the strength of the sound. A composition support program that functions as an output means. The music data input means includes a computer of a music composition support device,
A note event generating means for generating a series of note events based on a video signal including a table in which a coordinate system is preset and a note card arranged on the table, and storing the series of note events as a phrase Function as a storage means,
Mutual the music data, further comprising a number and put the location of the card of the note card, said analyzing means are present between each item further comprising a location placed numbered and the card of the note card The composition support program according to claim 1, wherein an analysis result indicating the relationship is created.   The composition support program according to claim 1 or 2, wherein the analysis means uses a decision tree creation algorithm.   3. The music composition support program according to claim 1, wherein the analysis unit uses an association rule creation algorithm. A composition support device that supports composition by an operator by comparing and analyzing two pieces of music and outputting the result of the comparison analysis so as to be visible,
Music data input means for inputting two music data including at least the pitch, sound duration and sound intensity of each of the two music pieces;
Analyzing means for analyzing the pitch, duration of sound and sound intensity included in each of the two music data; and
The pitch, the duration of the sound and the intensity of the sound included in the analysis result analyzed by the analyzing means are visibly output together with the mutual relationship existing between the pitch, the duration of the sound and the strength of the sound. A music composition support apparatus comprising output means.

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