JPH04261596A - Musical score interpreting device - Google Patents

Abstract

PURPOSE:To obtain a musical score interpreting device which performs interpretation by attaching a desired sound volume ratio between sound parts and between constitutional tones in the musical interpretation of a musical score. CONSTITUTION:An identification part 210 identifies the kind of the sound part and that of every constitutional tone of a chord by receiving a sound part symbol and a chord symbol supplied from an encoded musical score symbol string 100. A sound volume ratio decision part 211 classified by every kind decides a sound volume ratio for identified every kind. A tone strength correction part 212 corrects the tone strength of a note classified by every kind according to the sound volume ratio classified by every kind.

Description

[Detailed description of the invention]

0001

BACKGROUND OF THE INVENTION 1. Field of the Invention The present invention relates to a musical score interpretation device.

0002

2. Description of the Related Art Electronic musical instruments having a sequencer function or an inter-instrument interface function such as MIDI are capable of automatic performance according to information recorded in the sequencer or performance according to input information from other musical instruments. Sequencer information and input information are basically performance information. For example, in a MIDI interface, the information includes a note number that indicates the pitch of the note to be played, and a note on/off that indicates whether to produce or mute the sound.
This includes off-chords, velocity that indicates the strength of the sound, etc. In other words, this type of electronic musical instrument does not deal with the problem of music interpretation, but only accepts performance information that is interpreted and input by the user.

0003

SUMMARY OF THE INVENTION Therefore, there is a need for a music device that automatically interprets music based on information such as musical scores and obtains performance information that is specific information. In particular, it is an object of this invention to provide a musical score interpretation device that interprets music so that the sound when played is well-balanced as a whole, for songs that include not only multiple voices and melodies but also chords. There is.

0004

[Means for Solving the Problems] In order to solve this problem, according to the present invention, encoded music score symbols are created by encoding music score symbols used in musical scores as information expressing music having a plurality of voices. comprising a musical score symbol string storage means for storing a string of musical score symbols, and a musical interpretation means for musically interpreting the string of encoded musical score symbols to generate performance information consisting of a plurality of voice blocks,
The music interpretation means includes voice identification means for identifying the type of voice of each voice block in the performance information based on voice symbols given from the musical score symbol string, and identifying the volume of each voice block. There is provided a musical score interpretation device characterized in that it has an inter-voice volume ratio control means for controlling the volume ratio between voices by adjusting it according to the type of the voice part (first means). Furthermore, according to the present invention, a musical score symbol string storage means for storing a string of encoded musical score symbols in which musical score symbols used in musical scores are encoded as information representing a musical piece including chords;
music interpretation means for musically interpreting the string of coded musical score symbols to generate performance information of sounds including chord constituent tones; chord constituent note identification means for identifying chord constituent notes based on chord symbols given from a musical score symbol string; and a chord for controlling the volume ratio between chord constituent notes by adjusting the volume of each chord constituent note according to the identified type of chord constituent note. There is provided a musical score interpretation device characterized by having a volume ratio control means between constituent tones (second means).

[0005]

[Operation] According to the first means, for a song having a plurality of voices, a preferable volume can be assigned to each voice. Also, the second
According to this means, for a song including chords, a preferable volume can be assigned to each constituent note of the chord. In one mode of inter-voice volume ratio control, the volume of the voice responsible for the main melody or the soprano voice responsible for the highest range among the plurality of voices is controlled to be maximum. In one aspect of the chord component tones volume ratio control, the volume of the highest chord component tone among a plurality of component tones is controlled to be maximum.

[0006]

Embodiments Hereinafter, embodiments of the present invention will be described with reference to the drawings.

Overall Configuration FIG. 1 is a functional block diagram of a musical score interpretation apparatus according to the present invention. The music score symbol string memory 10 stores encoded symbol strings (score symbol strings) that basically have a one-to-one correspondence with various symbols included in a normal musical score, and expresses a piece of music using these. The music interpreter 20 receives the musical score symbol string from the musical score symbol string memory 10 and interprets the musical score symbol string for performance of a musical piece. The interpretation result of the music interpretation unit 20 includes information on the actual pitch, sounding time, duration, and intensity of each note played. Such an interpretation result is stored in the performance symbol string memory 30 as a performance symbol string. Musical score symbol string memory 1
Encoded musical score symbol (ML-G) file 10 placed in 0
An example of the configuration of F is shown in FIG. 2(A). The musical score described by this musical score symbol file 10F is composed of a declaration block and one or more staff blocks, and each staff block has one
Consists of one or more voice blocks. An example of the structure of the performance symbol (ML-P) file 30F stored in the performance symbol string memory 30 is shown in FIG. 2(B). The performance symbol file 30F is composed of a declaration block and one or more voice blocks. Appendix-1 shows a description example (score symbol string) of the ML-G file 10F. The syntax rules (ML-G language syntax) of this ML-G file are shown in Appendix-2. In addition, the set of musical score symbols (terminal symbols in syntax) used in ML-G file 10F is included in the appendix.
Shown in 3. Appendix-4 shows a description example (performance symbol string) of the ML-P file 30F. The syntax rules (ML-P language syntax) of this ML-P file 30F are shown in Appendix-5. In the ML-P file description example (Appendix-4), [
] indicates the performance parameters of the note. In [ ], the first number from the left is the actual pitch parameter that represents the actual pitch of the note. The second number is a step time parameter that represents the time from one note to the next, and this determines the time at which the note is sounded. The third value is an actual note length parameter that represents the time during which the note is actually sounding (gate time). The fourth numerical value is a sound intensity parameter representing the sound intensity. In this ML-P file description example, each performance parameter has a numerical value that conforms to the MIDI standard. FIG. 3 shows the relationship between step time (same as gate time) and the length of a note in a musical score. The main features of this musical score interpretation device will be explained below.

Dynamics Control The first feature of the musical score interpretation device relates to the interpretation of dynamics symbols. A functional block diagram for interpretation of dynamic symbols is shown in FIG. The illustrated wide-range dynamic symbol interpretation unit 200 is one of the functions of the music interpretation unit 20 in FIG.
It is used to interpret dynamic symbols such as (forte) and p (piano). The wide-area dynamic symbol interpretation unit 200 is a dynamic symbol detection unit 20 that detects dynamic symbols from the musical score symbol string 100.
Contains 1. In response to the dynamic symbols detected by the dynamic symbol detection section 201, the reference sound intensity evaluation section 202 evaluates the reference sound intensity that is the reference of the music piece. Based on the evaluation result of the reference tone intensity, the individual tone intensity determination unit 203 determines the tone intensity for each dynamic symbol. The intensity assignment unit 204 assigns the determined intensity as the intensity parameter of each note of the note group that is within the range of the dynamic symbols (on which the dynamic symbols act), and generates the intensity assignment symbol string 3.
Create 00. In this way, this music score interpretation device does not assign a predetermined tone intensity to each dynamic symbol in a one-to-one correspondence, but instead determines the tone intensity based on the standard tone intensity of the song. Each dynamic symbol is interpreted relatively, depending on the music, rather than as an absolute indication of intensity independent of the music.

Control of tone ratio between voices The second feature of the present score interpretation device is that it controls the volume between voices in compound melodic music and the volume ratio between the constituent notes of multiple notes (chords) that are pronounced simultaneously. It's in the function. FIG. 5 shows a functional block diagram for this purpose. The voice identification unit (or chord configuration identification unit) 210 identifies each voice included in the musical score symbol string 100 (or identifies the type of each constituent note when a chord is detected). Based on the type identification result from the identification unit 210, the type-specific volume ratio determination unit 211 determines the volume ratio for each voice part (or chord constituent notes). The sound intensity correction unit 21 according to the volume ratio determined by the type-specific volume ratio determination unit 211
2 modifies the sound intensity of the sound intensity column 300. For example, in the case of volume ratio control between voices, the intensity parameter of each note of each voice starting from the voice start symbol is modified by the volume ratio,
In the case of controlling the volume ratio between the constituent notes of a chord, the sound intensity parameters of the notes that are the constituent notes of the detected chord are modified by the volume ratio. In this way, according to the musical score interpretation device of the present invention, it is possible to set preferable volume parameters between voices and chord constituent tones according to the types of voices and chord constituent tones.

Hierarchical Control There are multiple symbols that can act on notes in a musical score. Some types of symbols act on notes globally, while others act locally on notes. Therefore, it is necessary to determine the performance parameter value of a note by considering a plurality of symbols. For this purpose, this musical score interpretation device has a hierarchical control function. FIG. 6(A) shows one aspect of hierarchical control, and FIG. 6(B) shows another aspect of hierarchical control. The configuration in FIG. 6A performs composite type hierarchical control. The detection unit 221 detects wide-range symbols (for example, wide-range dynamic symbols such as f and p) from among the musical score symbols. The detected global symbol is interpreted by the global symbol interpreter 222. On the other hand, the detection unit 223
detects a local symbol 102 (for example, a strong accent symbol acting on one note). The detected local symbols are interpreted by the local symbol interpreter 224. Synthesizer 225
combines the global interpretation value from the global symbol interpretation section 222 and the local interpretation value from the local symbol interpretation section 224 to determine the performance parameters of the note. In the case of hierarchical control of sound intensity, for example, suppose that f acts on a certain note as a global dynamic symbol and a stress accent is attached as a local intensity change symbol, and the global symbol interpretation unit 222 uses the sound intensity as an interpretation value of Assume that a value of 80 is given, and the local symbol interpretation value gives a 1.1 times the intensity indication as the intensity accent interpretation value. On the other hand, the synthesis unit 225 multiplies 80 by 1.1 to obtain 88, and sets this as the sound intensity parameter value of the corresponding note. Assuming that another note in the region where the same f acts does not have a local intensity change symbol, the local symbol interpreter 2
24 indicates no change in sound intensity. Synthesizer 2 for this
The synthesized sound strength value of 25 is 80. The configuration shown in FIG. 6(B) performs replacement-type hierarchical control. The detection unit 231 detects a wide range symbol 111 (for example, a key signature that is a wide range symbol for pitch) from the musical score symbol string. On the other hand, the global symbol interpreter 232 provides the interpreted value. The detecting unit 233 detects a local symbol 112 (for example, an accidental symbol that is a local symbol of pitch) from the musical score symbol string, and the local symbol interpreting unit 2
It will be held on 34th. The selection unit 235 selects one of the interpretation values as the performance parameter value of the note depending on the situation. Taking hierarchical control of pitch as an example, the pitch of a note having a value of E in a musical score symbol string is determined as follows. Now, let's assume that the key signature for this note of E is G, and that a sharp sign that raises this note by a semitone is acting as an accidental. In this case, the global symbol interpreter 232 instructs, as an interpretation value for the key signature G, that the pitch of the note E remains unchanged, while the local symbol interpreter 234 instructs the pitch of the note E to be raised by a semitone. On the other hand, the selection unit 235 selects the interpretation value from the local symbol interpretation unit 234 and sets the actual pitch of the note E to F, which is a semitone higher than E. If no accidental is acting on the E note, the selection unit 235 uses the key signature interpretation value from the global symbol interpretation unit 232 and sets the actual pitch of the E note to E. Although FIGS. 6(A) and 6(B) show the number of layers of musical score symbols as two, this is not limited to this, and the layer control function of this musical score interpretation device can also be used when the number of layers is three or more. can be applied.

Series of Note Control Furthermore, the musical score interpretation apparatus has a series of notes control function that controls performance parameters for a series of notes by temporally changing them. This functional block diagram is shown in FIG. The detection unit 241 detects a musical score symbol 121 (for example, a slur, a crescendo, a ritardando) that acts on a series of notes from a musical score symbol string. The detected series of note effect symbols 121 is passed to the time change interpretation section 242. The time change interpretation unit 242 controls a series of notes to which the detected symbol 121 acts, by temporally changing the performance parameters of each note. For example, for a slur symbol, the time change interpretation unit 242 performs time-varying sound intensity interpretation such that the sound intensity of the note closest to the center of the slur is the strongest. The series note control function is effective in giving cohesiveness and naturalness to a series of notes, and contributes to giving a music-like quality to a musical piece interpreted as a performance.

[0012] Simultaneous control of intensity and duration [0012] Further, in interpreting a predetermined score symbol that acts on a note, the music score interpretation device controls both the intensity parameter and duration parameter of the note according to the interpretation value of the score symbol. It has a simultaneous control function for intensity and tone length. This functional block diagram is shown in FIG. The detection unit 251 detects predetermined musical score symbols related to notes from the musical score symbol string. Strong sound
The note duration simultaneous control unit 252 interprets the detected score symbol and controls both the intensity parameter and note length parameter of the related note. In this way, this score interpretation device does not simply interpret score symbols related to notes as symbols that indicate one performance parameter of the note, but also interprets some kinds of score symbols as symbols that indicate the note's tone and intensity. Since both are controlled, a more musical interpretation of the performance is possible.

System Configuration FIG. 9 is a typical hardware block diagram for realizing the above-mentioned musical score interpretation device. The CPU 1 controls the entire device. The program ROM 2 stores necessary programs including a music interpretation program for interpreting musical scores. The musical score symbol RAM 3 corresponds to the musical score symbol string memory 10 in FIG. 1, and stores the musical score symbol string inputted from the musical score symbol input device 6 (specific examples are shown in Appendix-1). The performance symbol RAM 4 corresponds to the performance symbol string memory 30 in FIG. 1, and stores a performance symbol string (a specific example is shown in Appendix-4) as a result of musical score interpretation. The working RAM 5 is a working memory used by the CPU 1 during program execution. By controlling the sound source 7 based on the performance symbol string stored in the performance symbol RAM 4, the CPU 1
You can automatically play songs according to the musical interpretation of the sheet music. In addition,
Instead of the key input type musical score symbol input device 6, a musical score image reader that reads an image of a printed musical score may be used. In this case, it is necessary to prepare a score recognition program in the program ROM 2 that recognizes score symbols from score image data and obtains a score symbol string as exemplified in Appendix-1.

Details of Musical Score Symbol Interpretation The interpretation of individual musical score symbols will be explained in detail above.

Dynamic symbol interpretation (FIGS. 10 to 14) In the ML-G language, dynamic symbols are expressed as dynam symbols as shown in FIG.
ics(a1). Here, a1 is the dynamic symbol name. Flows of the dynamic symbol interpretation program executed by the CPU 1 are shown in FIGS. 11 to 13, and FIG. 14 is an explanatory diagram of dynamic symbol interpretation. In the interpretation of dynamic symbols (Figure 11), dynamic symbols are detected from the musical score symbol sequence that expresses the song, and the proportion of each dynamic symbol in the song is determined (11-1).
Among them, the dynamic symbol with the highest ratio is selected as the dynamic symbol Z indicating the reference tone strength of the song (11-2). Then, the reference intensity value sta for the selected reference dynamic symbol Z
Find rt (11-4 to 11-6). Based on this reference intensity value start, intensity values for dynamic symbols other than the reference dynamic symbol Z are determined (11-7, 11-8
). In the example of FIG. 14, mf indicated by the number 5 is the standard dynamic symbol Z.
is selected, and its reference sound strength value start is 7.
It is 5. In addition, in this device, the sound intensity parameter is MI
It corresponds to DI velocity and has a numerical value range of 0 to 127. The sound intensity value for a dynamic symbol that is stronger than the selected standard dynamic symbol is determined in Figure 13 (top)
Intensity values for dynamics that are determined according to the routine and are weaker than the reference dynamics are determined according to the intensity determination (bottom) routine of FIG. What is important is that the intensity value of any dynamic symbol is determined as a function of the intensity value start for the reference dynamic symbol Z detected from the song. Figure 1
2. In the example routine in Figure 13, for dynamics weaker than the standard, W = (start) / (1-sumincrease)
/(1-increase) is the decrease width (where sumincrease=in
For dynamics that are stronger than the standard (crease to the Z power), W = (127-start)/(1-sumincre
Set the increase width as (sumincrease=inc)/(1-increase)
(8-Z) power). Here, W has a value that depends on the selected reference dynamic symbol Z and reference dynamic symbol start. The sound intensity for the dynamic symbol (Z-1) that is one rank lower than the standard dynamic symbol is the standard strength value star.
The sound strength for the dynamic symbol (Z-2), which takes a value smaller than t by W and is two ranks lower than the standard, is the standard sound strength value sta.
From rt

Similarly, the intensity value Point (Z-C) for the dynamic symbol (Z-C) is

It is given by [Equation 2]. On the other hand, the intensity value Point (Z+C) for a dynamic symbol (Z+C) whose rank is C higher than the standard is

It is given by [Equation 3]. As is clear from the above explanation, FIGS.
By executing the flow shown in FIG. 13, the dynamic symbol interpretation function as described in FIG. 4 is realized.

Dynamic symbol change interpretation (Figures 15 to 17)
Next, we will explain the interpretation of dynamic symbols such as credits and decrescendos. In the ML-G language, a crescendo is expressed by a crescendo start symbol bCR and a crescendo end symbol eCR, and a decrescendo is expressed by a decrescendo start symbol bDE and a decrescendo end symbol eDE (FIG. 15). Therefore, in the musical score symbol string, from symbol bCR to symbol eCR
This is the crescendo section, and represents the decrescendo section from the symbol bDE to the symbol eDE. Figure 1
5, the 16th note at the height of E in the fourth octave (represented by the symbol G4:16) is the starting note of the decrescendo, and the sixteenth note at the height of B in the fourth octave (represented by the symbol G4:16) is the starting note of the decrescendo. B4:16) is the note where the decrescendo ends. The flow of the dynamic change symbol interpretation routine is shown in FIG. Crescendo symbol pair bCR, eCR or decrescendo symbol pair b from the musical score symbol string
When DE, eDE is searched and a symbol pair is found, read the intensity and note number of the note where the crescendo or decrescendo starts, and the intensity and number of the note where the crescendo or decrescendo ends (
16-1 to 16-4). Here, as the intensity of the start or end note, the value obtained from the dynamic interpretation described above is used. Next, the dynamic change symbol interpretation routine executes steps 16-5 to 16-7 to assign time-varying intensity values to the series of notes between the crescendo (or decrescendo) start note and end note. . For this tone intensity allocation, the routine of FIG. 16 uses a method of relating tone intensity to pitch. That is, the sound intensity of each note is obtained by finding a sound intensity change function that matches the change in pitch of a group of notes from the start note to the end note. In detail, the waveform formed by the pitch sequence from the start note to the end note, and the type of function f for FIG.
Starting sound strength so and ending sound strength e for unction 1, 2, and 3
Find the error with the function waveform obtained by substituting o, select the function waveform with the minimum error as the sound intensity change curve, and use this sound intensity change curve to start the crescendo (or decrescendo) starting note. It determines the pitch value of the series of notes up to the ending note. function
If the sound intensity change curve according to 1 is selected, the sound intensity is controlled so that the change becomes smaller over time, and the fun
In the case of function 2, the sound intensity changes more significantly over time, and in the case of function 3, the sound intensity changes linearly over time. By performing such dynamic change symbol interpretation processing, the musical score interpretation device realizes the series note control function described in FIG. 7. Furthermore, by combining the dynamic symbol interpretation and the dynamic change symbol interpretation, the hierarchical control function as described in FIG. 6A is realized.

Slur interpretation (Figures 18 to 20) ML-
In the G language, a slur is expressed by a slur start symbol bSL and a slur end symbol eSL (FIG. 18). In the example of FIG. 18, the quarter note C4 is the start note of the slur, and the quarter note G4 is the end note of the slur. The slur symbol interpretation routine is shown in FIG. A feature of this slur symbol interpretation routine is that it changes the intensity of a series of notes over time so that a series of slurred notes feels like a single phrase. This expresses the series note control function described in FIG. Furthermore, in addition to controlling the note strength, the length of each note with a slur, that is, the length of the actual sound, gatetime, is made longer than steptime. In this sense, the function of simultaneous sound intensity and sound length control described in FIG. 8 is realized. In the sound intensity control performed in the slur symbol interpretation routine, as shown in FIG. The intensity change curve of a series of notes included in

It is calculated according to [Equation 4]. Here, b represents the position of the note where the sound intensity is maximum, c is the maximum sound intensity value, and (onkyo
+5). Here, onkyo is the sound intensity value already obtained by the dynamic symbol interpretation described above. Figure 20-2
0-1 to 20-8, the number S of the start note of the slur, the number E of the end note, and the coefficients a, b of the intensity change curve y,
I am getting c. In steps 20-9 to 20-14, the tone strength and gatetime (actual tone length) of each note from the start note to the end note (S to E) are determined. In particular, as shown in 20-11, the sound intensity of the note of interest is determined according to the sound intensity change curve y, and the gatetime of the note is set 10% longer than the steptime. Here, the initial value of steptime is
It has a value obtained by converting the notated length of a note (for example, 4 in the case of a quarter note) shown in a musical score symbol string written in the ML-G language according to the conversion table shown in FIG. In addition, in the sound intensity control of slur interpretation, the interpretation result of the dynamic symbol, which is a wide range symbol, is used as the standard sound strength onkyo.
Hierarchical control as described in FIG. 6(A) is also realized. 2
As shown in 0-10, when the slur section overlaps with a section of dynamic change symbols such as crescendo or decrescendo, step 20-11 is skipped and priority is given to intensity change processing based on dynamic change symbol interpretation.

[0018] Local sound intensity change symbol interpretation (Fig. 21, Fig. 22
) Accent marks, sforzando, forzando, linforzando, etc. are used to change the intensity of a single note. In the interpretation of such local intensity change symbols, the interpretation values (results of the dynamics symbol interpretation routine) of the dynamics symbols that act on a group of notes that include the note with the local intensity change symbol as the reference intensity are used. is used to determine the intensity of notes with local intensity change symbols based on the reference intensity (dominant intensity). By hierarchically determining the sound intensity of notes in this way, the hierarchical control function as described in FIG. 6(A) is realized. Local intensity change symbol interpretation is performed according to the flows shown in FIGS. 21 and 22. The first type of local intensity change symbol (e.g. accent) is detected at 21-1 in the flow of FIG. 21, and the second type of local intensity change symbol (e.g. sforzando) is detected at 22-1 in the flow of FIG. -1 is detected. 1st
When a type of local intensity change symbol is detected, the standard intensity, which is the initial value of the intensity of the note to which the change symbol is attached, is
The intensity value of the dynamics governing the note, obtained from the dynamics interpretation routine, or if the note is also within the decrescendo or crescendo range.
The intensity value that is the execution result of the dynamics symbol interpretation routine is
The intensity change data value prepared for each detected intensity change symbol is added to determine the intensity value of that note (21-2). If a second type of local intensity change symbol is detected, the intensity value obtained for the dynamic symbol one rank higher than the dynamic symbol that dominates the note with the change symbol is used as the intensity value of that note. (22-2).

[0019] Chord symbol interpretation (Figures 23 and 24) In order to express multiple notes (chords) that are sounded simultaneously, M
In the L-G language, the pitch symbols of notes are connected by a chord symbol of a mountain symbol, as shown in FIG. A chord volume control routine that forms part of the chord symbol interpretation is shown in FIG. In the chord volume control routine, a chord symbol is searched from a musical score symbol string, and when a chord symbol is detected (24-1), the highest note component in the chord is found (24-2). In the example of Figure 23, A5
are the constituent notes of the highest note. Then, the intensity of the highest note of the chord component tone is decreased by 3 (24-3). This results in
The highest note of the chord is played louder than the other constituent notes, resulting in a desirable chord sound. In this way, the chord volume control routine realizes the volume ratio control function as described in FIG. 5 by giving a difference in volume between a plurality of tones.

Volume Ratio Control Between Voices As described with reference to FIGS. 2(A) and 2(B), the musical score interpretation apparatus of the present invention can handle music having a plurality of voices (parts). In the musical score symbol string placed in the musical score symbol RAM 3, data for each voice follows the voice start symbol. This musical score interpretation device has a function to control the volume ratio between voices for songs that have multiple voices (Fig. 5). In the example of FIG. 25, volume ratios of 75:37, 5:37, and 5:45 are used for the soprano, alto, tenor, and bass voices. FIG. 26 is a flowchart of an inter-voice volume ratio control routine for realizing such inter-voice volume ratio control. This routine is executed after other interpretation processing for each voice has been completed. 26-1, the CPU 1 selects the voice start symbol %Pa from the performance symbol string in the performance symbol RAM 4.
Search for rt( ) and find the voice start symbol (
) to identify the type of voice indicated in ). If the identified voice type is soprano, the voice (
In other words, the data for the soprano voice part is not changed. If the identified voice type is alto or tenor, multiply the intensity parameter of each note in the subsequent voice data block by 1/2,
(26-2, 26-3), if the identified voice type is bus, the sound intensity parameter of each note in the subsequent voice data block is multiplied by 45/75. As a result, volume ratios as shown in FIG. 25 are set between the soprano, alto, tenor, and bass voices. As a result, auditory
The soprano part is the easiest to hear, followed by the bass, and the inner voices, tenor and alto, work to support the sound organization with their small sounds, resulting in an overall favorable sound.

[0021] Tempo change symbol interpretation (Figures 27 to 31)
Accelerando, ritardando, stringendo, etc. are tempo change symbols used to change the tempo in the middle of a song. As shown in Figure 27, in the ML-G language, AL
represents accelerando, RI represents ritardando, and SG represents stringendo. Figure 28 shows Accelerando,
This figure shows the functions of tempo change control performed for each of ritardando and stringendo. Figure 29 shows the tempo interpretation routine for each symbol.
, shown in FIGS. 30 and 31. In the accelerando tempo interpretation (FIG. 29), the tempo of each note is calculated by y=-log(-x+bb)+a+log(bb). Here, bb represents the cumulative note length position of (accelerando end position + 100), a is the tempo before the accelerando starts, and the upper routine (
(not shown) (for example, a value obtained by decoding the tempo of the song indicated in the declaration section of the musical score symbol file (see Appendix 1)). x is a variable of the cumulative duration of notes from the starting point of accelerando. With this interpretation,
The series of notes with accelerando gradually increases in tempo. In the ritardando interpretation (Figure 30), the tempo of each note with the ritardando symbol is y = log
It is interpreted according to (-x+bb)+a-log(bb). The meaning of each factor in this equation is the same as in the case of Accelerando. This equation is obtained by folding the previous equation around the reference tempo line y=a. Therefore, the tempo of each note with a ritardando becomes progressively slower. In the stringent interpretation (Figure 31), the stringent symbol S
The tempo of each note with G is y=(a-b)exp(
−x)+b. Here, a is the tempo before stringency starts, and b is the extreme value of the tempo, given by (a+10). As a result, the tempo of the stringed notes becomes progressively faster. However, unlike Accelerando, the tempo changes so as to converge to a limit value. In this way, in the tempo change symbol interpretation routine (Figures 29 to 31), the tempo of a series of notes affected by the tempo change symbol is controlled to change over time. This realizes a series of note control functions such as Furthermore, by changing the tempo of a note based on the interpretation value of a wide range (at a higher hierarchical level) tempo symbol, such as the tempo of a song, the hierarchical control function described in Figure 6 (A) can be realized. ing. Figures 29 to 3
The results of routine 1 are temporarily stored as a tempo array for each note. It is disadvantageous in terms of storage capacity to attach tempo data to each note in a performance symbol string in the ML-P language, and it is inconvenient in terms of control to frequently change the tempo when transmitting performance information by MIDI or the like. Therefore, in this musical score interpretation device, ML-
Length parameter g of each note of performance symbol string in P language
By correcting the note length parameter by multiplying atetime and steptime by the ratio of the tempo at the note to the standard tempo of the song, changes in tempo are incorporated into the note length parameter (time parameter), and the formal tempo data is I just use the tempo of the song.

Interpretation of tone length change symbols (Figures 32 to 36)
Breath, fermata, staccatosimo, staccato, tenuto, etc. are musical notation symbols that basically change the length of notes. FIG. 32 shows the expression of this type of tone length change symbol in a normal musical score and the expression encoded in the ML-G language. Further, FIGS. 33 to 36 show various tone length change symbol interpretation routines. A distinctive feature of these routines (with the exception of the breath interpretation routines) is that they not only change the length of the note, but also the intensity of the note. This realizes the sound intensity and sound length simultaneous control function described in FIG. In detail, in the staccato and staccato symbols interpretation routine (Fig. 33), when a staccato symbol ST or a staccato symbol SM is detected from a musical score symbol string, (
33-1), the tone length parameter gatetime of the note with that symbol is set to 10 (33-2). Furthermore, when the symbol is a stacked tessimo symbol SM, the sound intensity parameter ONKYO of that note is increased by 3. Here, the value of the sound intensity parameter ONKYO before being increased by 3 is given from a higher level routine (dynamic symbol interpretation routine, dynamic change symbol interpretation routine) on the strength hierarchy. In this sense, the hierarchical control function described in Figure 6A is realized (
The same applies to FIGS. 34 and 36). As a result, notes with staccato and notes with staccato are differentiated, and notes with staccato and the notes before and after them are distinguished not only in terms of length but also in intensity. A distinction can be made. tenuto interpretation routine (
In FIG. 34), when the tenuto symbol TE is found in the musical score symbol string (34-1), the tone length parameter gatetime of the note (on the performance symbol string) to which that symbol is attached is multiplied by 1.1 (34-2). Here, the initial value of gatetime is equal to the interval steptime between notes, so gat
By multiplying etime by 1.1, adjacent notes with tenuto will be played with about 10% overlap. Furthermore, the sound intensity parameter ONKYO of the note with the tenuto symbol is increased by 3 (34-3). This means that the notes with the tenuto are played 3 times louder than the notes surrounding the tenuto. In the breath interpretation routine (FIG. 35), when a breath mark BR is found in the musical score symbol string (35-1), the tone length parameter gatetime of the note before the breath mark is minus 1. This creates a break in the sound, making it possible to clarify the phrase before the breath. In the fermata interpretation routine (Fig. 36), it is determined whether the fermata symbol FE detected from the score symbol string (36-1) is in front of the ending line (3
6-2), the way to change the length parameter gatetime of notes with fermata is different (36-3,
36-4). If the fermata symbol FE precedes the line from beginning to end, the duration parameter gatetime of the note with the fermata is doubled; otherwise, it is 1.
Multiply by 5. Furthermore, add 3 to the sound intensity parameter ONKYO of the note with the fermata symbol (36-5)
. This makes the sense of the beginning and end of the song and the sense of paragraphs clear.

Tuplet Interpretation (FIGS. 37 to 42) Musical score symbols as shown in FIG. 37 are called tuplets. Such a tuplet symbol is expressed in the format shown in FIG. 38 in the ML-G language. The example in Figure 38 is a triplet of G4, A4, and B4, and M
In L-G language <3 G4:16-A4:16-B4
:16>. Here, 16 indicates that the "notation" length of each note of G4, A4, and B4, which are tuplet constituent notes, is a sixteenth note. In reality, the entire length of a triplet is the length of an eighth note, so the length of the notes that make up the tuplet is 1/3 of that length, and 2/2 of the written length (16th note).
It is 3. Generally, the length of a tuplet's constituent tones is equal to the total length of the tuplet divided by the number of tuplets. When the total length of a tuplet is given, FIG. 39 shows a coefficient that is multiplied by the notated length in order to obtain the actual length from the notated length of the tuplet constituent tones. 40 to 42 show the flow of each tuplet interpretation routine. The characteristics of these routines are that they modify the length of the tuplet notes written in the music score symbol string according to the table in Figure 39, and change the first note of the tuplet to have a stronger tone than other tuplet notes. The point is that there is. Therefore, it has the aspect of a series of note control functions (FIG. 7) and the aspect of simultaneous note strength and note length control functions (FIG. 8). Furthermore, the intensity of the first note of a tuplet is obtained by increasing the standard intensity by a predetermined amount, using the result of interpreting the dynamics symbols at the upper level of the intensity hierarchy as the standard intensity. Control function (Figure 6 (A)
). In each tuplet interpretation routine, the intensity setting for the first note is as shown in 40-7, 41-4, and 42-6, by adding 2 to the intensity data that is the interpretation value of the upper dynamic symbol in the hierarchy. That's what I'm doing. Regarding the length correction of tuplet notes, see the quintuplet and septuplet interpretation routines (Figure 40).
), the total length of the tuplet is calculated by subtracting the length of notes other than the tuplet notes (in the measure containing the tuplet) from the length of one measure, and the total length of the tuplet is calculated by the number of notes in the tuplet. Calculate the length steptime of the tuplet note by dividing (40-1
~40-4), 3, 4, 9-tuplet interpretation routine (Figure 41)
Then, steptime is the note length data of the performance symbol string obtained from the written length of the tuplet notes shown in the musical score symbol string.
is multiplied by {(number of tuplets - 1) ÷ number of tuplets}, that is, the coefficient shown in the table of FIG.
e (41-1, 41-2), and in the double and octuplet interpretation routine (Fig. 42), the coefficient 3/4 is added to the note length data steptime representing the written note length for doublets. Correct length data for each note of the doublet multiplied by steptim
e is obtained (42-1, 42-2), and for octuplets, the coefficient 6/8 is added to the note length data steptime representing the written note length.
The correct tone length data steptime is obtained by multiplying by .

43
2 shows short front concussion symbols and long front concussion symbols as examples of front concussion symbols in the ML-G language. Generally, the note decorated by the pre-struck note is called the main note. In the example of the musical score shown in FIG. 43, note D5, which is written as a half note, is the main note. However, the main note is not actually played as a half note, but is played so that the length of the note, including the front note, is a half note. In the ML-G language, the length of each note is expressed according to the length of the note written on the musical score, so when performing and interpreting the pre-clap, it is necessary to change the written note length. For this purpose, each pre-struck interpretation routine (Figs. 44 to 47) of this music score interpretation device corrects the pre-struck note length and main note length read from the musical score symbol string to perform the correct pre-click sound. We are making sure that this is done. Furthermore, by slightly increasing the strength of the main note, we are able to express the sound of the main note in the performance.
Figure 47). This controls both sound intensity and sound length,
The sound intensity and sound length simultaneous control function as described in FIG. 8 is achieved. In addition, the intensity of the main note is obtained by adding +1 for the local intensity change in the main note to the interpretation value of the wide-range dynamic symbols that govern the main note (47-1 to 47-4). , thereby achieving a hierarchical control function of sound intensity (FIG. 6(A)). To explain pre-beat note length interpretation by type, in the long-beat note length interpretation routine (Fig. 44), when a long-beat note symbol is detected from a musical score symbol string (44-1), the note to which this long note symbol is attached, that is, ( steptime of the slug note (on the performance symbol string)
and gatetime data to the ornament length obtained from the written note length data of the slug note shown in the score symbol string (the value obtained by converting the written note length data to step time type data according to Figure 3). (44-2, 44-3), the steptime and gatetime of the next note on the performance symbol array, that is, the main note, are determined from the length of the ornamented note obtained from the written note length of the main note in the musical score symbol string. A value obtained by subtracting the note length is set (44-4, 44-5). As a result, note length interpretation as shown in the upper part of FIG. 48 is performed. In the multi-front concussion length interpretation routine (Fig. 45), when a multi-front concussion symbol is detected from the musical score symbol string (45-1
), steptime and gatetim, which are the performance note length parameters of each double-fronted concussion, for the number of double-fronted concussions (ornaments).
e is set to a value corresponding to the written note length of each double-front hit note shown in the musical score symbol string (45-2 to 45-8). Furthermore, the total Z of the played note lengths of the double-fronted notes is a value representing the written note length of the main note (
The performance length parameters steptime and gatetime of the main note are subtracted from the length of the note with grace notes.
(45-9, 45-10). Therefore, Figure 4
As shown in the lower half of Figure 8, when the number of double front hits is 2, the note length interpretation as shown in the playing style will be performed. In the short front note length interpretation routine (FIG. 46), following the detection of the short front note symbol (46-1), the tempo of the piece is checked (46-1).
2). When the tempo is fast, set the steptime and gatetime, which are the performance note length parameters of the short front note, to 24 (
corresponding to a 16th note) (46-3, 46-8
), steptime and gat for medium tempo
Set etime to 12 (corresponding to a 32nd note) (
46-4, 46-8), step when the tempo is slow
Set ime and gatetime to 6 (corresponding to a 64th note) (46-7, 46-8). steptime and gatetim, which are the pitch length parameters of the main note.
e is determined by subtracting the played note length value (current steptime) of the short note from the written note length value (decorated note length) of the main note (46-9, 46-10). Therefore, FIG.
As shown in , the note representations of the short front and main notes are different in a slow tempo case like Largo and a fast tempo case like Presto. A length interpretation will be performed. This allows you to add decorations to the main notes that match the tempo.

[0025] Ornament symbol interpretation (Figs. 50 to 53) Mordents, prattle trills, trills, turns, inverted turns, etc. are musical score symbols used to decorate the main note using adjacent notes (notes at adjacent pitches) as ornaments. is the name of ML-
In the G language, as shown in Figure 50, MO and PR are used, respectively.
, TR, TU, IT. On the musical score, the notes of grace notes themselves (mordent notes, pral triller notes, trill notes, etc.) are not specified, but the notes of the main note (quarter note of G4 in the example in Figure 50) or the notes between notes are not specified. Simply add a decorative symbol (a mordent symbol in the example of FIG. 50). Therefore, musical score symbol strings written in the ML-G language do not include symbols for grace notes themselves. For this reason, the present musical score interpretation device performs a decorative symbol interpretation process that interprets decorative symbols and adds required decorations when musical score symbol strings are performance-interpreted and converted into performance symbol strings. In each ornament symbol interpretation process, the performance length and pitch parameters of each note of the ornament type (ornament pattern) are determined. add a slight accent to important notes (for example, the first note). By interpreting ornamental symbols in this way, a series of note control functions (Figure 7), note strength and note length simultaneous control functions (Figure 8) are possible.
, the hierarchical control function of sound intensity (FIG. 6(A)) is performed. As a specific example, the routine for trill symbol interpretation is shown in Figures 51 to 53.
Shown below. This routine uses a trill ornament pattern consisting of four notes of equal length, changing from the upper adjacent note to the main note, the lower adjacent note, and the main note. To explain in detail, turn pitch length determination 1 (
In Figure 51), when a turn mark attached to a note (music note) is detected from the musical score symbol string (51-1), the 4th in the trill ornament type, which is played at 1/4 the pitch length of the note with the turn mark, is detected (51-1). The length of each note (steptime,
gatetime) (51-2, 51-4). Also, adjust the pitch of each note so that the second and fourth notes are at the pitch of the main note, the first note is at the upper adjacent pitch of the main note, and the third note is at the lower adjacent pitch. Determine the height (5
1-5 to 51-13). Turn pitch length determination 2 (Figure 5
In 2), after detecting the turn mark between notes from the musical score symbol string (52-1), the turn mark type 4 is detected (52-1).
Each note length (steptime, gatei)
me) to 12, which corresponds to a 32nd note (52-6
), the full length of the turn note before the turn mark (
Obtain the correct note length (steptime, gatetime) of the preceding note by subtracting it from the written note length value of the preceding note (
52-2). The pitches of the four notes of the turn type are determined in the same way as the turn pitch/length determination 1, with the note preceding the turn type as the main note (52-5 to 52-12). In turn intensity control (Figure 53), if a turn mark is attached to a note (main note) (53-1), the intensity of the first note of the turn grace note type is increased by 1 (53-2).
). The tone intensity value before adding 1 here is the interpretation value of the dynamic symbol at the upper hierarchical level. If the turn mark is placed between notes (53-3), the strength data of the preceding note, which is the main note, is incremented by 1 (53-4).

Pitch Interpretation (FIGS. 54 and 55) FIG. 54 shows a pitch interpretation routine. First, in step 54-1, check whether the note (current note) you are looking at on the musical score symbol string has an accidental, or the staff position of the current note within the measure of the current note (the alphabet representing the note name and the octave). (denoted by number and ) is preceded by an accidental. If there is no accidental (54-2), the key signature is examined to see if it adds a sharp or flat to the staff position of the current note (54-3). When not adding anything, determine the pitch written on the current note as the actual pitch of the current note (54-4), and when adding a sharp, raise the written pitch by a semitone (54-5) and add a flat. At this time, the notated pitch is lowered by a semitone (54-6) to determine the actual pitch of the current note. In this way, when an accidental symbol, which is a local pitch indicator, is not attached to a note, the pitch of the note is determined according to the interpretation of the key signature, which is a global symbol. On the other hand, if an accidental is attached (54-2), the type of the accidental is identified (54-7). When the accidental type is natural, the written pitch of the current note is determined as the actual pitch of the current note (54-8), and when the accidental type is flat, the written pitch is lowered by a semitone (54-9). , for a sharp, raise the written pitch by a semitone (54-10), for a double sharp, raise the written pitch by a whole step (54-11), for a double flat, lower the written pitch by a whole step (54-12)
) determines the actual pitch of the current note. In this way, when an accidental is acting on a note, the pitch of the note is determined according to the interpretation of the accidental. In this way, the pitch interpretation routine realizes the hierarchical control function for pitches as described in FIG. 6(B). As a result, correct pitch interpretation as illustrated in FIG. 55 is performed.

[0027]

[Table 1]

[Table 2]

[Table 3]

[Table 4]

[Table 5]

[Table 6]

[Table 7]

[Table 8]

[Table 9]

[Table 10]

Modifications Although the description of the embodiments has been completed above, various modifications and changes can be made within the scope of the present invention. For example, any suitable score encoding language other than the above-mentioned ML-G language can be used as the score encoding language. Similarly, any suitable performance encoding language other than the above-mentioned ML-P language can be used as the performance encoding language.

[0029]

As explained above, according to the musical score interpretation device of the present invention, it is possible to interpret a coded musical score symbol string by giving a desired volume ratio between voices, or between the constituent tones of a chord. It can be interpreted with a desired volume ratio.

[Brief explanation of the drawing]

FIG. 1 is an overall functional block diagram of a musical score interpretation device according to the present invention.

[Figure 2] (A) is M placed in the musical score symbol string memory in Figure 1.
A diagram showing the configuration of the LG file. (B) is a diagram showing the configuration of the ML-P file stored in the performance symbol string memory of FIG. 1.

FIG. 3 is a diagram showing the relationship between tone length expression in a musical score symbol string and tone length expression (step time) in a performance symbol string.

FIG. 4 is a block diagram of a wide-range dynamics interpretation function included in the musical score interpretation device.

FIG. 5 is a block diagram of a volume ratio control function between voices or chord constituent notes included in the musical score interpretation device.

6A is a block diagram of a composition type hierarchical control function included in the score interpretation device, and FIG. 6B is a block diagram of a selection type hierarchical control function included in the score interpretation device.

FIG. 7 is a block diagram of a series of note control functions included in the musical score interpretation device.

FIG. 8 is a block diagram of a simultaneous note strength and note length control function included in the musical score interpretation device.

FIG. 9 is a block diagram showing a typical system configuration for realizing a musical score interpretation device.

FIG. 10 is a diagram showing encoding of dynamic symbols using the ML-G language.

FIG. 11 is a flowchart of a dynamics interpretation routine executed by the CPU of FIG. 9;

FIG. 12 is a flowchart of the sound intensity determination (lower) block 11-7 of FIG. 11;

FIG. 13 is a flowchart of the sound intensity determination (lower) block 11-8 of FIG. 11;

FIG. 14 is a graphical representation of an aspect of dynamic symbol interpretation.

FIG. 15 is a diagram showing dynamic change symbols in the ML-G language.

FIG. 16 is a flowchart of a dynamic symbol interpretation routine.

FIG. 17 is a diagram showing a graph of a sound intensity time change function used in interpreting a strength change symbol.

FIG. 18 is a diagram showing slur symbols in the ML-G language.

FIG. 19 is a graph showing a function that changes the sound intensity over time for a series of notes with slurs.

FIG. 20 is a flowchart of a slur interpretation routine.

FIG. 21 is a flowchart of local intensity change symbol interpretation 1;

FIG. 22 is a flowchart of local intensity change symbol interpretation 2;

FIG. 23 is a diagram showing chord symbols in the ML-G language.

FIG. 24 is a flowchart of a chord volume control routine for controlling the volume ratio between chord constituent notes.

FIG. 25 is a diagram showing volume ratios between voice parts.

FIG. 26 is a flowchart of an inter-voice volume ratio control routine.

FIG. 27 is a diagram showing tempo change symbols in the ML-G language.

FIG. 28 is a graph showing a function for controlling tempo changes for a series of notes performed by interpreting each tempo change symbol.

FIG. 29 is a flowchart of a routine for interpreting an accelerando symbol, which is a type of tempo change symbol.

FIG. 30 is a flowchart of a routine for interpreting a ritardando symbol, which is a type of tempo change symbol.

FIG. 31 is a flowchart of a routine for interpreting a stringent symbol, which is a type of tempo change symbol.

FIG. 32 is a diagram showing tone length change symbols in the ML-G language.

FIG. 33 is a flowchart of an interpretation routine for staccato and staccatosimo, which are types of tone change symbols.

FIG. 34 is a flowchart of a routine for interpreting tenuto, which is a type of tone change symbol.

FIG. 35 is a flowchart of a routine for interpreting a breath, which is a type of tone change symbol.

FIG. 36 is a flowchart of a routine for interpreting a fermata, which is a type of tone change symbol.

FIG. 37 is a diagram showing tuplet symbols in a musical score.

FIG. 38 is a diagram showing a tuplet symbol in the ML-G language.

FIG. 39 is a diagram showing coefficients for converting the note length written in a tuplet symbol into an actual note length.

FIG. 40 is a flowchart of a quintuple, septuplet interpretation routine.

FIG. 41 is a flowchart of a 3, 4, and 9-tuplet interpretation routine.

FIG. 42 is a flowchart of a 2, octuplet interpretation routine.

FIG. 43 is a diagram illustrating a precursive symbol in the ML-G language.

FIG. 44 is a flowchart for interpreting the note length of a long front concussion symbol.

FIG. 45 is a flowchart for interpreting the note length of a double-fronted concussion symbol.

FIG. 46 is a flowchart for interpreting the note length of short front clef symbols.

FIG. 47 is a flowchart of the sound intensity interpretation of the frontal clef.

FIG. 48 is a diagram illustrating an example of interpretation of a long front hit sound and a double front hit sound by a front hit sound interpretation routine.

FIG. 49 is a diagram showing an example of interpretation of a short front hit and a double front hit by a front hit interpretation routine.

FIG. 50 is a diagram showing decorative symbols in the ML-G language.

FIG. 51 is a flowchart of turn pitch determination 1 for a turn symbol, which is a type of decorative symbol.

FIG. 52 is a flowchart of turn pitch determination 2;

FIG. 53 is a flowchart of turn sound intensity control.

FIG. 54 is a flowchart of a pitch interpretation routine that interprets the pitch of each note in a musical score symbol string.

FIG. 55 is a diagram showing an example of pitch interpretation by a pitch interpretation routine.

[Explanation of symbols]

10 Musical score symbol string memory 20 Music interpretation section 30 Performance symbol string memory 100 Musical score symbol string 210 Voice part identification (or chord constituent note identification) 211
Volume ratio determination by type 212 Sound strength correction

Claims (2)

[Claims] 1. Musical score symbol string storage means for storing a string of encoded musical score symbols in which musical score symbols used in musical scores are encoded as information representing a musical piece having a plurality of voices; music interpretation means for generating performance information consisting of a plurality of voice blocks by musically interpreting the sequence, and the music interpretation means converts the type of voice of each voice block in the performance information into the musical score symbol. voice identification means for identifying based on the voice symbol given from the column; and inter-voice volume ratio for controlling the volume ratio between voices by adjusting the volume of each voice block according to the identified voice type. A musical score interpretation device comprising: a control means. 2. Musical score symbol string storage means for storing a string of coded musical score symbols in which musical score symbols used in a musical score are encoded as information representing a musical piece including chords; music interpretation means for interpreting and generating performance information of notes including chord constituent notes, wherein the music interpretation means is configured to determine the type of each chord constituent note in the performance information by a chord symbol given from the musical score symbol string. chord-constituent tones identification means for identifying the chord-constituting tones based on the chord-constituting tones; and chord-constituting inter-tone volume ratio control means for controlling the volume ratio between the chord-constituting tones by adjusting the volume of each of the chord constituting tones according to the type of the identified chord constituting tones. A musical score interpretation device characterized by having the following.