JPH06124088A - Melody analyzing device - Google Patents

Abstract

PURPOSE:To apply the melody analyzing device to a melody including modulation and detect the modulation included in the melody by providing a melody dividing means which divides the melody into passages and a key-by-passage deciding means which decides keys by the divided passages. CONSTITUTION:The melody division part 4 divides the given melody 2 into plural divisional melodies (passage) like passages 1-(n) shown by a reference number 6. The tonality analytic part 8 decides the keys by the passages. A matching part 24 retrieves the melody pattern of a rhythm style 10 specified from MPRB 22, matches it with classified data, and then gives a label for pattern matching to notes of the passages which accord with the rule of the melody pattern. An adequacy evaluation part 26 receives the result of the matching part 24 and calculates the rate of the notes, given the label for pattern matching, among notes of the passages to evaluate the adequacy of chord progression. Consequently, the modulation included in the melody can be detected.

Description

Detailed Description of the Invention

[0001]

BACKGROUND OF THE INVENTION 1. Field of the Invention The present invention relates to a music apparatus, and more particularly to a melody analysis apparatus for tonally analyzing a given melody.

[0002]

2. Description of the Related Art Melody analyzers for determining the tone of a melody are already known. This type of melody analysis device is often used in an automatic accompaniment device that adds an automatic accompaniment to a melody. A typical conventional melody analysis device determines the tone of a melody by matching a set of sounds included in the melody with a pitch class set (PCS) of different tonic scales. There is also known a melody analysis device that determines the tone of a melody by using the last sound of the melody as a clue. However, each of the conventional melody analysis devices is based on the premise that the given melody does not include a transposition (change in key).

[0003]

Therefore, in the conventional melody analysis device, for a melody that is transposed in the middle, an incorrect key is determined for a part of the melody, and a satisfactory tonality analysis is performed. Could not be done.
Therefore, an object of the present invention is to provide a melody analysis device which can deal with a melody including modulation. A further object of the present invention is to provide a melody analysis device capable of detecting the modulation included in a melody.

[0004]

According to the present invention, the melody assigning means for imparting a melody, the melody dividing means for dividing the melody into the passages, and the division by the passage for judging the key of each of the divided passages. There is provided a melody analysis device having a key determination means.

According to this structure, due to the action of the melody analyzing means, it is possible to prevent each of the divided melody parts (syllables) from including modulation. For example, in the case of a melody that returns to C in the 4th syllable, F in the 5th and 6th, and returns to C in the 7th and 8th syllables, the entire melody includes the transposition, but inside each individual syllable. Then the tone has not changed. Therefore, the progression of the melody key can be accurately analyzed by determining the key of each phrase by the phrase-specific key determination means. In addition, even if, unfortunately, there is a sudden transposition inside the passage, the range of the melody part in which the key is erroneously determined can be made smaller than in the conventional case.

The melody adding means can be composed of keyboard means for inputting melody data in real time and melody storage means for storing the input melody data. This allows the user to easily input the melody to be analyzed by the melody analysis device. The melody dividing means may include means for detecting a syllable end note (cadence note) from the given melody.
For example, cadence notes can be defined by relatively long notes.

Further, the melody dividing means may include means for detecting a melody part having a predetermined length (for example, four measures) as a passage from the given melody. Further, the melody dividing means may include division position instruction input means for instructing and inputting the division position of the given melody. This configuration enables the melody division according to the user's intention. Further, the melody dividing means may include an aftact checking means for checking whether or not a given melody starts in aftact.

The phrase-based tone determination means may include a motion analysis means for analyzing a motion of a passage (movement of a phrase, a flow), and a tonic determination means for determining a tonic of a passage based on the analyzed motion. The tonic determining means may include a means to generate a plurality of tonic candidates. This takes into consideration that there may be a melody having a plurality of key possibilities in music. This makes it possible to achieve flexible melody analysis. Further, the phrase-by-sentence determination means may include a key-maintenance inspection means for inspecting whether the key of the current syllable is the same as the key of the previous syllable. This follows the tendency for tones to be maintained in music.

[0009]

DESCRIPTION OF THE PREFERRED EMBODIMENTS The present invention will be described in more detail below with reference to the drawings. FIG. 1 is a functional block diagram of a music apparatus incorporating the melody analysis apparatus according to the present invention. 2 represents the given melody. The melody dividing unit 4 divides the given melody 2 into a plurality of divided melody (syllables) like syllables 1 to n indicated by reference numeral 6. The tonality analysis unit 8 determines the key of each passage. Elements 4-8 provide a melody analyzer. The overall purpose of the music apparatus shown in FIG. 1 is to add chords (chord progressions) to a given melody.

According to the features of this embodiment, the music apparatus does not add one chord to each part of the given melody 2, but assigns chord progressions suitable for each syllable in units of syllables and makes a decision. To do. For this purpose, a chord progression database (CPDB) 12 is provided. The chord progression database stores a database of chord progressions for various musical styles. Reference numeral 10 represents a designated music style (rhythm style). The attribute test unit 14
A chord progression (CP) matching the designated rhythm style and the length of the phrase is searched from the CPDB 12. CPD
All chord progressions stored in B12 are written in the standard tone. Then, the transposing unit 16 transposes the retrieved chord progression to the musical key given by the tonality analyzing unit 8.

The motion classifying section 18 and the sound type classifying section 20 assign meanings to each note of the divided melody (syllable). The motion classification unit 18 classifies motions between notes according to the pitch difference (pitch) between adjacent notes. The tone type classifying unit 20 receives the C and C of the phrase given from the tonality analyzing unit 8.
Based on the information on the chord progressions (candidates for chord progressions of passages) retrieved from the PDB 12, the note types of each note in the passages are classified.

Melody pattern rule base (MPR
B) 22 stores the rule base of the melody pattern used in each musical style. Matching part 24
Receives the classification data of each note given from the motion classifying unit 18 and the sound type classifying unit 20, and checks whether the classification data follows the melody pattern of the designated style 10. For this reason, the matching unit 24 uses the MPR.
The melody pattern of the specified rhythm style 10 is searched from B22, and it is collated with the classification data. As a result of the matching, the musical notes in the syllables that follow the rules of the melody pattern are labeled as pattern matching.

The classification of the sound type by the sound type classifying unit 20 depends on the retrieved chord progression. Therefore, when the retrieved chord progression does not match the passage, many notes do not follow the melody pattern rules. In other words, the proportion of notes labeled with pattern matching is a measure of the degree of CP matching that indicates how well the retrieved chord progression matches the passage. Similarly, the result of the sound type classifying unit 20 also depends on the tone of the passage determined by the tonality analyzing unit 8. That is,
When the key determined by the tonality analysis unit 8 is incorrect, the proportion of the notes with the pattern matching label decreases.

Therefore, it is desirable that the tonality analysis unit 8 can determine a plurality of tones as candidates for the tones of the passage in consideration of the possibility of the plurality of tones that the passage can take. The conformity evaluation unit 26 receives the result of the matching unit 24, calculates the proportion of the notes with the pattern conformity label among the notes of the passage, and evaluates the conformity of the chord progression.

The deciding unit 28 decides the chord progression having the highest matching degree among the chord progressions retrieved from the CPDB 12 as the chord progression of the passage. The chord progression determined is shown at reference numeral 30. "Decision CP1" represents the chord progression of "Sentence 1", ... "Decision CPn" represents the chord progression of "Sentence n". As can be seen from the above description, the melody dividing unit 4 is capable of detecting the modulation included in the melody in combination with the tonality analyzing unit 8 of the passage.

Also, by assigning chord progressions (semanticly organized chord patterns) from the CPDB 12 to each passage resulting from the melody dividing section 4, one chord is assigned to each section of the melody as in the conventional case. It is possible to add chords that cannot be obtained with the method.

FIG. 2 is a block diagram of a hardware configuration of the music apparatus according to the embodiment (which constitutes an electronic keyboard instrument here). The CPU 40 operates according to a program stored in the program ROM 50 to control the entire system. The keyboard 60 has the same structure as a keyboard used for a normal electronic keyboard musical instrument and is used for playing music. On the operation panel 70, a rhythm selection key 71 for designating a rhythm (accompaniment) style, a tempo volume 72 for designating a playing speed, a fill-in key 73 for inputting a division position of a melody, and a melody played on the keyboard 60. A melody recording key 74 for requesting recording of the recorded melody, a stop key 75 for instructing the end of recording, an arrange key 76 for requesting an arrangement (with chords, accompaniment) of the recorded melody, and performance of the arranged one. Play key 77 for instructing, stop key 78 for instructing to stop playing,
In addition, keys and switches necessary for operating the music device are provided.

The data ROM 80 is a tone coupling table 81 used for tonality determination, a chord progression database (CPDB) 82 used for chording, and a standard pitch class set (PCS) memory 8 for chords and tensions.
3, melody pattern rule base (MPRB) 84,
A rhythm data memory 85 for storing rhythm patterns of various styles, an accompaniment pattern data memory 86 for storing accompaniment patterns of various styles, and other necessary fixed data are stored.

The RAM 90 is an input melody memory 9 for storing the melody (input melody) played on the keyboard 60.
1. Quantized melody memory 92 for storing a quantized melody obtained by quantizing (meshing) an input melody, combined histogram memory 93 of notes of divided melody (sentence), key entry for storing a candidate for a tonic of each sence Table 9
4. Classification data memory 9 for storing classification data of passages
5. CP fitness memory 9 for storing chord progress fitness
6. Includes a CP entry table 97 that stores chord progression candidates for each passage.

The display device 100 includes an LED group arranged on the operation panel and a liquid crystal panel. Sound source 110 is CPU4
A tone signal is generated under the control of 0. The sound system 120 includes an amplifier and a speaker, and outputs a musical sound signal to the outside.

FIG. 3 is a flow chart of a routine for recording the melody played in real time from the keyboard 60 in the input melody memory 91 of the RAM 90. The recording format of the melody data is shown in FIG. As shown in the figure, one melody data consists of a time byte T and a command byte CD.
Composed of bytes. The time byte T stores the time difference between events. The command byte CD stores the event. For events, key presses (note on) by keyboard operation
Event and key release (note off) event, fill-in event by operating the fill-in key 73 (CD = F0),
Time-over event (F
E), end event by operating the stop key 75 (F
There is F). Of the note-on and off-event bytes, the lower 5 bits represent the note number (pitch).
Bit 6 is "0", and the MSB is "0" for an on event and "1" for an off event.

The fill-in key 73 is used by the performer to input and input the division position of the melody (in the arrangement performance, it is used to perform the fill-in performance). When the melody recording key 74 is pressed, the CPU 40
Executes the real-time melody recording routine shown in FIG. The area of the input melody memory 91 is RA by initialization R1
Allocate on M90 and clear the length counter LENGTH. Then start the rhythm with R2. As a result, a rhythm of a designated style is played through the rhythm pattern data memory 84 and the sound source 110 by a rhythm playing routine (not shown). The melody player will play the melody in accordance with such a rhythm.

The states of the keyboard 60, the fill-in key 73, and the stop key 75 are read by key scanning R3. After the elapse of the measurement unit time (tempo-dependent music resolution time) (R
5) At R20, it is checked whether or not the fill-in key 73 is pressed, and if it is pressed, the fill-in data write processing shown in R21 to R23 is performed (length LENGT to time byte T).
H is written, the fill-in flag is written to the command byte CD, and the length counter LENGTH is cleared.

Next, at R6, it is checked whether or not the key state has changed. If the key state has changed, length LE in time byte T
NGTH is written (R7), and it is checked whether the key is pressed or released (R8). If the key is pressed, the note-on flag is written in the command byte CD (R10), and if the key is released, the note-off flag is written in the command byte CD (R9).
Then, the note number corresponding to the key depression or key release is written in the command byte CD (R11), and the length counter LENGTH is cleared (R12). After that, the process returns to the key scan R3 which is the entry of the loop waiting for the passage of the measurement unit time R3 to R5.

If there is no change in the key state, it is checked whether LENGTH has reached 255 (FF), and if it has not reached 255, the length counter LENGTH is incremented (R14) and the process returns to the key scan R3. If it has reached, 255 is written in the time byte T (R15), and the time over flag is written in the command byte CD (R15).
16), clear LENGTH (R17), and return to key scan R3.

When the melody performance is over, the player presses the stop key 75. This is detected at R4. On the other hand, write LENGTH to the time byte T (R1
8) Then, the end flag is written in the command byte CD (R19), and the real-time melody recording process is completed. In this way, the melody played on the keyboard 60 is recorded in the input melody memory 91.

Next, when the arrange key 76 is operated, the arrangement process for the melody stored in the input melody memory 91 is executed. As a pre-process for the arranging process, the input melody is quantized (sounded) and transferred to the quantized melody memory 92 as a quantized melody.

The format of the quantized melody memory 92 is shown in FIG. As shown, the quantization melody memory 9
One note record in 2 is a pitch class byte,
It consists of 4 bytes: length byte, pitch byte, and flag byte. Pitch class bytes are usually notes
Pitch class (any one of CB is represented by 00 to CB). A pitch class byte with a value of 0F represents a rest. A pitch class byte with a value of 0E represents a tie. The length byte represents the length of a note (quantized note length).
The pitch byte represents the pitch of a note. The flag byte is
It is used as a flag to indicate the fill-in or end of a phrase.
80 for fill-in only, 0 for end of passage only
The value is 1, when both are present, the value is 81, and when neither is present, the value is 80. At the stage when the quantization process is completed, information excluding the phrase end flag is stored in the quantized melody memory 92. The passage end flag is written in the melody division process described later. A segment melody (a phrase) is shown from a phrase end flag to a next phrase end flag.

After the quantization process, a tonality determination process is performed on the entire melody. 6 to 8 show the flow of the tonality determination processing routine. In the tonality determination process, the motion formed between each note of the melody and the surrounding notes is analyzed, and a plurality of tonic candidates are generated based on the analysis result. A coupling degree table 81 as shown in FIG. 9 is used for analyzing the motion. The coupling degree table 81 stores the coupling degree between two adjacent notes as a function of the pitch difference (pitch) formed between the two notes.

At the initialization D1 of the tonality determination processing routine, the head (first note record) of the quantized melody is located and the key entry 94 is cleared. D2 reads the pitches of the current note and the preceding and following notes, D3 reads the note length LEN of the current note, and D4 reads the pitch class PC of the current note. And
At D5, a pitch difference (previous pitch) f between the previous note and the current note is calculated, and at D6, a pitch difference (rear pitch) t between the current note and the next note is calculated. Subsequently, in D7, the coupling degree table 81 is looked up by the front pitch f and the rear pitch t, and the front coupling degree JOIN
T (f) and the post-coupling degree 1 / JOINT (t) are obtained, and using this, the note length data LEN is used to obtain the coupling degree CPL of the current note.
Is calculated as CPL = LEN × JOINT (f) / JOINT (t). And this degree of coupling E, coupling histoplum 93
Element W (PC) for the pitch class of the current note in
Add to. The above process is repeatedly executed for all the notes of the melody (D8, D9). As a result, the combined hist plum memory 93 stores the accumulated value of the combined degree for each pitch class of the melody.

Next, the combined histoplum memory 93 is utilized to determine the first tonic candidate of the melody (D10-D10).
D15). First, at D10, the tonic pitch class counter i and the maximum value max are initialized to "0". An evaluation value point of the diatonic scale when the tonic (tonal tone) is set to the pitch class i in D11 is calculated using the combined histoplasm memory 93 as shown in the following equation. point = W [(i + 0) mod12] + W [(i + 2) mod12] + W [(i + 4) mod12] + W [(i + 5) mod12] + W [(i + 7) mod12] + W [(i + 9) mod12] + m [d12]) ] The evaluation value is calculated for all tonics of pitch class i (D15, D16). The pitch class i that gives the highest evaluation value is stored in the key entry 94 as the first tonic candidate key of the melody (D1).
2, D13). The maximum evaluation value max is also stored (D14).

Next, in D17 to D24, the second and third tonic candidate cand key candidates are also applied to pitch classes to which an evaluation value of 90% or more of the maximum evaluation value max is given.
Store as [j] in the key entry 94. The result of the tonality determination processing for the entire melody is used for the tonality determination of the first and last syllables in the tonality determination processing of the passages described later. Note that the tonality determination process for the entire melody is a pre-process of the tonality determination process of the passage, and can be omitted if desired. After completion of the tonality determination process for the entire melody, a melody division process for dividing the melody into passages is performed.

The flow of the melody division processing is shown in FIG. This melody division processing routine includes (A) a function for checking whether or not the melody starts with an aftact, (B) a function for detecting a melody portion of four measures as a passage, and (C) a melody end note from the melody. (Cadence note) detection function, (D) fill-in flag interpretation as passage division points,
Is equipped with.

For example, a G note indicated by an arrow 151 in the melody of the musical score (A) of FIG. 11 is detected as an aftact note. As a result, the bar line 1 next to the G note
52 is the division point between the first and second verses. In the musical score (B), the note C indicated by the arrow 153 and the note A indicated by the arrow 155 are detected as cadence notes. As a result, the bar line 154 next to the cadence note C becomes the dividing point between the first and second verses, and the bar line 156 next to the cadence note A becomes the dividing point between the second and third verses. In other words, the first measure is the first movement,
The second and third measures are the second, and the fourth and subsequent measures are the third. In the case of the musical score (C), a melody part having a length of 4 bars is detected, and the bar line 157 serves as a division point between the first and second verses.

To describe the details of the melody division processing routine, first, at the initialization E1, the head of the quantized melody is located. Next, at E2, it is determined whether or not the melody begins with an overact. This is determined by the rest length at the beginning of the melody. That is, if the rest at the beginning is more than half of one measure, the first measure is divided as the first melody as the aftact start melody (E9, E10).

At E3, the phrase length counter all-len
Is initialized to “0”, and entry E4 of loops E4 to E8
Read the note length with and add it to all-len with E5. If the note is not the first note (E6), E7 al
It is determined whether l-len exceeds 4 bars. If it exceeds 4 bars, at E21, p-len = 4,
Set 4 measures as the length of the passage. At E8, it is determined whether it is a cadence note. Note length (here,
It is the length from one note to the next. Therefore, when a rest comes after a note, the rest length is also added. If) is 3/4 or more of one bar, it is determined as a cadence note. Following detection of cadence note, E10
At E13, division points are obtained. That is, if the last-len position where the cadence note ends is more than half of the measure, the end length of the measure is used as the melody division point to determine the p-lens length (E10, E13), and the end of the measure is less than half. If this is the case, the end of the measure immediately before that measure is used as the melody division point to determine the phrase length p-len (E
10).

At E16, it is checked whether or not there is a fill-in in the melody part indicated by p-len. If there is a fill-in, the melody division point is determined according to the position of the fill-in flag. In other words, if the fill-in flag stands before 3/4 of a bar, the measure length p-len is set with the end of the bar immediately before that bar as the melody division point, and stands at 3/4 or later of the bar. For example, the phrase length p-len is determined with the end of the measure as the melody dividing point. As described above, the melody division point is determined according to the detection of fill-in, cadence note, outfract, or progress of four measures. Therefore, at E16, the phrase end flag is written in the position of the quantized melody memory 92 corresponding to the melody division point, indicating that the phrase ends at that position.

E17 and E18 are the tonality determination processing of the passage. Since E16 has decided the current verse, at E17,
Refer to the tonality judgment result of the previous syllable (however, the whole melody when the current syllable is the first syllable) to see if the key of the current syllable is the same. This is done by looking at whether the pitch content of the current syllable is included in the PCS of the diatonic scale starting from the tonic of the previous syllable (or the entire melody). If it is included, the key entry (the table of the tonic candidates of the first, second, ...) For the current syllable is made the same as that of the previous syllable (or the entire melody). If it is not included, the tonality is judged for the present syllable in E18. This can be achieved by performing the same processing as the tonality determination processing (FIGS. 6 to 8) described for the entire melody on the current syllable. At E20, it is checked whether or not the melody ends, and if not, the process returns to E2 to repeat the determination of the next phrase and the tonality analysis. By the above processing, the melody is divided into a plurality of syllables, and a syllable end flag is set at the end position of each syllable in the quantized melody memory 92 (FIG. 5). Further, the key entry table 94 is entered with tonic candidates of each passage.

Next, the arrangement process is performed with chords (Melody Harm
onization) processing. FIG. 12 shows a schematic flow of chord addition processing. The purpose of this process is to assign each chord a desired chord progression. First, in initialization 1 (M1), the first phrase of the quantized melody (already divided into phrases) is located. CPDB82 with initialization 2 (M2)
The first chord progression of the first chord is read and the first tonic (key) candidate of the first passage is read from the key entry table 94. In the attribute test M3, the attributes (rhythm style and length) of the chord progression retrieved from the CPDB 82 are inspected.
If it fails (NG), the next chord progression in CPDB 82 (C
P) is located (M8), and the process returns to the attribute test M3.
If it passes (OK), the process proceeds to motion / tone type classification M4.

In the motion / tone type classification M4, the motion of each note in the current syllable and the tone type are classified based on the current tonic candidate and the retrieved chord progression, and classification data 95 is created.
In the matching M5, the classification data 95 is inspected according to the rule of the melody pattern stored in the MPRB 84, and the note of the syllable that matches the melody pattern is labeled as pattern matching. In the judgment M6, the proportion of the notes with the pattern matching label among the musical notes of the passage is evaluated as the CP matching degree, and the chord progression having a relatively high matching degree is stored in the CP entry table 97 as the chord progression candidate of the passage. To do.

If it is not the end of CPDB82 in M7, C
Locate next chord progression in PDB (M8), M3
Return to. The loop M3 to M8 includes the key entry table 9
Regarding the passage when the tonic candidate in 4 is the tonic, CP
Repeated until all chord progressions in DB 82 have been examined. Next, in M9, it is checked whether or not there are any tonic candidates of the current syllable in the key entry table 94. If any, the next tonic candidate is selected from the table 94 (M10), and C is again selected.
Locate the top of PDB82 and loop processing M3 to M8
Return to. In this way, all chord progressions in the CPDB 82 are checked for all tonic candidates in the current syllable.

At M11, the chord progression of the current verse is determined.
This can be done, for example, by selecting the chord progression having the highest CP conformity among the chord progression candidates of the current phrase entered in the CP entry table 97. The chord progression may be determined or selected each time an arrangement performance request is made, as will be described later. In M12, it is checked whether or not there are any syllables to which the chord progression should be assigned. If there are any, the next syllable is located (M13), and the process returns to the initialization 2 (M2) to continue the processing. In this way, the chord added processing routine assigns a desired chord progression to all the passages in the quantized melody memory 92.

FIG. 13 shows the chord progression database (CPD
B) shows the format of 82. In the CPDB 82, each chord progression record consists of a rhythm attribute as an attribute, a chord progression length, a chord data string as a body, and an end mark. Each code data has information of route, type and length. FIG. 14 shows the format of the melody pattern rule base (MPRB) 84. In the MDRB 84, the code of each melody pattern consists of a rhythm attribute, a sequence of melody pattern data, and an end mark. The melody pattern data represents the function of a note and is composed of a note type and a motion type.

FIG. 15 shows a flow of the attribute test M3 (FIG. 12). Read the specified rhythm style with F1. Here, the designated rhythm style is a style of the rhythm automatically played to assist the melody playing on the keyboard 60 in the recording of the real-time melody (FIG. 3). CPDB82 in F2
The chord progression (CP) is read from and the rhythm attribute of the chord progression is compared with the designated rhythm in F3. If they match, the length of the phrase is read at F4, and the length of the phrase is compared with the length of the chord progression at F5. If they match, the attribute test routine M3 returns OK. Otherwise, it returns NG to the attribute test routine M3. In this way, the attribute test routine M3
Searches the chord progression that matches the length of the phrase and the style of the designated rhythm from the CPDB 82.

The flow of the motion / tone type classification routine M4 (FIG. 4) is shown in FIGS. The purpose of this routine is to classify the note type and motion of each note in the passage. The classification result is stored in the classification data memory 95. A record of each note in the classification data memory 95 is composed of a total of 3 bytes including a note type byte, a motion type byte, and a pattern matching flag byte. Of these, the flag writing to the flag byte is executed in the matching routine M5 described later. The tone type represents the type of note that is defined by the background key and chord, and is selected from chord tone, scale note, tension note, available note, and void note. Motion types are classified according to how the pitch changes to the next note, ending motion, homophone progression,
It is selected from among ascending jump progress, descending jump progress, ascending sequential progress, and descending sequential progress.

More specifically, first, in the initialization G1, the classification data memory 95 is cleared, the head locate, the head locate of the retrieved chord progression, and the quantization melody memory 92.
Locating the first note of the current verse, clearing the chord and melody length accumulators. At G2 it is checked whether the next code should be read from the chord progression. This is a check to determine the chord in the chord progression that temporally corresponds to the current note to be classified,
Specifically, it is performed by comparing an accumulator having a length from the beginning of the chord progression (chord length) with an accumulator having a length from the beginning of the passage (melody length). If chord length> melody length is not satisfied, read the next chord from the chord progression and use that chord before proceeding to G6.
The chord tone PCS and tension note PCS are read from the standard PCS memory 83, and the chord length is added to the chord length accumulator (G3 to G5).

Next, the pitch class PC of the current note is read in G6, the length of the current note is read in G7, and the length is added to the melody length accumulator in G8. Next, it is checked whether the PC is a rest (G9). Since the rest is not classified, the next note is located via G35 and G36, and the process returns to G2. If it is not a rest (if it is a note), using the pitch class PC of the current note, the root ROOT of the current chord, and the current key candidate KEY, DROOT = (PC + 24-KEY-ROOT) mod
12 DKEY = (PC + 12-KEY) mod12 is calculated (G10, G11).

If DROOT is an element of the cone tone PCS, the note type of the current note is determined as the chord tone (G12, G13). DKEY is an element of scale note PCS (diatonic scale of tonic C) (G14), and DROOT is tension note P.
If it is an element of CS (G15), the note type is determined as an available note (G17). If DKEY is an element of scale note PCS but DROOT is not an element of tension note PCS, the note type is determined as a scale note (G19). If DKEY is not included in the scale note PCS but DROOT is an element of the tension note PCS (G16), the note type is determined to be the tension note (G18). DKEY is not an element of scale note PCS, and DROOT is tension note PCS
If it is not an element of, the note type is determined to be an void note (G20). The tone type thus determined is written in the tone type byte of the current note record of the classification data memory 95 (G21).

This completes the note type classification process for the current note.
Next, the motion of the current note is classified. That is, if the current note is the last note of the passage, the motion type is determined to be the end motion (G22, G23). If it is not the last note, the pitch NP of the next note and the pitch PP of the current note are read to calculate the pitch change range (pitch) NP-PP from the current note to the next note (G24 to G26). If the pitch is “0” (same pitch), it is determined that the motion type of the current note is the same note progression (G2
7). If the pitch is "1" or "2" (the pitch of a semitone or a whole tone rises), the motion type is determined to be ascending sequential progression (G26, G28, G30). If the pitch is greater than “2”, the motion type is determined to be ascending jumping progress (G
26, G28, G29). The pitch is "-1" or "-2"
If it is (decrease of pitch of semitone or whole tone), it is determined that the motion type is descending sequential progression (G26, G31, G3).
2). When the pitch is smaller than "-2", the motion type is determined to be the downward jumping progress (G26, G31, G3).
3).

The motion type thus determined is written in the motion byte of the current note in the classification data memory 95 (G34). Then, in G35, it is checked whether or not the end of the phrase has been reached. If not, the next note is located (G36), and the process returns to G2 to continue the classification process. In this way, the classification data memory 95 stores the classification results of the sound type and the motion for all the notes of the passage. 18 and 19 show the flow of the matching processing routine M5. In this routine,
It is checked whether the note classification data of the passage written in the classification data memory 95 matches the melody pattern in the MPRB 84, and the pattern matching flag is set in the flag byte of the note matching the melody pattern.

At the initialization B1, the first note record of the classification data memory 95 is located (location = LOC).
1). At B2, the first melody pattern belonging to the designated rhythm style is located from MPRB84. L at B3
Read the classification data of the note record pointed to by OC1. Not at the end of the passage (data read at B3 = end mark) (B
4) If the end of MPRB84 has not been reached (B
5) Set LOC1 to LOC2 at B6. This means that the note on the classification data memory 95 pointed to by LOC1 is made the leading note for matching. That is, in the following, a comparison is made between the pattern of classified notes starting from the first note and each melody pattern of MPRB84. That is, MP data (note type and motion type of notes of melody pattern) is read at B7, and classification data (note type and motion type of classified notes) is read at B8. If both the sound type and the motion type match (B9, B
11), LOC2 is incremented to locate the next classified note, the next element of the melody pattern being inspected is located (B12), and the process returns to B7 to continue the comparison between the two. If a mismatch is detected in either the sound type or the motion type during the comparison with the melody pattern, the pattern is considered to be incompatible and the MPRB 84 searches for the next melody pattern that matches the specified rhythm (B13), and B
Return to 5.

When the pattern of the classified notes matches the inspected melody pattern, the end motion is detected from the melody pattern in B10. In this case, B14 to B1
At 6, the pattern matching flag is set in the flag bytes of the classification notes of LOC1 to LOC2, the leading note for matching is advanced (B17), and the process returns to B2. When the pattern of the classification note does not match any pattern of MPRB84, the end of MPRB is detected at B5. Therefore, the leading note for matching is advanced to the next (B17), and B
Return to 2. In this way, all the notes in the passage are regarded as the leading notes and matched with each melody pattern of the MPRB 84, and the matched notes are labeled with the pattern matching flag.

The flow of the judgment routine M8 is shown in FIG. 20 and FIG.
Shown in 1. This routine evaluates the degree of conformity of chord progression with respect to a syllable by obtaining the proportion of the notes having the pattern conformity label by the matching processing routine. Then, the chord progression showing a relatively high degree of matching is recorded in the CP entry table 97 as a chord progression candidate of the passage. J1
Initializes (start locate of current phrase of quantized melody memory 92, start locate of classification data memory 95, clear CP conformity J-POINT), and sets J-FLAG for rest at J2. J3 reads the note pitch class PC and J4 reads the note length LEN. Rest (P
If C = “rest”), that is, if it is a note, the pattern matching flag of the note is read from the classification data memory 95 (J5, J6). If the pattern matching flag is set (J7), the CP evaluation value J-POINT is set to the tone length L.
EN is added (J8) and J-FLAG is set up (J9).
If the pattern matching flag is not set, J-FLAG is lowered (J10). This J-FLAG is set and lowered when a rest comes after a note with a pattern conforming label, the rest is regarded as conforming, and a rest next to the note with a pattern nonconforming label Is to be regarded as nonconforming. That is, when a rest is detected (J5), J-FLA
The rest length LEN is C only when G stands
It is added to the P compatibility J-POINT (J11, J12).

If the last note of the passage is not reached (J1
3), locate the next note of the passage in the quantized melody memory 92 (J14), and return to J3. If the last note of the passage does not have a pattern matching flag (J1
3, J15), and the length LEN of the CP conformity J-POI
Subtract from NT (J16). This is the last note
This is because it is an important note in chords.
In this way, the CP suitability of the chord progression retrieved from the CPDB 82 is evaluated. Subsequently, according to the flow of FIG. 21, it is determined whether or not the inspected chord progression is entered as a chord progression candidate of the passage. Here, the CP entry table 97 is prepared for each passage. In FIG. 13, the number of CP entries in each passage is 4 (J17). The data record of each entry has a CP conformity ENTRY [i], a chord progression pointer CP [i], and a tonic KEY [i].
It consists of three items. In the loop of J18 to J23, the elements of the CP entry table of the current musical phrase are rearranged according to the degree of CP conformity of the inspected chord progression. At J18, J-POINT> ENTRY [i]
Is the (i + 1) -th time when is satisfied, the CP of chord progression
It is the order of suitability.

Therefore, in J24 to J27, the CP entry record of that rank is added to the CP of the current chord progression.
The goodness of fit J-POINT, the location of this chord progression in the CPDB 82, and the current tonic candidate are recorded. Arrange key 7 upon completion of chord processing (Fig. 12)
The melody arrangement process for 6 ends. afterwards,
When the play key 77 is pressed, the music device (FIG. 2) automatically plays the contents of the arrangement. That is, the melody performance is performed by reproducing the melody data in the quantized melody memory 92, the accompaniment part is created and played based on the determined chord progression and the accompaniment pattern data of the designated style, and the rhythm performance of the designated style is performed.

It is desirable that the user, who is the listener, can enjoy various arrangement performances by changing the chord addition (chord progression for the melody) each time the arrangement performance by the play key 77 is performed. This can be realized, for example, in response to the operation of the play key 77, by selecting the chord progression of each passage from the CP entry table 97 by a random number or in the entry order (in this case, M11 in FIG. 12 is omitted. ). Another example is shown in the flow chart of FIG. In this example, the CP suitability of the chord progression used for the previous accompaniment is 100% (J-POI) for each passage.
If NT / section length = 1), select the next CP entry from the CP entry table 97, use it for this accompaniment, and rank 1 if the CP suitability of the chord progression selected last time is less than 100%. Select CP entry. At the time of the first arrangement performance, each entry uses the CP entry ranked first.

More specifically, the number of performances M is incremented at C1 and the first phrase is located at C2. C3
Then, from the CP entry table of the present music section, the matching rate is 100%
The number of candidates for chord progression A is counted. If A is the number of entries (4 in FIG. 21), it is unchanged, and if it is less than the number of entries, A is incremented by 1 (C4, C5). And
At C6, the MmodA-th CP entry in the CP entry table of the present syllable is selected, and its chord progression and tonic are written in a performance buffer (not shown). Next, the next phrase is located (CS), and the above chord progression selection processing is executed for all the phrases of the melody (C7). After that, an accompaniment is performed using chord progressions and tones of each passage written in the performance buffer (not shown). In order to guarantee a satisfactory arrangement performance, the CP conformance is 10
It would be desirable to have the ability to modify chord progressions below 0% to have a higher degree of conformance.

This is, for example, a CP as shown in FIG.
This can be achieved by providing a synthesis routine. The CP synthesis routine locates the first phrase of the melody as the current phrase in S1. In S2, one CP entry is selected from the CP entry table of the current musical phrase by an appropriate method (for example, a random number or the method described in FIG. 21). CP for that entry
If the compatibility is 100% (S3), the process proceeds to the next passage without modifying the chord progression (S16). If the degree of conformity of the selected CP entry is less than 100% (S3), the process proceeds to S4, and the first measure of the chord progression CP (i) of the entry is located as the K measure. Chord progression CP with S5
The conformity of the K measure in (i) is evaluated, and if it is 100% (S
6) Advance the K measure to the next measure (S14).

When the degree of conformity of the K bar of the chord progression CP (i) is less than 100%, the degree of conformity of the K bar is determined from the chord progression DB of the style specified by the length of the current musical phrase in the CPDB 82. Find the chord progression CP that is 100%, and add the chord progression CP to the content of the K measure of the LP.
Rewrite the K measure of (i) (S6 to S12). That is,
Locate the first CP with the specified rhythm style attribute that has the same length as the current section length from the CPDB 12 (S7).
Then, the fitness of the K measure is evaluated (S8), and if it is 100%, the chord progression CP (i) is corrected by the K measure of CP (i) = K measure of CP (S9, S12). If the conformity of the K measure of CP is less than 100% (S9), CPDB
The next CP that meets the conditions of the specified style and the present music from 82
Is located (S10), and the process returns to S5 via S11.
If there is no CP in the CPDB having a K bar conformity of 100% (S11), the K bar of the chord progression CP (i) is not changed and the process proceeds to the next bar (S14).

Alternatively, the K bar of CP (i) may be replaced with the K bar of the CP having the highest degree of conformity with the K bar in the CPDB of the specified condition (specified style, phrase length). The above processing is performed for all measures of the chord progression CP (i) (S13). In S15, it is checked whether the chord progression correction or composition processing of all the passages is completed, and if not completed, the current passage is advanced to the next passage (S1).
6), the process is repeated. As a result, such CP composition processing enlarges the virtual space of the CPDB 82. Further, instead of simply changing the chord to another chord such as a substitute chord without any special musical ground like the conventional re-chording technique, it is placed in the CPDB 82 and has the same style attribute and length. The chord progressions are synthesized by using the matching degree as a synthesis reference and taking musical time correspondence. Therefore, the natural progression of chords after synthesis is maintained. Although the description of the embodiment has been completed, various modifications can be made within the scope of the present invention.

[0061]

As described above in detail, the melody analyzing apparatus of the present invention divides a given melody into musical passages, which are structural units having a musical meaning, and judges the tonality for each musical passage. There is. Therefore, it is possible to detect the modulation (change in key) inherent in the melody.

[Brief description of drawings]

FIG. 1 is a functional block diagram of a music apparatus incorporating the melody analysis apparatus of the present invention.

FIG. 2 is a block diagram of a hardware configuration of the music apparatus according to the embodiment.

FIG. 3 is a flowchart of recording processing of a real-time input melody.

FIG. 4 is a diagram showing a recording format of input melody data.

FIG. 5 is a diagram showing a data format of quantized melody data.

FIG. 6 is a partial flowchart of tonality determination processing.

FIG. 7 is a partial flowchart of tonality determination processing.

FIG. 8 is a partial flowchart of tonality determination processing.

FIG. 9 is a view showing data of a coupling degree table.

FIG. 10 is a flowchart of melody division processing.

FIG. 11 is a diagram showing a musical example of melody division.

FIG. 12 is a flowchart of processing with chords.

FIG. 13 is a diagram showing a format of a chord progression database.

FIG. 14 is a diagram showing a format of a melody pattern rule base.

FIG. 15 is a flowchart of an attribute test.

FIG. 16 is a flowchart showing a part of motion / tone type classification processing.

FIG. 17 is a flowchart showing a part of motion / tone type classification processing.

FIG. 18 is a flowchart showing a part of matching processing.

FIG. 19 is a flowchart showing a part of matching processing.

FIG. 20 is a flowchart showing a part of determination processing.

FIG. 21 is a flowchart showing a part of determination processing.

FIG. 22 is a flowchart of chord progression selection processing.

FIG. 23 is a flowchart of chord progression synthesis processing.

[Explanation of symbols]

 2 melody 4 melody division 6 passage 8 tonality analysis

Claims (9)

[Claims] 1. A melody imparting means for imparting a melody, (B) a melody dividing means for dividing the melody into passages, and (C) a tone-specific tone determining means for determining a tone of each of the divided passages. And a melody analysis device having: 2. The melody analyzing device according to claim 1, wherein the melody assigning means includes (A) keyboard means for inputting melody data in real time, and (B) melody for storing input melody data. A melody analysis device comprising: a storage unit. 3. The melody analyzing apparatus according to claim 1, wherein the melody dividing means includes means for detecting a phrase ending note from the melody. 4. The melody analyzing apparatus according to claim 1, wherein the melody dividing means includes means for detecting a melody portion of a predetermined length from the melody as a passage. 5. The melody analyzing apparatus according to claim 1, wherein the melody dividing means includes a division position instruction input means for instructing and inputting a division position of the melody. 6. The melody analyzing apparatus according to claim 1, wherein the melody dividing means includes an outfact checking means for checking whether or not the melody starts with an outfract. 7. The melody analysis device according to claim 1, wherein the gradual note determination means is based on (A) a motion analysis means for analyzing a motion of a verse and (B) a motion analyzed by the motion analysis means. And a tonic determining unit that determines a tonic of a phrase. 8. The melody analyzing apparatus according to claim 7, wherein the tonic determining means includes means for generating a plurality of different tonic candidates. 9. The melody analyzing apparatus according to claim 1, wherein the gradual note determination means includes a key maintenance checking means for checking whether the key of the current syllable is the same as the key of the preceding syllable. Melody analyzer.