JPH0667665A - Musical sound information converting device - Google Patents

Abstract

PURPOSE:To convert musical sound information on a melody and an accompaniment which is previously stored into completely different musical sound information. CONSTITUTION:The musical sound information on the melody is stored in a memory 1 and the musical sound information on the accompaniment is stored in a memory 2. A microprocessor 5 reads the musical sound information on the melody out of the memory 1, converts it into a corresponding binary converted sound by a binary conversion dictionary stored in a memory 3, and also stores it in the memory 1 again, and further reads the musical sound information on the accompaniment out of the memory 2, converts it into a corresponding binary converted sound by a binary conversion dictionary stored in a memory 4, and stores it in the memory 2 again.

Description

Detailed Description of the Invention

[0001]

BACKGROUND OF THE INVENTION 1. Field of the Invention The present invention relates to a musical tone information conversion device for converting musical information of a musical piece composed of a melody and an accompaniment into other musical tone information according to a conversion rule between scales.

[0002]

2. Description of the Related Art The idea of converting one note sequence into another note sequence by an appropriately determined law is the first attempt in the history of music. The laws that compose music sometimes give the listener an impression of being intelligently sophisticated. (See, for example, the construction method theoretically proposed by A. Schoenberg as twelve-tone music (twelve-tone technique) <Kojien 1051>). However, the music produced by these methods rarely has an unfamiliar melody (syllable) that causes the listener to instinctively react to emotions.

[0003]

DISCLOSURE OF THE INVENTION The object of the present invention is to provide a musical composition composed of a given melody and accompaniment.
Another song is automatically generated, and the order of pitches of the original scale sequence and the sequence of pitches of the scale sequence after conversion are changed. It is an object of the present invention to provide a musical tone information conversion device configured to convert musical tone information that forms a melody and accompaniment into other musical tone information.

In contrast to the stylized music conversion laws created to date, the conversion laws of the present invention are particularly unique and contain special content. In other words, this law consists of a special fixed symmetry. The symmetrical construction of music has been widespread in the past, and can be found in musical styles (for example, tones) up to the present.

The generally known standard symmetry is represented on the ordinary keyboard as geometrical symmetry as the arrangement of white and black keyboards. That is, the black keys are respectively set in two adjacent black key groups and three adjacent black key groups and are symmetrically arranged.

[0006]

In order to achieve the above-mentioned object, the structure of the present invention has a first storage means for storing tone information of a melody and tone information of an accompaniment, and a melody from the first storage means. And the musical tone information of the accompaniment is read, and the melody and accompaniment of the melody and the accompaniment are converted in accordance with the conversion rule that defines the conversion between the scales by changing the order of the original pitch sequence and the order of the converted scale sequence. This is a configuration including a converting means for converting the musical tone information into other musical tone information, and a second storing means for storing the musical tone information of the melody and accompaniment converted by this means.

[0007]

[Example] The set of two black keys is centered on the white key of "Le" and the set of three black keys is the black key of "So # (sharp)" or "Lab (flat)" Is the center.

All "re" keys on the keyboard and all "keys"
So # (sharp) and "lab (flat)" are the centers of mirror symmetry for binary conversion on the keyboard, and are the key (point) of the conversion method of the present invention.

First, considering a symmetrical relationship with the key of "Le" as a center, as shown in the left half of the following table (1), the following relationship is found between the original sound and the sounds having the symmetrical relationship. The correspondence shown in the table is generated. (For now, consider only the sound about the white key.)

[0010]

[Table 1]

On the other hand, the symmetric relationship of "SO # (sharp)" and "Lab (flat)" with respect to the black key is a correspondence relationship shown in the right half of Table (1). In addition, by the conversion operation described above, "Miredo" which was binary converted mainly from "Les"
When re-converted to "So # (sharp)",
A given sound is a full octave different sound before conversion. That is, the first given note causes octave minor in two binary conversions. The correspondence clarified by Table (1) is the principle underlying the above-mentioned symmetry characteristic on the keyboard. This symmetry is considered “dual or dual”. This is because if this principle is applied twice in succession, the original sound is restored. Considering further, the black key also has the above-described symmetry characteristic on the keyboard, and in addition to the law shown in the above table (1), the [#] is modulated to [b] for the emblem / variant, ]
By biasing [] to [#], it can be easily proved that the black key also has a binary relationship.

The first stage of Table (1) is a C major basic scale. On the other hand, the binary-converted sound sequence given in the second stage is not familiar as in C major, but the three tones that make up the C major tonic chord, that is, (D)
Thinking about (Mi) and (So), each (Mi) and (Do)
Since it is (La), the order is opposite, but it can be seen that the note has changed to the note forming the tonic chord in A minor. This is very suggestive. That is,
Judging from the importance of the tonic code in articulation, it is suggested that the correspondence relationship in the present invention can be interpreted as having a duality to convert a major into a minor. In other words, the lower part of the table (1) is merely the scale down from the fifth key in A minor (that is, [M]). Regarding the permutation, it is only a convention to arrange the tones gradually from the tonic [do] as usual.

Since the practice of sequentially arranging the major tones in the major key is accepted, the sequential display as shown in the lower part of the table (1) after the binary conversion is accepted as a different convention for the minor key. Should be good.
The aforesaid convention of minors is similar to that of the down-representation of the ancient Greek language, in which the most important note corresponding to the tonic, the so-called "Zeon", is placed in the middle of the scale, rather than at the beginning. ing. In fact, in the books dealing with old music, the order of the sounds written in the lower part of Table (1) is
It is published as "Doric Scale" in ancient Greece.

Considering the scale system of modern music and all the conventions accepted therein, the above-mentioned binary transformation law results in an interesting transformation of the scale as shown in the table below. (Hereafter, margin)

[0015]

[Table 2]

With regard to chords (which are considered to be simultaneous arrangements of single notes), binary conversion is performed for each single note that constitutes a chord (chord). In addition, the order of consecutive sounds is not important because they are a set of sounds played simultaneously. For brevity,
Here, a chord consisting of three tones will be described in detail. The chords (chords) are transformed as listed in table (3), where the fundamental tones of the chords are categorized by the name of their role in the scale and the nature of the chord is M (major), m
(Minor) and d (semitone range).

[0017]

[Table 3]

To briefly explain the features of the present invention, when one hears a syllable (melody) that has been subjected to binary conversion, generally, he / she feels as "totally different and new". It is considered that the factor is the conversion of the role of the sound in the scale and the conversion of the characteristics of the chord fundamental or chord. On the other hand, maintaining the unique frequencies (vibration quantification) of the sounds that make up the melody (melody) and the sounds that make up the harmony (accompaniment / chord) (although they have been converted) is binary converted. It is a precondition for maintaining the appeal of syllables to emotions, and often induces an appeal to emotions that is not inferior to the first main melody before conversion. Fortunately, it's quite difficult to hear the converted music and guess the original music, no matter how familiar it is.

This patent application provides an instrument or a device for creating a binary-converted music by using the above-mentioned conversion rule for converting a music to a binary, the details of which are described below. It will be made clear through a detailed description of the binary conversion apparatus and the binary conversion method.

The music binary conversion apparatus includes an erasable memory into which a melody tone and a converted melody tone are input, an erasable memory into which an accompaniment chord and a converted accompaniment chord are input, and a melody tone (single tone). ), The non-erasable memory into which the conversion law is input, the non-erasable memory into which the conversion law of the accompaniment chord is input, and the logical step of binary converting the melody sound and the accompaniment chord according to the conversion law. Composed of units. (1) A melody sound to be binary-converted is first input to the erasable memory. (2) Accompaniment chords associated with the melody are input to the erasable memory. (3) The non-erasable memory is input with a dictionary for binary conversion of a single note (melody) described below. (4) A dictionary for binary conversion of accompaniment chords (chords) described in detail below is input to the non-erasable memory. (5) In the logic process unit, a program for binary conversion of a melody (melody) and a harmony (accompaniment chord / harmonic) according to the procedure described below is stored and input in a non-erasable form. (1) The binary-converted melody sound is input and stored in the erasable memory '. (2) Harmonies that have undergone binary conversion are input and stored in the erasable memory '.

As mentioned earlier, the dictionary for binary conversion is
It is based on the fact that there is a binary (key for conversion) for every key on a normal keyboard. The key for conversion is “selected” Re, or similarly selected “So #” and “Lab”, converts the sound to be binary converted into a sound that is mirror-symmetric about this key. , Fa, so, la, shi ”is“ mi, le, de, shi, la, so, fa ”
, And the sharp (#) and the flat (b) which are the emblems / variants are converted into the flat (b) and the sharp (#), respectively. The dictionary for binary conversion of chords is composed of chords converted by converting each sound by the dictionary for binary conversion of the preceding single note. The logic process unit is arranged so as to connect with various storage memories ,. First, each content of the memory is read, the binary conversion operation is performed based on the conversion law input to the memory, and the converted sound is stored in the memory ','
The input is accumulated in each. To simplify the arrangement of erasable memory, memory ',' can be used instead of memory ',', respectively. The initially input music disappears in the process of being converted into a binary, but by converting the converted sound into a binary again, the original music is easily restored according to the characteristics of the binary conversion.

The music binary conversion method comprises the following steps. (A) A dictionary for melody conversion is stored in a non-erasable form. This is for all keys on a normal keyboard,
Based on the fact that there is a key for dual conversion, the binary converted sound is
Alternatively, it has a mirror symmetry centered on "SO #" and "Lab". The first input music is "Do, Les, Mi, Fa,
The basic scale (continuous tone) of "So, La, Si" is converted into the basic scale (continuous tone) of "Mi, Re, De, Si, La, Sor, Fa", and the chords and variables. Is a sharp,
Flat (b) is converted into flat (b) and sharp (#), respectively. (B) The dictionary for converting the accompaniment chords (harmonies) is stored in a non-erasable form. As in the previous section, the singles constituting the accompaniment chord are converted into accompaniment chords in accordance with the binary conversion dictionary. (C) The melody to be dualized is stored in a non-erasable form. (D) The accompaniment chord is stored in a erasable form. (E) The given melody (single tone) and chord (chord) stored in the erasable form are continuously binary-converted according to the conversion rule stored in the erasable form. (F) Finally, the converted syllables (melody) are stored for use by playing or other procedures.

Although the present invention is not limited to the following embodiments, the present invention will be described based on the embodiments shown in the accompanying drawings. FIG. 1 is a schematic block diagram of a binary conversion apparatus according to the present invention, and FIG. 2 is a flowchart showing a flow of a binary conversion method according to the present invention. In FIG. 1, the melody (single note) memory and the chord (accompaniment chord) memory are indicated by the numbers 1 and 2, respectively. Both of these memories are RAM (Rundom Access Memory) type memories. The memory 1 stores (inputs) a melody to be binary converted. That is, the scale (tone = frequency) A1 for the first tone and its length B1, the scale (wavelength) A2 for the second tone and its length B2, and so on are input in the same way for each tone. The accompaniment chords (harmonies) are accumulated (input) in the memory 2. That is, the chord C1 of the first chord chord and its length D1, the second chord C2 and its length D2 (the same applies hereinafter), and so on. A memory for binary conversion of a melody (single note) and a dictionary memory for binary conversion of a chord (accompaniment chord) are represented by numerals 3 and 4, respectively. These two memories are ROM
This is a (Read Only Memory) type memory. The conversion process unit, in which the ROM-coded instructions for binary conversion are appropriately programmed, is represented by numeral 5 in the figure. Next, FIG. 2 shows a flowchart of a program for controlling the conversion process unit. As shown in FIG. 2, it operates in pairs with the memory. This program converts a melody (melody / single note) to two-dimensional.
That is, in the flowchart, the display of MEM (K) is "memory (K)", and K = 1. ． M is a sequence of sounds to be dualized, which are arranged from 1 to M in sequence, and the display of DIC (I, L) is “dictionary (I, L)”, and I = 1, The converted sound (lower) I = 2,
L = 1, 2. ． N is the number of tones that are already arranged in order as a scale, and the number is 2 × N columns, which constitutes the binary conversion law. The same memory and memory pair as described above form the law of binary conversion of the accompaniment chords (harmonies).

[0024]

[Operation] The operation of the above device is as follows. The start command is a melody (melody / single note) binary conversion (1 in FIG. 1,
A device for binary conversion (including blocks 3 and 5) and harmony (accompaniment chord) (including blocks 2, 4, and 5 in FIG. 1) is operated. The microprocessor 5 reads each sound A1, A2 ... In the memory 1 through the connection line 6. Each of these sounds is moved to the memory 3 by the connection line 7, and the corresponding binary conversion sound (A
1, A2 ....) The converted sound is again stored in the memory 1 through the connecting line 6 in place of the original sound. The above operation will be described with reference to the flowchart of FIG. 2. First, in step S1, variables K and L are set to "1" as initial values. Next, in step S2, the Kth sound is read from the memory 1 and set in MEM (K). Then, in step M3, the (I, L) th sound is read from the memory 3 and set in the DIC (I, L). Then, in step S4, the contents of MEM (K) and the DIC
The contents of (I, L) are compared, and if they do not match, step S
When the process proceeds to step 5 and L is incremented by 1 and a match is obtained in step S4, the process proceeds to step S6 and the (2, L) th sound of the memory 3, that is, the binary converted sound is set in the MEM (K). After that, the binary conversion sound set in MEM (K) is written in the memory 1 in step S7. In step S8, it is determined whether or not the sound stored in the memory 1 is the last one, and if NO, K is incremented by 1 in step S9 and the process returns to step S2. If YES, the conversion operation ends.

The same operation steps are repeated for the memory 2 and the memory 4 through the connecting lines 8 and 9. The accompaniment chords (chords) C1, C2. ． ． Is binary-converted into C1 ′ and C2 ′. The converted chord is input and accumulated in the memory 2 instead of the first chord. Sound length B1: B2. ． ． And cord length D1, D
2. ． ． Remains unchanged during the binary conversion process.

At the end of the operation, RAM memories 1 and 2
No matter what kind of music was initially stored, all are converted to binary and only the resulting music is input and stored. When connected to ordinary output means or output terminals (tap), the memories 1 and 2 described above can be used to play binary converted music or for other representation methods. Also, the first music (melody) disappears in the process of binary conversion, however, it can be easily restored to the original music by undergoing the binary conversion again. This is a basic feature of the binary conversion law.

[0027]

As described in detail above, according to the present invention, the order of pitch of the original scale sequence, the order of pitch of the scale sequence after conversion, and the sequence of pitch of the scale sequence after conversion are changed. According to the conversion rule between scales that defines the conversion between scales, the previously stored melody and accompaniment musical tone information is converted into new melody and accompaniment musical tone information. It can be intriguing and often with interesting results.

[Brief description of drawings]

FIG. 1 is a block diagram showing an outline of a musical sound information conversion device.

FIG. 2 is a flow chart showing a procedure for converting a musical sound.

[Explanation of symbols]

 1 Erasable melody single note memory 2 Erasable accompaniment chord memory 3 Unerasable single tone binary conversion memory 4 Unerasable chord binary conversion memory 5 Microprocessor 6, 7, 8, 9 Connection line

Claims (5)

[Claims] 1. A first storage means for storing the melody tone information and the accompaniment tone information, the melody and accompaniment tone information being read out from the first storage means, and the original pitch order of the musical scale. A conversion means for converting the musical tone information of the melody and the accompaniment into other musical tone information according to a conversion law which defines conversion between the musical scales in such a manner that the pitch order of the scale sequence after conversion is changed, and the conversion means And a second storage unit for storing the musical tone information of the played melody and accompaniment. 2. The converting means, as the conversion law, converts each tone into a mirror object with respect to musical sound information, centering on a key of "Le" or "So # (sharp)" on the keyboard. , Which is the basic scale, "do, le, mi, fa,
The conversion rule of the scale that converts "So, La, Si" into "Mi, Les, De, Si, La, So, Fa" and "# (sharp)" or "
b (flat) "for" b (flat) "or
2. The musical tone information converting apparatus according to claim 1, further comprising a converting law storing means for storing a converting law of a musical tone symbol to be converted into "# (sharp)". 3. The musical tone information exchange according to claim 1, wherein the first storage means has a means for storing information about a melody curve and a means for storing accompaniment musical tone information. apparatus 4. The converting means reads the musical tone information of a melody from the first storing means, converts the musical tone information of the melody into other musical tone information according to the conversion rule, and the first storing means. 2. The musical tone information converting apparatus according to claim 1, further comprising: means for reading musical tone information of the accompaniment and converting the musical tone information of the accompaniment into other musical tone information according to the conversion rule. 5. The musical tone information converting apparatus according to claim 1, wherein the first storage means and the second storage means are constituted by the same storage means.