WO1999023629A1 - Equipment for presenting 'tempo' music - Google Patents

Equipment for presenting 'tempo' music Download PDF

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Publication number
WO1999023629A1
WO1999023629A1 PCT/IB1997/001385 IB9701385W WO9923629A1 WO 1999023629 A1 WO1999023629 A1 WO 1999023629A1 IB 9701385 W IB9701385 W IB 9701385W WO 9923629 A1 WO9923629 A1 WO 9923629A1
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WO
WIPO (PCT)
Prior art keywords
note
tempo
equipment according
music
sign
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Application number
PCT/IB1997/001385
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French (fr)
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WO1999023629A8 (en
Inventor
Anne Marie Pozzo Di Borgo
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Anne Marie Pozzo Di Borgo
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Publication date
Application filed by Anne Marie Pozzo Di Borgo filed Critical Anne Marie Pozzo Di Borgo
Priority to PCT/IB1997/001385 priority Critical patent/WO1999023629A1/en
Publication of WO1999023629A1 publication Critical patent/WO1999023629A1/en
Publication of WO1999023629A8 publication Critical patent/WO1999023629A8/en

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    • G—PHYSICS
    • G09—EDUCATION; CRYPTOGRAPHY; DISPLAY; ADVERTISING; SEALS
    • G09B—EDUCATIONAL OR DEMONSTRATION APPLIANCES; APPLIANCES FOR TEACHING, OR COMMUNICATING WITH, THE BLIND, DEAF OR MUTE; MODELS; PLANETARIA; GLOBES; MAPS; DIAGRAMS
    • G09B15/00—Teaching music
    • G09B15/02—Boards or like means for providing an indication of notes
    • G09B15/026—Non-electrically operated

Definitions

  • the present invention relates to equipment for the presentation of music.
  • the tempo can be indicated with words: fast, long, moderate and / or quick.
  • the present invention aims to highlight different rhythmic fluctuations and provides the material according to claim 1. Thanks to this invention, the performer is in perfect harmony with the creator. The interpreter who perceives these rhythmic fluctuations is more sensitive to the nuances of the fluctuations that the creator wants to define.
  • the material for the presentation of music can be a carrier of musical information: for example a painting of wood, metal or other materials carrying at least one musical score.
  • the tables are preferably drawings on paper, preferably pages from a book of musical scores and / or an art book.
  • the designs can also be in the form of paper designs and the characters can be in the form of a coat of paint, ink or other liquid or pressure sensitive adhesive.
  • the material carrying musical information can be a videotape, an optical disc, a computer diskette making it possible to reproduce the images: for example the scores on the screen of an electronic system.
  • Figure 1 shows a background showing the tempo accelerated followed by a background indicating the slowed down tempo
  • Figure 2 shows a background showing the slowed down tempo
  • Figures 3 and 4 show partitions including a background indicating the decreasing tempo (slow motion);
  • Figure 5 shows a partition with different links;
  • Figures 6 and 7 show scores with notes that stand out individually from the others.
  • the bottom points can be replaced by lines that are less or more apart and / or more or less thick at the quick and long location respectively. In this way the variation of the tempo can be indicated in black.
  • the background can be colored with one and the same color, but more and more dark if the tempo is accelerated and more and more light if the tempo decreases.
  • the background can be formed of 2 colors: for example green and yellow in such a way that in the event of acceleration and degression, the background changes gradually and degressively from yellow to green and from green to yellow respectively. Another possibility is the use of the color blue for the fast place and yellow for the slow place with the green color in the middle. All other costs their and combinations of colors also in the direction of a change of tempo are usable.
  • the succession of rainbow colors can be used to express the variation of the tempo on the background or on the notes.
  • the part of music with normal tempo has a normal background, for example white.
  • the designer preferably uses three acceleration and three deceleration nuances which highlight the relationships between the different tempo fluctuations. weak acceleration; faster acceleration; very fast acceleration; slight slowdown; medium slowdown; and great slowdown.
  • the creator prescribes for example a combination between an acceleration followed by a deceleration or the opposite; or it also proposes a combination of an acceleration movement inside a general deceleration, or the opposite.
  • the bands indicating the variation of the tempo are presented between the two staves (fig. 3) and / or in the staves (fig. 4).
  • connections are presented as the basic architecture of interpretation. They subtly drive and characterize the phrasing, and allow the circulation of tempo fluctuations. Normal writing links are indicated by normal arcs, which cannot qualify the rhythmic fluctuation of the phrasing.
  • the connections proposed as visual support in the musical writing of the invention are nuanced by arcs uniting groups of notes, these arcs being written with differences in thickness. The designer uses several, for example three, shades of thickness (fig. 5):
  • the extension link in the form of a thin arc, does not belong to the phrasing. It extends the value of the note by adding the value to which it is linked. It is characterized by its finesse.
  • the interpreter of the link is more related to the general structure of the interpretation provided by the creator.
  • This visual report exteriorizes the feelings of the creator well by an elaborate strategy controlled by the character of the connection, gives greater control of the articulation in the phrasing and allows the direct taking of the nuances of fluctuations in the links between the sounds either quiet, either tighter or very close together. Variations in the tempo of individual notes may be indicated by signs accompanying the notes in question.
  • the signs have the form of round surfaces of different sizes and / or colors. To prescribe nuances of duration these notes often rest on the ends of the bonds where there is a round surface per note. This game of round surfaces makes it possible to give a very subtle qualification of the rhythmic impulse, gives a complementary effect to the interpretation and allows to go more in depth into the detail of the interpretation.
  • the invention provides a set of round surfaces with nuances of size, color and / or possibly of different shape.
  • the creator uses several, for example 3, kinds of circles to indicate the notes which act on the rhythmic fluctuation.
  • the supporting notes 11, which mark the rhythmic impulse, give momentum in the phrasing, are pillars which structure the rhythmic unfolding of the phrasing and are generally placed at the beginning of the phrasing, on the beats, but can also be placed in mishaps;
  • the articulated and retained notes 12 are almost always located at the end of the phrasing. They give the impression of retaining the phrasing and an effect of slight conclusion. They are played a little later in comparison to the rhythm. The fluctuation of the selected note causes breathing to start again.
  • the surfaces of the bottoms of notes 11-13 are round or of other shapes, for example the shape of a sun 14.
  • FIG. 7 proposes fluctuations in organ points, by highlighting the ratios of size and / or shape which make it possible to visualize different stops or rests of the sound. They mark the end of the rhythmic movement and can be used as temporary or prolonged rest.
  • Figure 7 shows four nuances of extension of the sound by different sizes and shapes of the highlight: 21. short stop
  • the interpreter perceives, in addition to the highlight, its character and its impression of duration.
  • the choice of color, size, intensity and shape of the music elements described above is such that the elements can be used together as a system to make the presentation of the music clearly readable.
  • the creator of a score using the present invention is for example a composer, who wishes to indicate the interpretation of his own works, or a person who wishes to indicate his interpretation of the works of other composers, for example a large repertoire.

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  • Engineering & Computer Science (AREA)
  • Multimedia (AREA)
  • Business, Economics & Management (AREA)
  • Physics & Mathematics (AREA)
  • Educational Administration (AREA)
  • Educational Technology (AREA)
  • General Physics & Mathematics (AREA)
  • Theoretical Computer Science (AREA)
  • Auxiliary Devices For Music (AREA)

Abstract

The invention concerns an equipment for presenting music. At the beginning of a piece of music, the tempo can be indicated with words: fast, long, moderate and/or lively. On the score, indications can be written such as: faster or slower. The invention aims at showing clearly the various rhythmical changes and proposes equipment for presenting music comprising a score with at least one stave with notes, characterised in that least a background indicates variation from the normal tempo. Thus, the interpreter is perfectly in harmony with the composer. The interpreter is more aware of the subtle rhythmical changes which the composer wishes to convey.

Description

MATERIEL POUR LA PRESENTATION DE LA MUSIQUE MATERIAL FOR PRESENTATION OF MUSIC
"Tempo""Tempo"
La présente invention concerne un matériel pour la présentation de la musique.The present invention relates to equipment for the presentation of music.
Au début d'un morceau de musique, le tempo peut être indiqué avec des mots: rapide, long, modéré et/ou vif. Dans la partition musicale, on peut indiquer par écrit: acélérer ou ralentir.At the start of a piece of music, the tempo can be indicated with words: fast, long, moderate and / or quick. In the musical score, you can indicate in writing: speed up or slow down.
La présente invention a pour but de mettre en évidence de différentes fluctuations rythmiques et propose le matériel selon la revendication 1. Grâce à cette invention, l'interprète est en parfaite harmonie avec le créateur. L'interprète qui perçoit ces fluctuations rythmiques est plus sensible aux nuances des fluctuations que le créateur veut définir.The present invention aims to highlight different rhythmic fluctuations and provides the material according to claim 1. Thanks to this invention, the performer is in perfect harmony with the creator. The interpreter who perceives these rhythmic fluctuations is more sensitive to the nuances of the fluctuations that the creator wants to define.
Le matériel pour la présentation de la musique peut être un porteur d'informations musicales: par exemple un tableau de bois, métal ou autres matières portant au moins une partition de musique.The material for the presentation of music can be a carrier of musical information: for example a painting of wood, metal or other materials carrying at least one musical score.
Les tableaux sont de préférence des dessins sur papier, de préférence des pages d'un livre de partitions musicales et/ou d'un livre d'art. Les dessins peuvent également avoir la forme de dessins sur papier et les caractères peuvent avoir la forme d'une couche de peinture, d'encre ou d'un autre liquide ou d'auto-collant.The tables are preferably drawings on paper, preferably pages from a book of musical scores and / or an art book. The designs can also be in the form of paper designs and the characters can be in the form of a coat of paint, ink or other liquid or pressure sensitive adhesive.
Le matériel porteur d'informations musicales peut être une bande vidéo, un disque optique, une disquette d'ordinateur permettant de reproduire les images: par exemple les partitions sur l'écran d'un système élec- -tronique .The material carrying musical information can be a videotape, an optical disc, a computer diskette making it possible to reproduce the images: for example the scores on the screen of an electronic system.
Comme modes de réalisation illustratifs et non- limitatifs de l'objet de l'invention, plusieurs des présentations préférentielles sont décrites ci-après en se référant aux dessins annexés.As illustrative and non-limiting embodiments of the subject of the invention, several of the preferred presentations are described below with reference to the accompanying drawings.
La figure 1 présente un fond indiquant le tempo accéléré suivi par un fond indiquant le tempo ralenti;Figure 1 shows a background showing the tempo accelerated followed by a background indicating the slowed down tempo;
La figure 2 présente un fond indiquant le tempo ralenti ;Figure 2 shows a background showing the slowed down tempo;
Les figures 3 et 4 présentent des partitions comprenant un fond indiquant le tempo dégressif (ralenti); La figure 5 présente une partition avec des liaisons différentes; etFigures 3 and 4 show partitions including a background indicating the decreasing tempo (slow motion); Figure 5 shows a partition with different links; and
Les figures 6 et 7 présentent des partitions avec des notes qui se distinguent individuellement des autres.Figures 6 and 7 show scores with notes that stand out individually from the others.
Dans les figures 1-4, à l'endroit où le fond est le plus foncé, le tempo est le plus vite; au contraire a l'endroit où le fond est le plus clair, le tempo est le plus long. Les fonds indiquant la variation du tempo sont formés par des petits points: par exemple 250 cm2. A l'endroit où le tempo est long, ces petits points sont moins nombreux et /ou leurs surfaces sont moins grandes qu'aux endroits où le tempo est vite. Dans le dessin, les points sont indiqués moins nombreux pour les rendre plus visibles. De préférence on ne voit pas les points, mais seulement une surface plus ou moins foncée.In Figures 1-4, where the background is darkest, the tempo is the fastest; on the contrary at the place where the background is the clearest, the tempo is the longest. The backgrounds indicating the variation of the tempo are formed by small dots: for example 250 cm2. At the place where the tempo is long, these small dots are less numerous and / or their surfaces are smaller than at the places where the tempo is fast. In the drawing, the points are indicated less numerous to make them more visible. Preferably we do not see the points, but only a more or less dark surface.
Les points de fond peuvent être remplacés par des lignes moins ou plus écartées et/ou plus ou moins épaisses à l'endroit vite et long respectivement. De cette manière la variation du tempo peut être indiquée en noir. Le fond peut être coloré avec une et la même couleur, mais de plus en plus foncée en cas d'accélération du tempo et de plus en plus claire en cas de dégression du tempo. Le fond peut être formé de 2 couleurs: par exemple vert et jaune de telle manière qu'en cas d'accélération et de dégression, le fond se change progressivement et dégressivement du jaune au vert et du vert au jaune respect ivement . Une autre possibilité est l'utilisation de la couleur bleue pour l'endroit vite et jaune pour l'endroit lent avec la couleur verte au milieu. Toutes autres cou- leurs et combinaisons de couleurs aussi en direction de changement de tempo contraire sont utilisables.The bottom points can be replaced by lines that are less or more apart and / or more or less thick at the quick and long location respectively. In this way the variation of the tempo can be indicated in black. The background can be colored with one and the same color, but more and more dark if the tempo is accelerated and more and more light if the tempo decreases. The background can be formed of 2 colors: for example green and yellow in such a way that in the event of acceleration and degression, the background changes gradually and degressively from yellow to green and from green to yellow respectively. Another possibility is the use of the color blue for the fast place and yellow for the slow place with the green color in the middle. All other costs their and combinations of colors also in the direction of a change of tempo are usable.
La succession des couleurs d' arc-en-ciel est utilisable pour exprimer la variation du tempo sur le fond ou sur les notes. La part de la musique avec tempo normal a un fond normal, par exemple blanc.The succession of rainbow colors can be used to express the variation of the tempo on the background or on the notes. The part of music with normal tempo has a normal background, for example white.
Le créateur utilise de préférence trois nuances d'accélération et trois nuances de ralentissement qui mettent en évidence les relations des différentes fluctua- tions du tempo. accélération faible; accélération plus rapide; accélération très rapide; léger ralen issement; moyen ralentissement; et grand ralentissement.The designer preferably uses three acceleration and three deceleration nuances which highlight the relationships between the different tempo fluctuations. weak acceleration; faster acceleration; very fast acceleration; slight slowdown; medium slowdown; and great slowdown.
Le créateur prescrit par exemple une combinaison entre une accélération suivie d'un ralentissement ou le contraire; ou il propose aussi une combinaison d'un mouvement d'accélération à l'intérieur d'un ralentissement général, ou le contraire.The creator prescribes for example a combination between an acceleration followed by a deceleration or the opposite; or it also proposes a combination of an acceleration movement inside a general deceleration, or the opposite.
Les bandes indiquant la variation du tempo sont présentées entre les deux portées (fig. 3) et/ou dans les portées (fîg. 4) .The bands indicating the variation of the tempo are presented between the two staves (fig. 3) and / or in the staves (fig. 4).
Une autre sorte de variation du tempo est la liaison.Another kind of tempo variation is the link.
Les liaisons sont présentées comme architecture de base de l'interprétation. Elles conduisent et ca- racterisent subtilement les phrasés, et permettent la mise en circulation des fluctuations du tempo. Les liaisons d'écriture normale sont indiquées par des arcs normaux, qui ne peuvent pas nuancer la fluctuation rythmique des phrasés. Les liaisons proposées comme support visuel dans l'écriture musicale de l'invention sont nuancées par des arcs unissant des groupes de notes, ces arcs étant écrits avec différences d'épaisseur. Le créateur utilise plusieurs, par exemple trois, nuances d'épaisseurs (fig. 5):The connections are presented as the basic architecture of interpretation. They subtly drive and characterize the phrasing, and allow the circulation of tempo fluctuations. Normal writing links are indicated by normal arcs, which cannot qualify the rhythmic fluctuation of the phrasing. The connections proposed as visual support in the musical writing of the invention are nuanced by arcs uniting groups of notes, these arcs being written with differences in thickness. The designer uses several, for example three, shades of thickness (fig. 5):
1. Phrasé souple et linéaire (liaison en forme d'arc, fine, claire), ce qui donne une impression de largeur entre les sons.1. Soft and linear phrasing (arc-shaped, fine, clear connection), which gives an impression of width between sounds.
2. Phrasé plus marqué (liaison en forme d'arc, épaisse, plus foncée) , ce qui donne une impression de régularité rythmique entre les sons.2. More pronounced phrasing (arc-shaped, thicker, darker link), which gives an impression of rhythmic regularity between sounds.
3. Phrasé très accentué (liaison en forme d'arc, très épaisse, assez foncée) , ce qui donne une impression d'un débit plus serré entre les sons.3. Very accented phrasing (arc-shaped connection, very thick, fairly dark), which gives an impression of a tighter flow between sounds.
4. Remarque: La liaison de prolongement, en forme d'arc mince, n'appartient pas au phrasé. Elle prolonge la valeur de la note en additionnant la valeur à laquelle elle est reliée. Elle est caractérisée par sa finesse.4. Note: The extension link, in the form of a thin arc, does not belong to the phrasing. It extends the value of the note by adding the value to which it is linked. It is characterized by its finesse.
L'interprète de la liaison est plus en rapport avec la structure générale de l'interprétation prévue par le créateur. Ce rapport visuel extériorise bien les sentiments du créateur par une stratégie élaborée et contrôlée par le caractère de la liaison, donne une plus grande maîtrise de l'articulation dans le phrasé et permet la prise directe des nuances de fluctuations dans les liens entre les sons soit tranquilles, soit plus serrés, soit très rapprochés. Des variations du tempo des notes individuelles peuvent être indiquées par des signes accompagnant les notes en question.The interpreter of the link is more related to the general structure of the interpretation provided by the creator. This visual report exteriorizes the feelings of the creator well by an elaborate strategy controlled by the character of the connection, gives greater control of the articulation in the phrasing and allows the direct taking of the nuances of fluctuations in the links between the sounds either quiet, either tighter or very close together. Variations in the tempo of individual notes may be indicated by signs accompanying the notes in question.
Dans l'exemple des la figure 6 les signes ont la forme de surfaces rondes de grandeurs et /ou de couleurs différentes. Pour prescrire des nuances de durée ces notes reposent souvent sur les extrémités des liaisons où il y a une surface ronde par note. Ce jeu de surfaces rondes permet de donner une qualification très subtile de la pulsion rythmique, donne un effet complémentaire à 1 ' in- terpretation et permet d'aller plus en profondeur dans le détail de l'interprétation.In the example of FIG. 6, the signs have the form of round surfaces of different sizes and / or colors. To prescribe nuances of duration these notes often rest on the ends of the bonds where there is a round surface per note. This game of round surfaces makes it possible to give a very subtle qualification of the rhythmic impulse, gives a complementary effect to the interpretation and allows to go more in depth into the detail of the interpretation.
L'invention propose un jeu de surfaces rondes avec des nuances de grandeur, de couleur et /ou éventuellement de forme différentes.The invention provides a set of round surfaces with nuances of size, color and / or possibly of different shape.
Le créateur utilise plusieurs, par exemple 3, sortes de cercles pour indiquer les notes qui agissent sur la fluc- tuâtion rythmique.The creator uses several, for example 3, kinds of circles to indicate the notes which act on the rhythmic fluctuation.
Les notes d'appui 11, qui marquent la pulsion rythmique, donnent l'élan dans les phrasés, sont des pilliers qui structurent le déroulement rythmique des phrasés et sont placées en général en début de phrasé, sur les temps, mais peuvent également être placées en contretemps;The supporting notes 11, which mark the rhythmic impulse, give momentum in the phrasing, are pillars which structure the rhythmic unfolding of the phrasing and are generally placed at the beginning of the phrasing, on the beats, but can also be placed in mishaps;
Les notes articulées et retenues 12 sont presque toujours situées en fin de phrasé. Elles donnent l'impression de retenir le phrasé et un effet de légère conclusion. Elles sont jouées un peu plus tard en comparaison avec le ryth- me. La fluctuation de la note retenue provoque une respiration pour repartir.The articulated and retained notes 12 are almost always located at the end of the phrasing. They give the impression of retaining the phrasing and an effect of slight conclusion. They are played a little later in comparison to the rhythm. The fluctuation of the selected note causes breathing to start again.
Les notes en suspension 13, qui sont des notes attaquées plus sensiblement rythmiquement . Elles sont positionnées au milieu ou en fin de phrasé. Il y a une rupture du mouvement, une impression de séparation du phrasé. Donne un effet de suspension brève sur une note dans un mouvement rythmique léger. La grandeur de la surface accentue l'effet de suspension, et sa teinte claire l'effet du mouvement rythmique léger. Les surfaces des fonds des notes 11-13 sont rondes ou d'autres forme, par exemple la forme d'un soleil 14.The suspended notes 13, which are attacked notes more substantially rhythmically. They are positioned in the middle or at the end of the phrasing. There is a break in the movement, an impression of separation of the phrasing. Gives a brief suspension effect on a note in a light rhythmic movement. The size of the surface accentuates the suspension effect, and its light shade the effect of light rhythmic movement. The surfaces of the bottoms of notes 11-13 are round or of other shapes, for example the shape of a sun 14.
L'invention propose aussi des mesures pour l'interprétation des points d'orgue. La figure 7 propose des fluctuations de points d'orgue, par la mise en évidence des rapports de grandeur et/ou de forme qui permettent de visualiser des différents arrêts ou repos du son. Ils marquent la fin du mouvement rythmique et peuvent être utilisés comme repos momentané ou prolongé.The invention also proposes measures for the interpretation of high points. FIG. 7 proposes fluctuations in organ points, by highlighting the ratios of size and / or shape which make it possible to visualize different stops or rests of the sound. They mark the end of the rhythmic movement and can be used as temporary or prolonged rest.
La figure 7 montre quatre nuances de prolongement du son par des grandeurs et des formes différentes du point d'orgue: 21. arrêt brefFigure 7 shows four nuances of extension of the sound by different sizes and shapes of the highlight: 21. short stop
22. arrêt légèrement prolongé22. slightly prolonged standstill
23. arrêt prolongé et 24. arrêt prolongé sur un temps très long.23. prolonged stop and 24. prolonged stop over a very long time.
L'interprète perçoit en plus de l'arrêt du point d'orgue, son caractère et son impression de durée.The interpreter perceives, in addition to the highlight, its character and its impression of duration.
Ils apportent des nuances complémentaires aux phrasés d'interprétation. Le choix de couleur, grandeur, intensité et forme des éléments de musique décrits au-dessus est de telle sorte que les éléments peuvent être utilisés ensemble comme un système pour rendre la présentation de la musique bien lisible. Le créateur d'une partition utilisant la présente invention est par exemple un compositeur, qui désire indiquer l'interprétation de ses propres œuvres, ou une personne qui désire indiquer son interprétation des œuvres d'autres compositeurs, par exemple un grand répertoire. They bring complementary nuances to the phrasing of interpretation. The choice of color, size, intensity and shape of the music elements described above is such that the elements can be used together as a system to make the presentation of the music clearly readable. The creator of a score using the present invention is for example a composer, who wishes to indicate the interpretation of his own works, or a person who wishes to indicate his interpretation of the works of other composers, for example a large repertoire.

Claims

REVENDICATIONS
1. Matériel pour la présentation de la musique comprenant une partition d'au moins une portée avec des notes musicales, caractérisé en ce qu'au moins un fond indique une variation de tempo normal. 1. Material for the presentation of music comprising a score of at least one staff with musical notes, characterized in that at least one background indicates a variation in normal tempo.
2. Matériel selon la revendication 1, caractérisé par au moins une succession des surfaces colorées différemment .2. Material according to claim 1, characterized by at least one succession of differently colored surfaces.
3. Matériel selon les revendications 1 ou 2 , caractérisé par au moins une succession des surfaces avec intensités différentes.3. Equipment according to claims 1 or 2, characterized by at least one succession of surfaces with different intensities.
4. Matériel selon la revendication 3, caractérisé par une succession d'au moins trois surfaces avec intensités progressives ou dégressives.4. Equipment according to claim 3, characterized by a succession of at least three surfaces with progressive or decreasing intensities.
5. Matériel selon une des revendications précé- dentés, caractérisé par au moins deux fonds colorés différemment; l'un de ces fonds indiquant la progression du tempo (accéléré) et l'autre la dégression du tempo (ralenti) .5. Material according to one of the preceding claims, characterized by at least two differently colored backgrounds; one of these funds indicating the progression of the tempo (accelerated) and the other the decrease in the tempo (slowed down).
6. Matériel selon une des revendications précé- dentés, caractérisé par au moins deux arcs de liaison avec différentes épaisseurs et/ou formés par des surfaces avec des intensités différentes et/ou avec des nuances de couleur .6. Material according to one of the preceding claims, characterized by at least two connecting arcs with different thicknesses and / or formed by surfaces with different intensities and / or with shades of color.
7. Matériel selon une des revendications précé- dentés, caractérisé par au moins une note d'appui, une note articulée et retenue et/ou une note de suspension, cette note étant individuellement pourvue d'un signe en forme d'un fond individualisé qui entoure cette note.7. Equipment according to one of the preceding claims, characterized by at least one support note, an articulated and retained note and / or a suspension note, this note being individually provided with a sign in the form of an individualized background. that surrounds this note.
8. Matériel selon la revendication 7, caractérisé en ce qu'une note d'appui est pourvue d'un signe qui diffère en comparaison avec le signe d'une note en suspension ou d'une note articulée.8. Equipment according to claim 7, characterized in that a supporting note is provided with a sign which differs in comparison with the sign of a suspended note or an articulated note.
9. Matériel selon la revendication 8, caractérisé en ce qu'une note d'appui, une note en suspension et une note articulée sont individuellement pourvues des signes avec des surfaces ayant des intensités, des couleurs, des grandeurs et /ou des formes différentes.9. Material according to claim 8, characterized in that a supporting note, a hanging note and an articulated note are individually provided with signs with surfaces having different intensities, colors, sizes and / or shapes .
10. Matériel selon une des revendications précédentes, caractérisé par au moins un point d'orgue pourvu d'un signe correspondant et de préférence de plusieurs points d'orgue différents, ces points d'orgue étant encore plus de préférence pourvus de signes qui se distinguent en arrêt bref 21, arrêt légèrement prolongé 22, arrêt prolongé 23, et arrêt prolongé sur un temps très long 24, par une différence d'épaisseur, d'intensité, de couleur et /ou de forme. 10. Equipment according to one of the preceding claims, characterized by at least one high point provided with a corresponding sign and preferably with several different high points, these high points being even more preferably provided with signs which are distinguish in short stop 21, slightly prolonged stop 22, prolonged stop 23, and prolonged stop over a very long time 24, by a difference in thickness, intensity, color and / or shape.
PCT/IB1997/001385 1997-11-04 1997-11-04 Equipment for presenting 'tempo' music WO1999023629A1 (en)

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* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
EP0772175A1 (en) * 1995-10-31 1997-05-07 Pozzo di Borgo, Anne-Marie Material for the presentation of music

Patent Citations (1)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
EP0772175A1 (en) * 1995-10-31 1997-05-07 Pozzo di Borgo, Anne-Marie Material for the presentation of music

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