WO2016128795A1

WO2016128795A1 - System and method for simulating the conduction of a musical group

Info

Publication number: WO2016128795A1
Application number: PCT/IB2015/051033
Authority: WO
Inventors: Oscar ISLER
Original assignee: Isler Oscar
Priority date: 2015-02-11
Filing date: 2015-02-11
Publication date: 2016-08-18

Abstract

A system for simulating conducting a musical group includes at least one conducting device which transmits a conducting speed signal; at least one conduction input unit associated with each conduction device; one music speed information unit and one conduction output unit per conduction input unit; at least one audio output unit; and at least two specific group of instruments, with each specific group of instruments including at least one instrument performing unit having a figure, a musical instrument and a series of motors; each specific group of instruments is associated with a conduction output unit; each music speed information unit includes a series of instrument-time ideal stances, which represent different stances associated with a specific group of instruments for a particular time interval; and each conducting device transmits its conducting speed signal to its conduction input unit which outputs one normalized conducting speed to its conduction output unit.

Description

SYSTEM AND METHOD FOR SIMULATING THE CONDUCTION OF A MUSICAL GROUP

A. Technical Field

The present disclosure relates generally to the field of the simulation of music performing, and relates more particularly to simulating the conduction of an orchestra using a pair of conducting devices in the shape of a pair of wristbands, each one being carried in each hand of the user.

B. Background

Music is probably one of the preferred amenities in the world, if not the top one, and undoubtedly it will continue to be in high regard due to the wide range of music styles, making it possible to please everyone's needs. Be it listening to recorded music, playing instruments or attending to live performances, music has come to be the most common topic. Currently, the music industry is one of the most profitable businesses in the world, and despite the danger imposed by offline and online piracy, revenues have been increasing due to the rise of digital sales, which is being foreseen as the new format for distributing recorded music.

Yet new styles of music have appeared in the last century (and continue to appear every day), classical music is still preferred by a substantial number of people, surpassing greatly the loyalty of fans of current music groups, which normally decreases after some seasons. Therefore, this group of people shows a great fidelity and appears as an interesting target, mostly because this is a well-educated public, not prone to circumstantial tendencies and that is less impressed by styles that otherwise would catch the attention of the general public.

In classical music, the most impressive experience for the audience is the live concert, not only for the fact that audio is far better in a live performance, but for the spectacle of the orchestra when reacting to the conductor's signals. Most of people feel identified with the conductor and certainly would like to share the sensation of being in charge of a whole orchestra.

The above situation, of course, would be possible to occur in some other styles, for example, rock music, a jazz band and the like, though as not as deeply as in classical music.

Therefore, it would be a great breakthrough to give an inexperienced user the chance to simulate the conduction of an orchestra. Though most of people that prefer classical music are able to identify specific music pieces, it is also true that only a small number of them have knowledge of music theory, scripting or composing, let alone the access to conducting a real orchestra. In the past, there have been some attempts to bring a user the capability to feel the experience of conducting a music group, specifically, an orchestra.

In the past, there have been some attempts to bring the inexperienced users the experience of playing with instruments and music, some of them very successful in terms of sales. Perhaps the most known of these types of simulation systems are the games series, 'Guitar Hero', 'Rock Band', and the like, for the several gaming consoles, such as Nintendo Wii, PlayStation, Xbox.

In fact, as described in Patent Application US 2012/287043 "Technology for virtually executing music performance based on a movement of an input device has been known to date (for example, page 10 to page 11 of the instruction manual for Wii software 'Wii Music', released by Nintendo Co., Ltd. on Oct. 16, 2008). In this technology, moving (shaking) the input device once in a predetermined direction is handled as an action for one stroke in the case of a guitar, and as an operation for one hit (operation for one beating) in the case of a percussion instrument, thereby executing virtual performance of a musical instrument."

Those systems, though, aim only at providing the user the chance to simulate the operation of a single instrument and finally are not capable of conducting several instruments that play asynchronously, for example, as an orchestra performing a musical composition, where some instruments play and others not, but in some other part of the compositions the same can be playing at the same time, i.e., every instrument has a unique schedule for playing the composition.

Specifically aimed to simulate the conduction of an orchestra there are very few solutions, yet all of them are finally software-based, thus not providing a realistic feel to any potential user. All interaction is limited to a screen and there is no real link between the conductor and the instruments.

For instance, a project was raised to group a series of performers under the guide of virtual conductor, the 'Virtual Orchestra Project' (http://www.glenrhodes.com/vop/), yet there is the problem that all performers are not really in front of the conductor, but rather are only virtual representations of them ("avatars"). Further, the project is aimed to many people joining the virtual orchestra.

Another attempt may be found in the software-based simulator "Virtual Orchestra Simulator" ("http://www.raphregan.com/virtual.htm"), albeit again there is no real immersion of the conductor in the play. On the contrary, this attempt is limited to a full computer-interfaced simulation of a specific music track. Moreover, this software needs at least some specific knowledge of music.

Perhaps the most close solution may be found in the videogame 'Wii Music: Orchestra', in which the gamer carries a single baton that uniquely sets the tempo of the whole orchestra.

The system is pretty interesting, as the instruments play in the moment they should do so. For example, sometimes the violin will be playing while the cello may be still.

Further, if the user waves the baton rapidly, the orchestra moves faster and the sound is played faster. Precisely, reviews have accounted that this produces a very awkward sound. A review from renowned game critic IGN states:

"Then after four beats the music is in your hands, and how it sounds is up to you.

By bobbing the remote quickly with no real rhythm the musicians will play frantically on their tiny cartoon instruments, and contrary slow, graceful movements will create dragging notes and longer tones. Though there are no indicators of any kind to tell you how you are doing, you find yourself trying to match the original music as best you can remember, and see what movements give different results".

In fact, if the gamer stops conducting, the entire orchestra turns and stares at him in a weird way until he or she finally starts conducting again.

Moreover, there is no provision for moments in which the user is not meant to conduct, yet may erroneously do so, and the orchestra will follow him. This is mostly because the orchestra is conducted with only one baton. In a real orchestra, the conductor uses two hands to conduct, and he may be conducting with one and the other not. If a conductor were to move his left hand, no musicians will obey in real life, because none of them would feel called by that move (the movement of the hands motivates only the musicians that know they should play in that moment). This cannot happen with 'Wii Music: Orchestra', because it's not applicable: there is a single device, the baton.

Furthermore, there is not a variant in which music is not associated to each instrument, in which some instruments, if not conducted, could not be heard. This is also an indirect consequence of using a single conducting device, the baton.

As can be seen, there are no solutions in the prior art that provide a user a real physical simulation of the conduction of a music group.

There remains a need for a system where the music is heard in a pleasant manner, i.e., the composition is heard as designed by the composer, even if the conductor performs incorrectly, or even if the stops playing the music, thus unlinking the velocity the conductor moves the baton with the speed the music is played. Additionally, the art lacks also a system with more than one conducting device, as in real life a conductor uses both hands, and thus a system where instruments are associated with each conducting device and, if the conductor orders to play when not meant to do so, the instruments associated to that conducting device will ignore the order. That cannot happen in prior art because the closest prior art uses just one baton. Finally, there also remains a need for a variant in which, each instrument may be associated to a separated sound track. In this way, situations in which the conductor forgets to conduct a side of the orchestra to play could result in some instrument sounds not being heard, though always the music will have the correct speed.

C. Technical Problem

One of the main goals of the present invention is to enable an inexperienced user to simulate the conduction of a music group composed by groups of instruments, artifacts resembling them or graphical representations of them. the user not needing any knowledge of music theory, and the system informing the user when an order given to the orchestra is incorrect, be it in the speed or in the group the conductor orders to play in a specific moment.

D.1. Summary of the Invention

In order to simulate the conduction of a music group, a system is proposed, which comprises: at least 'one conducting device', a 'music group' or a 'music group representation', at least one 'music track memory unit', at least one 'music speed information unit', at least one 'conduction input unit', at least one 'conduction output unit' and, optionally, some or all of the following: at least one 'audio output unit', at least one 'error-occurrences memory', at least one 'error indicator' and at least one 'help indicator'.

The user carries the at least one 'conducting device', preferably two, each one in one of his/her corresponding extremities, preferably the wrists. Each 'conducting device' continuously, or either in short intervals of time, transmits a 'conducting speed signal'. In a preferred manner, each conducting device is a 'wristband' comprising an 'accelerometer', a 'battery' and a 'wireless communication device' for transmitting the magnitude of the acceleration vector. The 'battery' powers the 'accelerometer' and the 'wireless' communication device.

The 'music group' or 'music group representation' comprises at least two 'specific groups of instruments'.

Each 'specific group of instruments' in turn comprises at least one 'instrument performing unit' having an articulated instrument carrying device, preferably a scale-model figure of a music performer, an apparatus that is a real instrument or that only resembles a musical instrument (e.g.: a scale-model figure having the shape of a violin, but that produces no sound by itself) carried by the instrument carrying device, and at least one motor that is capable to move and rotate at least one part of the instrument carrying device and the instrument itself. For example, the violin performing unit would comprise a scale-model of a violinist, a violin, and a series of motors to move and rotate the violinist and the violin to make it appear that the violinist figure plays a violin.

Whenever an instrument could not be "carried" by the instrument carrying device, it must be understood that the instrument carrying device at least is near enough to its related instrument to enter in physical contact. For example, the timpani is not carried by the instrument carrying device (the timpanist figure) but rather is hit by it.

Each 'specific group of instruments' is composed preferably only of the same type of instruments (e.g.: a group of violins, a group of trumpets, etc.).

Alternatively, the 'music group representation' is composed only by graphical representations of at least two 'specific group of instruments', for example, in a display screen.

Preferably, there is a 'processing unit' that comprises all components of the system, but for all the 'conducting devices' and the 'music group', i.e.: the at least one 'memory unit', the at least one 'conduction input unit' for receiving each of said 'conducting speed signals', the at least one 'conduction output unit', the at least one 'audio output unit' and so on.

However, there is no need for those components to be in the 'processing unit'. For example, there could be that each 'conducting device' also houses a 'music track memory unit', a 'music speed information unit', a 'conduction input unit', a 'conduction output unit' and an 'audio output unit'. Or also any other combination (the at least one 'audio output unit' could be in the 'processing unit', but the others in each 'conducting device', or all the components be housed in each of the 'instrument performing units'). There is no limit to the combinations, as the scope is defined not by the place the units are placed into, but in the way they interact to each other.

Also preferably, there is a 'memory unit' comprising a register or registers containing at least one 'music speed information unit' for each one of the 'conducting devices' and the at least one 'music track memory unit', which is optionally associated to each 'music speed information unit'.

Each 'music track memory unit' contains the digital or analogic information of the waveform of the music composition the user wants to play with. The 'music track memory unit' is transmitted to at least one 'audio output unit' (e.g., an audio jack port, a speaker, wireless audio speaker, etc.). There could be that each 'instrument performing unit' has a speaker and the at least one 'audio output unit' transmits to each 'instrument performing unit' the music track to be played in their speakers.

Alternatively, there is at also least one 'special music track memory unit' and at least one 'special audio output unit', each of them associated to some or all of the 'instrument performing units'. In this case, each 'special music track memory unit' contains the digital or analogic information of the waveform of the audio associated only to that 'instrument performing units' of the music composition the user wants to play with. Then each 'instrument performing unit' that has a 'special music track memory unit' will also have a speaker and each 'special audio output unit' transmits to each of these specific 'instrument performing unit' the 'special music track unit' to be played in their speakers. For example, there could be a 'special music track memory unit' having only music for the violin, other 'special music track memory unit' including only music for the trumpet, and so on.

Also alternatively, there could be that some or all of the 'instrument performing units' have a filter, such as a frequency filter, to pass only some of the waveform, in order to play a different sound in those 'instrument performing units'. Then it could be also simulated in their speakers as they would be playing only their instruments, though as not as accurately as in paragraph [32].

Embodiments of [32] and [33] would provide a far better simulation than the embodiment of paragraph [31], but all are covered in the scope, so as any variation of them. In the best case, as in paragraph [31], the composition could be recorded so that each instrument is registered in a separate music track. During the simulation, if the user does not order a side to play, then the system may be programmed so that music from all instruments of that side that should play and are not ordered to do so, will simply not be heard. In this case, the overall music would sound very bad, and it will be apparent that the conductor is doing bad, as in real life. Worst of all, the conductor could be idle, and then the orchestra simply would not move, nor the speakers of the 'instrument performing units' play any sound.

Each 'music speed information unit' is defined as a digital time representation of what is called the 'ideal stance' for all the 'specific group of instruments' associated to the 'associated conducting device' corresponding to that 'music speed information unit', information that is defined for each interval of time the 'music track' is intended to be divided in (e.g.: seconds, milliseconds, etc.). Accordingly, there will be as many 'music speed information units' as 'conducting devices', each 'music speed information unit ' being associated in turn to a series of 'specific groups of instruments'.

More specifically, the 'music speed information unit' will contain a series of 'ideal stances' for a 'specific group of instruments', for a specific interval of time; this specific value will be referred to as 'instrument-time ideal stance'.

It must be remarked that the interval of time the 'music speed information unit' is intended to be divided coincides with the interval of time defined for the transmittal of the 'conducting speed signal' (e.g.: if the 'music speed information unit' is divided in milliseconds, the 'conducting speed signal' is to be divided in milliseconds).

By 'instrument-time ideal stance' it is to be understood one of a list of values, of which some are optional:

optionally, 'prepared to stop',

optionally, 'prepared to play',
'inactive',
several 'play speeds' from the fourth value on

It may be understood that this is a referential order and those values could be ordered in another way and that the several 'play speeds' are values that represent the play speed the programmer set as appropriate for that specific time position of the music track.

Preferably, each 'music speed information unit' is a matrix comprising as many rows as 'specific group of instruments' the matrix is associated to, preferably each value of the matrix being one of six possible values:

Value	Description
-2	prepared to stop
-1	prepared to play
0	inactive
1	slow
2	normal
3	fast

In this case, each row is associated to a 'specific group of instruments', depending on to which 'conducting device' they are intended to be related to. Therefore, in this case each row is the 'instrument-time ideal stance' for all the intervals of time of the 'specific group of instruments' corresponding to that row.

The 'conduction input unit' receives the at least one 'conducting speed signal' from each 'conducting device' and converts each to a 'normalized conducting speed', that is a value chosen from at least two values, depending on the magnitude of the 'conducting speed signal'. Where the 'conducting speed signal' is below a 'minimum stance threshold', a value is assigned indicating 'inactivity', whereas if it surpasses the defined threshold, at least one value is assigned to the 'normalized conducting speed'. Thus, depending on the magnitude of the 'conducting speed signal' that surpasses said 'minimum stance threshold', the 'normalized conducting speed' will be at least one value representing different speeds. After that, the 'normalized conducting speed' is sent to the 'conduction output unit'.

Preferably, the 'normalized conducting speed' will be a numeric value chosen between one of four possible values:

Value	Description
0	inactive
1	slow
2	normal
3	fast

Preferably, the 'conduction input unit' converts the 'conducting speed signal' to the 'normalized conducting speed' by recording the peaks and valleys of the signal for each defined interval of time and choosing one of the 'normalized conducting speed' depending on the range in which the peaks and valleys fall. The detection of peaks and valleys may be done using classic peak detection methods and/or algorithms and will not be covered here, as they are widely known from the prior art.

In turn, each 'conduction output unit' receives the associated 'normalized conducting speed'. After that, a comparison procedure is performed to dampen the effects of the conductor's physical reaction capabilities versus the exact moment the 'music speed information unit' deems as ideal for a specific stance. The idea behind is that it would prove hard or even impossible for a conductor to order the different 'specific groups of instruments' to play exactly at the same time interval as the 'music speed information unit' deemed as the best moment. Then, it is defined that the 'conductor' may be some intervals delayed with the exact moments defined by the 'music speed information unit'.

D.2. Scoring Procedure

More specifically, the 'conduction output unit' compares that value with the 'instrument-time ideal stances' of the upcoming interval of time and also with a number of 'n' upcoming interval of times after the immediate upcoming interval of time as defined by the system manufacturer.

The comparison procedure for each one of the 'n+1' comparisons described above is:

For each 'instrument-time ideal stance', the associated 'conduction output unit' compares its value with the value of the 'normalized conducting speed' and sends a first signal, an 'instrument-time conduction signal' and optionally a second signal, an 'instrument-time error signal'. The 'instrument-time conduction signal' is a signal indicating each 'instrument performing unit' the final movement speed or stance. The 'instrument-time error' is a measure of the deviation from the order given by the conductor and the actual order he should have given. Both of those values depend on several options:

The 'instrument-time ideal stance' is set either to 'inactive' or 'prepared to play' or 'prepared to stop', then the 'instrument-time conduction signal' will be set to inactive and the 'instrument-time error signal' will be one of two choices:
- If all 'instrument-time ideal stances' associated to that 'conduction output unit' are set either to 'inactive' or 'prepared to play', then the 'instrument-time error signal' will be the absolute difference between the 'instrument-time ideal stance' and the actual 'normalized conducting speed'.
- Else, the 'instrument-time error signal' will be a null signal.
The 'instrument-time ideal stance' is not set to any of 'inactive' or 'prepared to play' or 'prepared to stop', then the 'instrument-time conduction signal' will be set to the value of the 'normalized conducting speed', adjusted by a factor that depends on the 'specific group of instrument' the 'instrument-time conduction signal' is related to, and the 'instrument-time error signal' will be one of two choices:
- If the 'normalized conducting speed' is equal to the 'instrument-time ideal stance', then the 'instrument-time error signal' will be a null signal.
- Else the 'instrument-time error signal' will be the absolute difference between the 'instrument-time ideal stance' and the actual 'normalized conducting speed'.

After the 'n+1' comparisons are made, only one of them will be chosen, which will be the one that has the lowest 'instrument-time error signal', which thus will become the definitive 'instrument-time error signal'. The definitive 'instrument-time conduction signal' will be the one that is paired to the lowest 'instrument-time error signal'.

After the 'n+1' comparisons are made:

A) If there is not the optional 'instrument-time error signal', then the definitive 'instrument-time conduction signal' will be first one of the 'n+1' comparisons.
B) If there is the optional 'instrument-time error signal': only one of them will be chosen, which will be the one that has the lowest optional 'instrument-time error signal', which thus will become the definitive 'instrument-time error signal'. The definitive 'instrument-time conduction signal' will be the one that is paired to the lowest 'instrument-time error signal'

Preferably, the 'instrument-time conduction signal' is a series of voltages sent to specific motors of each 'instrument performing unit' (as each 'instrument performing unit' could have several motors) that belongs to the associated 'specific group of instruments' (e.g.: an 'instrument-time conduction signal' associated to the 'first violins' is a series of voltages sent to all the violin performing units contained therein).

Further, all the 'instrument-time error signals' for that interval of time are summed up and stored in a 'error-occurrences memory', which optionally is included in the system. If optionally included, the current value stored in that memory (as it is summed up during each interval of time, it is constantly changing) may be sent to an optional 'error indicator', which preferably is a display screen showing the amount of errors the 'conductor' has made.

Optionally, there is an 'error-occurrences memory' and a related 'error indicator' associated to each 'conducting device', instead of one.

Also optionally, the 'error-occurrences memory' stores the instruments that caused each 'instrument-time error'.

If at least one 'help indicator' is present, it is associated to all or to one of the several 'music speed information units', which send, at each interval of time, the 'instrument-time ideal stances' for all their associated 'specific group of instruments' to the 'help indicator'.

If there is one 'help indicator' per each 'music speed information units', then it receives only the 'instrument-time ideal stances' for its associated 'specific group of instruments'. If it is a single 'help indicator' then it receives all the 'instrument-time ideal stances' for all the 'specific group of instruments'.

The 'help indicator', if present, warns the 'conductor' during each interval of time, in several possible ways:

about the upcoming 'specific group of instruments' which should play; and/or
about the speed the 'conductor' should order with each 'conducting device'; and/or
about which 'conducting device' should be played with.

It must be understood that all of these possibilities may occur at the same time or in any combination.

Preferably, the 'help indicator' comprises a series of devices:

A lamp beside every 'specific group of instruments' that lights every time it should play during the next interval of time.
A 'display' for each 'conducting device', each deployed in front of the 'conductor' indicating the speed each 'conducting device' should have during the next interval of time.

Alternatively, there may be a simplified version of the game, in which the 'conductor' does not have to care about the speed of the orchestra, but only to operate the appropriate 'conducting device' for the time interval. In this case, the 'instrument-time conduction signal' will be the value of the 'instrument-time ideal stances' for all 'specific groups of instruments'. This may be the case for claims 2 and 4.

Furthermore, it is also considered a possible embodiment, in which, if the conductor stops playing the ‘conducting devices’ (i.e., the 'normalized conducting speeds' are detected as ‘inactive’), the music will stop playing and the ‘instrument performing units’ will stop to move (i.e., all the 'instrument-time conduction signals' will not power any motor), accordingly. The scoring rules are not necessarily modified by this embodiment, though it would be recommended to give a penalty to the user. This is to prevent the orchestra from playing if the user stands idle all the time.

E. Brief Description of the Drawings

Figure 1 shows a preferred mode of carrying out the invention that depicts the principles the invention is based on.

Figure 2 shows a diagram illustrating the embodiment of the best mode.

F. Best Mode of carrying out the invention

More preferably, the system comprises a pair of wireless 'conducting devices' (10, 20), preferably 'wristbands', an 'orchestra' (100) and a 'microprocessor'. The pair of 'wristbands' (10, 20) is carried by the playing user (i.e., the 'conductor').

Each 'wristband' (10, 20) comprises an accelerometer, a transmitting device for transmitting the magnitude of the acceleration vector and a battery to power the accelerometer and the transmitting device.

The 'orchestra' (100) comprises a series of 27 groups: basses, bass drum, bassoons, cellos, clarinets, contrabassoons, cymbals, English horns, first horns, first violins, flutes, Glockenspiel, gongs, harps, oboes, piccolos, second horns, second violins, snare drum, timpani, triangles, trombones, trumpets, tubas, tubular bells, violas and xylophones arranged as in Figure 1. Each group may be composed of a variable number of scale-model figures of a musician carrying the defined instrument of the group. Also, each musician figure includes several motors for controlling the movements of the extremities of the figure. There are six possible stances for each figure: preparing the instrument to stop, preparing the instrument to play, stopped, and a cyclic movement when the figure acts as playing the instrument.

The 'orchestra' (100) is arranged in two halves, the first half to the left and housing 12 groups: first violins, second violins, harps, flutes, first horns, clarinets, second horns, trumpets, tubular bells, xylophones, triangles and Glockenspiel, and the second to the right housing 14 groups: cellos, basses, violas, English horns, oboes, contrabassoons, bassoons, piccolos, tubas, trombones, bass drum, gongs, snare drum and cymbals. Additionally, there is a group of timpani located in an area located in both the first and second half.

The stance of each figure is controlled by an input voltage coming from the microprocessor. Where there is no voltage, no motor may act, therefore the figure will be static (stopped). If a minimum voltage is trespassed (a value that is defined for each different kind of figure separately), a first series of motors is activated which move the extremities of the figure so as to resemble a musician preparing the instrument for immediate play ('prepared to play') or preparing the instrument to rest in a stop position ('prepared to stop'). If another voltage, superior to the minimum voltage, is applied to the figure, then another series of motors is activated which move the extremities of the figure so as to resemble a musician playing his instrument slowly. A higher voltage would activate the same series of motors as for the slow speed, but this time that voltage will make the motors to drive faster, resembling a musician playing his instrument in a 'normal' way. The highest voltage being applied, the motor will actuate the fastest and the musician figure will look as playing the instrument 'fast'.

The 'microprocessor' comprises a 'memory module', two 'conduction input units' (11, 21), one associated to the left 'wristband' (20) and one associated to the right 'wristband' (10), two 'conduction output units' (13, 23), one associated to the left 'wristband' (20) and one associated to the right 'wristband' (10) and an 'audio output unit'.

The 'memory module' hosts a series of music tracks and, for each music track, a pair of 'music speed information units' (21, 22) including a byte representation of two matrixes, each matrix associated to each 'wristband'. Each row of each matrix indicates the ideal stance a 'group of instruments' should have during the next millisecond. Each stance is represented by 6 numbers: -2 (prepared to stop), -1 (prepare to play), 0 (stopped), 1 (play slow), 2 (play normal) and 3 (play fast).

For all tracks, each matrix is associated to the same 'wristband'. Therefore, the left 'wristband' will be always be associated to the same groups of instruments. It must be noted that a group of instruments may be associated to both 'wristbands'. This ensures that groups in the middle play either with the left or right 'wristband' moving.

In this mode, the left 'wristband' will be associated to a matrix of 13 rows (out of the 27 groups explained above), specifically: first violins, second violins, harps, flutes, first horns, clarinets, second horns, trumpets, tubular bells, xylophones, triangles, Glockenspiel and timpani x 'n' columns ('n' being the milliseconds of the chosen music track) and the right 'wristband' a matrix of 15 rows (out of the 27 groups explained above), specifically: cellos, basses, violas, English horns, oboes, contrabassoons, bassoons, piccolos, tubas, trombones, bass drum, gongs, snare drum, cymbals and timpani x 'n' columns ('n' being the milliseconds of the chosen music track). The reason the sum of the groups associated to the left and right 'wristbands' is 28 and not 27, is that the timpani may be ordered to play by the left or right 'wristband' (as explained previously).

Each 'conduction input unit ' converts each acceleration magnitude of the corresponding 'wristband' to a scalar, the 'normalized conducting speed', which is one between four possible numbers, depending on the average value of the peaks and valleys of the 'acceleration vector magnitude' during the defined interval of time.

To obtain the most accurate values to represent each 'stance', an experimental 'wristband' was made and the conductor played for several seconds as was wished to represent each stance. The results are according to the following table:

Average of Acceleration Valleys (m/s₂)	Average of Acceleration Peaks (m/s₂)	Normalized conducting speed	Description
0	1.0	0	Inactive
0.5	1.5	1	Slow speed
0.5	2.2	2	Normal speed
2	infinite	3	Fast speed

There is no contradiction in that the intervals do overlap, as each 'conduction input unit ' will choose one of the four shown values when the conditions are first met, e.g.: an average of the valleys of 0.5 m/s₂ and an average of the peaks of 1.1 m/s₂ will only be considered as normal.

Further, if the right 'wristband' (10), for instance, is sending an acceleration module that is considered to be 'normal' by the 'conduction input unit ', actually the 'normalized conducting speed' will be 2.

The 'normalized conducting speed' is further sent to the 'conduction output unit', which compares its value with the related matrix (remember there are two matrixes, one for each 'wristband') according to the rules set above, in SECTION D.2. Scoring Procedure.

G. Examples

Example 1:

A 'conductor' chooses to play the '1812 Overture' (written by Tschaikowsky), which actually is a 15:00 length composition and chooses to use the complete orchestra representation to perform it, i.e., he arranges all the groups of instruments detailed in the 'best mode' as required for the halves of the orchestra (see Figure 1).

The 'microprocessor' has a memory housing two matrixes, the first being a 13 x 900 matrix (13 groups of instruments by 900 seconds) and the second being a 15 x 900 matrix (15 groups of instruments by 900 seconds). Each position in the matrix has the ideal stance for each specific group of instruments. For example, the matrix for the right wristband has the following first 10 columns (10 seconds):

-1	1	1	1	1	1	1	1	1	2
0	0	0	0	0	0	0	0	0	0
-1	1	1	1	1	1	1	1	1	2
0	0	0	0	0	0	0	0	0	0
0	0	0	0	0	0	0	0	0	0
0	0	0	0	0	0	0	0	0	0
0	0	0	0	0	0	0	0	0	0
0	0	0	0	0	0	0	0	0	0
0	0	0	0	0	0	0	0	0	0
0	0	0	0	0	0	0	0	0	0
0	0	0	0	0	0	0	0	0	0
0	0	0	0	0	0	0	0	0	0
0	0	0	0	0	0	0	0	0	0

In the case of the left 'wristband', it has the following associated matrix for the first 10 columns (10 seconds):

0	0	0	0	0	0	0	0	0	0
0	0	0	0	0	0	0	0	0	0
0	0	0	0	0	0	0	0	0	0
0	0	0	0	0	0	0	0	0	0
0	0	0	0	0	0	0	0	0	0
0	0	0	0	0	0	0	0	0	0
0	0	0	0	0	0	0	0	0	0
0	0	0	0	0	0	0	0	0	0
0	0	0	0	0	0	0	0	0	0
0	0	0	0	0	0	0	0	0	0
0	0	0	0	0	0	0	0	0	0
0	0	0	0	0	0	0	0	0	0
0	0	0	0	0	0	0	0	0	0

The 'conductor' activates the performance and stands still, with the average of the peaks and valleys of acceleration vector magnitude falling between 0.9 m/s₂ and 1.9 m/s₂, thus the 'wristbands' send two R_t and L_t signals (t = 1, ..., 900) to each 'conduction input unit ' (for the left and right 'wristbands'). Accordingly, the 'conduction input unit' detects that the range is below the minimum threshold and sets 'normalized conducting speeds' NR_t and NL_t to 0 for the left and right halves.

In turn, those two 'normalized conducting speeds' NR_t and NL_t are then sent to their corresponding 'conduction output unit'. For example, the 'normalized conducting speed' associated to the right 'wristband' NR_t goes to its related 'conduction output unit' and the NL_t of the left 'wristband' goes to its related 'conduction output unit'.

At the same time, each 'conduction output unit' associated to the right and left 'wristbands' (or right and left halves of the orchestra), have also received the 'instrument-time ideal stances' MR_i,t (i = 1, ..., 13) and ML_j,t (j = 1, ..., 15) for all the instruments corresponding to each 'wristband', or 'half. In this case, for example taking only the right 'wristband', during the first second of the composition, if we look at the first and third rows, first column, which row corresponds to the cellos and violas, respectively, there is a -1 in it, which indicates that the groups of cellos and violas should activate their motors to resemble as they are "preparing to play" during the first second, whereas if we look at the second and 3rd to 13th rows, we will note that those groups (basses, English horns, oboes, contrabassoons, bassoons, piccolos, tubas, trombones, bass drum, gongs, snare drum, cymbals and timpani) should be inactive during the first second, as they have a 0.

The 'conduction output unit' then compares the 'normalized conducting speeds' NR_t and NL_t with each of the 'instrument-time ideal stances' MR_i,t and ML_j,t for the first second.

In the case of the right hand, the 'normalized conducting speed' NR_t is set to 0 and, according to the rules set above in the description, several voltage 'instrument-time conduction signals' CR_it will be sent for the all the groups of instruments related to the right hand. However, only the cellos and violas will be powered enough to move their motors to resemble as 'preparing to play'. For the rest of figures associated to the right hand, there will be no power.

Further, the 'conduction output unit' compares also the same 'normalized conducting speed' (which is zero) with each of the MR_i,t 'instrument-time ideal stances' and finds that all of the 13 related 'instrument-time error signals' are null, according to the rules stated in SECTION D.2. Scoring Procedure. As a result, the sum of them is zero and it is summed then to the current value of the 'error-occurrences memory', which is zero (because the play has just started, no errors have been made).

Example 2:

The same 'conductor' is now playing the 5th second of the '1812 Overture'. During the previous second he was shaking his right hand in a speed considered as 'slow' by the 'conduction input unit'. Now, however, he has decided to order the right half of the orchestra to move faster. Then he shakes his right hand faster and the accelerometer detects that the average module of the acceleration vector, during that second, is between 1.5 m/s₂. As he is ordering during the 5th second, his orders are obviously intended to be for the 6th second.

The 'conduction input unit ' detects that the average of the peaks and valleys of the acceleration vector magnitude is in the range corresponding to the 'normal speed' and sets the 'normalized conducting speed' NR₆ to 2 for the right half. As he is not moving the left hand, the 'normalized conducting speeds' NL₆ is set to 0 for the left half.

The 'conduction output unit' associated to the right 'wristband' (or right half of the orchestra), has also received the 'instrument-time ideal stances' MR_i,6 for all the instruments corresponding to that 'wristband', or 'half. In this case, during the 6th second of the composition, if we look at the first and third rows, first column, which row corresponds to the cellos and violas, respectively, there is a 1 in it, which indicates that the groups of cellos and violas should activate their motors to resemble as playing in a "normal speed" during the 6th second, whereas if we look at the second and 3rd to 13th rows, we will note that those groups (basses, English horns, oboes, contrabassoons, bassoons, piccolos, tubas, trombones, bass drum, gongs, snare drum, cymbals and timpani) should be again inactive during the 6th second, as they have a 0.

The 'conduction output unit' then compares the NR₆ 'normalized conducting speed' with each of the 'instrument-time ideal stances' for the 6th second. In this case, the 'normalized conducting speed' NR₆ is set to 2 and, according to the rules set above in the description, the cellos and violas are set by the voltages carried by the CR_i6 'instrument-time conduction signals' to play in a "normal speed", while all the other instruments in the right half will receive no power, therefore, they will not move.

Further, the right 'conduction output unit' compares also the same right 'normalized conducting speed' NR₆ (which is 2) with each of the 'instrument-time ideal stances' MR_i,6. According to the rules stated in SECTION D.2. Scoring Procedure, the cellos and violas have an 'instrument-time ideal stance' of 1, while the 'normalized conducting speed' NR₆ is 2.

Therefore, their related 'instrument-time error signals' are each set to a value of 1 (absolute value of 2 minus 1). The rest of 'instrument-time ideal stances' MR_i,6 are all null, then according to the rules stated in SECTION D.2. Scoring Procedure, all of their related 'instrument-time error signals' are each set to a value of 0.

As a consequence, the sum of them is 2 and it is summed then to the current value of the 'error-occurrences memory', which let's assume is zero (i.e., let's assume that the conductor has made no errors so far). The 'error-occurrences memory' is then sent to the 'error indicator' and the 'conductor' notes that he was wrong.

Example 3:

The same 'conductor' as before playing the '1812 Overture' is now in the 6th second and has decided to fix his error. We will remember that, during the previous second, he was shaking his right hand in a speed considered as 'normal' by the 'conduction input unit '. Now, however, he has decided to order the right half of the orchestra to move in a 'slow speed', but also has decided to order the left half of the orchestra to play in a 'slow speed'.

Then he shakes his both hands and both accelerometers detects that the average of the peaks and valleys of acceleration vector magnitude is falling between 0.8 m/s₂ and 1.3 m/s₂. Obviously, his orders are to be considered to be for the orchestra in the seventh second of the performance.

The 'conduction input unit' detects that the average of the peaks and valleys of the acceleration vector magnitude is in the range corresponding to the 'slow speed' and sets the 'normalized conducting speeds' NR₇ and NL₇ to 1 for the right and left halves.

The 'conduction output unit' associated to the right 'wristband' (or right half of the orchestra), has also received the 'instrument-time ideal stances' MR_i,7 for all the instruments corresponding to that 'wristband', or 'half'. In this case, during the 7th second of the composition, if we look at the first and third rows, first column, which row corresponds to the cellos and violas, respectively, there is a 1 in it, which indicates that the groups of cellos and violas should activate their motors to resemble as playing in a "normal speed" during the 7th second, whereas if we look at the second and 3rd to 13th rows, we will note that those groups (basses, English horns, oboes, contrabassoons, bassoons, piccolos, tubas, trombones, bass drum, gongs, snare drum, cymbals and timpani) should be again inactive during the 7th second, as they have a 0.

The right 'conduction output unit' then compares the right 'normalized conducting speed' NR₇ with each of the 'instrument-time ideal stances' MR_i,7 for the 7th second. In this case, the 'normalized conducting speed' NR₇ is set to 1 and, according to the rules set above in the description, the cellos and violas are set by the voltages carried by the CR_1,7 and CR_3,7 'instrument-time conduction signals' to play in a "slow speed", while all the other instruments in the right half will receive no power, therefore, they will not move.

Further, the right 'conduction output unit' compares also the same right 'normalized conducting speed' NR₇ (which is 1) with each of the 'instrument-time ideal stances' MR_i,7. According to the rules stated in SECTION D.2. Scoring Procedure, the cellos and violas have an 'instrument-time ideal stance' of 1, while the 'normalized conducting speed' is 1.

Therefore, their related 'instrument-time error signals' are each set to a value of 0. The rest of 'instrument-time ideal stances' are all null, then according to the rules stated in SECTION D.2. Scoring Procedure, all of their related 'instrument-time error signals' are each set to a value of 0.

The 'conduction output unit' associated to the left 'wristband' (or left half of the orchestra), has also received the 'instrument-time ideal stances' ML_j,7 for all the instruments corresponding to that 'wristband', or 'half. In this case, during the 7th second of the composition, we will note that all of the groups (first violins, second violins, harps, flutes, first horns, clarinets, second horns, trumpets, tubular bells, xylophones, triangles, Glockenspiel and timpani ) should be inactive during the 7th second, as they have a 0.

The left 'conduction output unit' then compares the left 'normalized conducting speed' NL₇ with each of the 'instrument-time ideal stances' ML_j,7 for the 7th second. In this case, the 'normalized conducting speed' is set to 1 but, according to the rules set above in SECTION D.2. Scoring Procedure, all of the left groups are set to be 'inactive' and will receive no power, therefore, they will not move.

However, the left 'conduction output unit' compares now the same left 'normalized conducting speed' NL₇ (which is 1) with each of the 'instrument-time ideal stances'. According to the rules stated in SECTION D.2. Scoring Procedure, all of the left groups have an 'instrument-time ideal stance' of 0, while the 'normalized conducting speed' NL₇ is 1. Therefore, their related 'instrument-time error signals' are each set to a value of 1 (absolute value of 1 minus 0).

As a consequence, the sum of all 'instrument-time error signals' of the left and right 'wristbands' is 15 (the 15 instruments that the conductor ordered to play in the left side, at a normal speed, whereas they should have been inactive), which is summed then to the current value of the 'error-occurrences memory', which was 2 in the previous example, totaling now 17. The 'error-occurrences memory' is then sent to the 'error indicator' and the 'conductor' notes that he made a bigger mistake now.

Example 4:

The same 'conductor' continues to play the '1812 Overture' and is now in the 7th second. He has decided to stop ordering the left side to play and instead to order the right half of the orchestra to move in a slow speed.

Then he shakes only his right hand and the accelerometer detects that the average of the peaks and valleys of acceleration vector magnitude falls between 0.4 m/s₂ and 1.2 m/s₂. Obviously, his orders are to be considered to be for the right half of the orchestra in the 8th second of the performance.

The 'conduction input unit ' detects that the acceleration is in the range corresponding to the 'slow speed' and sets the 'normalized conducting speed' NR₈ to 1 for the right half. As he is not moving the left hand, the 'normalized conducting speed' NL₈ is set to 0 for the left half.

The 'conduction output unit' associated to the right 'wristband' (or right half of the orchestra), has also received the 'instrument-time ideal stances' MR_it for all the instruments corresponding to that 'wristband', or 'half. In this case, during the 8th second of the composition, if we look at the first and third rows, first column, which row corresponds to the cellos and violas, respectively, there is a 1 in it, which indicates that the groups of cellos and violas should activate their motors to resemble as playing in a "normal speed" during the 8th second, whereas if we look at the second and 3rd to 13th rows, we will note that those groups (basses, English horns, oboes, contrabassoons, bassoons, piccolos, tubas, trombones, bass drum, gongs, snare drum, cymbals and timpani) should be again inactive during the 8th second, as they have a 0.

The right 'conduction output unit' then compares the right 'normalized conducting speed' NR₈ with each of the 'instrument-time ideal stances' for the 8th second. In this case, the 'normalized conducting speed' NR₈ is set to 1 and, according to the rules set above in the description, the cellos and violas are set by the voltages carried by the CR_1,8 and CR_3,8 'instrument-time conduction signals' to play in a "slow speed", while all the other instruments in the right half will receive no power, therefore, they will not move.

Further, the right 'conduction output unit' compares also the same right' normalized conducting speed' NR₈ (which is 1) with each of the 'instrument-time ideal stances'. According to the rules stated in SECTION D.2. Scoring Procedure, the cellos and violas have an 'instrument-time ideal stance' of 1, while the 'normalized conducting speed' NR₈ is 1. Therefore, their related 'instrument-time error signals' are each set to a value of 0. The rest of 'instrument-time ideal stances' are all null, then according to the rules stated in SECTION D.2. Scoring Procedure, the cellos and violas are set by the voltages carried by the CR_1,7 and CR_3,7 'instrument-time conduction signals' to play in a "slow speed", while all the other instruments in the right half will receive no power, therefore, they will not move.

The 'conduction output unit' associated to the left 'wristband' (or left half of the orchestra), has also received the 'instrument-time ideal stances' ML_j,8 for all the instruments corresponding to that 'wristband', or 'half'. In this case, during the 8th second of the composition, we will note that all of the groups (first violins, second violins, harps, flutes, first horns, clarinets, second horns, trumpets, tubular bells, xylophones, triangles, Glockenspiel and timpani) should be inactive during the 8th second, as they have a 0.

The left 'conduction output unit' then compares the left 'normalized conducting speed' NL₈ with each of the 'instrument-time ideal stances' ML_j,8 for the 8th second. In this case, the 'normalized conducting speed' NL₈ is set to 0 and, according to the rules set above in the description, all of the left groups are set to be 'inactive' and will receive no power, therefore, they will not move.

Then, the left 'conduction output unit' compares now the same left 'normalized conducting speed' NL₈ (which is 0) with each of the 'instrument-time ideal stances' ML_j,8. According to the rules stated in SECTION D.2. Scoring Procedure, all of the left groups have an 'instrument-time ideal stance' of 0, while the 'normalized conducting speed' NL₈ is 0. Therefore, their related 'instrument-time error signals' are each set to a value of 0.

As a consequence, the sum of all 'instrument-time error signals' of the left and right 'wristbands' is 0 and that and it is summed then to the current value of the 'error-occurrences memory', which was 17 in the previous example. The 'error-occurrences memory' is then sent to the 'error indicator' and the 'conductor' notes that he is playing right.

H. Industrial Applicability

The present description is for illustrative purposes only, and should not be construed to narrow the breadth of the present disclosure in any way. Thus, those skilled in the art will appreciate that various modification might be made to the presently disclosed embodiments without departing from the full and fair scope and spirit of the present disclosure. Other aspects, features and advantages will be apparent upon an examination of the attached drawings and appended claims.

Claims

A system for simulating the conduction of a musical group in a music composition, comprising:

at least one 'conducting device' which transmits a 'conducting speed signal' for a defined interval of time;

at least one 'conduction input unit' associated to each 'conducting device';

one 'music speed information unit' per each 'conduction input unit';

one 'conduction output unit' per each 'conduction input unit';

at least one 'audio output unit';

at least one 'music track memory unit' connected to each of the at least one 'audio output unit'; and

at least two 'specific groups of instruments', where each 'specific group of instruments' comprises at least one 'instrument performing unit', which has an articulated instrument carrying unit figure that carries an apparatus that is or resembles a musical instrument and a series of motors, which motors to move and/or rotate parts of the articulated instrument carrying device;

CHARACTERIZED in that:

each 'specific group of instruments' is associated to one of the 'conduction output unit';

each 'music speed information unit' comprises a series of 'instrument-time ideal stances' values, each value associated to a 'specific group of instruments' and to a particular time interval among the overall length of the music track';

each 'instrument-time ideal stance' is one in a group of values representing different stances:

-optionally, 'prepared to stop',

-optionally, 'prepared to play',

-'inactive', and

-several 'play speeds' from the last value on

the 'music track memory unit' contains the waveform information of the music composition ;

wherein, during each interval of time defined:

the 'music track memory unit' sends the information corresponding to that interval of time to one or more of the 'audio output units';

each 'conducting device' transmits its 'conducting speed signal' to its corresponding 'conduction input unit', which, depending on the value of it, outputs one 'normalized conducting speed' to its corresponding 'conduction output unit', which 'normalized conducting speed' is one between a group of values:

-'inactive', and

-several 'play speeds' from the second value on

each 'music speed information unit' transmits each 'instrument-time ideal stance' to its corresponding 'conduction output unit';

In turn, each 'conduction output unit' receives the associated 'normalized conducting speed'.

wherein:

after that, the 'conduction output unit' compares that value with the 'instrument-time ideal stances' of the upcoming interval of time and also with a number of 'n' upcoming interval of times after the immediate upcoming interval of time.

the comparison procedure for each one of the 'n+1' comparisons is:

for each 'instrument-time ideal stance', the associated 'conduction output unit' compares its value with the value of the 'normalized conducting speed' and sends a first signal, an 'instrument-time conduction signal' and optionally a second signal, a 'instrument-time error signal', depending on several options:

• The 'instrument-time ideal stance' is set either to 'inactive' or 'prepared to play' or 'prepared to stop', then the 'instrument-time conduction signal' will be set to inactive and the 'instrument-time error signal' will be one of two choices:

• If all 'instrument-time ideal stances' associated to that 'conduction output unit' are set either to 'inactive' or 'prepared to play' or 'prepared to stop', then the 'instrument-time error signal' will be the absolute difference between the 'instrument-time ideal stance' and the actual 'normalized conducting speed'.

• Else, the 'instrument-time error signal' will be a null signal.

• The 'instrument-time ideal stance' is not set to any of 'inactive' or 'prepared to play' or 'prepared to stop', then the 'instrument-time conduction signal' will be set to the value of the 'normalized conducting speed', adjusted by a factor that depends on the 'specific group of instrument' the 'instrument-time conduction signal' is related to, and the 'instrument-time error signal' will be one of two choices:

• If the 'normalized conducting speed' is equal to the 'instrument-time ideal stance', then the 'instrument-time error signal' will be a null signal.

• Else the 'instrument-time error signal' will be the absolute difference between the 'instrument-time ideal stance' and the actual 'normalized conducting speed'.

after the 'n+1' comparisons are made:

A) If there is not the optional 'instrument-time error signal', then the definitive 'instrument-time conduction signal' will be first one of the 'n+1' comparisons.

B) If there is the optional 'instrument-time error signal': only one of them will be chosen, which will be the one that has the lowest optional 'instrument-time error signal', which thus will become the definitive 'instrument-time error signal'. The definitive 'instrument-time conduction signal' will be the one that is paired to the lowest 'instrument-time error signal'.

the 'instrument-time conduction signals' are sent each to their associated 'specific groups of instruments', wherein the 'instrument performing units' inside them will power their motors in a way that depends on the value of the 'instrument-time conduction signals', being the way one between:

-will power the motors related to the stance 'prepared to stop', if present;

-will power the motors related to the stance 'prepared to play', if present;

-will not power any motor; and

-will power the motors related to the 'play speeds' stance, in a speed which is proportional to the value of the received 'instrument-time conduction signal'.
A system for simulating the conduction of a musical group in a music composition, comprising:

at least one 'conducting device' which transmits a 'conducting speed signal' for a defined interval of time;

at least one 'conduction input unit' associated to each 'conducting device';

one 'music speed information unit' per each 'conduction input unit';

one 'conduction output unit' per each 'conduction input unit';

at least one 'audio output unit';

at least one 'music track memory unit' connected to each of the at least one 'audio output unit'; and

at least two 'specific groups of instruments', where each 'specific group of instruments' comprises at least one 'instrument performing unit', which has an articulated instrument carrying unit figure that carries an apparatus that is or resembles a musical instrument and a series of motors, which motors to move and/or rotate parts of the articulated instrument carrying device;

CHARACTERIZED in that:

each 'specific group of instruments' is associated to one of the 'conduction output unit';

each 'music speed information unit' comprises a series of 'instrument-time ideal stances' values, each value associated to a 'specific group of instruments' and to a particular time interval among the overall length of the music track';

each 'instrument-time ideal stance' is one in a group of values representing different stances:

-optionally, 'prepared to stop',

-optionally, 'prepared to play',

-'inactive', and

-several 'play speeds' from the last value on

the 'music track memory unit' contains the waveform information of the music composition;

wherein, during each interval of time defined:

the 'music track memory unit' sends the information corresponding to that interval of time to one or more of the 'audio output units';

each 'conducting device' transmits its 'conducting speed signal' to its corresponding 'conduction input unit', which, depending on the value of it, outputs one 'normalized conducting speed' to its corresponding 'conduction output unit', which 'normalized conducting speed' is one between a group of values:

-'inactive', and

-several 'play speeds' from the second value on

each 'music speed information unit' transmits each 'instrument-time ideal stance' to its corresponding 'conduction output unit';

In turn, each 'conduction output unit' receives the associated 'normalized conducting speed'.

wherein:

after that, the 'conduction output unit' compares that value with the 'instrument-time ideal stances' of the upcoming interval of time and also with a number of 'n' upcoming interval of times after the immediate upcoming interval of time.

the comparison procedure for each one of the 'n+1' comparisons is:

for each 'instrument-time ideal stance', the associated 'conduction output unit' compares its value with the value of the 'normalized conducting speed' and sends a first signal, an 'instrument-time conduction signal', which will be the value of the 'instrument-time ideal stances' and optionally a second signal, a 'instrument-time error signal', depending on several options:

• The 'instrument-time ideal stance' is set either to 'inactive' or 'prepared to play' or 'prepared to stop', then the 'instrument-time error signal' will be one of two choices:

• If all 'instrument-time ideal stances' associated to that 'conduction output unit' are set either to 'inactive' or 'prepared to play' or 'prepared to stop', then the 'instrument-time error signal' will be the absolute difference between the 'instrument-time ideal stance' and the actual 'normalized conducting speed'.

• Else, the 'instrument-time error signal' will be a null signal.

• The 'instrument-time ideal stance' is not set to any of 'inactive' or 'prepared to play' or 'prepared to stop', then the 'instrument-time error signal' will be one of two choices:

• If the 'normalized conducting speed' is equal to the 'instrument-time ideal stance', then the 'instrument-time error signal' will be a null signal.

• Else the 'instrument-time error signal' will be the absolute difference between the 'instrument-time ideal stance' and the actual 'normalized conducting speed'.

after the 'n+1' comparisons are made:

A) If there is not the optional 'instrument-time error signal', then the definitive 'instrument-time conduction signal' will be first one of the 'n+1' comparisons.

B) If there is the optional 'instrument-time error signal': only one of them will be chosen, which will be the one that has the lowest optional 'instrument-time error signal', which thus will become the definitive 'instrument-time error signal'. The definitive 'instrument-time conduction signal' will be the one that is paired to the lowest 'instrument-time error signal'.

the 'instrument-time conduction signals' are sent each to their associated 'specific groups of instruments', wherein the 'instrument performing units' inside them will power their motors in a way that depends on the value of the 'instrument-time conduction signals', being the way one between:

-will power the motors related to the stance 'prepared to stop', if present;

-will power the motors related to the stance 'prepared to play', if present;

-will not power any motor; and

-will power the motors related to the 'play speeds' stance, in a speed which is proportional to the value of the received 'instrument-time conduction signal'.
A system for simulating the conduction of a musical group in a music composition, comprising:

at least one 'conducting device' which transmits a 'conducting speed signal' for a defined interval of time;

at least one 'conduction input unit' associated to each 'conducting device';

one 'music speed information unit' per each 'conduction input unit';

one 'conduction output unit' per each 'conduction input unit';

at least one 'audio output unit';

at least one 'special audio output unit' associated to specific 'instrument performing units';

optionally, at least one 'music track memory unit' connected to each of the at least one 'audio output unit';

optionally, at least one 'special music track memory unit' associated to each of the at least one 'special audio output unit ';

at least two 'specific groups of instruments', where each 'specific group of instruments' comprises at least one 'instrument performing unit', which has an articulated instrument carrying unit figure that carries an apparatus that is or resembles a musical instrument and a series of motors, which motors to move and/or rotate parts of the articulated instrument carrying device;

CHARACTERIZED in that:

each 'specific group of instruments' is associated to one of the 'conduction output unit';

each 'music speed information unit' comprises a series of 'instrument-time ideal stances' values, each value associated to a 'specific group of instruments' and to a particular time interval among the overall length of the music track';

each 'instrument-time ideal stance' is one in a group of values representing different stances:

-optionally, 'prepared to stop',

-optionally, 'prepared to play',

-'inactive', and

-several 'play speeds' from the last value on

the 'music track memory unit' contains the waveform information of the music composition;

each 'special music track memory unit' contains the waveform of the audio associated only to specific 'instrument performing units' of the music composition;

wherein, during each interval of time defined:

the 'music track memory unit' sends the information corresponding to that interval of time to one or more of the 'audio output units';

the 'special music track memory unit' sends the information corresponding to that interval of time to one or more of the 'special audio output units';

each 'conducting device' transmits its 'conducting speed signal' to its corresponding 'conduction input unit', which, depending on the value of it, outputs one 'normalized conducting speed' to its corresponding 'conduction output unit', which 'normalized conducting speed' is one between a group of values:

-'inactive', and

-several 'play speeds' from the second value on

each 'music speed information unit' transmits each 'instrument-time ideal stance' to its corresponding 'conduction output unit';

In turn, each 'conduction output unit' receives the associated 'normalized conducting speed'.

wherein:

after that, the 'conduction output unit' compares that value with the 'instrument-time ideal stances' of the upcoming interval of time and also with a number of 'n' upcoming interval of times after the immediate upcoming interval of time.

the comparison procedure for each one of the 'n+1' comparisons is:

for each 'instrument-time ideal stance', the associated 'conduction output unit' compares its value with the value of the 'normalized conducting speed' and sends a first signal, an 'instrument-time conduction signal', which will be the value of the 'instrument-time ideal stances' and optionally a second signal, a 'instrument-time error signal', depending on several options:

• The 'instrument-time ideal stance' is set either to 'inactive' or 'prepared to play' or 'prepared to stop', then the 'instrument-time error signal' will be one of two choices:

• If all 'instrument-time ideal stances' associated to that 'conduction output unit' are set either to 'inactive' or 'prepared to play' or 'prepared to stop', then the 'instrument-time error signal' will be the absolute difference between the 'instrument-time ideal stance' and the actual 'normalized conducting speed'.

• Else, the 'instrument-time error signal' will be a null signal.

• The 'instrument-time ideal stance' is not set to any of 'inactive' or 'prepared to play' or 'prepared to stop', then the 'instrument-time error signal' will be one of two choices:

• If the 'normalized conducting speed' is equal to the 'instrument-time ideal stance', then the 'instrument-time error signal' will be a null signal.

• Else the 'instrument-time error signal' will be the absolute difference between the 'instrument-time ideal stance' and the actual 'normalized conducting speed'.

after the 'n+1' comparisons are made:

A) If there is not the optional 'instrument-time error signal', then the definitive 'instrument-time conduction signal' will be first one of the 'n+1' comparisons.

B) If there is the optional 'instrument-time error signal': only one of them will be chosen, which will be the one that has the lowest optional 'instrument-time error signal', which thus will become the definitive 'instrument-time error signal'. The definitive 'instrument-time conduction signal' will be the one that is paired to the lowest 'instrument-time error signal'.

the 'instrument-time conduction signals' are sent each to their associated 'specific groups of instruments', wherein the 'instrument performing units' inside them will power their motors in a way that depends on the value of the 'instrument-time conduction signals', being the way one between:

-will power the motors related to the stance 'prepared to stop', if present;

-will power the motors related to the stance 'prepared to play', if present;

-will not power any motor; and

-will power the motors related to the 'play speeds' stance, in a speed which is proportional to the value of the received 'instrument-time conduction signal'.
A system for simulating the conduction of a musical group in a music composition, comprising:

at least one 'conducting device' which transmits a 'conducting speed signal' for a defined interval of time;

at least one 'conduction input unit' associated to each 'conducting device';

one 'music speed information unit' per each 'conduction input unit';

one 'conduction output unit' per each 'conduction input unit';

at least one 'audio output unit';

at least one 'special audio output unit' associated to specific 'instrument performing units';

optionally, at least one 'music track memory unit' connected to each of the at least one 'audio output unit';

optionally, at least one 'special music track memory unit' associated to each of the at least one 'special audio output unit ';

at least two 'specific groups of instruments', where each 'specific group of instruments' comprises at least one 'instrument performing unit', which has an articulated instrument carrying unit figure that carries an apparatus that is or resembles a musical instrument and a series of motors, which motors to move and/or rotate parts of the articulated instrument carrying device;

CHARACTERIZED in that:

each 'specific group of instruments' is associated to one of the 'conduction output unit';

each 'music speed information unit' comprises a series of 'instrument-time ideal stances' values, each value associated to a 'specific group of instruments' and to a particular time interval among the overall length of the music track';

each 'instrument-time ideal stance' is one in a group of values representing different stances:

-optionally, 'prepared to stop',

-optionally, 'prepared to play',

-'inactive', and

-several 'play speeds' from the last value on

the 'music track memory unit' contains the waveform information of the music composition;

each 'special music track memory unit' contains the waveform of the audio associated only to specific 'instrument performing units' of the music composition;

wherein, during each interval of time defined:

the 'music track memory unit' sends the information corresponding to that interval of time to one or more of the 'audio output units';

the 'special music track memory unit' sends the information corresponding to that interval of time to one or more of the 'special audio output units';

each 'conducting device' transmits its 'conducting speed signal' to its corresponding 'conduction input unit', which, depending on the value of it, outputs one 'normalized conducting speed' to its corresponding 'conduction output unit', which 'normalized conducting speed' is one between a group of values:

-'inactive', and

-several 'play speeds' from the second value on

each 'music speed information unit' transmits each 'instrument-time ideal stance' to its corresponding 'conduction output unit';

In turn, each 'conduction output unit' receives the associated 'normalized conducting speed'.

wherein:

after that, the 'conduction output unit' compares that value with the 'instrument-time ideal stances' of the upcoming interval of time and also with a number of 'n' upcoming interval of times after the immediate upcoming interval of time.

the comparison procedure for each one of the 'n+1' comparisons is:

for each 'instrument-time ideal stance', the associated 'conduction output unit' compares its value with the value of the 'normalized conducting speed' and sends a first signal, an 'instrument-time conduction signal', which will be the value of the 'instrument-time ideal stances' and optionally a second signal, a 'instrument-time error signal', depending on several options:

• The 'instrument-time ideal stance' is set either to 'inactive' or 'prepared to play' or 'prepared to stop', then the 'instrument-time error signal' will be one of two choices:

• If all 'instrument-time ideal stances' associated to that 'conduction output unit' are set either to 'inactive' or 'prepared to play' or 'prepared to stop', then the 'instrument-time error signal' will be the absolute difference between the 'instrument-time ideal stance' and the actual 'normalized conducting speed'.

• Else, the 'instrument-time error signal' will be a null signal.

• The 'instrument-time ideal stance' is not set to any of 'inactive' or 'prepared to play' or 'prepared to stop', then the 'instrument-time error signal' will be one of two choices:

• If the 'normalized conducting speed' is equal to the 'instrument-time ideal stance', then the 'instrument-time error signal' will be a null signal.

• Else the 'instrument-time error signal' will be the absolute difference between the 'instrument-time ideal stance' and the actual 'normalized conducting speed'.

after the 'n+1' comparisons are made:

A) If there is not the optional 'instrument-time error signal', then the definitive 'instrument-time conduction signal' will be first one of the 'n+1' comparisons.

B) If there is the optional 'instrument-time error signal': only one of them will be chosen, which will be the one that has the lowest optional 'instrument-time error signal', which thus will become the definitive 'instrument-time error signal'. The definitive 'instrument-time conduction signal' will be the one that is paired to the lowest 'instrument-time error signal'.

the 'instrument-time conduction signals' are sent each to their associated 'specific groups of instruments', wherein the 'instrument performing units' inside them will power their motors in a way that depends on the value of the 'instrument-time conduction signals', being the way one between:

-will power the motors related to the stance 'prepared to stop', if present;

-will power the motors related to the stance 'prepared to play', if present;

-will not power any motor; and

-will power the motors related to the 'play speeds' stance, in a speed which is proportional to the value of the received 'instrument-time conduction signal'.
A system according to any of claims 1 to 4, CHARACTERIZED in that, after a predetermined number of intervals of time in which the 'normalized conducting speeds' were continuously set to ‘inactive’ during the same, all the 'instrument-time conduction signals' will not power any motor in the 'instrument performing units' and the 'music track memory unit' and each 'special music track memory unit' will stop sending the information corresponding to further intervals of time to one or more of the 'audio output units' and to one or more of the 'special audio output units'
A system according to any of claims 1 to 5, further comprising

an 'error-occurrences memory' associated to each 'conduction output unit'; and

at least one 'error-indicator', which is a display showing a numeric value;

CHARACTERIZED in that, during each interval of time defined for the 'music speed information unit':

all the 'instrument-time error signals' are summed up into their corresponding 'error-occurrences memory'; and

the 'error-occurrences memories' are summed up and the value of the sum is shown in the 'error-indicator'.
A system according to any previous claim, further comprising

at least one 'help indicator', comprising one display for each 'conducting device' and a series of lamps attached to each 'specific group of instruments';

CHARACTERIZED in that, during each interval of time defined for the 'music speed information unit':

each 'music speed information unit' sends the maximum value of its related 'instrument-time ideal stances', for the next interval of time' to the 'help indicator';

wherein the 'help indicator' displays in each display the ideal conducting speed for the next interval of time; and

each lamp associated to each 'specific group of instruments' that should play during the next interval of time lights.
A system according to any previous claim, CHARACTERIZED in that the conducting device is a wireless unit comprising an accelerometer, a battery and a wireless transmitter.
A system according to any previous claim, CHARACTERIZED in comprising two conducting devices.
A system according to any previous claim, CHARACTERIZED in that each instrument performing unit has an instrument or figure of instrument that is selected of a group consisting of: basses, bass drum, bassoons, cellos, clarinets, contrabassoons, cymbals, English horns, first horns, first violins, flutes, Glockenspiel, gongs, harps, oboes, piccolos, second horns, second violins, snare drum, timpani, triangles, trombones, trumpets, tubas, tubular bells, violas and xylophones.
A system according to any previous claim, CHARACTERIZED in that each 'instrument-time ideal stance' is one of a group consisting of:

-'prepared to stop'

-'prepared to play'

-'inactive'

-'slow'

-'normal'

-'fast'