EP1336173B1 - Anordnung bzw. anlage zum komponieren - Google Patents
Anordnung bzw. anlage zum komponieren Download PDFInfo
- Publication number
- EP1336173B1 EP1336173B1 EP01931187A EP01931187A EP1336173B1 EP 1336173 B1 EP1336173 B1 EP 1336173B1 EP 01931187 A EP01931187 A EP 01931187A EP 01931187 A EP01931187 A EP 01931187A EP 1336173 B1 EP1336173 B1 EP 1336173B1
- Authority
- EP
- European Patent Office
- Prior art keywords
- sound
- unit
- instrument
- sounds
- instruments
- Prior art date
- Legal status (The legal status is an assumption and is not a legal conclusion. Google has not performed a legal analysis and makes no representation as to the accuracy of the status listed.)
- Expired - Lifetime
Links
Images
Classifications
-
- G—PHYSICS
- G10—MUSICAL INSTRUMENTS; ACOUSTICS
- G10H—ELECTROPHONIC MUSICAL INSTRUMENTS; INSTRUMENTS IN WHICH THE TONES ARE GENERATED BY ELECTROMECHANICAL MEANS OR ELECTRONIC GENERATORS, OR IN WHICH THE TONES ARE SYNTHESISED FROM A DATA STORE
- G10H1/00—Details of electrophonic musical instruments
- G10H1/0008—Associated control or indicating means
- G10H1/0025—Automatic or semi-automatic music composition, e.g. producing random music, applying rules from music theory or modifying a musical piece
-
- G—PHYSICS
- G10—MUSICAL INSTRUMENTS; ACOUSTICS
- G10H—ELECTROPHONIC MUSICAL INSTRUMENTS; INSTRUMENTS IN WHICH THE TONES ARE GENERATED BY ELECTROMECHANICAL MEANS OR ELECTRONIC GENERATORS, OR IN WHICH THE TONES ARE SYNTHESISED FROM A DATA STORE
- G10H2220/00—Input/output interfacing specifically adapted for electrophonic musical tools or instruments
- G10H2220/091—Graphical user interface [GUI] specifically adapted for electrophonic musical instruments, e.g. interactive musical displays, musical instrument icons or menus; Details of user interactions therewith
- G10H2220/101—Graphical user interface [GUI] specifically adapted for electrophonic musical instruments, e.g. interactive musical displays, musical instrument icons or menus; Details of user interactions therewith for graphical creation, edition or control of musical data or parameters
- G10H2220/121—Graphical user interface [GUI] specifically adapted for electrophonic musical instruments, e.g. interactive musical displays, musical instrument icons or menus; Details of user interactions therewith for graphical creation, edition or control of musical data or parameters for graphical editing of a musical score, staff or tablature
-
- G—PHYSICS
- G10—MUSICAL INSTRUMENTS; ACOUSTICS
- G10H—ELECTROPHONIC MUSICAL INSTRUMENTS; INSTRUMENTS IN WHICH THE TONES ARE GENERATED BY ELECTROMECHANICAL MEANS OR ELECTRONIC GENERATORS, OR IN WHICH THE TONES ARE SYNTHESISED FROM A DATA STORE
- G10H2240/00—Data organisation or data communication aspects, specifically adapted for electrophonic musical tools or instruments
- G10H2240/121—Musical libraries, i.e. musical databases indexed by musical parameters, wavetables, indexing schemes using musical parameters, musical rule bases or knowledge bases, e.g. for automatic composing methods
- G10H2240/145—Sound library, i.e. involving the specific use of a musical database as a sound bank or wavetable; indexing, interfacing, protocols or processing therefor
-
- G—PHYSICS
- G10—MUSICAL INSTRUMENTS; ACOUSTICS
- G10H—ELECTROPHONIC MUSICAL INSTRUMENTS; INSTRUMENTS IN WHICH THE TONES ARE GENERATED BY ELECTROMECHANICAL MEANS OR ELECTRONIC GENERATORS, OR IN WHICH THE TONES ARE SYNTHESISED FROM A DATA STORE
- G10H2250/00—Aspects of algorithms or signal processing methods without intrinsic musical character, yet specifically adapted for or used in electrophonic musical processing
- G10H2250/025—Envelope processing of music signals in, e.g. time domain, transform domain or cepstrum domain
- G10H2250/035—Crossfade, i.e. time domain amplitude envelope control of the transition between musical sounds or melodies, obtained for musical purposes, e.g. for ADSR tone generation, articulations, medley, remix
-
- G—PHYSICS
- G10—MUSICAL INSTRUMENTS; ACOUSTICS
- G10H—ELECTROPHONIC MUSICAL INSTRUMENTS; INSTRUMENTS IN WHICH THE TONES ARE GENERATED BY ELECTROMECHANICAL MEANS OR ELECTRONIC GENERATORS, OR IN WHICH THE TONES ARE SYNTHESISED FROM A DATA STORE
- G10H2250/00—Aspects of algorithms or signal processing methods without intrinsic musical character, yet specifically adapted for or used in electrophonic musical processing
- G10H2250/541—Details of musical waveform synthesis, i.e. audio waveshape processing from individual wavetable samples, independently of their origin or of the sound they represent
- G10H2250/641—Waveform sampler, i.e. music samplers; Sampled music loop processing, wherein a loop is a sample of a performance that has been edited to repeat seamlessly without clicks or artifacts
Definitions
- the invention relates to a new arrangement or system for, for example by acoustic playback during and / or after creating a musical Composition supported, composing on, preferably a plurality of - real Musical instruments corresponding and their tones or sounds ready - virtual Musical instruments, preferably in an ensemble formation, e.g. in chamber music, Orchestral formation or the like, playable and reproducible sounds, Sound sequences, sound clusters, sounds, sound sequences, sound phrases, pieces of music, compositions or the like. as well as for acoustic, score or other reproduction thereof.
- EP 0899 892 A2 describes a proprietary extension to the known ATRAC Data reduction method as described e.g. is used on MiniDisks. This font is no more than that the invention described there - like many others - has to deal with digitally processed audio.
- US 5,886,274 A describes a proprietary extension to the well-known MIDI standard, which allows sequencer data, that is, play parameters of a piece of music, and connect sound data such that a platform independent Equality of the played piece is ensured. First and foremost, this is about one the most consistent distribution of MIDI and metadata over the Internet.
- Fig. 1 The output devices are only target, not source in the Flow chart. A substantive feedback from the synthesizer to the sequencer is not possible.
- a sampler is a virtual musical instrument stored with Sounds that can be recalled and played.
- a piano became a sound library, a so-called “sample library” prepared, it was thereby recorded tone by tone and for edited the sampler.
- the user can now on a MIDI keyboard or from the recorded MIDI data in a MIDI sequencer the sounds of a real piano in the Ideal 1: 1, so true to the tone, play.
- Sound sequence parameters each desired type of Playing the sound sequence. What is meant by this, should be briefly indicated: It exists in Sound impression a difference, whether, for. three consecutive virtual legato notes or sounds that sound on the digital recording from one to the other sound or sounds played on a real instrument, as if the virtual sound sequence underlying a sound sequence played on a real instrument. Under note cluster or Sound cluster is supposed to number more than one on an instrument at a time played notes or tones or their corresponding sounds are understood, ie e.g.
- associated "sound cluster parameters” would be for example the "arpeggio" playing a triad describing descriptive parameters.
- the connecting word “and / or” are intended to single sounds, sound sequences and sound clusters in the single or in any desired combination, e.g. a Sequence of almost legato played arpeggio chords or the like ..
- the abbreviated term “sound definition parameter” is used in the following. or often just “parameter” for simplicity's sake.
- the bidirectional sound parameter storage unit integrated in the new composition computer or their underlying software ceases essential core of the invention, it is essentially one between the Input and control unit and the sound sample library storage unit, ie Sound sample database turned on search engine for those in large numbers in the Memory unit as sound imagos or sound samples, e.g. through digitized sound envelopes defined stored sounds, sound sequences, sound clusters and the like. represents.
- the new system and its technology make it possible for the first time that composer who have no way of having a real orchestra and / or real instrumentalist to work, an extremely easy to use, his work no longer with coding od. Like. To provide burdensome tool, the sound produced by him as close as possible to real orchestral sound.
- the invention also brings a work easier through optimal, independent "intelligent" background processes, such as automated time compression and expansion in tone sequence samples, such as repetitions, legato phrases, glissandi or the like.
- the sound samples of the sequencer unit organized in the form of the Bidretemental database transmits its qualitative parameters in the form of "Sound Sample Description Parameters "at each working session again and, above all, always updated, and allows for bidirectional and interactive reference of sequencer unit and Sound sample library storage unit.
- a configuration according to claim 5 or analogously thereto may be provided in particular.
- composition computer comprises a score software according to claim 7.
- the present invention is based on a comprehensive, digitized collection or library of recordings of the sounds real orchestral instruments. These recording samples are taken from the core of the Invention representing bidirectional sound parameter storage unit or relational Sound database organizes or manages a qualitative link with each other as well as with the acting as a control unit notation input unit and / or Sequencer unit allows.
- This novel bidirectional link allows both during the creation as well as in the simultaneous or delayed playback a piece of music, not just control data from the just mentioned control unit to the To transmit sound generation, but also allows the interactive feedback information from the sampler unit to the control unit just mentioned.
- the qualitative parameterization of the sound database by means of the new bidirectional sound parameter storage unit subsequently allows a future addition instruments available, such as ethnic or ancient instruments Music, without the control unit losing functionality, because the sound parameter database their - then extended - features at the latest in the course of the next start routine the system is able to transmit to said control unit.
- the essence of the invention is that the samples are the smallest elements of a Sample library to handle, which with the sequencer and the processor unit is directly linked. That is, the sequencer unit underlying the sequencer software In the course of the start ("boot") sequence, the descriptive parameters each learn Samples and these are structured in the course of a working session the user available.
- join criteria can be defined by the single sample name and, without any limiting effect, for example, be structured as follows: In this mean: "Vn10SsALVmC4PFg2" Vn Violin group C crescendo 10 Ensemble with 10 violins 4 4 s length or duration ss senza sordino P Start dynamics piano A arco F Enddynamics forte L legato g2 pitch vm vibrato medium
- the composer In a graphic editor, the composer generates from the main track (HT) Instrument subtracks (IST), the strings would be e.g. a standard preset that the following:
- the sound parameter unit now automatically accesses only the violin samples the sample library too - a tag and a note may be the To point out to composers, if certain of his composed notes outside the natural vocal range of the chosen instrument.
- This Subtrack 1 (IST 1) line has the same "note sequence” as above Main track (HT) STRINGS on, but are "too deep” notes by a Gamut software of the computer as such, e.g. by an underline or the like., expelled because they are not playable, see the clip above.
- this structuring can have the following form, for example:
- Each of the timpani mentioned in the 1st level comprises one certain, partially overlapping with the scope of another timpani Range. If e.g. the bass timpani assigned a high-pitched sound for them, provides a software for an on-screen warning, as in the above Tone perimeter instrument allocation explained.
- the violins are defined as "10 violins, con sordino, legato, without vibrato” and now the dynamics are assigned.
- composition computer turns an automated one for the first time "Compression - Expansion Tool” or the corresponding software; namely the "10 violins / con sordino / senza vibrato / crescendo / start p-end f /" - Samples
- the above-mentioned software recognizes by means of the sound definition parameters or Sample Description parameter automatically selects the best or next matching sample with 1.33 s length and it expands by the corresponding factor 1.266, so 1.63 s for the said 10th 3/3 note is reached. This process runs under software control in the background and is not noticeable to the user of the system.
- he can select from a list the known static-dynamic signs (from ppp to fff). For example, he sets the first and third grid points, that is, the numbers 1 and 3 of the time grid, to the character p, so the sound is piano until the 3rd quarter; if you put the f on the 5th grid point, then a crescendo over two quarters becomes forte on the one of the second bar and on the sixth grid point a p, so to speak a "fp effect" and finally on the last grid point fff : there is a strong crescendo over the length of the last three quarters.
- the sequencer now generates a new sample using the Compression Expander tool and a crossfade tool, with the associated set "Sample Description Parameters". (This new sample will either be deleted at the end of the session or permanently stored in the relational database and made available during further sessions).
- the staff shows the following picture and the dynamics label p ⁇ fp ⁇ fff under the held note:
- the staff of this example contains three times three tones each Height, where each of the three notes played three times in succession, the same tone becomes, which is very typical for trumpet fanfares very typical repetitions.
- Such Repetitions usually form a big weak point of all previously known and available programming. There is always only one sample for that Such a repetition is eligible, and this is needed in the appropriate, so composed, number repeated. The more often and faster this sound sequence sounds, the more stuttering and artificial is the auditory impression.
- the invention provides organized sample library "repetition samples" before. These are e.g. 2-, 3-, 4- and 6-repeats, or 1, 2, 3-fold upbeat repetitions, differentiated in tempo, Dynamics and emphasis.
- the original tempo of this sampled, in the computer or in the sound sample memory stored legato phrases are e.g. sixteenth note values at tempo 160.
- 8th of triplet passages in tempo from 171 to 266, sixteenth-passages in tempo from 128 to 200, sixteenth Trial passages in tempo from 86 to 133, 32-th passages in tempo from 64 to 100 be implemented. (Quintuplets and septols are the same).
- the sequencer unit Upon activation, the sequencer unit scans the selected part, all in question Passages will be marked, see staff NZ. Furthermore, the generated Sequencer unit a subtrack ST with only one staff, on which the division of the Block system is visible. The user can use this note image analyze, as from the 2-, 3-, 4-fold-consequences and possibly with the help of Single tones the desired Rasches legato sequence is built.
- This option provides the user with a list of specialized applications, such as the following:
- the sound effect corresponds to the flowing walking of the bow during a tremolo from the violin bridge to the normal Position.
- the system according to the invention advantageously includes some sample rows of standard ensemble combination, e.g. unison u. octave.
- ENSEMBLE COMBINATION MENU may be "AUTODETECT-COMBINATIONS" be: hiebei the sequencer looks for possible Unison or octave combinations, and one has the possibility of this by the of the Database to replace "ensemble samples”.
- Another example may be software for considering the Resonance effect of a deep drumbeat on the double basses.
- the Corpi of Double basses act as a kind of resonance amplifier for the timpani. at Unison combinations of timpani and basses provide an additional "sound fusion" on; if a timpani is played in an ensemble without double basses, one is clearer Difference in the sound spectrum of the timpani noticeable.
- the Hall software "knows" about any presence of double basses or Unison combinations "informed” and can do so in their sound image calculations consider.
- the chamber music instrumented includes woodwinds and small string ensemble arises a dynamic headroom that is not used.
- To achieve optimum quality in the To achieve mixing ie the highest possible signal-to-noise ratio, he is able to Finished programming with a standardization function to optimize the piece.
- the Sequencer unit searches the loudest sample of the piece and highlights all samples around it possible value upwards.
- this process does not affect Volume ratios and the given dynamic range values also become equal maintained, e.g. pp samples remain just pp samples.
- each Sample is stored at maximum level.
- the recorded during the recording Volume differences are stored in sample volume data. That is, everyone Sample has a co-stored volume value. So a fff bang is coming close Zero dB, a ppp solo dough at an offset of -40 dB.
- the sequencer unit So just check to see which is the highest sample volume value, which sample is closest to zero, and moves up all sample volume data accordingly.
- the user can use a special Standardization function exploit all the instruments and samples on one Output are rooted, standardized as a self-contained package.
- the Sequencer unit then calculates a dynamics protocol, such as an external mixing console is to be set to return to the initial values, e.g. brass Stereo Out 1, Woodwind Stereo Out 2 etc.
- the sequencer unit offers its own dynamics tool.
- the composer can thus make individual voices or selections louder and quieter.
- the difference to a conventional "Velocity Control" is that here the dynamic gradations of individual samples are involved. In our example, it reduces the volume of the String harmonies so far that the oboe solo can develop to the correct degree.
- the Sequencer unit emanates from the factory presets, the string dynamics initially corresponds about a mf. After the composer has reduced the strings so far, until the desired sound result is achieved, they have e.g. reaches a mean pp value. Of the Composer closes the window and under the strings voices then settles automatically the dynamic rule pp. Of course, this way of working is also predefined crescendo and decrescendo values applicable. So the composer has the certainty that his dynamic prescription ultimately in the concert hall the desired effects will achieve.
- the bidirectional sound parameter storage unit provided in accordance with the invention
- Organized audio samples are an integral part of the system. At about 125 Gigabits, the samples are not directly changeable to the user.
- the only accessor is the software of the sequencer unit itself.
- the samples are still influenced by criteria such as Velocity & Mainvolume, but there the sequencer software as with audio tracks, which has the possibility of that in each piece buffering required samples in advance, is an extremely large amount of RAM at according to fast hard disks not necessarily requirement.
- a desirable minimum equipment for the full use of the invention would be eight, ideally 16 stereo outputs. Since with 96 kHZ / 24 BIT resolution processed and edited If this data rate is to be continued, it is obvious. This requires accordingly high-quality digital converters and sets the option of different digital-out variants, So from 44100, 48000 or 96000 kHz, ahead.
- FIG. 1 shows a diagram of the new composing system and FIG. 2 a Flowchart of the composing process.
- the composing system 100 shown in FIG. 1 comprises one of the user or Composers with the sound sequence or composition 01 imagined by him Notation input unit 2, which is connected via an interface, e.g. a graphical user interface (GUI) 3, with screen connected to a composition computer 1 data-flow.
- GUI graphical user interface
- a peripheral e.g. one (Score) printer 32.
- an audio export system which via an audio interface (audio engine) 7 an acoustic Playback unit, e.g. supplies a loudspeaker system 33 or a listener 8, which for the acoustic reproduction of a note just entered, e.g. to the immediate Control of the sound or a sound sequence after entering a note, a note sequence and ultimately e.g. an entire composition.
- At least one integrated into the system of the composition computer 1 Computer or processor unit (CPU) 4 and at least one with her data flow and Data Exchange Connected Sequencer (Sequencing Engine) 5. Between Processor unit 4 and a sample sound library memory unit 6 b, in which a large number of - on recordings 02 of sounds, sound sequences, sound clusters and the like. from real instruments, instrument groups, orchestras and the like. based - Samples 61 of digitized sounds, e.g.
- an intelligent relational database 6a Stored is an intelligent relational database 6a, namely the one essential Component of the system according to the invention or its underlying system illustrative - for each one of the sound samples 61 in the library unit 6b all this sound, this sound sequence, this sound cluster and its quality assigned, the same or the same characterizing, descriptive and defining parameters as well as those for the finding, for calling the sound in the and for its retrieval, etc. from the sample library 6b necessary data, coordinates, Address information and the like stored - bidirectional sound parameter storage unit 6a, interposed.
- the two aforementioned units 6a and 6b form the sound sampler unit 6 and are an essential part of it.
- the sound parameter storage unit 6a "knows” anytime about all stored in the sample library 6b Sounds 61 (e.g., sound imagos in the form of sound envelopes in digitized form) and over all the same inherent quantity and quality values, she knows, on which instruments a sound desired by corresponding notation inputs and with its quality parameters can be produced, whether he is on one of the Enter the desired instrument is playable, etc.
- the sound parameter storage unit 6b is above all due to its always present, precise overview sound samples 61 included in the sound sample library 6a, e.g. able to stand up for a non-playable sounds by the user, the same by itself Suggestions for "playable" replacement instruments and / or matching replacement sounds too submit and the like.
- the composition computer 1 further comprises a number of different, at least the CPU 4 and the sequencer unit 5 associated software units or them stored program software 41 for the playback of the input composition as usual score and / or such 42, to control which of composers entered sounds on the instrument chosen by him because of its limited Range can not be played and / or software 43, for editing a sound.
- the - here by no means fully enumerated - software units can such for imprinting reverberation / reverberation characteristics on a sound, for dynamics changes within a longer held tone 44, for corrections to a Lifelike reproduction of rapidly repetitive sounds of equal height 45 or rapidly played on different sounds 46 height, further for an adaptation of Dynamics of sounds of different instruments 47 together and the like.
- a project memory unit 9 for the score storage are supplied, from which at any time in the context of a Working session required elements or parts of previously created and there stored compositions are retrievable.
- the diagram of Fig. 2 shows how after loading the loading with the sound definition parameters is done from the sound database 6, in which the same storing the sound sample parameter storage unit 6a and the sound sample library 6b are integrated.
- the bidirectional sound parameter storage unit 6a It is then supplied by the bidirectional sound parameter storage unit 6a the sound database 6 - the main track HT created. From there, the selection of the by the user predetermined notes or the like. assigned sounds etc. together with their parameters, of Phrasensamles a Tempomatching and the like., In the next query step whose Selection is confirmed or not.
Landscapes
- Engineering & Computer Science (AREA)
- Theoretical Computer Science (AREA)
- Physics & Mathematics (AREA)
- Acoustics & Sound (AREA)
- Multimedia (AREA)
- Electrophonic Musical Instruments (AREA)
Abstract
Description
- die Notations-Eingabe-Einheit (2) der Anordnung bzw. Anlage über zumindest eine
Schnittstelle, bevorzugt ein Graphical User Interface (3), mit einem Kompositions-Computer
(1) datenfluss- und datenaustausch-verknüpft und -vernetzt ist, welcher
- zumindest eine Processor-Einheit (CPU) (4), weiters
- zumindest eine mit derselben datenfluss- und datenaustausch-verknüpfte - mit den genannten Noten, Notenfolgen, Notenclustern u.dgl. samt den ihnen jeweils zugeordneten Klang-Definitions-Parametern bzw. mit den denselben entsprechenden Klängen, Klangfolgen, Klangclustern u.dgl. versorgbare und dieselben einer eingabegemäßen Abfolge entsprechend abrufbar speichernde und über zumindest eine entsprechende Schnittstelle (7) an eine Abhöre (8), an einen Lautsprecher (33) od.dgl., an einen Partitur-Drucker (32) od.dgl. abgebende - Sequenzer-Einheit (5), sowie weiters
- zumindest eine, mit der genannten Processor-Einheit (4) und mit der genannten
Sequenzer-Einheit (5) datenfluss- und datenaustausch-verknüpfte Klang-Sampler-Einheit
(6) umfasst,
welche Klang-Sampler-Einheit (6) ihrerseits - zumindest eine - die in digitalisierter oder anderer Form vorliegenden eingespielten Klang-Imagos bzw. Klang-Samples (61) aller Einzelklänge, Klangfolgen, Klangcluster u.dgl., der einzelnen virtuellen Instrumente bzw. Instrumenten-Gruppen gespeichert enthaltende - Klangsample-Bibliotheks-Speichereinheit (6b) und
- zumindest eine mit derselben datenfluss- und datenaustausch-verknüpfte und jedes der genannten Klang-Samples (61) in Form von demselben zugeordneten und dasselbe beschreibenden bzw. definierenden Klang-Definitions-Parametern, z.B. in Form von Kombinationen bzw. Sequenzen derselben, speichernden und verwaltenden - für den Abruf der Klang-Samples aus der Klangsample-Bibliotheks-Speichereinheit (6b) und für eine Weitergabe derselben zumindest an die Prozessor-Einheit (CPU) (4) und/oder Sequenz-Einheit (5) und/oder für die Speicherung, Verwaltung und Weitergabe von in den Kompositions-Computer (4) durch eine Bearbeitung in ihrer Qualität und somit in ihren Klang-Definitions-Parametern veränderten oder mit in denselben neue eingebrachten Klang-Definitions-Parametern beschriebenen Klängen/Klangfolgen/Klangclustern u.dgl. vorgesehene - Bidirektional-Klangparameter-Speichereinheit bzw. "Relationalen Klangparameter-Datenbank" (6a) umfasst.
Anzahl der Varianten:
1. | Besetzung: z.B. unisono-Kombinationen, also z.B. 1, 4 oder 10 Violinen | 3 |
2. | Hauptspielart: mit oder ohne Dämpfer | 3x2= 6 |
3. | Spielart: z.B. gestrichen, gezupft, tremolo usw. | 6x6= 36 |
4. | Unterspielart: z.B. gestrichen, weich, hart, kurz, gesprungen, usw. | 36x4= 144 |
5. | Feinabstimmungen: z.B. viel Vibrato, wenig Vibrato | 144x2= 288 |
6. | Dynamikabstufungen (angenommen 3 Abstufungen) | 288x3= 864 |
Darin bedeuten: "Vn10SsALVmC4PFg2"
Vn | Violinengruppe | C | crescendo |
10 | Ensemble mit 10 Violinen | 4 | 4 s Länge bzw. Dauer |
Ss | senza sordino | P | Startdynamik piano |
A | arco | F | Enddynamik forte |
L | legato | g2 | Tonhöhe |
Vm | vibrato medium |
1. | Flöten | 5. | Trompeten | 9. | Streicher |
2. | Oboen | 6. | Hörner | 10. | Chor |
3. | Klarinetten | 7. | Posaunen | 11. | Pauken |
4. | Fagotti | 8. | Tuben | 12. | Percussion |
13. | Harfe & Stabspiele |
(Subtrack 1, Violine 1. Viertelnote=110)
Sequenz-Nr: | Sequenz-Nr: |
Sequenz 1 von 3 | Sequenz 1 von 3 |
Spiele Repetition | schnellere fixe 1. Note |
Spiele Original | schnellere fixe letzte Note |
Alternativen | kürzere Noten |
nächste Sequenz | längere Noten |
Ausdruck auf Noten 1-2, | |
Mit den Original & Repetitions-Klicks kann man das erzielte Ergebnis vergleichend kontrollieren. Mit dem Alternativen-Klick kann man versuchen, das Ergebnis weiter zu optimieren | "Schneller-langsamer" verleiht dem Sample (mit Hilfe des Compression-Expansion-Tools) einen gewissen Groove, er beginnt je nach Wahl etwas zu spät oder endet etwas zu früh. |
Schrittweise lauter | |
Schrittweise leiser | |
Soloinstrument-Dynamik erhalten | |
Soloinstrument-Dynamik erhöhen | |
Dynamik erweitern (Expansion) | |
Dynamik reduzieren (Kompression) | |
Maximum-Lautstärke | |
Minimum-Lautstärke |
Claims (9)
- Anordnung zum computer-unterstützten Komponieren von auf virtuellen Musikinstrumenten spielbaren und von denselben wiedergebbaren Tönen oder Tonfolgen oder Kompositionen sowie zur Wiedergabe derselben,
dadurch gekennzeichnet, dassdie Anordnung (100) eine Eingabe-Einheit (2) umfasst, die über zumindest eine Schnittstelle, bevorzugt ein Graphical User Interface (3), mit einem eine Processor-Einheit (CPU) (4) aufweisenden Kompositions-Computer (1) zum Datenaustausch verbunden ist, dassder Kompositions-Computer (1) zumindest eine an die Processor-Einheit (4) angeschlossene Sequenzer-Einheit (5) aufweist, die die gewünschten Noten oder Notenfolgen, oder Notencluster samt den ihnen jeweils zugeordneten Klang-Definitions-Parametem und mit den denselben entsprechenden Tönen oder Tonfolgen oder Tonclustern über zumindest eine Schnittstelle (7) an eine Abhöre (8), an eine Lautsprecher-Einheit (33) und/oder an einen Partitur Drucker (32) abgibt sowie weitersmit der Processor-Einheit (4) und mit der Sequenzer-Einheit (5) zum Datenaustausch an zumindest eine Klang-Sampler-Einheit (6) angeschlossen ist,
welche Klang-Sampler-Einheit (6)zumindest eine die in digitalisierter Form vorliegenden, eingespielten Klang-Imagos oder Klang-Samples (61) aller Einzelklänge oder Klangfolgen oder Klangcluster der einzelnen virtuellen Instrumente oder. Instrumenten-Gruppen gespeichert enthaltende Klangsample-Speichereinheit (6b) undzumindest eine an die Klangsample-Speichereinheit (6b) angeschlossene Klangparameter-Datenbank (6a) umfasst, mit der jedes der Klang-Samples (61) in Form von demselben zugeordneten und dasselbe definierenden Klang-Definitions-Parametern speicherbar und verwaltbar ist, mit welcher die Klang-Samples aus der Klangsample-Speichereinheit (6b) abrufbar und an die Prozessor-Einheit (4) und/oder an die Sequenzer-Einheit (5) weiterleitbar sind und/oder mit der die im Kompositions-Computer (4) durch eine Bearbeitung in ihrer Qualität und somit in ihren Klang-Definitions-Parametern veränderten oder mit in denselben neu eingebrachten Klang-Definitions-Parametern erstellten Klang-Samples speicher- und verwaltbar sind. - Anordnung bzw. Anlage zum, gegebenenfalls durch akustische Wiedergabe während und/oder nach erfolgter Erstellung einer musikalischen Komposition unterstützten, Komponieren von auf einer Mehrzahl von - realen Musikinstrumenten entsprechenden und deren Töne bzw. Klänge bereithaltenden - virtuellen Musikinstrumenten, vorzugsweise in einer Ensemble-Formation, spielbaren und von denselben wiedergebbaren Tönen, oder Tonfolgen, oder Tonclustern, oder Klängen, oder Klangfolgen, oder Klangphrasen, oder Musikstücken, oder Kompositionen sowie zur akustischen oder sonstigen Wiedergabe derselben,
dadurch gekennzeichnet, dass siemindestens eine Notations-Eingabe-Einheit (2) für die Eingabe der - den von den einzelnen virtuellen Instrumenten oder Instrumenten-Gruppen zu spielenden Tönen bzw. Klängen zugrundeliegenden - Noten mit den ihnen vom Komponisten zugewiesenen, dieselben näher beschreibenden bzw. definierenden Klang-Parametern bezüglich der Art des zu spielenden Instrumentes bzw. der Instrumenten-Gruppe, oder Tonhöhe, oder Tonlänge, oder bezüglich Dynamik, oder Spielart, und/oder für die Eingabe von Klangfolgen und die sie beschreibenden Klangfolge-Parametern und/oder von Klangclustern und die sie beschreibenden Klangcluster-Parametern umfasst,von welcher Notations-Eingabe-Einheit (2) aus die genannten Klänge, oder Klangfolgen, oder Klangcluster mit den ihnen zugeordneten Parametern in eine mit derselben datenfluss-verbundene, in einen Kompositions-Computer (1) als Programm oder Software integrierte, Klangparameterspeicher-Einheit (6a) und Sequenzer-Einheit, einspeisbar und speicherbar sind,wobei von der Klangparameterspeicher- und Sequenzer-Einheit (6a, 5) aus - im Falle eines Abhörens während des Komponierens und/oder Abspielens bzw. der Wiedergabe einer vorher erstellten Klangfolge, oder Komposition - in einer mit der eben genannten Einheit bzw. über die Sequenzer-Einheit (5), datenflussverbundenen und -verknüpften - die bevorzugt in digitalisierter Form vorliegenden, "Klang-Imagos" bzw. "Klang-Samples" aller einzelnen Klänge, oder Klangfolgen, oder Klangcluster der einzelnen virtuellen Instrumente bzw. Instrumenten-Gruppen und deren Parameter, oder Parameter-Konstellationen, oder Parameter-Kombinalionen also alle gesampleten Klänge/Klangparameter enthaltenden - Klangsample-Bibliotheks-Speichereinheit (6b, 6) bzw. Sample-Datenbank, die - den jeweils eingegebenen Klang-Definitions-Parametern entsprechenden - Klang-Imagos bzw. Klang-Samples ansteuerbar, aufrufbar und/oder aktivierbar sind,und dass die Klang-Imagos von der Klangsample-Bibliotheks-Speichereinheit (6b, 6) aus über einen Akustik-Wandler, bevorzugt Digital/Analog-Wandler, einer Akustik-Wiedergabe-Einheit, insbesondere Lautsprecher-Einheit bzw. Abhöre, zuführbar sind. - Anordnung bzw. Anlage nach Anspruch 1 oder 2, dadurch gekennzeichnet, dass in der Klangparameter-Datenbank (Bidirektional-Klangparameter-Speichereinheit) (6a) die Klang-Definitions-Parameter in Form einer Hierarchie mit den Gruppen der verschiedenen Instrumente eines Orchesters als Haupttracks und den Einzel-Instrumenten einer jeweiligen Gruppe als Subtracks konfiguriert sind.
- Anordnung bzw. Anlage nach einem der Ansprüche 1 bis 3, dadurch gekennzeichnet, dass die Subtracks der Einzel-Instrumente gemäß einem Datenbaum-Prinzip hierarchisch in Form von Einzel-Instrument-spezifischen Klangparameter-Ebenen bzw. Klangparameter-Ebenen-Folgen konfiguriert oder strukturiert sind.
- Anordnung bzw. Anlage nach einem der Ansprüche 1 bis 4, dadurch gekennzeichnet, dass in der Klangparameter-Datenbank (Bidirektional-Klangparameter-Speichereinheit) (6a) die Klang-Definitions-Parameter nach einem Hierarchie-Prinzip, vorzugsweise nach dem Prinzip: Instrument-Ebene (Ei) - Instrumentmodus-Ebene (Em) - Instrumentspielarten-Ebene (Es) - erste bis n-te Subspielarten-Ebenen (Es1, Es2, ..., Esn) - Klanglängen-Ebene (El) - Klanghöhen-Ebene (Eh), konfiguriert bzw. strukturiert sind.
- Anordnung bzw. Anlage nach einem der Ansprüche 1 bis 5, dadurch gekennzeichnet,dass in der Klangparameter-Datenbank (Bidirektional-Klangparameter-Speichereinheit) (6a) die einzelnen Klang/Klangfolgen/Klangcluster-Definitions-Parameter, wie jeweiliges, zu spielendes Instrument oder jeweilige zu spielende Instrumenten-Gruppe, Dynamik, Repetition, Rasches-Legato und/oder Spezial-Modi, gleichberechtigt in einer Hierarchie-Ebene nebeneinander konfiguriert sind, unddass innerhalb der genannten Klang-Definitions-Parameter eine hierarchische Struktur oder Konfiguration mit Hauptebene und Sub-Ebenen vorgesehen ist.
- Anordnung bzw. Anlage nach einem der Ansprüche 1 bis 6, dadurch gekennzeichnet,dass zumindest an die Processor-Einheit (CPU) (4) und an die mit ihr zum Datenaustausch verknüpfte Sequenzer-Einheit (5) zumindest eine Software-Einheit (41 bis 47), angeschlossen ist, die insbesondere zumindest eine Partitur-Einheit und/oder entsprechende Software (41) für eine Wiedergabe der über die Notations-Eingabe-Einrichtung (2) eingegebenen Klang-/Klangfolgen-/Klangcluster-Parameter im herkömmlichen Notenzeilen- bzw. Partitur-Modus an die Ein-/Ausgabe-Schnittstelle, insbesondere Graphical User Interface (3) und/oder Drucker (32) u.dgl. aufweist und/oderzumindest eine Tonumfangs-Definier- und -Begrenzungs-Einheit und/oder eine entsprechende Software (42) aufweist, welche bei über die Notations-Eingabe-Einheit (2) erfolgender Eingabe von, auf einem bestimmten individuellen Instrument nicht spielbaren, insbesondere für dieses Instrument zu tiefen oder zu hohen Tönen bzw. Klängen, einen entsprechenden Warn-Hinweis an die Notations-Eingabe-Einheit (2) bzw. an die Eingabe-Schnittstelle (GUI) (3) abgibt.
- Anordnung bzw. Anlage nach einem der Ansprüche 1 bis 7, dadurch gekennzeichnet,dass zumindest die Processor-Einheit (CPU) (4) und die mit ihr zum Datenaustausch verbundene Sequenzer-Einheit (5) des Kompositions-Computers (1)zumindest eine Klang(-Nach)bearbeitungs-Einheit und/oder entsprechende Software (43) für eine gewünschte Änderung bzw. (Nach-)Bearbeitung von aus der Sample-Bibliotheks-Speichereinheit (6a) abgerufenen und von ihr abgegebenen Klang-Imagos bzw. Klang-Samples (61), wie insbesondere zur auf das jeweilige Instrument individuell abgestimmten, Aufprägung von Hall- und/oder Nachhall- und/oder Klangfärbungs-Charakteristika od.dgl., und/oderzumindest eine Dynamik-Einheit und/oder entsprechende Software (44) für Änderungen der Dynamik innerhalb eines Tons bzw. Klangs oder Klangclusters, insbesondere innerhalb eines "gehaltenen", Tons bzw. Klangs oder Klangclusters
- Anordnung bzw. Anlage nach einem der Ansprüche 1 bis 8, dadurch gekennzeichnet,dass zumindest die Processor-Einheit (CPU) (4) und zumindest die Sequenzer-Einheit (5) des Kompositions-Computers (1) aufweisenzumindest eine Repetitions-Detektions-Einheit und/oder entsprechende Software (45) für eine Angleichung des Höreindruckes von - auf dem jeweiligen virtuellen Instrument - rasch aufeinanderfolgend gespielten Tönen und/oder Klängen gleicher Höhe (Klang-Repetitionen) an den Höreindruck einer Klang-Repetition auf einem real gespielten Instrument und/oderzumindest eine Rasches-Legato-(Fast Legato)-Einheit bzw. entsprechende Software (46) für eine Angleichung des Höreindruckes von - auf einem (virtuellen) Instrument - rasch aufeinanderfolgend gespielten Tönen und/oder Klängen verschiedener, wie insbesondere absteigender oder aufsteigender, Höhe, an den Höreindruck einer raschen derartigen Folge von Tönen und/oder Klängen auf einem real gespielten Instrument und/oderzumindest eine, für eine beim Zusammenspiel mehrerer verschiedener Instrumente erwünschte Abstimmung der unterschiedlichen Lautstärke/Klangvolumens-Bereiche der einzelnen Instrumente aufeinander vorgesehene Dynamik-Adaptions-Einheit und/oder entsprechende Software (47), welche - die von von real gespielten Instrumenten individuell erreichbaren Maximal- und Minimal-Lautstärken und/oder deren Lautstärken-Umfang definierenden - Klang-Lautstärken-Parameter und für die Angleichung vorgesehene Algorithmen enthält.
Priority Applications (1)
Application Number | Priority Date | Filing Date | Title |
---|---|---|---|
AT01931187T ATE307373T1 (de) | 2000-05-09 | 2001-05-09 | Anordnung bzw. anlage zum komponieren |
Applications Claiming Priority (3)
Application Number | Priority Date | Filing Date | Title |
---|---|---|---|
AT8102000 | 2000-05-09 | ||
AT0081000A AT500124A1 (de) | 2000-05-09 | 2000-05-09 | Anlage zum komponieren |
PCT/AT2001/000136 WO2001086624A2 (de) | 2000-05-09 | 2001-05-09 | Anordnung bzw. anlage zum komponieren |
Publications (2)
Publication Number | Publication Date |
---|---|
EP1336173A2 EP1336173A2 (de) | 2003-08-20 |
EP1336173B1 true EP1336173B1 (de) | 2005-10-19 |
Family
ID=3681326
Family Applications (1)
Application Number | Title | Priority Date | Filing Date |
---|---|---|---|
EP01931187A Expired - Lifetime EP1336173B1 (de) | 2000-05-09 | 2001-05-09 | Anordnung bzw. anlage zum komponieren |
Country Status (7)
Country | Link |
---|---|
US (1) | US7105734B2 (de) |
EP (1) | EP1336173B1 (de) |
JP (1) | JP4868483B2 (de) |
AT (1) | AT500124A1 (de) |
AU (1) | AU784788B2 (de) |
DE (1) | DE50107773D1 (de) |
WO (1) | WO2001086624A2 (de) |
Families Citing this family (27)
Publication number | Priority date | Publication date | Assignee | Title |
---|---|---|---|---|
US20030014272A1 (en) * | 2001-07-12 | 2003-01-16 | Goulet Mary E. | E-audition for a musical work |
US6483019B1 (en) * | 2001-07-30 | 2002-11-19 | Freehand Systems, Inc. | Music annotation system for performance and composition of musical scores |
US20050136383A1 (en) * | 2003-12-17 | 2005-06-23 | International Business Machines Corporation | Pluggable sequencing engine |
US20060173692A1 (en) * | 2005-02-03 | 2006-08-03 | Rao Vishweshwara M | Audio compression using repetitive structures |
CN1298049C (zh) * | 2005-03-08 | 2007-01-31 | 北京中星微电子有限公司 | 一种图形引擎芯片及其应用方法 |
CN1306594C (zh) * | 2005-03-08 | 2007-03-21 | 北京中星微电子有限公司 | 一种图形引擎芯片及其应用方法 |
JP4626376B2 (ja) | 2005-04-25 | 2011-02-09 | ソニー株式会社 | 音楽コンテンツの再生装置および音楽コンテンツ再生方法 |
SE528839C2 (sv) * | 2006-02-06 | 2007-02-27 | Mats Hillborg | Melodigenerator |
US20090320669A1 (en) * | 2008-04-14 | 2009-12-31 | Piccionelli Gregory A | Composition production with audience participation |
FR2903804B1 (fr) * | 2006-07-13 | 2009-03-20 | Mxp4 | Procede et dispositif pour la composition automatique ou semi-automatique d'une sequence multimedia. |
FR2903803B1 (fr) * | 2006-07-13 | 2009-03-20 | Mxp4 | Procede et dispositif pour la composition automatique ou semi-automatique d'une sequence multimedia. |
JP4613923B2 (ja) * | 2007-03-30 | 2011-01-19 | ヤマハ株式会社 | 楽音処理装置およびプログラム |
US7783623B2 (en) * | 2007-08-31 | 2010-08-24 | Yahoo! Inc. | System and method for recommending songs |
US8022284B1 (en) * | 2010-08-07 | 2011-09-20 | Jorge Alejandro Velez Medicis | Method and system to harmonically tune (just intonation tuning) a digital / electric piano in real time |
CA2823907A1 (en) | 2011-01-06 | 2012-07-12 | Hank Risan | Synthetic simulation of a media recording |
US20130000463A1 (en) * | 2011-07-01 | 2013-01-03 | Daniel Grover | Integrated music files |
US9384719B2 (en) * | 2013-07-15 | 2016-07-05 | Apple Inc. | Generating customized arpeggios in a virtual musical instrument |
US9721551B2 (en) | 2015-09-29 | 2017-08-01 | Amper Music, Inc. | Machines, systems, processes for automated music composition and generation employing linguistic and/or graphical icon based musical experience descriptions |
US10854180B2 (en) | 2015-09-29 | 2020-12-01 | Amper Music, Inc. | Method of and system for controlling the qualities of musical energy embodied in and expressed by digital music to be automatically composed and generated by an automated music composition and generation engine |
US10002596B2 (en) * | 2016-06-30 | 2018-06-19 | Nokia Technologies Oy | Intelligent crossfade with separated instrument tracks |
WO2019057343A1 (en) * | 2017-09-25 | 2019-03-28 | Symphonova, Ltd. | TECHNIQUES FOR CONTROLLING THE EXPRESSIVE BEHAVIOR OF VIRTUAL INSTRUMENTS, AND ASSOCIATED SYSTEMS AND METHODS |
US11024275B2 (en) | 2019-10-15 | 2021-06-01 | Shutterstock, Inc. | Method of digitally performing a music composition using virtual musical instruments having performance logic executing within a virtual musical instrument (VMI) library management system |
US10964299B1 (en) | 2019-10-15 | 2021-03-30 | Shutterstock, Inc. | Method of and system for automatically generating digital performances of music compositions using notes selected from virtual musical instruments based on the music-theoretic states of the music compositions |
US11037538B2 (en) | 2019-10-15 | 2021-06-15 | Shutterstock, Inc. | Method of and system for automated musical arrangement and musical instrument performance style transformation supported within an automated music performance system |
US11875764B2 (en) * | 2021-03-29 | 2024-01-16 | Avid Technology, Inc. | Data-driven autosuggestion within media content creation |
IT202200010865A1 (it) * | 2022-05-25 | 2023-11-25 | Associazione Accademia Di Musica Onlus | Sistema di riproduzione adattativa di una base orchestrale. |
CN116894513B (zh) * | 2023-07-12 | 2024-02-13 | 广东工业大学 | 一种划分区域的皮革二维不规则排样方法 |
Family Cites Families (26)
Publication number | Priority date | Publication date | Assignee | Title |
---|---|---|---|---|
JPS5858592A (ja) * | 1981-10-02 | 1983-04-07 | ヤマハ株式会社 | 楽譜表示装置 |
JPS60165697A (ja) * | 1984-02-08 | 1985-08-28 | 松下電器産業株式会社 | 電子鍵盤楽器 |
JPS6118996A (ja) * | 1984-07-05 | 1986-01-27 | 松下電器産業株式会社 | 電子楽器 |
DE3604686A1 (de) * | 1986-02-14 | 1987-08-27 | Rainer Gallitzendoerfer | Elektronisches musikinstument |
US4960031A (en) * | 1988-09-19 | 1990-10-02 | Wenger Corporation | Method and apparatus for representing musical information |
FR2643490B1 (fr) | 1989-02-01 | 1994-05-06 | Fourreau Pierre | Procede de codage lineaire des notes de musique par ordinateur |
US5142961A (en) * | 1989-11-07 | 1992-09-01 | Fred Paroutaud | Method and apparatus for stimulation of acoustic musical instruments |
JPH04101195A (ja) * | 1990-08-20 | 1992-04-02 | Yamaha Corp | 電子楽器 |
JP2586226B2 (ja) * | 1991-03-22 | 1997-02-26 | ヤマハ株式会社 | 電子楽器 |
US5357048A (en) * | 1992-10-08 | 1994-10-18 | Sgroi John J | MIDI sound designer with randomizer function |
JPH0650093U (ja) * | 1992-12-14 | 1994-07-08 | カシオ計算機株式会社 | 楽音発生装置 |
JP3144140B2 (ja) * | 1993-04-06 | 2001-03-12 | ヤマハ株式会社 | 電子楽器 |
JP3486938B2 (ja) * | 1993-12-28 | 2004-01-13 | ヤマハ株式会社 | レガート演奏可能な電子楽器 |
US5763800A (en) * | 1995-08-14 | 1998-06-09 | Creative Labs, Inc. | Method and apparatus for formatting digital audio data |
US5783767A (en) * | 1995-08-28 | 1998-07-21 | Shinsky; Jeff K. | Fixed-location method of composing and peforming and a musical instrument |
US5693902A (en) * | 1995-09-22 | 1997-12-02 | Sonic Desktop Software | Audio block sequence compiler for generating prescribed duration audio sequences |
US5728960A (en) * | 1996-07-10 | 1998-03-17 | Sitrick; David H. | Multi-dimensional transformation systems and display communication architecture for musical compositions |
JP3120043B2 (ja) * | 1996-11-27 | 2000-12-25 | 山一電機株式会社 | Icカード用コネクタにおけるイジェクト機構 |
JP3750284B2 (ja) * | 1997-06-11 | 2006-03-01 | ヤマハ株式会社 | 自動作曲装置および記録媒体 |
US5886274A (en) * | 1997-07-11 | 1999-03-23 | Seer Systems, Inc. | System and method for generating, distributing, storing and performing musical work files |
JP3925993B2 (ja) | 1997-08-29 | 2007-06-06 | パイオニア株式会社 | 信号処理装置 |
EP0907160B1 (de) | 1997-09-30 | 2004-05-19 | Yamaha Corporation | Verfahren, Vorrichtung und Aufzeichnungsmedium zur Erzeugung von Tondaten |
JP3704980B2 (ja) * | 1997-12-17 | 2005-10-12 | ヤマハ株式会社 | 自動作曲装置と記録媒体 |
US5986199A (en) * | 1998-05-29 | 1999-11-16 | Creative Technology, Ltd. | Device for acoustic entry of musical data |
JP3654026B2 (ja) * | 1999-01-28 | 2005-06-02 | ヤマハ株式会社 | 奏法対応入力システム及びその記録媒体 |
JP3613062B2 (ja) * | 1999-03-19 | 2005-01-26 | ヤマハ株式会社 | 楽音データ作成方法および記憶媒体 |
-
2000
- 2000-05-09 AT AT0081000A patent/AT500124A1/de not_active Application Discontinuation
-
2001
- 2001-05-09 DE DE50107773T patent/DE50107773D1/de not_active Expired - Lifetime
- 2001-05-09 US US10/275,259 patent/US7105734B2/en not_active Expired - Fee Related
- 2001-05-09 EP EP01931187A patent/EP1336173B1/de not_active Expired - Lifetime
- 2001-05-09 AU AU58022/01A patent/AU784788B2/en not_active Ceased
- 2001-05-09 WO PCT/AT2001/000136 patent/WO2001086624A2/de active IP Right Grant
- 2001-05-09 JP JP2001583492A patent/JP4868483B2/ja not_active Expired - Fee Related
Also Published As
Publication number | Publication date |
---|---|
JP2004506225A (ja) | 2004-02-26 |
EP1336173A2 (de) | 2003-08-20 |
AT500124A1 (de) | 2005-10-15 |
US20030188625A1 (en) | 2003-10-09 |
US7105734B2 (en) | 2006-09-12 |
WO2001086624A2 (de) | 2001-11-15 |
WO2001086624A3 (de) | 2003-05-30 |
JP4868483B2 (ja) | 2012-02-01 |
DE50107773D1 (de) | 2005-11-24 |
AU784788B2 (en) | 2006-06-22 |
AU5802201A (en) | 2001-11-20 |
Similar Documents
Publication | Publication Date | Title |
---|---|---|
EP1336173B1 (de) | Anordnung bzw. anlage zum komponieren | |
DE69625693T2 (de) | Verfahren und vorrichtung zur formatierung von digitalen, elektrischen daten | |
DE68913278T2 (de) | Vorrichtung zur Wiedergabe von Musik und zur Anzeige von Worten. | |
DE69605939T2 (de) | System zur echtzeit-generierung von musik | |
US7525036B2 (en) | Groove mapping | |
US7335833B2 (en) | Music performance system | |
DE60018626T2 (de) | Vorrichtung und Verfahren zur Eingabe von Steuerungsdateien für Musikvorträge | |
US7439441B2 (en) | Musical notation system | |
DE60308370T2 (de) | Musikalisches notierungssystem | |
DE112013005807T5 (de) | Vorrichtung und Verfahren zur Erzeugung einer Echtzeitmusikbegleitung | |
DE112014003260T5 (de) | System und Verfahren zum Erzeugen einer rhythmischen Begleitungfür eine musikalische Darbietung | |
DE60024157T2 (de) | Vorrichtung und Verfahren zur Eingabe eines Vortragstils | |
EP0434758A1 (de) | Vorrichtung und verfahren zur darstellung von musikinformationen | |
DE60026189T2 (de) | Verfahren und Vorrichtung zur Wellenformkomprimierung und Erzeugung | |
DE60318282T2 (de) | Methoden und Vorrichtung zur Verarbeitung von Ausführungsdaten und zur Synthetisierung von Tonsignalen | |
DE60033098T2 (de) | Verfahren und Vorrichtung zur Aufnahme/Wiedergabe oder Erzeugung von Wellenformen mittels Zeitlageinformation | |
Carpentier et al. | Automatic orchestration in practice | |
DE60032844T2 (de) | Verfahren und Vorrichtung zur Erzeugung einer Wellenform auf einem Auslegungsstildatenstrom basiert | |
DE60032085T2 (de) | Verfahren und Vorrichtung zur Erzeugung einer Wellenform mit verbessertem Übergang zwischen aufeinandervolgenden Dateimodulen | |
Covach | Popular music in the theory classroom | |
DE10056980A1 (de) | Verfahren und Gerät zum Verarbeiten einer Audiowellenform | |
Schwarz et al. | Notation, Transmission, and Comprovisation: A Case Study of the ONCEIM Improvisation Orchestra | |
Levy | The electronic works of György Ligeti and their influence on his later style | |
Andriotis | Vocem Internum | |
Belet | Theoretical and formal continuity in James Tenney's music |
Legal Events
Date | Code | Title | Description |
---|---|---|---|
PUAI | Public reference made under article 153(3) epc to a published international application that has entered the european phase |
Free format text: ORIGINAL CODE: 0009012 |
|
17P | Request for examination filed |
Effective date: 20021209 |
|
AK | Designated contracting states |
Designated state(s): AT BE CH CY DE DK ES FI FR GB GR IE IT LI LU MC NL PT SE TR |
|
AX | Request for extension of the european patent |
Extension state: AL LT LV MK RO SI |
|
GRAP | Despatch of communication of intention to grant a patent |
Free format text: ORIGINAL CODE: EPIDOSNIGR1 |
|
GRAS | Grant fee paid |
Free format text: ORIGINAL CODE: EPIDOSNIGR3 |
|
GRAA | (expected) grant |
Free format text: ORIGINAL CODE: 0009210 |
|
AK | Designated contracting states |
Kind code of ref document: B1 Designated state(s): AT BE CH CY DE DK ES FI FR GB GR IE IT LI LU MC NL PT SE TR |
|
PG25 | Lapsed in a contracting state [announced via postgrant information from national office to epo] |
Ref country code: IT Free format text: LAPSE BECAUSE OF FAILURE TO SUBMIT A TRANSLATION OF THE DESCRIPTION OR TO PAY THE FEE WITHIN THE PRESCRIBED TIME-LIMIT;WARNING: LAPSES OF ITALIAN PATENTS WITH EFFECTIVE DATE BEFORE 2007 MAY HAVE OCCURRED AT ANY TIME BEFORE 2007. THE CORRECT EFFECTIVE DATE MAY BE DIFFERENT FROM THE ONE RECORDED. Effective date: 20051019 Ref country code: IE Free format text: LAPSE BECAUSE OF FAILURE TO SUBMIT A TRANSLATION OF THE DESCRIPTION OR TO PAY THE FEE WITHIN THE PRESCRIBED TIME-LIMIT Effective date: 20051019 Ref country code: NL Free format text: LAPSE BECAUSE OF FAILURE TO SUBMIT A TRANSLATION OF THE DESCRIPTION OR TO PAY THE FEE WITHIN THE PRESCRIBED TIME-LIMIT Effective date: 20051019 Ref country code: FI Free format text: LAPSE BECAUSE OF FAILURE TO SUBMIT A TRANSLATION OF THE DESCRIPTION OR TO PAY THE FEE WITHIN THE PRESCRIBED TIME-LIMIT Effective date: 20051019 |
|
REG | Reference to a national code |
Ref country code: GB Ref legal event code: FG4D Free format text: NOT ENGLISH |
|
REG | Reference to a national code |
Ref country code: CH Ref legal event code: EP |
|
REG | Reference to a national code |
Ref country code: IE Ref legal event code: FG4D Free format text: LANGUAGE OF EP DOCUMENT: GERMAN |
|
REF | Corresponds to: |
Ref document number: 50107773 Country of ref document: DE Date of ref document: 20051124 Kind code of ref document: P |
|
PG25 | Lapsed in a contracting state [announced via postgrant information from national office to epo] |
Ref country code: SE Free format text: LAPSE BECAUSE OF FAILURE TO SUBMIT A TRANSLATION OF THE DESCRIPTION OR TO PAY THE FEE WITHIN THE PRESCRIBED TIME-LIMIT Effective date: 20060119 Ref country code: GR Free format text: LAPSE BECAUSE OF FAILURE TO SUBMIT A TRANSLATION OF THE DESCRIPTION OR TO PAY THE FEE WITHIN THE PRESCRIBED TIME-LIMIT Effective date: 20060119 Ref country code: DK Free format text: LAPSE BECAUSE OF FAILURE TO SUBMIT A TRANSLATION OF THE DESCRIPTION OR TO PAY THE FEE WITHIN THE PRESCRIBED TIME-LIMIT Effective date: 20060119 |
|
PG25 | Lapsed in a contracting state [announced via postgrant information from national office to epo] |
Ref country code: ES Free format text: LAPSE BECAUSE OF FAILURE TO SUBMIT A TRANSLATION OF THE DESCRIPTION OR TO PAY THE FEE WITHIN THE PRESCRIBED TIME-LIMIT Effective date: 20060130 |
|
REG | Reference to a national code |
Ref country code: CH Ref legal event code: NV Representative=s name: PATENTANWALTSBUERO JEAN HUNZIKER |
|
GBT | Gb: translation of ep patent filed (gb section 77(6)(a)/1977) |
Effective date: 20060201 |
|
PG25 | Lapsed in a contracting state [announced via postgrant information from national office to epo] |
Ref country code: PT Free format text: LAPSE BECAUSE OF FAILURE TO SUBMIT A TRANSLATION OF THE DESCRIPTION OR TO PAY THE FEE WITHIN THE PRESCRIBED TIME-LIMIT Effective date: 20060320 |
|
NLV1 | Nl: lapsed or annulled due to failure to fulfill the requirements of art. 29p and 29m of the patents act | ||
REG | Reference to a national code |
Ref country code: IE Ref legal event code: FD4D |
|
PG25 | Lapsed in a contracting state [announced via postgrant information from national office to epo] |
Ref country code: BE Free format text: LAPSE BECAUSE OF NON-PAYMENT OF DUE FEES Effective date: 20060531 Ref country code: MC Free format text: LAPSE BECAUSE OF NON-PAYMENT OF DUE FEES Effective date: 20060531 |
|
ET | Fr: translation filed | ||
PLBE | No opposition filed within time limit |
Free format text: ORIGINAL CODE: 0009261 |
|
STAA | Information on the status of an ep patent application or granted ep patent |
Free format text: STATUS: NO OPPOSITION FILED WITHIN TIME LIMIT |
|
26N | No opposition filed |
Effective date: 20060720 |
|
BERE | Be: lapsed |
Owner name: VIENNA SYMPHONIC LIBRARY GMBH Effective date: 20060531 |
|
PG25 | Lapsed in a contracting state [announced via postgrant information from national office to epo] |
Ref country code: TR Free format text: LAPSE BECAUSE OF FAILURE TO SUBMIT A TRANSLATION OF THE DESCRIPTION OR TO PAY THE FEE WITHIN THE PRESCRIBED TIME-LIMIT Effective date: 20051019 Ref country code: LU Free format text: LAPSE BECAUSE OF NON-PAYMENT OF DUE FEES Effective date: 20060509 |
|
PG25 | Lapsed in a contracting state [announced via postgrant information from national office to epo] |
Ref country code: CY Free format text: LAPSE BECAUSE OF FAILURE TO SUBMIT A TRANSLATION OF THE DESCRIPTION OR TO PAY THE FEE WITHIN THE PRESCRIBED TIME-LIMIT Effective date: 20051019 |
|
REG | Reference to a national code |
Ref country code: FR Ref legal event code: PLFP Year of fee payment: 16 |
|
PGFP | Annual fee paid to national office [announced via postgrant information from national office to epo] |
Ref country code: CH Payment date: 20160519 Year of fee payment: 16 Ref country code: GB Payment date: 20160520 Year of fee payment: 16 Ref country code: DE Payment date: 20160520 Year of fee payment: 16 |
|
PGFP | Annual fee paid to national office [announced via postgrant information from national office to epo] |
Ref country code: FR Payment date: 20160520 Year of fee payment: 16 Ref country code: AT Payment date: 20160425 Year of fee payment: 16 |
|
REG | Reference to a national code |
Ref country code: DE Ref legal event code: R119 Ref document number: 50107773 Country of ref document: DE |
|
REG | Reference to a national code |
Ref country code: CH Ref legal event code: PL |
|
REG | Reference to a national code |
Ref country code: AT Ref legal event code: MM01 Ref document number: 307373 Country of ref document: AT Kind code of ref document: T Effective date: 20170509 |
|
GBPC | Gb: european patent ceased through non-payment of renewal fee |
Effective date: 20170509 |
|
PG25 | Lapsed in a contracting state [announced via postgrant information from national office to epo] |
Ref country code: AT Free format text: LAPSE BECAUSE OF NON-PAYMENT OF DUE FEES Effective date: 20170509 |
|
PG25 | Lapsed in a contracting state [announced via postgrant information from national office to epo] |
Ref country code: CH Free format text: LAPSE BECAUSE OF NON-PAYMENT OF DUE FEES Effective date: 20170531 Ref country code: LI Free format text: LAPSE BECAUSE OF NON-PAYMENT OF DUE FEES Effective date: 20170531 |
|
REG | Reference to a national code |
Ref country code: FR Ref legal event code: ST Effective date: 20180131 |
|
PG25 | Lapsed in a contracting state [announced via postgrant information from national office to epo] |
Ref country code: GB Free format text: LAPSE BECAUSE OF NON-PAYMENT OF DUE FEES Effective date: 20170509 Ref country code: DE Free format text: LAPSE BECAUSE OF NON-PAYMENT OF DUE FEES Effective date: 20171201 |
|
PG25 | Lapsed in a contracting state [announced via postgrant information from national office to epo] |
Ref country code: FR Free format text: LAPSE BECAUSE OF NON-PAYMENT OF DUE FEES Effective date: 20170531 |