WO2020154422A2

WO2020154422A2 - Methods of and systems for automated music composition and generation

Info

Publication number: WO2020154422A2
Application number: PCT/US2020/014639
Authority: WO
Inventors: Andrew H. SILVERSTEIN
Original assignee: Amper Music, Inc.
Priority date: 2019-01-22
Filing date: 2020-01-22
Publication date: 2020-07-30
Also published as: WO2020154422A3

Abstract

An automated music composition and generation system and process for producing one or more pieces of digital music, by providing a set of musical energy (ME) quality control parameters to an automated music composition and generation engine, applying certain of the selected musical energy quality control parameters as markers to specific spots along the timeline of a selected media object or event marker by the system user during a scoring process, and providing the selected set of musical energy quality control parameters to drive the automated music composition and generation engine to automatically compose and generate one or more pieces of digital music with control over the specified qualities of musical energy embodied in and expressed by the piece of digital music to be composed and generated by the automated music composition and generation engine.

Description

TITLE OF INVENTION:

METHODS OF AND SYSTEMS FOR AUTOMATED MUSIC COMPOSITION AND GENERATION

TECHNICAL FIELD

The present invention relates to new and improved methods of and apparatus for helping individuals and groups of individuals, to create original music for various applications, without having special knowledge in music theory or practice, as generally required by prior art technologies.

BACKGROUND ART

In Applicant’s PCT Patent Application Publication No. WO 2017/058844 Al, published on 6 April 2017 and incorporated herein by reference in its entirety, Applicant disclosed a new and improved class of automated music composition and generation machines, engines, systems, methods and architectures that allow anyone, including music composing robotic systems, without possessing any knowledge of music theory or practice, or expertise in music or other creative endeavors, to instantly create unique and professional-quality music, synchronized to any kind of media content, including, but not limited to, video, photography, slideshows, and any pre-existing audio format, as well as any object, entity, and/or event, wherein the system user only requires knowledge of one’s own emotions and/or artistic concepts which are to be expressed musically in a piece of music that will ultimately composed by the automated composition and generation system of the present invention.

While the many useful inventions disclosed in Applicant’s PCT Publication No. WO 2017/058844 have fulfilled many of the shortcomings and drawbacks associated with prior art automated music composition and generation systems and methodologies, particularly in commodity music market, there still remains great room for improvement in terms of enabling individuals, as well as other information systems, without possession of any musical knowledge, theory or expertise, to automatically compose and generate music pieces for use in scoring diverse kinds of media products and objects, while overcoming the shortcomings and drawbacks associated with prior art systems, methods and technologies.

SUMMMARY OF INVENTION

Accordingly, a primary object of the present invention is to provide a new and improved Automated Music Composition And Generation System and Machine, and information processing architecture that allows anyone, without possessing any knowledge of music theory or practice, or expertise in music or other creative endeavors, to instantly create unique and professional-quality music, with the option, but not requirement, of being synchronized to any kind of media content, including, but not limited to, video, photography, slideshows, and any pre-existing audio format, as well as any object, entity, and/or event.

Another object of the present invention is to provide such Automated Music Composition And Generation System, wherein the system user only requires knowledge of one’s own emotions and/or artistic concepts which are to be expressed musically in a piece of music that will be ultimately composed by the Automated Composition And Generation System of the present invention.

Another object of the present invention is to provide an Automated Music Composition and Generation System that supports a novel process for creating music, completely changing and advancing the traditional compositional process of a professional media composer.

Another object of the present invention is to provide a new and improved Automated Music Composition and Generation system that supports a highly intuitive, natural, and easy to use graphical interface (GUI) that provides for very fast music creation and very high product functionality.

Another object of the present invention is to provide a new and improved Automated Music Composition and Generation System that allows system users to be able to describe, in a manner natural to the user, including, but not limited to text, image, linguistics, speech, menu selection, time, audio file, video file, or other descriptive mechanism, what the user wants the music to convey, and/or the preferred style of the music, and/or the preferred timings of the music, and/or any single, pair, or other combination of these three input categories. Another object of the present invention is to provide an automated music composition and generation system and process for producing one or more pieces of digital music, by selecting a set of musical energy (ME) quality control parameters for supply to an automated music composition and generation engine, applying certain of the music energy quality control parameters as markers to specify spots along the timeline of a selected media object (e.g. video, podcast, image, slideshow etc.) or event marker by the system user during a scoring process, and providing the selected set of musical energy quality control parameter to drive the automated music composition and generation engine to automatically compose and generate the one or more pieces of digital music with a control over specified qualities of musical energy embodied in and expressed by the piece of digital music to be composed and generated by the automated music composition and generation engine, which is then supplied back to the system user via the system user interface.

Another object of the present invention is to provide an automated music composition and generation system including a system user interface subsystem that supports spotting media objects and timeline-based event markers employing a graphical user interface (GUI) supporting the selection of musical energy (ME) quality control parameters including musical experience descriptors (MXDs) such as emotion/mood and style/genre type musical experience descriptors (MXDs), timing parameters, and other musical energy (ME) quality control parameters (e.g. instrumentation, ensemble, volume, tempo, rhythm, harmony, and timing (e.g. start/hit/stop) and framing (e.g. intro, climax, outro or ICO) control parameters), supported by the system, and applying these descriptors and spotting control markers along the timeline of a graphical representation of a selected media object or timeline- based event marker, to control particular musical energy qualities within the piece of digital music being composed and generated by an automated music composition and generation engine using the musical energy quality control parameters selected by the system user.

Another object of the present invention is to provide an automated music composition and generation system including a system user interface subsystem that supports spotting media objects and timeline-based event markers employing a graphical user interface (GUI) supporting the selection of dragged & dropped musical energy (ME) quality control parameters including a graphical using interface (GUI) supporting the dragging & dropping of musical experience descriptors including emotion/mood and style/genre type MXDs and timing parameters (e.g. start/hit/stop) and musical instrument control markers selected, dragged and dropped onto a graphical representation of a selected digital media object or timeline-based event marker, and controlling the musical energy qualities of the piece of digital music being composed and generated by an automated music composition and generation engine using the musical energy quality control parameters dragged and dropped by the system user.

Another object of the present invention is to provide an automated music composition and generation system including a system user interface subsystem that supports spotting media objects and timeline-based event markers employing a graphical user interface (GUI) supporting the selection of musical energy (ME) quality control parameters including musical experience descriptors (MXD) such as emotion/mood and style/genre type MXDs, timing parameters (e.g. start/hit/stop) and musical instrument framing (e.g. intro, climax, outro - ICO) control markers, electronically-drawn by a system user onto a graphical representation of a selected digital media object or timeline-based event marker, to be musically scored by a piece of digital music to be composed and generated by an automated music composition and generation engine using the musical energy quality control parameters electronically drawn by the system user.

Another object of the present invention is to provide an automated music composition and generation system including a system user interface subsystem that supports spotting media objects and timeline-based event markers employing a graphical user interface (GUI) supporting the selection of musical energy (ME) quality control parameters supported on a social media site or mobile application being accessed by a group of social media users, allowing a group of social media users to socially select musical experience descriptors (MXDs) including emotion/mood, and style/genre type MXDs and timing parameters (e.g. start/hit/stop) and musical instrument spotting control parameters from a menu, and apply the musical experience descriptors and other musical energy (ME) quality control parameters to a graphical representation of a selected digital media object or timeline- based event marker, to be musically scored with a piece of digital music being composed and generated by an automated music composition and generation engine using the musical experience descriptors selected by the social media group. Another object of the present invention is to provide an automated music composition and generation system including a system user interface subsystem that supports spotting media objects and timeline-based event markers employing a graphical user interface (GUI) supporting the selection of musical energy (ME) quality control parameters supported on mobile computing devices used by a group of social media users, allowing the group of social media users to socially select musical experience descriptors (MXDs) including emotion/mood and style/genre type MXDs and timing parameters (e.g. start/hit/stop) and musical instrument spotting control markers selected from a menu, and apply the musical experience descriptors to a graphical representation of a selected digital media object or timeline-based event marker, to be musically scored with a piece of digital music being composed and generated by an automated music composition and generation engine using the musical experience descriptors selected by the social media group.

Another object of the present invention is to provide an Automated Music Composition and Generation System supporting the use of automated virtual- instrument music synthesis driven by linguistic and/or graphical icon based musical experience descriptors supplied by the system user, wherein (i) during the first step of the process, the system user accesses the Automated Music Composition and Generation System, and then selects a video, an audio-recording (e.g. a podcast), a slideshow, a photograph or image, or an event marker to be scored with music generated by the Automated Music Composition and Generation System, (ii) the system user then provides linguistic-based and/or icon-based musical experience descriptors to its Automated Music Composition and Generation Engine, (iii) the system user initiates the Automated Music Composition and Generation System to compose and generate music using an automated virtual-instrument music synthesis method based on inputted musical descriptors that have been scored on (i.e. applied to) selected media or event markers by the system user, (iv), the system user accepts composed and generated music produced for the score media or event markers, and provides feedback to the system regarding the system user’s rating of the produced music, and/or music preferences in view of the produced musical experience that the system user subjectively experiences, and (v) the system combines the accepted composed music with the selected media or event marker, so as to create a video file for distribution and display/performance. Another object of the present invention is to provide an Enterprise-Level Internet-Based Music Composition And Generation System, supported by a data processing center with web servers, application servers and database (RDBMS) servers operably connected to the infrastructure of the Internet, and accessible by client machines, social network servers, and web-based communication servers, and allowing anyone with a web-based browser to access automated music composition and generation services on websites (e.g. on YouTube, Vimeo, etc.), social-networks, social-messaging networks (e.g. Twitter) and other Internet-based properties, to allow users to score videos, images, slide-shows, audio files, and other events with music automatically composed using virtual-instrument music synthesis techniques driven by musical experience descriptors produced using a touchscreen interface.

Another object of the present invention is to provide an Internet-Based Automated Music Composition and Generation Platform that is deployed so that mobile and desktop client machines, using text, SMS and email services supported on the Internet, can be augmented by the addition of composed music by users using the Automated Music Composition and Generation Engine of the present invention, and graphical user interfaces supported by the client machines while creating text, SMS and/or email documents (i.e. messages) so that the users can easily select graphic and/or linguistic based emotion and style descriptors for use in generating compose music pieces for such text, SMS and email messages.

Another object of the present invention is a mobile client machine (e.g. Internet-enabled smartphone or tablet computer) deployed in a system network supporting the Automated Music Composition and Generation Engine of the present invention, where the client machine is realized as a mobile computing machine having a touch-screen interface, a memory architecture, a central processor, graphics processor, interface circuitry, network adapters to support various communication protocols, and other technologies to support the features expected in a modern smartphone device (e.g. Apple iPhone, Samsung Android Galaxy, et al), and wherein a client application is running that provides the user with a virtual keyboard supporting the creation of a web-based (i.e. html) document, and the creation and insertion of a piece of composed music created by selecting linguistic and/or graphical -icon based emotion descriptors, and style-descriptors, from a menu screen, so that the music piece can be delivered to a remote client and experienced using a conventional web-browser operating on the embedded URL, from which the embedded music piece is being served by way of web, application and database servers.

Another object of the present invention is to provide a novel process for creating music using an Automated Music Composition and Generation System that intuitively makes all of the musical and non-musical decisions necessary to create a piece of music and learns, codifies, and formalizes the compositional process into a constantly learning and evolving system that drastically improves one of the most complex and creative human endeavors - the composition and creation of music.

Another object of the present invention is to provide a novel process for composing and creating music an using automated virtual-instrument music synthesis technique driven by musical experience descriptors and time and space parameters supplied by the system user, so as to automatically compose and generate music that rivals that of a professional music composer across any comparative or competitive scope.

Another object of the present invention is to provide an Automated Music Composition and Generation System, wherein the musical spirit and intelligence of the system is embodied within the specialized information sets, structures and processes that are supported within the system in accordance with the information processing principles of the present invention.

These and other objects of the present invention will become apparent hereinafter and in view of the appended Claims to Invention.

BRIEF DESCRIPTION OF THE DRAWINGS

The Objects of the Present Invention will be more fully understood when read in conjunction with the Illustrative Embodiments and the appended Drawings, wherein:

FIG. 1 is schematic representation illustrating the high-level system architecture of the automated music composition and generation system (i.e. machine) of the present invention supporting the use of virtual-instrument music synthesis driven by linguistic and/or graphical icon based musical experience descriptors and, wherein linguistic-based musical experience descriptors, and a video, audio recording, image, or event marker, are supplied as input through the system user interface, and used by the Automated Music Composition and Generation Engine of the present invention to generate musically-scored media (e.g. video, podcast, image, slideshow etc.) or event marker, that is then supplied back to the system user via the system user interface;

FIG. 1A is a high-level system block diagram of the automated music composition and generation system of the invention of the present invention, wherein musical energy quality control parameters, including musical experience descriptor (MXD) parameters of a non-musical-theoretical nature, are provided as input parameters to system user interface subsystem (BO) of the system by human and AI- based system users for controlling the quality of musical energy (ME) embodied and expressed in pieces of digital music being composed and generated by the automated music composition and generation system, wherein the musical experience descriptors (MXDs) of a non-musical -theoretical nature include emotion (i.e. mood) type musical experience descriptors (MXDs), style (i.e. genre) musical experience descriptors (MXDs), timing parameters (e.g. during and start/peak/stop), instrumentation (i.e. specific instrument control), harmony (e.g. ranging from simple to complex values), rhythm (e.g. ranging from simple to complex), tempo (e.g. from 0 to N beats per minute), dynamic (e.g. ppp through fff), instrument performance (e.g. rigid through flowing), and ensemble performance (e.g. rigid through flowing), and wherein musical experience descriptor (MXD) parameters of a musical-theoretical nature include pitch, chords, key etc. that are provided as input parameters to the system user interface input subsystem (BO) of the system by computer-based system users for controlling the quality of musical energy (ME) embodied and expressed in pieces of digital music being composed and generated by the automated music composition and generation system;

FIG. 2 is a flow chart illustrating the primary steps involved in carrying out the generalized automated music composition and generation process of the present invention supporting the use of virtual-instrument music synthesis driven by linguistic and/or graphical icon based musical experience descriptors and, wherein (i) during the first step of the process, the system user accesses the Automated Music Composition and Generation System of the present invention, and then selects a video, an audio recording (i.e. podcast), slideshow, a photograph or image, or event marker to be scored with music generated by the Automated Music Composition and Generation System of the present invention, (ii) the system user then provides linguistic-based and/or icon-based musical experience descriptors to the Automated Music Composition and Generation Engine of the system, (iii) the system user initiates the Automated Music Composition and Generation System to compose and generate music based on inputted musical descriptors scored on selected media or event markers, (iv), the system user accepts composed and generated music produced for the score media or event markers, and provides feedback to the system regarding the system user’s rating of the produced music, and/or music preferences in view of the produced musical experience that the system user subjectively experiences, and (v) the system combines the accepted composed music with the selected media or event marker, so as to create a video file for distribution and display;

FIG. 3 shows a prospective view of an automated music composition and generation instrument system according to an illustrative embodiment of the present invention, supporting locally-implemented virtual-instrument music synthesis driven by linguistic-based musical experience descriptors produced using a touch-screen interface provided in a compact portable housing, supporting the various GUI-based system user interfaces as illustrated in FIGS. 7 A through 23;

FIG. 4 is a schematic diagram of an illustrative implementation of the automated music composition and generation instrument system of the first illustrative embodiment of the present invention, supporting virtual-instrument music synthesis driven by linguistic-based or graphical -icon based musical experience descriptors (MXD) produced using a text keyboard and/or a GUI-based system user interface as shown in FIGS. 7 A through 23, showing the various components of a SOC-based sub -architecture and other system components, integrated around a system bus architecture;

FIG. 5 is a schematic representation of the enterprise-level internet-based music composition and generation system of the present invention, supported by a data processing center with web servers, application servers and database (RDBMS) servers operably connected to the infrastructure of the Internet, and accessible by client machines, social network servers, and web-based communication servers, and allowing anyone with a web-based browser to access automated music composition and generation services on websites (e.g. on YouTube, Vimeo, etc.) to score videos, images, slide-shows, audio-recordings, and other events with music using virtual- instrument music synthesis and linguistic-based musical experience descriptors produced using a touch-screen text keyboard, and GUI-based system user interfaces as illustrated in FIGS. 7A through 23; FIG. 5A is schematic representation illustrating the high-level system architecture of the automated music composition and generation process supported by the system shown in FIG. 5, supporting the use of virtual-instrument music synthesis driven by linguistic and/or graphical icon based musical experience descriptors, wherein linguistic-based musical experience descriptors, and a video, audio recording, image, or event marker, are supplied as input through the web-based system user interface, and used by the Automated Music Composition and Generation Engine of the present invention to generate musically-scored media (e.g. video, podcast, image, slideshow etc.) or event marker, that is then supplied back to the system user via the system user interface;

FIG. 5B is a schematic representation of the system architecture of an exemplary computing server machine, one or more of which may be used, to implement the enterprise-level automated music composition and generation system illustrated in FIGS. 5 and 5 A;

FIG. 6 is a flow chart illustrating the primary steps involved in carrying out the Automated Music Composition And Generation Process of the present invention supported by the system illustrated in FIGS. 5 and 5 A, wherein (i) during the first step of the process, the system user accesses the Automated Music Composition and Generation System of the present invention, and then selects a video, an audio recording (i.e. podcast), slideshow, a photograph or image, or an event marker to be scored with music generated by the Automated Music Composition and Generation System of the present invention, (ii) the system user then provides linguistic-based and/or icon-based musical experience descriptors to the Automated Music Composition and Generation Engine of the system, (iii) the system user initiates the Automated Music Composition and Generation System to compose and generate music based on inputted musical descriptors scored on selected media or event markers, (iv), the system user accepts composed and generated music produced for the score media or event markers, and provides feedback to the system regarding the system user’s rating of the produced music, and/or music preferences in view of the produced musical experience that the system user subjectively experiences, and (v) the system combines the accepted composed music with the selected media or event marker, so as to create a video file for distribution and display;

FIGS. 7A through 7V set forth a series of graphical user interfaces (GUIs) associated with a first illustrative embodiment of the system user interface subsystem supported on the display screen of a client computing system deployed on an automated music composition and generation network of the present invention as shown, for example, in FIGS. 1, 3, and 5, wherein a set of menu-selectable musical- instrument spotting control markers are provided for user placement or positioning at desired spots (i.e. time points) along the time line model of the piece of digital music to be composed and generated by the automated music composition and generation engine of the present invention, where specific types of musical experiences or events are desired to occur, often, but not necessarily, time-coincident with graphical events occurring in the scene of a video or other media object being scored with the piece of music to be composed by the engine, providing the user greater control over the quality of music being generated, including user selection (i) from a music- emotion/music-style/music-spotting menu, commands from which the system user can choose during music spotting functions—“Start,”“Stop,”“Hit,”“Fade In”,“Fade Out,” and“New Mood” commands, and (ii) from a music energy menu bar, to select various music energy control parameters as shown and illustrated in FIGS. 1 A, 23 and 27B4F and throughout the Detailed Description;

FIGS. 8A through 8J set forth a series of wireframe-based graphical user interfaces (GUIs) associated with a second illustrative embodiment of the system user interface subsystem supported on the display screen of a client computing system deployed on an automated music composition and generation network of the present invention as shown, for example, in FIGS. 1, 3, and 5, wherein a set of slidable-type musical-instrument spotting control markers are provided for user placement or positioning at desired spots (i.e. time points) along the time line model of the piece of digital music to be composed and generated by the automated music composition and generation engine of the present invention, where specific types of musical experiences or events are desired to occur, often, but not necessarily, time-coincident with graphical events occurring in the scene of a video or other media object being scored with the piece of music to be composed by the engine, providing the user greater control over the quality of music being generated;

FIGS. 9A and 9B, taken together, set forth a high-level flow chart set describing an overview of the automated music composition and generation process, using spotting control markers, supported using the GUIs shown in FIGS. 8 A through 8J; FIGS. 10A through 10E set forth a series of wireframe-based graphical user interfaces (GUIs) associated with a third illustrative embodiment of the system user interface subsystem supported on the display screen of a client computing system deployed on an automated music composition and generation network of the present invention as shown, for example, in FIGS. 1, 3, and 5, wherein a set of drag-and-drop slidable-type musical-instrument spotting control markers are provided for user placement or positioning at desired spots (i.e. time points) along the time line model of the piece of digital music to be composed and generated by the automated music composition and generation engine of the present invention, where specific types of musical experiences or events are desired to occur, often, but not necessarily, time- coincident with graphical events occurring in the scene of a video or other media object being scored with the piece of music to be composed by the engine, providing the user greater control over the quality of music being generated;

FIGS. 11A and 11B, taken together, set forth a high-level flow chart set describing an overview of the automated music composition and generation process, using spotting control markers, supported using the GUIs shown in FIGS. 10A through 10E;

FIGS. 12A through 12F set forth a series of wireframe-based graphical user interfaces (GUIs) associated with a fourth illustrative embodiment of the system user interface subsystem supported on the display screen of a client computing system deployed on an automated music composition and generation network of the present invention as shown, for example, in FIGS. 1, 3, and 5, wherein a set of slidable-type musical-instrument spotting control markers are electronically-drawn on a compositional workspace for user placement or positioning at desired spots (i.e. time points) along the time line model of the piece of digital music to be composed and generated by the automated music composition and generation engine of the present invention, where specific types of musical experiences or events are desired to occur, often, but not necessarily, time-coincident with graphical events occurring in the scene of a video or other media object being scored with the piece of music to be composed by the engine, providing the user greater control over the quality of music being generated;

FIGS. 13 A and 13B, taken together, set forth a high-level flow chart set describing an overview of the automated music composition and generation process, using spotting control markers, supported using the GUIs shown in FIGS. 12A through 12F;

FIG. 14 is a schematic representation showing a network of mobile computing systems used by a group of system users running a social media communication and messaging application, integrated with the automated music composition and generation system and services of the present invention, supporting social media group scoring and musical instrument spotting;

FIGS. 15A through 15E set forth a series of wireframe-based graphical user interfaces (GUIs) associated with a fifth illustrative embodiment of the system user interface subsystem supported on the display screen of a client computing system deployed on an automated music composition and generation network of the present invention as shown, for example, in FIGS. 1, 3, 5 and 14, wherein a set of slidable- type musical-instrument spotting control markers are electronically-drawn on a compositional workspace for user placement or positioning at desired spots (i.e. time points) along the time line model of the piece of digital music to be composed and generated by the automated music composition and generation engine of the present invention, where specific types of musical experiences or events are desired to occur, often, but not necessarily, time-coincident with graphical events occurring in the scene of a video or other media object being scored with the piece of music to be composed by the engine, providing the user greater control over the quality of music being generated;

FIGS. 16A and 16B, taken together, set forth a high-level flow chart set describing an overview of the automated music composition and generation process, using spotting control markers, supported using the GUIs shown in FIGS. 15A through 15E;

FIGS. 17A through 17L set forth a series of wireframe-based graphical user interfaces (GUIs), or GUI panels, associated with a sixth illustrative embodiment of the system user interface subsystem supported on the display screen of a client computing system deployed on an automated music composition and generation network of the present invention as shown, for example, in FIGS. 1, 3, and 5, wherein a set of slidable-type musical-instrument spotting control markers are electronically-drawn on a compositional workspace for user placement or positioning at desired spots (i.e. time points) along the time line model of the piece of digital music to be composed and generated by the automated music composition and generation engine of the present invention, where specific types of musical experiences or events are desired to occur, often, but not necessarily, time-coincident with graphical events occurring in the scene of a video or other media object being scored with the piece of music to be composed by the engine, providing the user greater control over the quality of music being generated;

FIGS. 18A and 18B, taken together, set forth a high-level flow chart set describing an overview of the automated music composition and generation process, using spotting control markers, supported using the GUIs shown in FIGS. 17A through 17L;

FIGS. 19A through 19N set forth a series of wireframe-based graphical user interfaces (GUIs) associated with a seventh illustrative embodiment of the system user interface subsystem supported on the display screen of a client computing system deployed on an automated music composition and generation network of the present invention as shown, for example, in FIGS. 1, 3, and 5, wherein a set of slidable-type musical-instrument spotting control markers are electronically-drawn on a compositional workspace for user placement or positioning at desired spots (i.e. time points) along the time line model of the piece of digital music to be composed and generated by the automated music composition and generation engine of the present invention, where specific types of musical experiences or events are desired to occur, often, but not necessarily, time-coincident with graphical events occurring in the scene of a video or other media object being scored with the piece of music to be composed by the engine, providing the user greater control over the quality of music being generated;

FIGS. 20A and 20B, taken together, set forth a high-level flow chart set describing an overview of the automated music composition and generation process, using spotting control markers, supported using the GUIs shown in FIGS. 19A through 19N;

FIGS. 21A through 21L set forth a series of wireframe-based graphical user interfaces (GUIs) associated with an eighth illustrative embodiment of the system user interface subsystem supported on the display screen of a client computing system deployed on an automated music composition and generation network of the present invention as shown, for example, in FIGS. 1, 3, and 5, wherein a set of musical experience descriptors (MXDs) are displayed for selection from pull-down menus for use in composing and generating a piece of digital music using an automated music composition and generation engine of the present invention, where specific types of musical experiences or events are desired to occur, often, but not necessarily, time- coincident with graphical events occurring in the scene of a video or other media object being scored with the piece of music to be composed by the engine, providing the user greater control over the quality of music being generated;

FIGS. 22A and 22B, taken together, set forth a high-level flow chart set describing an overview of the automated music composition and generation process, using spotting control markers, supported using the GUIs shown in FIGS. 21 A through 21L; and

FIG. 23 is a schematic representation of an exemplary graphical user interface (GUI) of a musical energy control and mixing panel associated with an automated music composition and generation system, generated by the system user interface subsystem (BO) on the touch-screen visual display screen of a client computing system deployed on an automated music composition and generation network of the present invention as shown, for example, in FIGS. 1, 3, 5 and 14, showing the various musical energy (ME) quality control parameters described in FIGS. 1A and throughout the present Patent Specification, providing the system user with the ability to exert control over these specific qualities of musical energy (ME) embodied in and presented by the pieces of digital music composed and generated by the automated music composition and generation engine (El) of the present invention, without requiring the system user to have any specific knowledge of or experience in music theory or performance;

FIG. 24 is a high-level system diagram for the Automated Music Composition and Generation Engine of the present invention employed in the various embodiments of the present invention herein, comprising a user GUI-Based Input Subsystem, a General Rhythm Subsystem, a General Rhythm Generation Subsystem, a Melody Rhythm Generation Subsystem, a Melody Pitch Generation Subsystem, an Orchestration Subsystem, a Controller Code Creation Subsystem, a Digital Piece Creation Subsystem, and a Feedback and Learning Subsystem configured as shown;

FIG. 25 is a higher-level system diagram illustrating that the system of the present invention comprises two very high-level“musical landscape” categorizations, namely: (i) a Pitch Landscape Subsystem CO comprising the General Pitch Generation Subsystem A2, the Melody Pitch Generation Subsystem A4, the Orchestration Subsystem A5, and the Controller Code Creation Subsystem A6; and (ii) a Rhythmic Landscape Subsystem Cl comprising the General Rhythm Generation Subsystem Al, Melody Rhythm Generation Subsystem A3, the Orchestration Subsystem A5, and the Controller Code Creation Subsystem A6;

FIGS. 26A, 26B, 26C, 26D, 26E, 26F, 26G, 26H, 261, 26J, 26K, 26L, 26M, 26N, 260 and 26P, taken together, provide a detailed system diagram showing each subsystem in FIGS. 24 and 25 configured together with other subsystems in accordance with the principles of the present invention, so that musical descriptors provided to the user GUI-Based Input Output System BO are distributed to their appropriate subsystems for use in the automated music composition and generation process of the present invention;

FIG. 27 A shows a schematic representation of the User GUI-based input output subsystem (BO) used in the Automated Music Composition and Generation Engine El of the present invention, wherein the system user provides musical experience descriptors - e.g. HAPPY— to the input output system BO for distribution to the descriptor parameter capture subsystem Bl, wherein the probability -based tables are generated and maintained by the Parameter Transformation Engine Subsystem B51 shown in FIG. 27B3B, for distribution and loading in the various subsystems therein, for use in subsequent subsystem set up and automated music composition and generation;

FIGS. 27B1 and 27B2, taken together, show a schematic representation of the Descriptor Parameter Capture Subsystem (Bl) used in the Automated Music Composition and Generation Engine of the present invention, wherein the system user provides the exemplary“emotion-type” musical experience descriptor - HAPPY— to the descriptor parameter capture subsystem for distribution to the probability-based parameter tables employed in the various subsystems therein, and subsequent subsystem set up and use during the automated music composition and generation process of the present invention;

FIGS. 27B3A, 27B3B and 27B3C, taken together, provide a schematic representation of the Parameter Transformation Engine Subsystem (B51) configured with the Parameter Capture Subsystem (Bl), Style Parameter Capture Subsystem (B37) and Timing Parameter Capture Subsystem (B40) used in the Automated Music Composition and Generation Engine of the present invention, for receiving emotion- type musical experience descriptors (MXD), style-type musical experience descriptors, musical energy (ME) quality control parameters identified in FIG. 1A, and timing/spatial parameters for processing and transformation into music-theoretic system operating parameters for distribution, in table-type data structures, to various subsystems in the system of the illustrative embodiments;

FIGS. 27B4A, 27B4B, 27B4C, 27B4D, and 27B4E, taken together, provide a schematic map representation specifying the locations of particular music-theoretic system operating parameter (SOP) tables employed within the subsystems of the automatic music composition and generation system of the present invention;

FIG. 27B4F is a table showing the musical energy (ME) quality control supported by the A-level subsystems employed within the automated music composition and generation engine of the present invention, integrated within the diverse automated music composition and generation systems of the present invention;

FIGS. 28A and 28B, taken together, show a timing control diagram illustrating the time sequence that particular timing control pulse signals are sent to each subsystem block diagram in the system shown in FIGS. 26A through 26P, after the system has received its musical experience descriptor inputs from the system user, and the system has been automatically arranged and configured in its operating mode, wherein music is automatically composed and generated in accordance with the principles of the present invention;

DESCRIPTION OF EMBODIMENTS

Referring to the accompanying Drawings, like structures and elements shown throughout the figures thereof shall be indicated with like reference numerals.

Overview On The Automated Music Composition and Generation System Of The Present Invention. And The Employment Of Its Automated Music Composition and Generation Engine In Diverse Applications

FIG. 1 shows the high-level system architecture of the automated music composition and generation system of the present invention SI supporting the use of virtual-instrument music synthesis driven by linguistic and/or graphical icon based musical experience descriptors, wherein there linguistic-based musical experience descriptors, and an piece of media object (e.g. video, audio file, image), or an event marker, are supplied by the system user as input through the system user input output (EO) interface BO, and used by the Automated Music Composition and Generation Engine of the present invention El, illustrated in FIGS. 24 through 28B, to generate musically-scored media object (e.g. video, podcast, audio file, slideshow etc.) or an event marker, that is then supplied back to the system user via the system user (I/O) interface BO. The details of this novel system and its supporting information processes will be described in great technical detail hereinafter in support with Applicant’s PCT Patent Application Publication No. WO Applicant’s PCT Publication No. WO 2017/058844 Al, supra.

The architecture of the automated music composition and generation system of the present invention is inspired by the inventor’s real-world experience composing music scores for diverse kinds of media including movies, video-games and the like. As illustrated in FIGS. 24 and 25, the system of the present invention comprises a number of higher level subsystems including specifically; an input subsystem AO, a General Rhythm subsystem Al, a General Rhythm Generation Subsystem A2, a melody rhythm generation subsystem A3, a melody pitch generation subsystem A4, an orchestration subsystem A5, a controller code creation subsystem A6, a digital piece creation subsystem A7, and a feedback and learning subsystem A8. As illustrated in the schematic diagram shown in FIGS. 27B1 and 27B2, each of these high-level subsystems A0-A7 comprises a set of subsystems, and many of these subsystems maintain probabilistic-based system operating parameter tables (i.e. structures) that are generated and loaded by the Transformation Engine Subsystem B51.

FIG. 2 shows the primary steps for carrying out the generalized automated music composition and generation process of the present invention using automated virtual-instrument music synthesis driven by linguistic and/or graphical icon based musical experience descriptors. As used herein, the term“virtual-instrument music synthesis” refers to the creation of a musical piece on a note-by-note and chord-by- chord basis, using digital audio sampled notes, chords and sequences of notes, recorded from real or virtual instruments, using the techniques disclosed herein. This method of music synthesis is fundamentally different from methods where many loops, and tracks, of music are pre-recorded and stored in a memory storage device (e.g. a database) and subsequently accessed and combined together, to create a piece of music, as there is no underlying music theoretic characterization/specification of the notes and chords in the components of music used in this prior art synthesis method. In marked contrast, strict musical-theoretic specification of each musical event (e.g. note, chord, phrase, sub-phrase, rhythm, beat, measure, melody, and pitch) within a piece of music being automatically composed and generated by the system/machine of the present invention, must be maintained by the system during the entire music composition/generation process in order to practice the virtual- instrument music synthesis method in accordance with the principles of the present invention.

Specification of Musical Energy (MEI And Controlling The Qualities Thereof Using The Automated Music Composition and Generation System Of The Present Invention

Sound is created and perceived in its vibrations, in moving air throughout space, and in moving physical objects such as the small bones located within the human ear. Music is most often perceived as sound, with listeners receiving vibrations in the physical world. However, it is not a requirement of music to be perceived as sound, for humans can imagine music in all its forms in their mind, whether as a memory or novel creation, and enjoy it equally as if it were reaching their ears from an external source.

In both of these scenarios, physical and mental perception of music, we sense energy within the music. Musical Energy (“ME”) is a subjective perception, in that different individuals might perceive the same source material differently. ME is also inexorably tied to the context in which the music is perceived. The same music perceived in a battlefield, in a church, in a performance hall, after a loud piece of music, after a slow piece of music, before silence, after silence, and so on, all might affect how the perceiver of the music perceives its ME. The musical energy (ME) of music can also change within a piece, growing, languishing, and changing (or not), whether by design or by perception.

A composer often considers musical energy (ME) when creating music and utilizes compositional techniques to create it. While ME is perceived subjective, composers still strive to convey specific musical energies (MEs). Certain, but certainly not all of the attributes that might contribute to ME are tempo, rhythm, dynamics, harmony, instrumentation, orchestration - these largely driven by the composer. In contrast, instrument performance, ensemble performance and volume are largely driven by the conductor (or performance leader).

Ultimately, there are countless variables and dimensions that, in an ever- changing and non-quantitatively definable manner, cumulate with musical energy perception. And so, musical energy is not scientifically measurable nor constant. Unlike electricity, for example, where both a creator and consumer of electrical power can consistently and properly account for and define the exact amount of electricity created and used, the same cannot be said for musical energy.

At the same time, creators of music and their collaborators often include musical energy as a key area of their collaboration, and this is true if the creators and collaborators are talking in musical language or not. In each collaborative relationship, a system, however musical or tangential, however simple or complex, is typically used to facilitate communication around musical energy. What is important is that there is a common system, and/or a common language, used. And with this common system, there is a level of control provided over the music and its quality.

Each participant in music making and/or music perceiving has a role to play in the perception of musical energy (ME). The composer creates the (often, though not necessarily written) record of the music, the performer interprets the record and creates physical vibrations of mental perceptions, and the perceiver feels the musical energy of the music. Energy is defined as a fundamental entity of nature that is transferred between parts of a system in the production of physical change within the system, and usually regarded as the capacity for doing work. The parallels to musical energy are strong, such that musical energy (ME) can be defined as a fundamental entity of music that is transferred between parts of a system in the production of physical and/or mental change within the system.

In general, the automated music composition and generation system of the present invention provides users the ability to exert a specific amount of control over their music being composed and generated by the system, without having any specific knowledge of or experience in music theory or performance. How much control a system user will be provided over the qualities of musical energy (ME) embodied in and expressed by a piece of music being composed and generated by the automated music composition and generation engine (El), will depend on the design and implementation of the system user interface subsystem BO supported on each client computing system in communication with the automated music composition and generation engine El.

As disclosed herein, there are many different ways to practice the systems and methods of the present invention including both local and remote integration methods. As shown, for example, in FIGS. 3-22, these applications demonstrate integrating the automated music composition and generation engine El into the client computing system over a communication network, where the El and system are typically managed by different administrative entities. In instances of remote-integration, where the automated music composition and generation engine El is remotely integrated with the client computing systems and devices, the use of an API realized in a particular programming language will be convenient and useful to third-party application developers who wish to design, develop and deploy music-driven applications for mobile, workstation, desktop and server computing systems alike, that incorporate the functionalities supported by the automated music composition and generation engine El through the API to provide automated music composition and generation services with specified degrees of control over the qualities of musical energy (ME) embodied in and expressed by the pieces of digital music to be composed and generated by the remotely-situated automated music composition and generation engine El.

The system user interface subsystem (BO) includes both GUI-based and API- based interfaces that support: (i) pre-musical composition control over musical energy (ME) before composition, and (ii) post-musical composition control over musical energy (ME) after musical composition. These options provide system users with little or no musical theory experience or musical talent, with a greater degree of flexibility and control over the qualities of musical energy (ME) embodied in music to be composed and generated during the music composition and generation process using the automated music composition and generation system of the present invention, so that the resulting produce pieces of music better reflects the desires and requirements of the system user in specific applications.

While not having any inherent user interface, an application programming interface (API) supported by the system user interface subsystem (BO) shown in FIGS. 1 and 1A may be arranged to provide deeper and more robust music specification functionality than GUI-based system interfaces as shown in FIGS. 7 A through 23, by virtue of supporting the communication of both non-musical-theoretic and musical-theoretical parameters, for transformation into musical-theoretical system operating parameters (SOP) to drive the diverse subsystems of the Engine (El) in the system, and thus offering more dimensions for control over the qualities of musical energy (ME) embodied or expressed in pieces of music being composed and generated from the system. While many different kinds of APIs may be developed and supported by the system user interface subsystem (BO) of the Engine (El), the current preference would a web API such as JSON:API built using the JSON (JavaScript Object Notation), an open-standard file data-interchange format that uses human-readable text to transmit data objects consisting of attribute-value pairs and array data types. JSON is easy for humans to read and write. It is easy for machines to parse and generate. A JSON:API specifies how a client should request that resources be fetched or modified, and how a server should respond to those requests. The JSON: API is designed to minimize both the number of requests and the amount of data transmitted between clients and servers. This efficiency is achieved without compromising readability, flexibility, or discoverability. JSON:API requires use of the JSON:API media type (application/vnd.api+j son) for exchanging data.

In the illustrative embodiments described herein, the dimensions of control over musical energy (ME) include the following Musical Energy Qualities:

• Emotion/Mood Type Musical Experience Descriptors (MXD) - (e.g. expressed in the form of graphical icons, emojis, images, words and other linguistic expressions)

• Style/Genre Type Musical Experience Descriptors (MXD) - (e.g. expressed in the form of graphical icons, emojis, images, words and other linguistic expressions)

• Tempo: Number, from 0 - N

• Dynamics: ppp (pianissimo) - fff (fortissimo)

• Rhythm: Simple - Complex

• Harmony: Simple - Complex

• Melody: Simple - Complex

• Instrumentation: Specific Instrumentation Control

• Orchestration: Sparse - Dense

• Instrument Performance: Rigid - Flowing

• Ensemble Performance: Rigid - Flowing

• Volume: N db - N db

• Timing: 0 - XXX— Seconds, and start/peak/stop

• Framing: intro, climax, outro (ICO) Notably, the range of ME parameter quantities for Orchestration (Sparse - Dense) could be defined as how many instruments are playing simultaneously or how many notes are they (or is the collective ensemble) playing at one time.

The range of ME parameter quantities for Ensemble Performance or Ensemble Performance (Rigid - Flowing) could be defined as how consistent a musical performance is with respect to timing (e.g. the music sounds like it is played to the beat of a metronome) in comparison to a musical performance which ebbs and flows with more "musicality" (e.g. rubato, accelerando, etc.)

The range of ME parameter quantities for Rhythm (Simple - Complex) could be defined as the degree of complexity that the patterned arrangement of notes, pitch events or sounds appear in a piece of music, as measured according to duration and periodic stress. This measure could be quantified on a scale of 0 - 10, or another suitable continuum.

The range of ME parameter quantities for Harmony (Simple - Complex) could be defined as the degree of complexity that combinations of musical notes are simultaneously sounded in a piece of music to produce chords and chord progressions with a pleasing effect. This measure could be quantified on a scale of 0 - 10, or another suitable continuum.

The range of ME parameter quantities for Melody (Simple - Complex) could be defined as the degree of complexity that a sequence of single notes in a piece of music, have a sense of Rhythm, wherein Rhythm is understood to represent the time patterned characteristics of the piece of music. This measure could be quantified on a scale of 0 - 10, or another suitable continuum.

In the pre-musical composition section of the system, users can specify the Intro, Climax, and Outro (ICO) delineations in the piece of music that is to be composed. In the case that both ICO and tempo qualities are specified, then the requested ICO points may not line up with a (down) beat in the music, and in such cases, the system will automatically generate musical structure that most effectively achieves the system user’s creative goal(s) within a predefined set of guidelines represented by the SOP tables maintained within the system.

Once a piece of music has been composed, the user has control over the quality of musical energy (ME) embodied in the piece of music, typically in the post musical composition section of the system. In some system designs, the same robust range of musical energy quality control parameters represented in the schematic diagram of FIG. 1A may be supported and controlled by the system user, in both the pre-musical composition section as well as the post-musical composition system. How different such sections will be from each other in any given system implementation will depend on the system designer's objectives, design requirements, and system user's needs and capacities. In some illustrative embodiments, the post musical composition section may support all ME quality control parameters illustrated in FIG. 1A, but in other illustrative embodiments, may limit system user control to parameters such as ICO, tempo, and instrumentation, as shown in GUI- based system user interfaces depicted in FIGS. 7A through 23.

In general, the system users will be provided with system user interfaces that support the specific dimensions of musical energy control that will meet the needs and requirements of specific user segments who will be expected to utilize the system in a specified manner. As shown in FIGS. 7 A through 23, the system user interface subsystem (BO) of the illustrative embodiments, comprises diverse kinds of musical- event spotting GUIs spanning of over the range defined between:

(i) "simple" user experience (UX) designs that may be implemented in a mobile application (e.g. Instagram™, Snapchat™ and/or YouTube™ media, messaging and communication applications) as illustrated in FIGS. 7 A through 7V, FIGS. 17A through 17L, and FIGS. 21 A through 21L; and

(ii)“complex” UX designs that may be implemented in desktop and/or mobile applications as lustrated in FIGS. 8A through 8J, FIGS.10A through 10E, FIGS. 12A through 12F, FIGS. 15A through 15E and FIGS. 19A through 19M, to enable the system user to control each virtual musical instrument used in generating the piece of composed music, and also the various spots where certain musical events or experiences are desired, and possibly align with (i.e. match up) with specific frames in a video or other media object being scored, for one reason or another.

In some applications of the present invention, machine-controlled computer- vision can be used to automatically recognize and extract specific features from graphical images (e.g. specific facial recognition details such as a smile, grin, or grimace on the face of a human being, or scene objects that indicate or suggest specific kinds of emotions/moods that may accompany the video, or scene objects that indicate or suggest specific styles or genres of music that may aptly accompany such video scenery). Once recognized, and confirmed against a database of features or validated against a set of predefined principles, these recognized image features can be used to support and implement a course of automated control over the quality of musical energy (ME) that is to be embodied or expressed in the piece of digital music being composed and generated by the automated music composition and generation system of the present invention. Using this method of musical energy quality control, it is possible to automatically control the musical energy of music being composed without any human system user ever being provided as system input to the system user interface subsystem (BO) of the system.

Other kinds of inputs can be used to control the musical energy (ME) of music being composed: audio tracks (i.e. when dialogue drops down, then musical energy could pick up and vice versa); and text (either prose or words and phrases) in the form of emotion and style MXDs.

All input control parameters should be contextual to themselves, meani that if a user requests music that is happy, when happy has been previously requested, then make music that is happier using the original "happy" input as the reference point.

Specification Of The Automated Music Composition Process Of The Present Invention

As shown in FIG. 2, during the first step of the automated music composition process, the system user accesses the Automated Music Composition and Generation System of the present invention, and then selects a video, an audio-recording (i.e. podcast), slideshow, a photograph or image, or event marker to be scored with music generated by the Automated Music Composition and Generation System of the present invention, (ii) the system user then provides linguistic-based and/or icon- based musical experience descriptors to the Automated Music Composition and Generation Engine of the system, (iii) the system user initiates the Automated Music Composition and Generation System to compose and generate music based on inputted musical descriptors scored on selected media or event markers, (iv), the system user accepts composed and generated music produced for the score media or event markers, and provides feedback to the system regarding the system user’s rating of the produced music, and/or music preferences in view of the produced musical experience that the system user subjectively experiences, and (v) the system combines the accepted composed music with the selected media or event marker, so as to create a video file for distribution and display. The automated music composition and generation system is a complex system comprised of many subsystems, wherein complex calculators, analyzers and other specialized machinery is used to support highly specialized generative processes that support the automated music composition and generation process of the present invention. Each of these components serves a vital role in a specific part of the music composition and generation engine system (i.e. engine) of the present invention, and the combination of each component into a ballet of integral elements in the automated music composition and generation engine creates a value that is truly greater than the sum of any or all of its parts. A concise and detailed technical description of the structure and functional purpose of each of these subsystem components is provided hereinafter in FIGS. 27 A through 28B.

As shown in FIG. 26A through 26P, each of the high-level subsystems specified in FIGS. 24 and 25 is realized by one or more highly-specialized subsystems having very specific functions to be performed within the highly complex automated music composition and generation system of the present invention. In the preferred embodiments, the system employs and implements automated virtual-instrument music synthesis techniques, where sampled notes and chords, and sequences of notes from various kinds of instruments are digitally sampled and represented as a digital audio samples in a database and organized according to a piece of music that is composted and generated by the system of the present invention. In response to linguistic and/or graphical-icon based musical experience descriptors, including emotion-type descriptors and style-type descriptors that have been supplied to the GUI-based input output subsystem illustrated in FIG. 27A, as specified in greater detail in Applicant’s PCT Publication No. WO 2017/058844 A1 published on 6 April 2017 and incorporated herein by reference in its entirety, to reflect the emotional and stylistic requirements desired by the system user, which the system automatically carries out during the automated music composition and generation process of the present invention.

In FIG. 27A, musical experience descriptors, and optionally time and space parameters (specifying the time and space requirements of any form of media to be scored with composed music) are provided to the GUI-based interface supported by the input output subsystem B0. The output of the input output subsystem B0 is provided to other subsystems Bl, B37 and B40 in the Automated Music Composition and Generation Engine, as shown in FIGS. 26 A through 26P. As shown in FIGS. 27B1 and 27B2, the Descriptor Parameter Capture Subsystem B1 interfaces with a Parameter Transformation Engine Subsystem B51 schematically illustrated in FIG. 27B3B, wherein the musical experience descriptors (e.g. emotion-type descriptors and style-type descriptors) and optionally timing (e.g. start, stop and hit timing locations) and/or spatial specifications (e.g. Slide No. 21 in the Photo Slide Show), are provided to the system user interface of subsystem BO. These musical experience descriptors are automatically transformed by the Parameter Transformation Engine B51 into system operating parameter (SOP) values maintained in the programmable music-theoretic parameter tables that are generated, distributed and then loaded into and used by the various subsystems of the system, as described in greater detail in Applicant’s PCT Publication No. WO 2017/058844 Al. It is understood that the dimensions of such SOP tables in the subsystems will include (i) as many emotion-type musical experience descriptors as the system user has selected, for the probabilistic SOP tables that are structured or dimensioned on emotion-type descriptors in the respective subsystems, and (ii) as many style-type musical experience descriptors as the system user has selected, for probabilistic SOP tables that are structured or dimensioned on style-type descriptors in respective subsystems.

The principles by which such non-musical system user parameters are transformed or otherwise mapped into the probabilistic-based system operating parameters of the various system operating parameter (SOP) tables employed in the system are described hereinbelow and Applicant’s PCT Publication No. WO 2017/058844 Al, with reference to the transformation engine model schematically illustrated in FIGS. 27B3A, 27B3B and 27B3C, and related figures disclosed herein

Reference should be made to Applicant’s PCT Publication No. WO 2017/058844 Al for a detailed discussion on (i) the quantitative nature of the system operating parameter (SOP) tables generated by the Transformation Engine Subsystem B51, (ii) the qualitative relationships that exist between the musical experience descriptors and timing and spatial parameters supported by the system user interface of the system of the present invention, and music-theoretic concepts reflected in the probabilistic-based system operating parameter (SOP) tables, and (iii) how these qualitative relationships can be used to select specific probability or other parameter values for each set of probabilistic-based system operating parameter tables that are generated within the Transformation Engine and distributed to and loaded within the various subsystem, before each automated music composition and generation process is carried out like clock-work within the system of the present invention.

Regarding the overall timing and control of the subsystems within the system, reference should be made to the system timing diagram set forth in FIGS. 28 A and 28B, illustrating that the timing of each subsystem during each execution of the automated music composition and generation process for a given set of system user selected musical experience descriptors and timing and/or spatial parameters provided to the system.

As shown in FIGS. 28 A and 28B, the system begins with B1 turning on, accepting inputs from the system user, followed by similar processes with B37, B40, and B41. At this point, a waterfall creation process is engaged and the system initializes, engages, and disengages each component of the platform in a sequential manner. As described in FIGS. 28A and 28B, each component is not required to remain on or actively engaged throughout the entire compositional process.

FIGS. 26A through 26P illustrates the flow and processing (e.g. transformation) of information input, within, and out of the automated music composition and generation system. Starting with user inputs to Blocks 1, 37, 40, and

41, each component subsystem methodically makes decisions, influences other decision-making components/subsystems, and allows the system to rapidly progress in its music creation and generation process. In FIGS. 26A through 26P, and other figure drawings herein, solid lines (dashed when crossing over another line to designate no combination with the line being crossed over) connect the individual components and triangles designate the flow of the processes, with the process moving in the direction of the triangle point that is on the line and away from the triangle side that is perpendicular to the line. Lines that intersect without any dashed line indications represent a combination and/or split of information and or processes, again moving in the direction designated by the triangles on the lines.

Overview Of The Automated Musical Composition And Generation Process Of The Present Invention Supported By The Architectural Components Of The Automated Music Composition And Generation System Illustrated In FIGS. 26 A Through 26P

It will be helpful at this juncture to provide an overview of the automated music composition and generation process supported by the various systems of the present invention disclosed and taught here. In connection with this process, reference should also be made to FIGS. 26A through 26P, to follow the corresponding high-level system architecture provided by the system to support the automated music composition and generation process of the present invention, carrying out the virtual- instrument music synthesis method, described above.

As reflected in FIGS. 26 A through 26D, the first phase of the automated music composition and generation process according to the illustrative embodiment of the present invention involves receiving emotion-type and style-type and optionally timing-type parameters as musical descriptors for the piece of music which the system user wishes to be automatically composed and generated by machine of the present invention. Typically, the musical experience descriptors are provided through a GUI- based system user I/O Subsystem BO, although it is understood that this system user interface need not be GUI-based, and could use EDI, XML, XML-HTTP and other types information exchange techniques where machine-to-machine, or computer-to- computer communications are required to support system users which are machines, or computer-based machines, request automated music composition and generation services from machines practicing the principles of the present invention, disclosed herein.

As reflected in FIGS. 26D through 26 J, the second phase of the automated music composition and generation process according to the illustrative embodiment of the present invention involves using the General Rhythm Subsystem A1 for generating the General Rhythm for the piece of music to be composed. This phase of the process involves using the following subsystems: the Length Generation Subsystem B2; the Tempo Generation Subsystem B3; the Meter Generation Subsystem B4; the Key Generation Subsystem B5; the Beat Calculator Subsystem B6; the Tonality Generation Subsystem B7; the Measure Calculator Subsystem B8; the Song Form Generation Subsystem B9; the Sub-Phrase Length Generation Subsystem B15; the Number of Chords in Sub-Phrase Calculator Subsystem B16; the Phrase Length Generation Subsystem B12; the Unique Phrase Generation Subsystem BIO; the Number of Chords in Phrase Calculator Subsystem B13; the Chord Length Generation Subsystem Bl l; the Unique Sub-Phrase Generation Subsystem B14; the Instrumentation Subsystem B38; the Instrument Selector Subsystem B39; and the Timing Generation Subsystem B41.

As reflected in FIGS. 26 J and 26K, the third phase of the automated music composition and generation process according to the illustrative embodiment of the present invention involves using the General Pitch Generation Subsystem A2 for generating chords for the piece of music being composed. This phase of the process involves using the following subsystems: the Initial General Rhythm Generation Subsystem B17; the Sub-Phrase Chord Progression Generation Subsystem B19; the Phrase Chord Progression Generation Subsystem B18; the Chord Inversion Generation Subsystem B20.

As reflected in FIGS. 26K and 26L, the fourth phase of the automated music composition and generation process according to the illustrative embodiment of the present invention involves using the Melody Rhythm Generation Subsystem A3 for generating a melody rhythm for the piece of music being composed. This phase of the process involve using the following subsystems: the Melody Sub-Phrase Length Generation Subsystem B25; the Melody Sub-Phrase Generation Subsystem B24; the Melody Phrase Length Generation Subsystem B23; the Melody Unique Phrase Generation Subsystem B22; the Melody Length Generation Subsystem B21; the Melody Note Rhythm Generation Subsystem B26.

As reflected FIGS. 26L and 26M, the fifth phase of the automated music composition and generation process according to the illustrative embodiment of the present invention involves using the Melody Pitch Generation Subsystem A4 for generating a melody pitch for the piece of music being composed. This phase of the process involves the following subsystems: the Initial Pitch Generation Subsystem B27; the Sub-Phrase Pitch Generation Subsystem B29; the Phrase Pitch Generation Subsystem B28; and the Pitch Octave Generation Subsystem B30.

As reflected in FIG. 26M, the sixth phase of the automated music composition and generation process according to the illustrative embodiment of the present invention involves using the Orchestration Subsystem A5 for generating the orchestration for the piece of music being composed. This phase of the process involves the Orchestration Generation Subsystem B31.

As reflected in FIG. 26M, the seventh phase of the automated music composition and generation process according to the illustrative embodiment of the present invention involves using the Controller Code Creation Subsystem A6 for creating controller code for the piece of music. This phase of the process involves using the Controller Code Generation Subsystem B32.

As reflected in FIGS. 26M and 26N, the eighth phase of the automated music composition and generation process according to the illustrative embodiment of the present invention involves using the Digital Piece Creation Subsystem A7 for creating the digital piece of music. This phase of the process involves using the following subsystems: the Digital Audio Sample Audio Retriever Subsystem B333; the Digital Audio Sample Organizer Subsystem B34; the Piece Consolidator Subsystem B35; the Piece Format Translator Subsystem B50; and the Piece Deliverer Subsystem B36.

As reflected in FIGS. 26N, 260 and 26P, the ninth phase of the automated music composition and generation process according to the illustrative embodiment of the present invention involves using the Feedback and Learning Subsystem A8 for supporting the feedback and learning cycle of the system. This phase of the process involves using the following subsystems: the Feedback Subsystem B42; the Music Editability Subsystem B431; the Preference Saver Subsystem B44; the Musical kernel Subsystem B45; the User Taste Subsystem B46; the Population Taste Subsystem B47; the User Preference Subsystem B48; and the Population Preference Subsystem B49.

Having described the automated music composition and generation engine (El) of the present invention, it is appropriate at this juncture to now describe in greater detail each of the illustrative embodiments of the present invention.

Specification Of The First Illustrative Embodiment Of The Automated Music Composition and Generation System Of The Present Invention

FIG. 3 shows an automated transportable/mobile music composition and generation system according to a first illustrative embodiment of the present invention, supporting virtual-instrument (e.g. sampled-instrument) music synthesis and the use of linguistic-based and/or graphical icon based musical experience descriptors (MXD) produced and selected using preferably a touchscreen GUI-based interface provided in a compact portable housing with the form factor or a tablet computer or other mobile computing device. In this illustrative embodiment, the engine (El) is locally integrated into the compact housing containing the system components shown in FIG. 4, and supporting wireless connectivity to a network to communication and synchronize with a backup and network server as shown in FIGS. 5, 5A and 5B, without the need for a API to support automated music composition and generation as in the other illustrative embodiments shown in FIGS. 5 and 6.

For purpose of illustration, the digital circuitry implementation of the system is shown in FIG. 4 as an architecture of components configured around SOC or like digital integrated circuits. As shown, the system comprises the various components, comprising: SOC sub -architecture including a multi-core CPU, a multi-core GPU, program memory (DRAM), and a video memory (VRAM); a hard drive (SATA); a LCD/touch-screen display panel; a microphone/speaker; a keyboard; WIFI/Bluetooth network adapters; pitch recognition module/board; and power supply and distribution circuitry; all being integrated around a system bus architecture and supporting controller chips, as shown.

The primary function of the multi-core CPU is to carry out program instructions loaded into program memory (e.g. micro-code), while the multi-core GPU will typically receive and execute graphics instructions from the multi-core CPU, although it is possible for both the multi-core CPU and GPU to be realized as a hybrid multi-core CPU/GPU chip where both program and graphics instructions can be implemented within a single IC device, wherein both computing and graphics pipelines are supported, as well as interface circuitry for the LCD/touch-screen display panel, microphone/speaker, keyboard or keypad device, as well as WIFI/Bluetooth (BT) network adapters and the pitch recognition module/circuitry. The purpose of the LCD/touch-screen display panel, microphone/speaker, optional keyboard or keypad device, as well as WIFI/Bluetooth (BT) network adapters and the pitch recognition module/circuitry will be to support and implement the functions supported by the system interface subsystem BO, as well as other subsystems employed in the system.

In general, the automatic or automated music composition and generation system shown in FIGS. 3 and 4, including all of its inter-cooperating subsystems shown in FIGS. 24 through 28B and specified herein, can be implemented using digital electronic circuits, analog electronic circuits, or a mix of digital and analog electronic circuits specially configured and programmed to realize the functions and modes of operation to be supported by the automatic music composition and generation system. The digital integrated circuitry (IC) can include low-power and mixed (i.e. digital and analog) signal systems realized on a chip (i.e. system on a chip or SOC) implementation, fabricated in silicon, in a manner well known in the electronic circuitry as well as musical instrument manufacturing arts. Such implementations can also include the use of multi-CPUs and multi-GPUs, as may be required or desired for the particular product design based on the systems of the present invention. For details on such digital integrated circuit (ID) implementation, reference can be made to any number of companies and specialists in the field including Cadence Design Systems, Inc., Synopsis Inc., Mentor Graphics, Inc. and other electronic design automation firms.

Preferably, the GUI-based system user interface of this system shown in FIG. 3 and 4 is any of the GUI-based system user interfaces shown and described in FIGS. 7 A through 23, or any other GUI-based interface designed and constructed in accordance with the general principles of the present invention taught there, providing the system user exception control over the music pieces being composed without necessarily having any musical experience or musical theory knowledge. Notwithstanding, the GUI-based system user interfaces of the present invention also allow musicians having little or deep musical experience and/or knowledge in music theory to quickly produce music that meets their end-user needs in whatever application that might be including, but not limited to, video and other forms of media scoring with automatically-composed/generated music.

The system shown in FIGS. 3 and 4 supports the automated music composition and generation process of the illustrative embodiment of the present invention, wherein music energy (ME) parameters defined and specified defined herein including graphical-icon based musical experience descriptors (MXD), along with virtual-instrument (e.g. sampled-instrument) music synthesis techniques, are used by the automated music composition and generation engine (El) during an automated music composition process driven by the system user, as follows: (i) during the first step of the process, the system user accesses the Automated Music Composition and Generation System of the present invention, and then selects a video, a an audio-recording (i.e. podcast), slideshow, a photograph or image, or event marker to be scored with music generated by the Automated Music Composition and Generation System of the present invention, (ii) the system user then provides linguistic-based and/or icon-based musical experience descriptors to the Automated Music Composition and Generation Engine of the system, (iii) the system user initiates the Automated Music Composition and Generation System to compose and generate music based on inputted musical descriptors scored on selected media or event markers, (iv), the system user accepts composed and generated music produced for the score media or event markers, and provides feedback to the system regarding the system user’s rating of the produced music, and/or music preferences in view of the produced musical experience that the system user subjectively experiences, and (v) the system combines the accepted composed music with the selected media or event marker, so as to create a video file for distribution and display.

Specification Of The Second Illustrative Embodiment Of The Automated Music Composition and Generation System Of The Present Invention

FIG. 5 is a schematic representation of the enterprise-level internet-based music composition and generation system of second illustrative embodiment of the present invention, supported by a data processing center with web servers, application servers and database (RDBMS) servers operably connected to the infrastructure of the Internet, and accessible by client machines, social network servers, and web-based communication servers, and allowing anyone with a web-based browser to access automated music composition and generation services on websites (e.g. on YouTube, Vimeo, etc.) to score videos, images, slide-shows, audio-recordings, and other events with music using virtual-instrument music synthesis and linguistic-based musical experience descriptors produced using a text keyboard and/or a speech recognition interface.

FIG. 5A is a schematic representation illustrating the high-level system architecture of the automated music composition and generation process supported by the system shown in FIG. 5, supporting the use of linguistic and/or graphical icon based musical experience descriptors and virtual-instrument music synthesis, wherein linguistic-based musical experience descriptors, and a video, audio-recordings, image, or event marker, are supplied as input through the web-based system user interface, and used by the Automated Music Composition and Generation Engine of the present invention to generate musically-scored media (e.g. video, podcast, image, slideshow etc.) or event marker, that is then supplied back to the system user via the system user interface.

FIG. 5B shows the system architecture of an exemplary computing server machine, one or more of which may be used, to implement the enterprise-level automated music composition and generation system illustrated in FIGS. 5 and 5 A.

FIG. 6 is a flow chart illustrating the primary steps involved in carrying out the automated music composition and generation process supported by the system illustrated in FIGS. 5 and 5 A, wherein (i) during the first step of the process, the system user accesses the Automated Music Composition and Generation System of the present invention, and then selects a video, an audio-recording (i.e. podcast), slideshow, a photograph or image, or an event marker to be scored with music generated by the Automated Music Composition and Generation System of the present invention, (ii) the system user then provides linguistic-based and/or icon- based musical experience descriptors to the Automated Music Composition and Generation Engine of the system, (iii) the system user initiates the Automated Music Composition and Generation System to compose and generate music based on inputted musical descriptors scored on selected media or event markers, (iv), the system user accepts composed and generated music produced for the score media or event markers, and provides feedback to the system regarding the system user’s rating of the produced music, and/or music preferences in view of the produced musical experience that the system user subjectively experiences, and (v) the system combines the accepted composed music with the selected media or event marker, so as to create a video file for distribution and display.

The Automated Music Composition and Generation System of the first illustrative embodiment shown in FIGS. 5 through 7V, can operate in various modes of operation including: (i) Score Media Mode where a human system user provides musical experience descriptor and timing/spatial parameter input, as well as a piece of media (e.g. video, slideshow, etc.) to the Automated Music Composition and Generation System so it can automatically generate a piece of music scored to the piece of music according to instructions provided by the system user; and (ii) Compose Music-Only Mode where a human system user provides musical experience descriptor and timing/spatial parameter input to the Automated Music Composition and Generation System so it can automatically generate a piece of music scored for use by the system user.

Specification of Graphical User Interfaces (GUIs^’) For The Various Modes Of Operation Supported By The Automated Music Composition And Generation System Of The Fourth Illustrative Embodiment Of The Present Invention

FIG. 7A is an exemplary graphical user interface (GUI) screen that is generated and served by the system illustrated in FIGS. 5 and 6, wherein the interface objects are displayed for engaging the system into its Score Media Mode of operation or its Compose Music-Only Mode of operation as described above, by selecting one of the following graphical icons, respectively: (i)“Select Video” to upload a video into the system as the first step in the automated composition and generation process of the present invention, and then automatically compose and generate music as scored to the uploaded video; or (ii)“Music Only” to compose music only using the Automated Music Composition and Generation System of the present invention.

Specification of The Score Media Mode

The user decides if the user would like to create music in conjunction with a video or other media, then the user will have the option to engage in the workflow described below and represented in FIGS. 7A through 7V. The details of this work flow will be described below.

When the system user selects“Select Video” object in the GUI of FIG. 7 A, the exemplary graphical user interface (GUI) screen shown in FIG. 7B is generated and served by the system illustrated in FIGS. 5 and 6. In this mode of operation, the system allows the user to select a video file, or other media object (e.g. slide show, photos, audio file or podcast, etc.), from several different local and remote file storage locations (e.g. photo album, shared folder hosted on the cloud, and photo albums from ones smartphone camera roll), as shown in FIGS. 7B and 7C. If a user decides to create music in conjunction with a video or other media using this mode, then the system user will have the option to engage in a workflow that supports such selected options.

Using the GUI screen shown in FIG. 7D, the system user selects the category “music emotions” from the music emotions/music style/music spotting menu, to display four exemplary classes of emotions (i.e. Drama, Action, Comedy, and Horror) from which to choose and characterize the musical experience they system user seeks.

FIG. 7E shows an exemplary GUI screen that is generated and served by the system illustrated in FIGS. 5 and 6, in response to the system user selecting the music emotion category - Drama. FIG. 7F shows an exemplary GUI screen that is generated and served by the system illustrated in FIGS. 5 and 6, in response to the system user selecting the music emotion category - Drama, and wherein the system user has selected the Drama-classified emotions - Happy, Romantic, and Inspirational for scoring the selected video.

FIG. 7G shows an exemplary GUI screen that is generated and served by the system illustrated in FIGS. 5 and 6, in response to the system user selecting the music emotion category - Action. FIG. 7H shows an exemplary GUI screen that is generated and served by the system illustrated in FIGS. 5 and 6, in response to the system user selecting the music emotion category - Action, and wherein the system user has selected two Action-classified emotions - Pulsating, and Spy— for scoring the selected video.

FIG. 71 shows an exemplary GUI screen that is generated and served by the system illustrated in FIGS. 5 and 6, in response to the system user selecting the music emotion category - Comedy. FIG. 7J is an exemplary graphical user interface (GUI) screen that is generated and served by the system illustrated in FIGS. 5 and 6, in response to the system user selecting the music emotion category - Drama, and wherein the system user has selected the Comedy-classified emotions - Quirky and Slap Stick for scoring the selected video.

FIG. 7K shows an exemplary GUI screen that is generated and served by the system illustrated in FIGS. 5 and 6, in response to the system user selecting the music emotion category - Horror. FIG. 7L shows an exemplary graphical user interface (GUI) screen that is generated and served by the system illustrated in FIGS. 5 and 6, in response to the system user selecting the music emotion category - Horror, and wherein the system user has selected the Horror-classified emotions - Brooding, Disturbing and Mysterious for scoring the selected video.

It should be noted at this juncture that while the fourth illustrative embodiment shows a fixed set of emotion-type musical experience descriptors, for characterizing the emotional quality of music to be composed and generated by the system of the present invention, it is understood that in general, the music composition system of the present invention can be readily adapted to support the selection and input of a wide variety of emotion-type descriptors such as, for example, linguistic descriptors (e.g. words), images, and/or like representations of emotions, adjectives, or other descriptors that the user would like to music to convey the quality of emotions to be expressed in the music to be composed and generated by the system of the present invention.

FIG. 7M shows an exemplary GUI screen that is generated and served by the system illustrated in FIGS. 5 and 6, in response to the system user completing the selection of the music emotion category, displaying the message to the system user— “Ready to Create Your Music” Press Compose to Set Amper To Work Or Press Cancel To Edit Your Selections”.

At this stage of the workflow, the system user can select COMPOSE and the system will automatically compose and generate music based only on the emotion- type musical experience parameters provided by the system user to the system interface. In such a case, the system will choose the style-type parameters for use during the automated music composition and generation system. Alternatively, the system user has the option to select CANCEL, to allow the user to edit their selections and add music style parameters to the music composition specification.

FIG. 7N shows an exemplary GUI screen that is generated and served by the system illustrated in FIGS. 5 and 6 when the user selects CANCEL followed by selection of the MUSIC STYLE button from the music emotions/music style/music spotting menu, thereby displaying twenty (20) styles (i.e. Pop, Rock, Hip Hop, etc.) from which to choose and characterize the musical experience they system user seeks.

FIG. 70 is an exemplary GUI screen that is generated and served by the system illustrated in FIGS. 5 and 6, wherein the system user has selected the music style categories - Pop and Piano.

It should be noted at this juncture that while the fourth illustrative embodiment shows a fixed set of style-type musical experience descriptors, for characterizing the style quality of music to be composed and generated by the system of the present invention, it is understood that in general, the music composition system of the present invention can be readily adapted to support the selection and input of a wide variety of style-type descriptors such as, for example, linguistic descriptors (e.g. words), images, and/or like representations of emotions, adjectives, or other descriptors that the user would like to music to convey the quality of styles to be expressed in the music to be composed and generated by the system of the present invention.

FIG. 7P is an exemplary GUI screen that is generated and served by the system illustrated in FIGS. 5 and 6, in response to the system user has selected the music style categories - POP and PIANO. At this stage of the workflow, the system user can select COMPOSE and the system will automatically compose and generate music based only on the emotion-type musical experience parameters provided by the system user to the system interface. In such a case, the system will use both the emotion-type and style-type musical experience parameters selected by the system user for use during the automated music composition and generation system. Alternatively, the system user has the option to select CANCEL, to allow the user to edit their selections and add music spotting parameters to the music composition specification. FIG. 7Q is an exemplary GUI screen that is generated and served by the system illustrated in FIGS. 5 and 6, allowing the system user to select the category “music spotting” from the music emotions/music style/music spotting menu, to display six commands from which the system user can choose during music spotting functions.

FIG. 7R is an exemplary GUI screen that is generated and served by the system illustrated in FIGS. 5 and 7, in response to the system user selecting“music spotting” from the function menu, showing the“Start,”“Stop,”“Hit,”“Fade In”, “Fade Out,” and“New Mood” markers being scored on the selected video, as shown.

In this illustrative embodiment, the“music spotting” function or mode allows a system user to convey the timing parameters of musical events that the user would like to music to convey, including, but not limited to, music start, stop, descriptor change, style change, volume change, structural change, instrumentation change, split, combination, copy, and paste. This process is represented in subsystem blocks 40 and 41 in FIGS. 26A through 26D. As will be described in greater detail hereinafter, the transformation engine B51 within the automatic music composition and generation system of the present invention receives the timing parameter information, as well as emotion-type and style-type descriptor parameters, and generates appropriate sets of probabilistic-based system operating parameter (SOP) tables which are distributed to their respective subsystems, using subsystem indicated by Blocks 1 and 37.

FIG. 7S is an exemplary GUI screen that is generated and served by the system illustrated in FIGS. 5 and 6, in response to completing the music spotting function, displaying a message to the system user—“Ready to Create Music” Press Compose to Set Amper To work or“Press Cancel to Edit Your Selection”. At this juncture, the system user has the option of selecting COMPOSE which will initiate the automatic music composition and generation system using the musical experience descriptors and timing parameters supplied to the system by the system user. Alternatively, the system user can select CANCEL, whereupon the system will revert to displaying a GUI screen such as shown in FIG. 15D, or like form, where all three main function menus are displayed for MUSIC EMOTIONS, MUSIC STYLE, and MUSIC SPOTTING.

FIG. 7T shows an exemplary GUI screen that is generated and served by the system illustrated in FIGS. 5 and 6, in response to the system user pressing the “Compose” button, indicating the music is being composed and generated by the phrase“Bouncing Music.” After the confirming the user’s request for the system to generate a piece of music, the user’s client system transmits, either locally or externally, the request to the music composition and generation system, whereupon the request is satisfied. The system generates a piece of music and transmits the music, either locally or externally, to the user.

FIG. 7U shows an exemplary GUI screen that is generated and served by the system illustrated in FIGS. 5 and 6, when the system user’s composed music is ready for review. FIG. 7V is an exemplary GUI screen that is generated and served by the system illustrated in FIGS. 5 and 6, in response to the system user selecting the“Your Music is Ready” object in the GUI screen.

At this stage of the process, the system user may preview the music that has been created. If the music was created with a video or other media, then the music may be synchronized to this content in the preview.

As shown in FIG. 7V, after a music composition has been generated and is ready for preview against the selected video, the system user is provided with several options:

(i) edit the musical experience descriptors set for the musical piece and recompile the musical composition;

(ii) accept the generated piece of composed music and mix the audio with the video to generate a scored video file; and

(iii) select other options supported by the automatic music composition and generation system of the present invention.

If the user would like to resubmit the same request for music to the system and receive a different piece of music, then the system user may elect to do so. If the user would like to change all or part of the user’s request, then the user may make these modifications. The user may make additional requests if the user would like to do so. The user may elect to balance and mix any or all of the audio in the project on which the user is working including, but not limited to, the pre-existing audio in the content and the music that has been generated by the platform. The user may elect to edit the piece of music that has been created.

The user may edit the music that has been created, inserting, removing, adjusting, or otherwise changing timing information. The user may also edit the structure of the music, the orchestration of the music, and/or save or incorporate the music kernel, or music genome, of the piece. The user may adjust the tempo and pitch of the music. Each of these changes can be applied at the music piece level or in relation to a specific subset, instrument, and/or combination thereof. The user may elect to download and/or distribute the media with which the user has started and used the platform to create.

The user may elect to download and/or distribute the media with which the user has started and used the platform to create.

In the event that, at the GUI screen shown in FIG. 7S, the system user decides to select CANCEL, then the system generates and delivers a GUI screen as shown in FIG. 7D with the full function menu allowing the system user to make edits with respect to music emotion descriptors, music style descriptors, and/or music spotting parameters, as discussed and described above.

Specification Of The Compose Music Only Mode Of System Operation

If the user decides to create music independently of any additional content by selecting Music Only in the GUI screen of FIG. 7A, then the workflow described and represented in the GUI screens shown in FIGS. 7B, 7C, 7Q, 7R, and 7S are not required, although these spotting features may still be used if the user wants to convey the timing parameters of musical events that the user would like to music to convey.

FIG. 7B is an exemplary graphical user interface (GUI) screen that is generated and served by the system illustrated in FIGS. 5 and 6, when the system user selects“Music Only” object in the GUI of FIG. 7 A. In the mode of operation, the system allows the user to select emotion and style descriptor parameters, and timing information, for use by the system to automatically compose and generate a piece of music that expresses the qualities reflected in the musical experience descriptors. In this mode, the general workflow is the same as in the Score Media Mode, except that scoring commands for music spotting, described above, would not typically be supported. However, the system user would be able to input timing parameter information as would desired in some forms of music.

Specification Of A Second Illustrative Embodiment Of The GUI-Based System User Interface Subsystem Supported On The Display Screen Of A Client Computing System Deployed On An Automated Music Composition And Generation Network Of The Present Invention FIGS. 8A through 8J set forth a series of wireframe-based graphical user interfaces (GUIs) associated with a second illustrative embodiment of the GUI-based system user interface subsystem (BO) supported on the display screen of a client computing system deployed on an automated music composition and generation network as shown, for example, in FIGS. 1, 3 and 6.

As shown in FIGS. 8 A through 8J, a set of slidable-type musical -instrument spotting control markers are provided for user placement or positioning at desired spots (i.e. time points) along the time line model of the piece of digital music to be composed and generated by the automated music composition and generation engine of the present invention.

FIGS. 8A and 8B, taken together, set forth a high-level flow chart set describing an overview of the automated music composition and generation process, using spotting control markers, supported using the GUIs shown in FIGS. 8 A through 8J.

As shown in FIGS. 8A and 8B, the method comprises the following steps: (a) as shown in FIG. 9A, capturing or accessing a digital photo or video or other media object to be uploaded to a studio application, scored with music to be composed and generated by the automated music composition and generation engine (El); (b) as shown in FIG. 9A enabling the automated music composition studio; (c) as shown in FIG. 9B, selecting one or more emotion/mood descriptors (MXD) from pull down menus supported by the GUI, so as to load default musical instruments and MXD settings; (e) as shown in FIG. 9B, selecting style musical experience descriptors (MXD) from pull down menus supported by the GUI, so as to load default musical instruments and MXD settings; (f) as shown in FIGS. 8C through 8G, selecting musical instruments to be represented in the piece of music to be composed and generated; (g) as shown in FIGS. 8D through 8G, adjusting the spotting markers as desired; (h) as shown in FIG. 8H, rendering the piece of composed music using selected MXD and spotting settings; (i) as shown in FIG. 81, reviewing composed piece of music generated; (j) optionally changing the spotting settings and re-render piece of music; (k) reviewing new composed piece of music generated, to determine that it is acceptable and satisfactory for its intended application; (1) as shown in FIG. 8J, combining the composed music piece with the selected video or other media object uploaded to the application; and (j) send the musically-scored video or media object to the intended destination. As shown in FIGS. 8 A through 8J, these musical energy quality control markers are intended to identify and specify the spots, along the timeline input model, at which specific types of musical experiences or events are desired to occur, often, but not necessarily, time-coincident with graphical events occurring in the scene of the selected video or other media object being scored with the piece of music to be composed by the engine. Placement of these spotting markers along the timeline of the GUI-based system user interface subsystem BO provides the system user greater control over the quality of music being composed and generated.

Specification Of A Third Illustrative Embodiment Of The GUI-Based System User Interface Subsystem Supported On The Display Screen Of A Client Computing System Deployed On An Automated Music Composition And Generation Network Of The Present Invention

FIGS. 10A through 10E set forth a series of wireframe-based graphical user interfaces (GUIs) associated with a third illustrative embodiment of the GUI-based system user interface subsystem (BO) supported on the display screen of a client computing system deployed on an automated music composition and generation network as shown, for example, in FIGS. 1, 3 and 5.

As shown in FIGS. 10A through 10E, a set of drag-and-drop slidable-type musical-instrument spotting control markers are provided for user placement and positioning of these instrument spotting control markers at desired spots (i.e. time points) along the time line model of the piece of digital music to be composed and generated by the automated music composition and generation engine of the present invention, where specific types of musical experiences or events are desired to occur. Oftentimes, but not necessarily always, these spots are time-coincident with graphical events occurring in the scene of a video or other media object being scored with the piece of music to be composed by the engine, providing the system user greater control over the quality of music being generated.

FIGS. 11A and 11B, taken together, set forth a high-level flow chart set describing an overview of the automated music composition and generation process, using spotting control markers, supported using the GUIs shown in FIGS. 10A through 10E.

As shown in FIGS. 11A and 11B, the method comprises the following steps: (a) load workstation application supporting automated music composition and generation process of the present invention fully integrated as generally shown in FIG. 1; (b) as shown in FIG. 10 A, capturing or accessing a digital photo or video or other media object to be scored with music to be composed and generated by the automated music composition and generation engine (El); (c) as shown in FIG. 10B, selecting one or more emotion/mood descriptors (MXD) from pull down menus supported by the GUI, so as to load default musical instruments and MXD settings; (d) as shown in FIG. 10B, selecting style musical experience descriptors (MXD) from pull down menus supported by the GUI, so as to load default musical instruments and MXD settings; (e) as shown in FIG. 10D, selecting musical instruments to be represented in the piece of music to be composed and generated; (g) as shown in FIG. 10E, adjusting the slidable spotting markers as desired for each selected musical instrument; (h) rendering the piece of composed music using selected MXD and sliding spotting settings; (i) reviewing composed piece of music generated; (j) changing the slidable spotting settings and re-render piece of music; (k) reviewing new composed piece of music generated, to determine that it is acceptable and satisfactory for its intended application; (1) combining the composed music piece with the selected video or other media object uploaded to the application; (m) sending to its destination over the network, the video or media object scored with the emotionally-specified music composed and generated by the automated music composition and generation engine (El).

As shown in FIGS. 10A through 10E, these instrument spotting control markers are intended to identify and specify the spots (i.e. time locations along the timeline input model), at which specific types of musical experiences or events are desired to occur, oftentimes, but not necessarily always, time-coincident with graphical events occurring in the scene of the selected video or other media object being scored with the piece of music to be composed by the engine. Placement of these spotting control markers along the timeline of the GUI-based system user interface subsystem BO provides the system user greater control over the quality of music being composed and generated.

Specification Of A Fourth Illustrative Embodiment Of The GUI-Based System User Interface Subsystem Supported On The Display Screen Of A Client Computing System Deployed On An Automated Music Composition And Generation Network Of The Present Invention FIGS. 12A through 12F set forth a series of wireframe-based graphical user interfaces (GUIs) associated with a fourth illustrative embodiment of the GUI-based system user interface subsystem (BO) supported on the display screen of a client computing system deployed on an automated music composition and generation network as shown, for example, in FIGS. 1, 3 and 5.

As shown in FIGS. 12A through 12F, a set of slidable-type musical -instrument spotting control markers are electronically-drawn on a compositional workspace of the GUI-based system user interface subsystem (BO) for user placement or positioning at desired spots (i.e. time points) along the time line model of the piece of digital music to be composed and generated by the automated music composition and generation engine (El), where specific types of musical experiences or events are desired to occur, oftentimes, but not necessarily always, time-coincident with graphical events occurring in the scene of a video or other media object being scored with the piece of music to be composed by the engine. This provides the system user greater control over the quality of music being composed and generated.

FIGS. 13 A and 13B, taken together, set forth a high-level flow chart set describing an overview of the automated music composition and generation process, using spotting control markers, supported using the GUIs shown in FIGS. 12A through 12F.

As shown in FIGS. 13 A and 13B, the method comprises the following steps: (a) as shown in FIG. 12 A, accessing a communication application from a desktop or mobile computing platform connected to a network, in which the automated music composition and generation process of the present invention is fully integrated as generally shown in FIG. 1; (b) as shown in FIG. 12B, capturing or accessing a digital photo or video or other media object to be scored with music to be composed and generated by the automated music composition and generation engine (El); (c) as shown in FIG. 12B, selecting one or more emotion/mood descriptors (MXD) from pull down menus supported by the GUI, so as to load default musical instruments and MXD settings; (d) as shown in FIG. 12C, selecting style musical experience descriptors (MXD) from pull down menus supported by the GUI, so as to load default musical instruments and MXD settings; (e) as shown in FIG. 12E, selecting musical instruments to be represented in the piece of music to be composed and generated; (f) adjusting the spotting markers as desired; (g) rendering the piece of composed music using selected MXD and spotting settings; (h) reviewing composed piece of music generated; (i) changing the spotting settings and re-render piece of music; (j) reviewing new composed piece of music generated, to determine that it is acceptable and satisfactory for its intended application; (k) combining the composed music piece with the selected video or other media object uploaded to the application; and (1) sending to its destination over the network, the video or media object scored with the emotionally-specified music composed and generated by the automated music composition and generation engine (El).

As shown in FIGS. 40 A through 40F, these instrument spotting control markers are intended to identify and specify the spots (i.e. time locations), at which specific types of musical experiences or events are desired to occur along the timeline input model, oftentimes, but not necessarily always, time-coincident with graphical events occurring in the scene of the selected video or other media object being scored with the piece of music to be composed by the engine. Placement of these spotting control markers along the timeline of the GUI-based system user interface subsystem BO provides the system user greater control over the quality of music being composed and generated.

Specification Of A Fifth Illustrative Embodiment Of The GUI-Based System User Interface Subsystem Supported On The Display Screen Of A Client Computing System Deployed On An Automated Music Composition And Generation Network Of The Present Invention

FIG. 14 is a schematic representation showing a network of mobile computing systems used by a group of system users provided with mobile computing systems, each running a social media communication and messaging application, that is integrated with the automated music composition and generation system (El) and services of the present invention shown in FIGS. 1 and 1 A.

FIGS. 15A through 15E set forth a series of wireframe-based graphical user interfaces (GUIs) associated with a fifth illustrative embodiment of the GUI-based system user interface subsystem (BO) supported on the display screen of a client computing system deployed on an automated music composition and generation network as shown, for example, in FIGS. 1, 3, and 5.

As shown in FIGS. 1A through 15E, a set of slidable-type musical-instrument spotting control markers are electronically-drawn on a compositional workspace supported by the social media or communication application, for user placement or positioning at desired spots (i.e. time points) along the time line model of the piece of digital music to be composed and generated by the automated music composition and generation engine of the present invention. At these spots along the timeline input model, specific types of musical experiences or events are desired to occur, oftentimes, but not necessarily always, time-coincident with graphical events occurring in the scene of a video or other media object being scored with the piece of music to be composed by the engine, providing the system user greater control over the quality of music being composed and generated.

FIGS. 16A and 16B, taken together, set forth a high-level flow chart set describing an overview of the automated music composition and generation process, using spotting control markers, supported using the GUIs shown in FIGS. 43 A through 15E. As shown in FIGS. 16A and 16B, the method comprises the following steps: (a) as shown in FIG. 15 A, accessing a social media communication and messaging application from a desktop or mobile computing platform connected to a network, in which the automated music composition and generation process of the present invention is fully integrated as generally shown in FIG. 1; (b) as shown in FIG. 15B, the conductor invites members from social group to help compose and perform a piece of music for a purpose; (c) as shown in FIG. 15C, one or more members select emotion/mood descriptors (MXD) from pull down menus supported by the GUI, so as to load default musical instruments and MXD settings; (d) as shown in FIG. 15C, one or more members select style musical experience descriptors (MXD) from pull down menus supported by the GUI, so as to load default musical instruments and MXD settings; (e) as shown in FIG. 15D, each member is invited to control one or more musical instruments; (g) as shown in FIG. 15E, the spotting markers on each musical instrument are adjusted as desired; (h) the piece of composed music is rendered by the automated music composition engine El using selected MXD and spotting settings; (i) reviewing composed piece of music generated; (j) changing the spotting settings and re-render piece of music; (k) reviewing new composed piece of music generated, to determine that it is acceptable and satisfactory for its intended application; (1) combining the composed music piece with the selected video or other media object uploaded to the application; (m) adding one or more text messages to the musically-scored video; and (n) sending to its destination over the network, the social message and video or media object scored with the emotionally-specified music composed and generated by the automated music composition and generation engine (El).

As shown in FIGS. 15A through 15E, these spotting control markers are intended to identify the spots, at which specific types of musical experiences or events are desired to occur. Oftentimes, but not necessarily always, these spots are time- coincident with graphical events occurring in the scene of the selected video or other media object being scored with the piece of music to be composed by the engine. Placement of these spotting control markers along the timeline of the GUI-based system user interface subsystem BO provides the system user greater control over the quality of music being generated.

Specification Of A Sixth Illustrative Embodiment Of The GUI-Based System User Interface Subsystem Supported On The Display Screen Of A Client Computing System Deployed On An Automated Music Composition And Generation Network Of The Present Invention

FIGS. 18A and 18B, taken together, set forth a high-level flow chart set describing an overview of the automated music composition and generation process, using spotting control markers, supported using the GUIs shown in FIGS. 17A through 17E.

As shown in FIGS. 18A and 18B, the method comprises the following steps: (a) as shown in FIG. 17 A, accessing a social media communication and messaging application from a desktop or mobile computing platform connected to a network, in which the automated music composition and generation process of the present invention is fully integrated as generally shown in FIG. 1; (b) as shown in FIG. 17B, capturing or accessing a digital photo or video or other media object to be scored with music to be composed and generated by the automated music composition and generation engine (El); (c) as shown in FIG. 17C, enabling the automated music composition studio integrated into the social media communication and messaging application; (d) as shown in FIG. 17D, selecting one or more emotion/mood descriptors (MXD) from pull down menus supported by the GUI, so as to load default musical instruments and MXD settings; (e) as shown in FIG. 17E, selecting style musical experience descriptors (MXD) from pull down menus supported by the GUI, so as to load default musical instruments and MXD settings; (f) as shown in FIG. 17F, render the piece of composed music using selected MXD settings; (g) as shown in FIG. 17G, reviewing composed piece of music generated; (h) as shown in FIG. 17H, changing the spotting settings and re-render piece of music; (i) as shown in FIG. 171, reviewing new composed piece of music generated, to determine that it is acceptable and satisfactory for its intended application; (j) as shown in FIG. 17J, combining the composed music piece with the selected video or other media object uploaded to the application; (k) as shown in FIG. 17K, adding a text message to the musically-scored video; and (1) as shown in FIG. 17L, sending to its destination over the network, the social message and video or media object scored with the emotionally-specified music composed and generated by the automated music composition and generation engine (El).

Specification Of A Seventh Illustrative Embodiment Of The GUI-Based System User Interface Subsystem Supported On The Display Screen Of A Client Computing System Deployed On An Automated Music Composition And Generation Network Of The Present Invention

FIGS. 19A through 19N set forth a series of wireframe-based graphical user interfaces (GUIs) associated with a seventh illustrative embodiment of the GUI-based system user interface subsystem (BO) supported on the display screen of a client computing system deployed on an automated music composition and generation network as shown, for example, in FIGS. 1, 3 and 5.

As shown in FIGS. 19A through 19N, a set of slidable-type musical- instrument spotting control markers are electronically-drawn on a compositional workspace for user placement or positioning at desired spots (i.e. time points) along the time line model of the piece of digital music to be composed and generated by the automated music composition and generation engine of the present invention, where specific types of musical experiences or events are desired to occur. Oftentimes, but not necessarily always, these spots are time-coincident with graphical events occurring in the scene of a video or other media object being scored with the piece of music to be composed by the engine, providing the system user greater control over the quality of music being composed and generated.

FIGS. 20A and 20B, taken together, set forth a high-level flow chart set describing an overview of the automated music composition and generation process, using spotting control markers, supported using the GUIs shown in FIGS. 19A through 19E. As shown in FIGS. 20A and 20B, the method comprises the following steps: (a) as shown in FIG. 19 A, accessing a social media communication and messaging application from a desktop or mobile computing platform connected to a network, in which the automated music composition and generation process of the present invention is fully integrated as generally shown in FIG. 1; (b) as shown in FIG. 19B, capturing or accessing a digital photo or video or other media object to be scored with music to be composed and generated by the automated music composition and generation engine (El); (c) as shown in FIG. 19C, enabling the automated music composition studio integrated into the social media communication and messaging application; (d) as shown in FIG. 19D, selecting one or more emotion/mood descriptors (MXD) from pull down menus supported by the GUI, so as to load default musical instruments and MXD settings; (e) as shown in FIG. 19E, selecting style musical experience descriptors (MXD) from pull down menus supported by the GUI, so as to load default musical instruments and MXD settings; (f) as shown in FIG. 19F, selecting musical instruments to be represented in the piece of music to be composed and generated; (g) as shown in FIG. 19G, adjusting the spotting markers as desired; (h) as shown in FIG. 19H, rendering the piece of composed music using selected MXD and spotting settings; (i) as shown in FIG. 191, reviewing composed piece of music generated; (j) as shown in FIG. 19J, changing or adjusting the spotting settings and re-render piece of music; (k) as shown in FIG. 19K, reviewing new composed piece of music generated, to determine that it is acceptable and satisfactory for its intended application; (1) as shown in FIG. 19L, combining the composed music piece with the selected video or other media object uploaded to the application; (m) as shown in FIG. 19M, adding a text message to the musically-scored video; and (n) as shown in FIG. 19N, sending to its destination over the network, the social message and video or media object scored with the emotionally-specified music composed and generated by the automated music composition and generation engine (El).

As shown in FIGS. 19A through 19N, these spotting control markers are intended to identify the spots (i.e. time locations), at which specific types of musical experiences or events are desired to occur, oftentimes, but not necessarily always, time-coincident with graphical events occurring in the scene of the selected video or other media object being scored with the piece of music to be composed by the engine. Placement of these spotting control markers along the timeline of the GUI- based system user interface subsystem BO provides the system user greater control over the quality of music being generated.

Specification Of An Eighth Illustrative Embodiment Of The GUI-Based System User Interface Subsystem Supported On The Display Screen Of A Client Computing System Deployed On An Automated Music Composition And Generation Network Of The Present Invention

FIGS. 21A through 21L set forth a series of wireframe-based graphical user interfaces (GUIs) associated with an eighth illustrative embodiment of the GUI-based system user interface subsystem (BO) supported on the display screen of a client computing system deployed on an automated music composition and generation network as shown, for example, in FIGS. 1, 3 and 5.

As shown in FIGS. 21A through 21L, a set of musical experience descriptors (MXDs) are displayed for selection from pull-down menus for use in composing and generating a piece of digital music using an automated music composition and generation engine of the present invention, where specific types of musical experiences or events are desired to occur, often, but not necessarily, time-coincident with graphical events occurring in the scene of a video or other media object being scored with the piece of music to be composed by the engine, providing the system user greater control over the quality of music being generated.

FIGS. 22A and 22B, taken together, set forth a high-level flow chart set describing an overview of the automated music composition and generation process, using spotting control markers, supported using the GUIs shown in FIGS. 21 A through 21L.

As shown in FIGS. 22A and 22B, the method comprises the following steps: (a) as shown in FIG. 21 A, accessing a social media communication and messaging application from a desktop or mobile computing platform connected to a network, in which the automated music composition and generation process of the present invention is fully integrated as generally shown in FIG. 1; (b) as shown in FIG. 2 IB, capturing or accessing a digital photo or video or other media object to be scored with music to be composed and generated by the automated music composition and generation engine (El); (c) as shown in FIG. 21C, enabling the automated music composition studio integrated into the social media communication and messaging application; (d) as shown in FIG. 2 ID, selecting one or more emotion/mood descriptors (MXD) from pull down menus supported by the GUI, so as to load default musical instruments and MXD settings; (e) as shown in FIG. 2 IE, selecting style musical experience descriptors (MXD) from pull down menus supported by the GUI, so as to load default musical instruments and MXD settings; (f) as shown in FIG. 2 IF, rendering the piece of composed music using selected MXD and spotting settings; (g) as shown in FIG. 21G, reviewing composed piece of music generated; (h) as shown in FIG. 21H, changing the MXD settings and re-render piece of music; (i) as shown in FIG. 211, reviewing new composed piece of music generated, to determine that it is acceptable and satisfactory for its intended application; (j) as shown in FIG. 21J, combining the composed music piece with the selected video or other media object uploaded to the application; (k) as shown in FIG. 2 IK, adding a text message to the musically-scored video; and (1) as shown in FIG. 21L, sending to its destination over the network, the social message and video or media object scored with the emotionally-specified music composed and generated by the automated music composition and generation engine (El).

As shown in FIGS. 21A through 21L, where specific types of musical experiences or events are desired to occur at spots (i.e. time locations), oftentimes, but not necessarily always, time-coincident with graphical events occurring in the scene of a video or other media object being scored with the piece of music to be composed by the engine, to provide the system user greater control over the quality of music being generated.

Employing The Automated Music Composition And Generation Engine Of The Present Invention In Other Applications

The Automated Music Composition and Generation Engine of the present invention will have use in many application beyond those described this invention disclosure.

For example, consider the use case where the system is used to provide indefinitely lasting music or hold music (i.e. streaming music). In this application, the system will be used to create unique music of definite or indefinite length. The system can be configured to convey a set of musical experiences and styles and can react to real-time audio, visual, or textual inputs to modify the music and, by changing the music, work to bring the audio, visual, or textual inputs in line with the desired programmed musical experiences and styles. For example, the system might be used in Hold Music to calm a customer, in a retail store to induce feelings of urgency and need (to further drive sales), or in contextual advertising to better align the music of the advertising with each individual consumer of the content.

Another use case would be where the system is used to provide live scored music in virtual reality or other social environments, real or imaginary. Here, the system can be configured to convey a set of musical experiences and styles and can react to real-time audio, visual, or textual inputs. In this manner, the system will be able to "live score" content experiences that do well with a certain level of flexibility in the experience constraints. For example, in a video game, where there are often many different manners in which to play the game and courses by which to advance, the system would be able to accurately create music for the game as it is played, instead of (the traditional method of) relying on pre-created music that loops until certain trigger points are met. The system would also serve well in virtual reality (VR), augmented reality (AR) and mixed reality (VR/AR) simulations and experiences.

Specification Of A Musical Energy Control And Mixing Panel Associated With An Automated Music Composition And Generation System. Generated By The System User Interface Subsystem fBO) On A Touch-Screen Visual Display Screen Of A Client Computing System Deployed On An Automated Music Composition And Generation Network Of The Present Invention

FIG. 1A identifies and describes a broad class or super-set of musical energy (ME) quality control parameters (MEQC}_T that can be selected and used by system users to exert control over these specific qualities of musical energy (ME), embodied in and presented by the pieces of digital music composed and generated by the automated music composition and generation engine (El) of the present invention, without requiring the system user to have any specific knowledge of or experience in music theory or performance. When a specified set of these musical energy quality control parameters {MEQC} are communicated from the system user, through the system user interface subsystem (BO), to the input subsystem of the automated music composition and generation engine (El), and transformed into musical-theoretical system operating parameters (SOP) by the parameter transformation engine subsystem B51 and loaded into their corresponding function-specific subsystems throughout the system, as illustrated in FIGS. 27B3A through 27BF4 and described throughout the Patent Specification, the system user is able to produce pieces of music having pitch and rhythm landscapes that are characterized by the specified set of these musical energy quality control parameters {MEQC}_a selected and provided to the system by the system user.

In some applications, the system user may only need or require a small subset of the possible musical energy quality control parameters {MEQC}_T shown in FIG. 1A to produce music using the automated music composition and generation system of the present invention, and in such applications, the system user interface subsystem BO will be designed and engineered to support the selection and input of this subset of musical energy quality control {MEQC}_a parameters. The GUI-based system user interface subsystems (BO) supporting the various GUI-based music-scoring applications disclosed and shown herein are examples of using restricted classes of the larger superset of musical energy quality control (MEQC}_T parameters illustrated in FIGS. 1 A and 27BF4.

In other applications, the system user may need or require all of the possible musical energy quality control parameters (MEQC}_T shown in FIG. 1A to produce music using the automated music composition and generation system of the present invention. In such applications, the system user interface subsystem BO will be designed and engineered to support the selection and input of this subset of musical energy quality control (MEQC}_a parameters. The resulting GUI may be realized as, for example, a touch-screen musical energy control and mixing panel as shown in FIG. 23, and supported on touch-screen visual display screen of a client computing system deployed on an automated music composition and generation network as shown, for example, in FIGS. 1, 3, and 5. This musical energy control and mixing panel would be generated by the system user interface subsystem (BO) and display all of the classes of musical energy (ME) quality control parameters described in FIG. 1 A, from any GUI-based system interface supported by the display surface, as shown in FIGS. 7A through 23, and described herein. Each parameter in this broad class of musical energy control parameters (MEQC}_T as illustrated in the exemplary interface of FIG. 23, would be accessible and controllable by the system user using suitable interface object (e.g. a graphical widget such as virtual pull-down menu, slider, switch and other graphical element) displayed on the touch-screen display panel as shown in FIGS. 7E-7P, 8A-8E, 23 and elsewhere throughout the illustrative embodiments, and providing the system user with the ability to exert control over the specific quality of musical energy (ME) to be embodied in and expressed by the piece(s) of digital music composed and generated by the automated music composition and generation engine (El) of the present invention, without requiring the system user to have any specific knowledge of or experience in music theory or performance. Those skilled in the computing and display arts will readily understand how such system user interfaces can be realized and practiced for any application at hand given the benefit of the inventive disclosure and teachings in the present Patent Application.

Specification Of The Illustrative Embodiment Of The Automated Music Composition and Generation Engine Of The Present Invention

FIG. 24 shows a high-level system diagram for the Automated Music Composition and Generation Engine of the present invention (El) employed in the various embodiments of the present invention herein. As shown, the Engine El comprises: a user GUI-Based Input Subsystem AO, a General Rhythm Subsystem Al, a General Pitch Generation Subsystem A2, a Melody Rhythm Generation Subsystem A3, a Melody Pitch Generation Subsystem A4, an Orchestration Subsystem A5, a Controller Code Creation Subsystem A6, a Digital Piece Creation Subsystem A7, and a Feedback and Learning Subsystem A8 configured as shown.

FIG. 25 shows a higher-level system diagram illustrating that the system of the present invention comprises two very high level subsystems, namely: (i) a Pitch Landscape Subsystem CO comprising the General Pitch Generation Subsystem A2, the Melody Pitch Generation Subsystem A4, the Orchestration Subsystem A5, and the Controller Code Creation Subsystem A6, and (ii) a Rhythmic Landscape Subsystem Cl comprising the General Rhythm Generation Subsystem Al, Melody Rhythm Generation Subsystem A3, the Orchestration Subsystem A5, and the Controller Code Creation Subsystem A6.

At this stage, it is appropriate to discuss a few important definitions and terms relating to important music-theoretic concepts that will be helpful to understand when practicing the various embodiments of the automated music composition and generation systems of the present invention. However, it should be noted that, while the system of the present invention has a very complex and rich system architecture, such features and aspects are essentially transparent to all system users, allowing them to have essentially no knowledge of music theory, and no musical experience and/or talent. To use the system of the present invention, all that is required by the system user is to have (i) a sense of what kind of emotions they system user wishes to convey in an automatically composed piece of music, and/or (ii) a sense of what musical style they wish or think the musical composition should follow.

At the top level, the“Pitch Landscape” CO is a term that encompasses, within a piece of music, the arrangement in space of all events. These events are often, though not always, organized at a high level by the musical piece's key and tonality; at a middle level by the musical piece's structure, form, and phrase; and at a low level by the specific organization of events of each instrument, participant, and/or other component of the musical piece. The various subsystem resources available within the system to support pitch landscape management are indicated in the schematic representation shown in FIG. 25.

Similarly,“Rhythmic Landscape” Cl is a term that encompasses, within a piece of music, the arrangement in time of all events. These events are often, though not always, organized at a high level by the musical piece's tempo, meter, and length; at a middle level by the musical piece's structure, form, and phrase; and at a low level by the specific organization of events of each instrument, participant, and/or other component of the musical piece. The various subsystem resources available within the system to support pitch landscape management are indicated in the schematic representation shown in FIG. 25.

There are several other high-level concepts that play important roles within the Pitch and Rhythmic Landscape Subsystem Architecture employed in the Automated Music Composition And Generation System of the present invention.

In particular,“Melody Pitch” is a term that encompasses, within a piece of music, the arrangement in space of all events that, either independently or in concert with other events, constitute a melody and/or part of any melodic material of a musical piece being composed.

“Melody Rhythm” is a term that encompasses, within a piece of music, the arrangement in time of all events that, either independently or in concert with other events, constitute a melody and/or part of any melodic material of a musical piece being composed.

“Orchestration” for the piece of music being composed is a term used to describe manipulating, arranging, and/or adapting a piece of music. “Controller Code” for the piece of music being composed is a term used to describe information related to musical expression, often separate from the actual notes, rhythms, and instrumentation.

“Digital Piece” of music being composed is a term used to describe the representation of a musical piece in a digital or combination or digital and analog, but not solely analog manner.

FIG. 26A through 26P, taken together, show how each subsystem in FIG. 24 are configured together with other subsystems in accordance with the principles of the present invention, so that musical experience descriptors provided to the user GUI- based input/output subsystem A0/B0 are distributed to their appropriate subsystems for processing and use in the automated music composition and generation process of the present invention, described in great technical detail herein. It is appropriate at this juncture to identify and describe each of the subsystems BO through B52 that serve to implement the higher-level subsystems AO through A8 within the Automated Music Composition and Generation System (S) of the present invention.

More specifically, as shown in FIGS. 26 A through 26D, the GUI-Based Input Subsystem AO comprises: the User GUI-Based Input Output Subsystem BO; Descriptor Parameter Capture Subsystem Bl; Parameter Transformation Engine Subsystem B51; Style Parameter Capture Subsystem B37; and the Timing Parameter Capture Subsystem B40. These subsystems receive and process all musical experience parameters (e.g. emotional descriptors, style descriptors, and timing/spatial descriptors) provided to the Systems AO via the system users, or other means and ways called for by the end system application at hand.

As shown in FIGS. 26D, 26E, 26F, 26G, 26H, 261 and 26 J, the General Rhythm Generation Subsystem A1 for generating the General Rhythm for the piece of music to be composed, comprises the following subsystems: the Length Generation Subsystem B2; the Tempo Generation Subsystem B3; the Meter Generation Subsystem B4; the Beat Calculator Subsystem B6; the Measure Calculator Subsystem B8; the Song Form Generation Subsystem B9; the Sub-Phrase Length Generation Subsystem B15; the Number of Chords in Sub-Phrase Calculator Subsystem B16; the Phrase Length Generation Subsystem B12; the Unique Phrase Generation Subsystem BIO; the Number of Chords in Phrase Calculator Subsystem B13; the Chord Length Generation Subsystem Bl l; the Unique Sub-Phrase Generation Subsystem B14; the Instrumentation Subsystem B38; the Instrument Selector Subsystem B39; and the Timing Generation Subsystem B41.

As shown in FIGS. 26J and 26K, the General Pitch Generation Subsystem A2 for generating chords (i.e. pitch events) for the piece of music being composed, comprises: the Key Generation Subsystem B5; the Tonality Generation Subsystem B7; the Initial General Rhythm Generation Subsystem B17; the Sub -Phrase Chord Progression Generation Subsystem B19; the Phrase Chord Progression Generation Subsystem B18; the Chord Inversion Generation Subsystem B20; the Instrumentation Subsystem B38; the Instrument Selector Subsystem B39.

As shown in FIGS. 26K and 26L, the Melody Rhythm Generation Subsystem A3 for generating a Melody Rhythm for the piece of music being composed, comprises: the Melody Sub-Phrase Length Generation Subsystem B25; the Melody Sub-Phrase Generation Subsystem B24; the Melody Phrase Length Generation Subsystem B23; the Melody Unique Phrase Generation Subsystem B22; the Melody Length Generation Subsystem B21; the Melody Note Rhythm Generation Subsystem B26.

As shown in FIGS. 26L and 26M, the Melody Pitch Generation Subsystem A4 for generating a Melody Pitch for the piece of music being composed, comprises: the Initial Pitch Generation Subsystem B27; the Sub-Phrase Pitch Generation Subsystem B29; the Phrase Pitch Generation Subsystem B28; and the Pitch Octave Generation Subsystem B30.

As shown in FIG. 26M, the Orchestration Subsystem A5 for generating the Orchestration for the piece of music being composed comprises: the Orchestration Generation Subsystem B31.

As shown in FIG. 26M, the Controller Code Creation Subsystem A6 for creating Controller Code for the piece of music being composed comprises: the Controller Code Generation Subsystem B32.

As shown in FIGS. 26M and 26N, the Digital Piece Creation Subsystem A7 for creating the Digital Piece of music being composed comprises: the Digital Audio Sample Audio Retriever Subsystem B33; the Digital Audio Sample Organizer Subsystem B34; the Piece Consolidator Subsystem B35; the Piece Format Translator Subsystem B50; and the Piece Deliverer Subsystem B36.

As shown in FIGS. 26N, 260 and 26P, the Feedback and Learning Subsystem A8 for supporting the feedback and learning cycle of the system, comprises: the Feedback Subsystem B42; the Music Editability Subsystem B43; the Preference Saver Subsystem B44; the Musical kernel Subsystem B45; the User Taste Subsystem B46; the Population Taste Subsystem B47; the User Preference Subsystem B48; and the Population Preference Subsystem B49.

As shown in FIGS. 26N, 260 and 26P, the Feedback and Learning Subsystem A8 for supporting the feedback and learning cycle of the system, comprises: the Feedback Subsystem B42; the Music Editability Subsystem B43; the Preference Saver Subsystem B44; the Musical kernel Subsystem B45; the User Taste Subsystem B46; the Population Taste Subsystem B47; the User Preference Subsystem B48; and the Population Preference Subsystem B49. Having taken an overview of the subsystems employed in the system, it is appropriate at this juncture to describe, in greater detail, the input and output port relationships that exist among the subsystems, as clearly shown in FIGS. 26A through 26P.

As shown in FIGS. 26 A through 26 J, the system user provides inputs such as emotional, style and timing type musical experience descriptors to the GUI-Based Input Output Subsystem BO, typically using LCD touchscreen, keyboard or microphone speech-recognition interfaces, well known in the art. In turn, the various data signal outputs from the GUI-Based Input and Output Subsystem BO are provided as input data signals to the Descriptor Parameter Capture Subsystems Bl, the Parameter Transformation Engine Subsystem B51, the Style Parameter Capture Subsystem B37, and the Timing Parameter Capture Subsystem B40, as shown. The (Emotional) Descriptor Parameter Capture Subsystems Bl receives words, images and/or other representations of musical experience to be produced by the piece of music to be composed, and these captured emotion-type musical experience parameters are then stored preferably in a local data storage device (e.g. local database, DRAM, etc.) for subsequent transmission to other subsystems. The Style Parameter Capture Subsystems B17 receives words, images and/or other representations of musical experience to be produced by the piece of music to be composed, and these captured style-type musical experience parameters are then stored preferably in a local data storage device (e.g. local database, DRAM, etc.), as well, for subsequent transmission to other subsystems. In the event that the music spotting feature is enabled or accessed by the system user, and timing parameters are transmitted to the input subsystem BO, the Timing Parameter Capture Subsystem B40 will enable other subsystems (e.g. Subsystems Al, A2, etc.) to support such functionalities. The Parameter Transformation Engine Subsystems B51 receives words, images and/or other representations of musical experience parameters to be produced by the piece of music to be composed, and these emotion-type, style-type and timing-type musical experience parameters are transformed by the engine subsystem B51 to generate sets of probabilistic-based system operating parameter tables, based on the provided system user input, for subsequent distribution to and loading within respective subsystems, as will be described in greater technical detailer hereinafter, with reference to FIGS. 23B3A-27B3C and 27B4A-27B4E, in particular and other figures as well.

Having provided an overview of the subsystems employed in the system, it is appropriate at this juncture to describe, in greater detail, the input and output port relationships that exist among the subsystems, as clearly shown in FIGS. 26A through 26P.

Specification of Input And Output Port Connections Among Subsystems Within The Input Subsystem BO

As shown in FIGS. 26 A through 26 J, the system user provides inputs such as emotional, style and timing type musical experience descriptors to the GUI-Based Input Output Subsystem BO, typically using LCD touchscreen, keyboard or microphone speech-recognition interfaces, well known in the art. In turn, the various data signal outputs from the GUI-Based Input and Output Subsystem BO, encoding the emotion and style musical descriptors and timing parameters, are provided as input data signals to the Descriptor Parameter Capture Subsystems Bl, the Parameter Transformation Engine Subsystem B51, the Style Parameter Capture Subsystem B37, and the Timing Parameter Capture Subsystem B40, as shown.

As shown in FIGS. 26 A through 26 J, the (Emotional) Descriptor Parameter Capture Subsystem Bl receives words, images and/or other representations of musical experience to be produced by the piece of music to be composed, and these captured emotion-type musical experience parameters are then stored preferably in a local data storage device (e.g. local database, DRAM, etc.) for subsequent transmission to other subsystems.

As shown in FIGS. 26A through 26J, the Style Parameter Capture Subsystems B17 receives words, images and/or other representations of musical experience to be produced by the piece of music to be composed, and these captured style-type musical experience parameters are then stored preferably in a local data storage device (e.g. local database, DRAM, etc.), as well, for subsequent transmission to other subsystems.

In the event that the“music spotting” feature is enabled or accessed by the system user, and timing parameters are transmitted to the input subsystem BO, then the Timing Parameter Capture Subsystem B40 will enable other subsystems (e.g. Subsystems Al, A2, etc.) to support such functionalities.

As shown in FIGS. 26A through 26J, the Parameter Transformation Engine Subsystem B51 receives words, images and/or other representations of musical experience parameters, and timing parameters, to be reflected by the piece of music to be composed, and these emotion-type, style-type and timing-type musical experience parameters are automatically and transparently transformed by the parameter transformation engine subsystem B51 so as to generate, as outputs, sets of probabilistic-based system operating parameter tables, based on the provided system user input, which are subsequently distributed to and loaded within respective subsystems, as described in greater technical detail in Applicant’s PCT Publication No. WO 2017/058844 Al published on 6 April 2017, supra.

Specification of Input And Output Port Connections Among Subsystems Within The General Rhythm Generation Subsystem Al

As shown in FIGS. 26 A through 26 J, the General Rhythm Generation Subsystem Al generates the General Rhythm for the piece of music to be composed.

As shown in FIGS. 26 A through 26 J, the data input ports of the User GUI- based Input Output Subsystem B0 can be realized by LCD touch-screen display panels, keyboards, microphones and various kinds of data input devices well known the art. As shown, the data output of the User GUI-based Input Output Subsystem B0 is connected to the data input ports of the (Emotion-type) Descriptor Parameter Capture Subsystem Bl, the Parameter Transformation Engine Subsystem B51, the Style Parameter Capture Subsystem B37, and the Timing Parameter Capture Subsystem B40.

As shown in FIGS. 26 A through 26P, the data input port of the Parameter Transformation Engine Subsystem B51 is connected to the output data port of the Population Taste Subsystem B47 and the data input port of the User Preference Subsystem B48, functioning a data feedback pathway. As shown in FIGS. 26 A through 26P, the data output port of the Parameter Transformation Engine B51 is connected to the data input ports of the (Emotion- Type) Descriptor Parameter Capture Subsystem Bl, and the Style Parameter Capture Subsystem B37.

As shown in FIGS. 26 A through 26F, the data output port of the Style Parameter Capture Subsystem B37 is connected to the data input port of the Instrumentation Subsystem B38 and the Sub-Phrase Length Generation Subsystem B15.

As shown in FIGS. 26 A through 26G, the data output port of the Timing Parameter Capture Subsystem B40 is connected to the data input ports of the Timing Generation Subsystem B41 and the Length Generation Subsystem B2, the Tempo Generation Subsystem B3, the Meter Generation Subsystem B4, and the Key Generation Subsystem B5.

As shown in FIGS. 26 A through 26G, the data output ports of the (Emotion- Type) Descriptor Parameter Capture Subsystem Bl and Timing Parameter Capture Subsystem B40 are connected to (i) the data input ports of the Length Generation Subsystem B2 for structure control, (ii) the data input ports of the Tempo Generation Subsystem B3 for tempo control, (iii) the data input ports of the Meter Generation Subsystem B4 for meter control, and (iv) the data input ports of the Key Generation Subsystem B5 for key control.

As shown in FIG. 26E, the data output ports of the Length Generation Subsystem B2 and the Tempo Generation Subsystem B3 are connected to the data input port of the Beat Calculator Subsystem B6.

As shown in FIGS. 26E through 26K, the data output ports of the Beat Calculator Subsystem B6 and the Meter Generation Subsystem B4 are connected to the input data ports of the Measure Calculator Subsystem B8.

As shown in FIGS. 26E, 26F, 26G and 26H, the output data port of the Measure Calculator B8 is connected to the data input ports of the Song Form Generation Subsystem B9, and also the Unique Sub-Phrase Generation Subsystem B14.

As shown in FIG. 26G, the output data port of the Key Generation Subsystem B5 is connected to the data input port of the Tonality Generation Subsystem B7.

As shown in FIGS. 26G and 26 J, the data output port of the Tonality Generation Subsystem B7 is connected to the data input ports of the Initial General Rhythm Generation Subsystem B17, and also the Sub-Phrase Chord Progression Generation Subsystem B19.

As shown in FIGS. 26E1, 26H and 261, the data output port of the Song Form Subsystem B9 is connected to the data input ports of the Sub-Phrase Length Generation Subsystem B15, the Chord Length Generation Subsystem B11, and Phrase Length Generation Subsystem B12.

As shown in FIGS. 26G, 26H, 261 and 26 J, the data output port of the Sub- Phrase Length Generation Subsystem B15 is connected to the input data port of the Unique Sub-Phrase Generation Subsystem B14. As shown, the output data port of the Unique Sub-Phrase Generation Subsystem B14 is connected to the data input ports of the Number of Chords in Sub-Phrase Calculator Subsystem B16. As shown, the output data port of the Chord Length Generation Subsystem Bl l is connected to the Number of Chords in Phrase Calculator Subsystem B 13.

As shown in FIG. 26H, the data output port of the Number of Chords in Sub- Phrase Calculator Subsystem B16 is connected to the data input port of the Phrase Length Generation Subsystem B12.

As shown in FIGS. 26E, 26H, 261 and 26 J, the data output port of the Phrase Length Generation Subsystem B12 is connected to the data input port of the Unique Phrase Generation Subsystem BIO.

As shown in FIG. 26J, the data output port of the Unique Phrase Generation Subsystem BIO is connected to the data input port of the Number of Chords in Phrase Calculator Subsystem B13.

Specification of Input And Output Port Connections Among Subsystems Within The General Pitch Generation Subsystem A2

As shown in FIGS. 26J and 26K, the General Pitch Generation Subsystem A2 generates chords for the piece of music being composed.

As shown in FIGS. 26G and 26 J, the data output port of the Initial Chord Generation Subsystem B17 is connected to the data input port of the Sub-Phrase Chord Progression Generation Subsystem B19, which is also connected to the output data port of the Tonality Generation Subsystem B7.

As shown in FIG. 26J, the data output port of the Sub-Phrase Chord Progression Generation Subsystem B19 is connected to the data input port of the Phrase Chord Progression Generation Subsystem B18. As shown in FIGS. 26 J and 26K, the data output port of the Phrase Chord Progression Generation Subsystem B18 is connected to the data input port of the Chord Inversion Generation Subsystem B20.

Specification of Input And Output Port Connections Among Subsystems Within The Melody Rhythm Generation Subsystem A3

As shown in FIGS. 26K and 26L, the Melody Rhythm Generation Subsystem A3 generates a melody rhythm for the piece of music being composed.

As shown in FIGS. 26J and 26K, the data output port of the Chord Inversion Generation Subsystem B20 is connected to the data input port of the Melody Sub- Phrase Length Generation Subsystem B18.

As shown in FIG. 26K, the data output port of the Chord Inversion Generation Subsystem B20 is connected to the data input port of the Melody Sub-Phrase Length Generation Subsystem B25.

As shown in FIG. 26K, the data output port of the Melody Sub-Phrase Length Generation Subsystem B25 is connected to the data input port of the Melody Sub- Phrase Generation Subsystem B24.

As shown in FIG. 26K, the data output port of the Melody Sub-Phrase Generation Subsystem B24 is connected to the data input port of the Melody Phrase Length Generation Subsystem B23.

As shown in FIG. 26K, the data output port of the Melody Phrase Length Generation Subsystem B23 is connected to the data input port of the Melody Unique Phrase Generation Subsystem B22.

As shown in FIGS. 26K and 26L, the data output port of the Melody Unique Phrase Generation Subsystem B22 is connected to the data input port of Melody Length Generation Subsystem B21.

As shown in 26L, the data output port of the Melody Length Generation Subsystem B21 is connected to the data input port of Melody Note Rhythm Generation Subsystem B26.

Specification of Input And Output Port Connections Among Subsystems Within The Melody Pitch Generation Subsystem A4

As shown in FIGS. 26L through 26N, the Melody Pitch Generation Subsystem A4 generates a melody pitch for the piece of music being composed. As shown in FIG. 26L, the data output port of the Melody Note Rhythm Generation Subsystem B26 is connected to the data input port of the Initial Pitch Generation Subsystem B27.

As shown in FIG. 26L, the data output port of the Initial Pitch Generation Subsystem B27 is connected to the data input port of the Sub-Phrase Pitch Generation Subsystem B29.

As shown in FIG. 26L, the data output port of the Sub -Phrase Pitch Generation Subsystem B29 is connected to the data input port of the Phrase Pitch Generation Subsystem B28.

As shown in FIGS. 26L and 26M, the data output port of the Phrase Pitch Generation Subsystem B28 is connected to the data input port of the Pitch Octave Generation Subsystem B30.

Specification of Input And Output Port Connections Among Subsystems Within The Orchestration Subsystem A5

As shown in FIG. 26M, the Orchestration Subsystem A5 generates an orchestration for the piece of music being composed.

As shown in FIGS. 26D and 26M, the data output ports of the Pitch Octave Generation Subsystem B30 and the Instrument Selector Subsystem B39 are connected to the data input ports of the Orchestration Generation Subsystem B31.

As shown in FIG. 26M, the data output port of the Orchestration Generation Subsystem B31 is connected to the data input port of the Controller Code Generation Subsystem B32.

Specification of Input And Output Port Connections Among Subsystems Within The Controller Code Creation Subsystem A6

As shown in FIG. 26M, the Controller Code Creation Subsystem A6 creates controller code for the piece of music being composed.

Specification of Input And Output Port Connections Among Subsystems Within The Di ital Piece Creation Subsystem A7

As shown in FIGS. 26M and 26N, the Digital Piece Creation Subsystem A7 creates the digital piece of music. As shown in FIG. 26M, the data output port of the Controller Code Generation Subsystem B32 is connected to the data input port of the Digital Audio Sample Audio Retriever Subsystem B33.

As shown in FIGS. 26M and 26N, the data output port of the Digital Audio Sample Audio Retriever Subsystem B33 is connected to the data input port of the Digital Audio Sample Organizer Subsystem B34.

As shown in FIG. 26N, the data output port of the Digital Audio Sample Organizer Subsystem B34 is connected to the data input port of the Piece Consolidator Subsystem B35.

As shown in FIG. 26N, the data output port of the Piece Consolidator Subsystem B35 is connected to the data input port of the Piece Format Translator Subsystem B50.

As shown in FIG. 26N, the data output port of the Piece Format Translator Subsystem B50 is connected to the data input ports of the Piece Deliverer Subsystem B36 and also the Feedback Subsystem B42.

Specification of Input And Output Port Connections Among Subsystems Within The Feedback and Learning Subsystem A8

As shown in FIGS. 26N, 260 and 26P, the Feedback and Learning Subsystem A8 supports the feedback and learning cycle of the system.

As shown in FIG. 26N, the data output port of the Piece Deliverer Subsystem B36 is connected to the data input port of the Feedback Subsystem B42.

As shown in FIGS. 26N and 260, the data output port of the Feedback Subsystem B42 is connected to the data input port of the Music Editability Subsystem B43.

As shown in FIG. 260, the data output port of the Music Editability Subsystem B43 is connected to the data input port of the Preference Saver Subsystem B44.

As shown in FIG. 260, the data output port of the Preference Saver Subsystem B44 is connected to the data input port of the Musical Kernel (DNA) Subsystem B45.

As shown in FIG. 260, the data output port of the Musical Kernel (DNA) Subsystem B45 is connected to the data input port of the User Taste Subsystem B46.

As shown in FIG. 260, the data output port of the User Taste Subsystem B46 is connected to the data input port of the Population Taste Subsystem B47 As shown in FIGS. 260 and 26P, the data output port of the Population Taste Subsystem B47 is connected to the data input ports of the User Preference Subsystem B48 and the Population Preference Subsystem B49.

As shown in FIGS. 26 A through 26P, the data output ports of the Music Editability Subsystem B43, the Preference Saver Subsystem B44, the Musical Kernel (DNA) Subsystem B45, the User Taste Subsystem B46 and the Population Taster Subsystem B47 are provided to the data input ports of the User Preference Subsystem B48 and the Population Preference Subsystem B49, as well as the Parameter Transformation Engine Subsystem B51, as part of a first data feedback loop, shown in FIGS. 26A through 26P.

As shown in FIGS. 26N through 26P, the data output ports of the Music Editability Subsystem B43, the Preference Saver Subsystem B44, the Musical Kernel (DNA) Subsystem B45, the User Taste Subsystem B46 and the Population Taster Subsystem B47, and the User Preference Subsystem B48 and the Population Preference Subsystem B49, are provided to the data input ports of the (Emotion-Type) Descriptor Parameter Capture Subsystem Bl, the Style Descriptor Capture Subsystem B37 and the Timing Parameter Capture Subsystem B40, as part of a second data feedback loop, shown in FIGS. 26A through 26P.

Specification of Lower fB) Level Subsystems Implementing Higher f A) Level Subsystems With The Automated Music Composition And Generation Systems Of The Present Invention. And Quick Identification Of Parameter Tables Employed In Each B-Level Subsystem

Referring to FIGS. 23B3A, 27B3B and 27B3C, there is shown a schematic representation illustrating how system user supplied sets of emotion, style and timing/spatial parameters are mapped, via the Parameter Transformation Engine Subsystem B51, into sets of system operating parameters stored in parameter tables that are loaded within respective subsystems across the system of the present invention. Also, the schematic representation illustrated in FIGS. 27B4A, 27B4B, 27B4C, 27B4D and 27B4E, also provides a map that illustrates which lower B-level subsystems are used to implement particular higher A-level subsystems within the system architecture, and which parameter tables are employed within which B-level subsystems within the system. These subsystems and parameter tables will be specified in greater technical detail hereinafter. Specification of The B-Level Subsystems Employed In The Automated Music Composition System Of The Present Invention. And The Specific Information Processing Operations Supported By And Performed Within Each Subsystem During The Execution Of The Automated Music Composition And Generation Process Of The Present Invention

A more detail technical specification of each B-level subsystem employed in the system (S) and its Engine (El) of the present invention, and the specific information processing operations and functions supported by each subsystem during each full cycle of the automated music composition and generation process hereof, is described in Applicant’s PCT Publication No. WO 2017/058844 Al, supra.

Notably, the description of several B-level subsystems and the operations performed during the automated music composition process will be provided below by considering an example of where the system generates a complete piece of music, on a note-by-note, chord-by-chord basis, using the automated virtual-instrument music synthesis method, in response to the system user providing the following system inputs: (i) emotion-type music descriptor = HAPPY; (ii) style-type descriptor = POP; and (iii) the timing parameter t = 32 seconds.

As shown in the Drawings of PCT Publication No. WO 2017/058844 Al, the exemplary automated music composition and generation process begins at the Length Generation Subsystem B2 shown in FIG. 27F, and proceeds through FIG. 27KK9 where the composition of the exemplary piece of music is completed, and resumes in FIGS. 27LL where the Controller Code Generation Subsystem generates controller code information for the music composition, and Subsystem B33 shown in FIG. 27MM through Subsystem B36 in FIG. 27PP completes the generation of the composed piece of digital music for delivery to the system user. This entire process is controlled under the Subsystem Control Subsystem B60 (i.e. Subsystem Control Subsystem A9), where timing control data signals are generated and distributed as illustrated in FIGS. 28A and 28B in a clockwork manner.

Also, while Subsystems Bl, B37, B40 and B41 do not contribute to generation of musical events during the automated musical composition process, these subsystems perform essential functions involving the collection, management and distribution of emotion, style and timing/spatial parameters captured from system users, and then supplied to the Parameter Transformation Engine Subsystem B51 in a user-transparent manner, where these supplied sets of musical experience and timing/spatial parameters are automatically transformed and mapped into corresponding sets of music-theoretic system operating parameters organized in tables, or other suitable data/information structures that are distributed and loaded into their respective subsystems, under the control of the Subsystem Control Subsystem B60. The function of the Subsystem Control Subsystem B60 is to generate the timing control data signals as illustrated which, in response to system user input to the Input Output Subsystem BO, is to enable each subsystem into operation at a particular moment in time, precisely coordinated with other subsystems, so that all of the data flow paths between the input and output data ports of the subsystems are enabled in the proper time order, so that each subsystem has the necessary data required to perform its operations and contribute to the automated music composition and generation process of the present invention.

Specification Of The User GUI-based Input Output Subsystem fBO)

FIG. 27A shows a schematic representation of the User GUI-Based Input Output Subsystem (BO) used in the Automated Music Composition and Generation Engine and Systems the present invention (El). During operation, the system user interacts with the system’s GUI, or other supported interface mechanism, to communicate his, her or its desired musical experience descriptor(s) (e.g. emotional descriptors and style descriptor(s)), and/or timing information. In the illustrative embodiment, and exemplary illustrations, (i) the emotion-type musical experience descriptor = HAPPY is provided to the input output system BO of the Engine for distribution to the (Emotion) Descriptor Parameter Capture Subsystem Bl, (ii) the style-type musical experience descriptor = POP is provided to the input output system BO of the Engine for distribution to the Style Parameter Capture Subsystem B37, and (iii) the timing parameter t = 32 seconds is provided to the Input Output System BO of the Engine for distribution to the Timing Parameter Capture Subsystem B40. These subsystems, in turn, transport the supplied set of musical experience parameters and timing/spatial data to the input data ports of the Parameter Transformation Engine Subsystem B51 shown in FIGS. 27B3A, 27B3B and 27B3C, where the Parameter Transformation Engine Subsystem B51 then generates an appropriate set of probability-based parameter programming tables for subsequent distribution and loading into the various subsystems across the system, for use in the automated music composition and generation process being prepared for execution. Specification Of The Descriptor Parameter Capture Subsystem ('EM )

FIGS. 27B1 and 27B2 show a schematic representation of the (Emotion-Type) Descriptor Parameter Capture Subsystem (Bl) used in the Automated Music Composition and Generation Engine of the present invention. The Descriptor Parameter Capture Subsystem Bl serves as an input mechanism that allows the user to designate his or her preferred emotion, sentiment, and/or other descriptor for the music. It is an interactive subsystem of which the user has creative control, set within the boundaries of the subsystem.

In the illustrative example, the system user provides the exemplary“emotion- type” musical experience descriptor - HAPPY— to the descriptor parameter capture subsystem Bl. These parameters are used by the parameter transformation engine B51 to generate probability -based parameter programming tables for subsequent distribution to the various subsystems therein, and also subsequent subsystem set up and use during the automated music composition and generation process of the present invention.

Once the parameters are inputted, the Parameter Transformation Engine Subsystem B51 generates the system operating parameter tables and then the subsystem 51 loads the relevant data tables, data sets, and other information into each of the other subsystems across the system. The emotion-type descriptor parameters can be inputted to subsystem B51 either manually or semi-automatically by a system user, or automatically by the subsystem itself. In processing the input parameters, the subsystem 51 may distill (i.e. parse and transform) the emotion descriptor parameters to any combination of descriptors as described herein. Also, where text-based emotion descriptors are provided, say in a short narrative form, the Descriptor Parameter Capture Subsystem Bl can parse and analyze and translate the words in the supplied text narrative into emotion-type descriptor words that have entries in emotion descriptor library as illustrated in FIGS. 30 through 30J, so through translation processes, virtually any set of words can be used to express one or more emotion-type music descriptors registered in the emotion descriptor library of the system, and be used to describe the kind of music the system user wishes to be automatically composed by the system of the present invention.

Preferably, the number of distilled descriptors is between one and ten, but the number can and will vary from embodiment to embodiment, from application to application. If there are multiple distilled descriptors, and as necessary, the Parameter Transformation Engine Subsystem B51 can create new parameter data tables, data sets, and other information by combining previously existing data tables, data sets, and other information to accurately represent the inputted descriptor parameters. For example, the descriptor parameter“happy” might load parameter data sets related to a major key and an upbeat tempo. This transformation and mapping process will be described in greater detail with reference to the Parameter Transformation Engine Subsystem B51 described in greater detail hereinbelow.

In addition to performing the music-theoretic and information processing functions specified above, when necessary or helpful, System B1 can also assist the Parameter Transformation Engine System B51 in transporting probability -based music-theoretic system operating parameter (SOP) tables (or like data structures) to the various subsystems deployed throughout the automated music composition and generation system of the present invention.

Specification of the other B-level subsystems is described in detail in Applicant’s PCT Publication No. WO 2017/058844 A1 published on 6 April 2017.

Controlling The Timing Of Specific Parts of The Automated Music Composition And Generation System Of The Present Invention

FIGS. 28A and 28B set forth a schematic representation of a timing control diagram illustrating the time sequence that particular timing control pulse signals are sent to each subsystem block diagram in the system diagram shown in FIGS. 26A through 26P. Notably, this sequence of timing events occurs after the system has received its musical experience descriptor inputs from the system user, and the system has been automatically arranged and configured in its operating mode, wherein music is automatically composed and generated in accordance with the principles of the present invention.

The Nature And Various Possible Formats Of the Input And Output Data Signals Supported By The Illustrative Embodiments Of The Present Invention

The nature and various possible formats of the input and output data signals supported by each subsystem within the Automated Music Composition and Generation System of the illustrative embodiments of the present invention is described herein and further in Applicant’s PCT Publication No. WO 2017/058844 Al, supra, wherein each subsystem is identified in the table by its block name or identifier (e.g. Bl).

PCT Publication No. WO 2017/058844 Al describes exemplary data formats that are supported by the various data input and output signals (e.g. text, chord, audio file, binary, command, meter, image, time, pitch, number, tonality, tempo, letter, linguistics, speech, MIDI, etc.) passing through the various specially configured information processing subsystems employed in the Automated Music Composition and Generation System of the present invention.

Specification Of The Musical Experience Descriptors Supported By Automated Music Composition And Generation System Of The Present Invention

Applicant’s PCT Publication No. WO 2017/058844 Al describes an exemplary hierarchical set of“emotional” descriptors, arranged according to primary, secondary and tertiary emotions. Theses emotion-type descriptors are supported as “musical experience descriptors” for system users to provide as system user input to the Automated Music Composition and Generation System of the illustrative embodiments of the present invention.

Applicant’s PCT Publication No. WO 2017/058844 Al also describes an exemplary set of “style” descriptors which are supported as musical experience descriptors for system users to provide as input to the Automated Music Composition and Generation System of the illustrative embodiments of the present invention.

While the system supports non-musical experience descriptors (MXD) to drive the systems of the present invention, it is understood that the systems and engine (El) can support receiving and processing conventional musical descriptors (e.g. such as key, chord, note, tempo, etc. music specifying information) as described in greater detail in Applicant’s PCT Publication No. WO 2017/058844 Al, supra.

Alternative Methods of Implementing The Automated Music Composition and Generation System of The Present Invention

While the present invention has been described and specified in great technical detail using systems theory and system theoretic principles in Applicant's Patent Specification, it is understood that many different technologies may be used to practice the present inventions disclosed herein. While in the illustrative embodiments, conditional probabilistic (weighted) musical-theoretic system operation parameters (SOPs) are shown in tables and used through to support many of the subsystems and their functions in the system, to provide the variety desired in music composed by automated music composition and generation machines. However, it is understood that in alternative embodiments of the present invention, non-weighted musical-theoretic system operation parameters (SOPs) and supporting methods can be used to carry out the automated music composition and generation process of the present invention.

In one example of an alternative embodiment of the present invention, during the music composition and generation process, the automated music composition and generation system can support decision trees with partitioned branches, that can be selected within the context of possibilities, based on combinatory logic, rather than using computational procedures based on explicit conditional probabilities maintained in Markov tables, in a manner well known in the art.

Also, different technologies are available to implement the automated music composition and generation engine (El) of the present invention including, for example, computer programming languages, databases, music sampling techniques, programming techniques, computing systems, communication networks, visual display technology, and human-machine interface (HMI) technologies.

When using combinatory logic along the decision tree of the automated music composition and generation process discussed above, the Haskell purely-functional programming language would be preferred, as the Haskell functional programming language is based on combinatory logic, and uses a notation that eliminates the need for quantified variables in mathematical logic, and makes development, implementation and maintenance easier than when using other programming languages.

Modifications of the Illustrative Embodiments of the Present Invention

The present invention has been described in great detail with reference to the above illustrative embodiments. It is understood, however, that numerous modifications will readily occur to those with ordinary skill in the art having had the benefit of reading the present invention disclosure.

In alternative embodiments, the automatic music composition and generation system of the present invention can be modified to support the input of conventionally notated musical information such as, for example, notes, chords, pitch, melodies, rhythm, tempo and other qualifies of music, into the system input interface for processing and use in conjunction with other musical experience descriptors provided the system user, in accordance with the principles of the present invention.

For example, in alternative embodiments of the present invention described hereinabove, the system can be realized a stand-alone appliances, instruments, embedded systems, enterprise-level systems, distributed systems, and as an application embedded within a social communication network, email communication network, SMS messaging network, telecommunication system, and the like. Such alternative system configurations will depend on particular end-user applications and target markets for products and services using the principles and technologies of the present invention.

While the preferred embodiments disclosed herein have taught the use of virtual-instrument music synthesis to generate acoustically-realized notes, chords, rhythms and other events specified in automated music compositions, in stark contrast with stringing together music loops in a manner characteristic of prior art systems, it is understood that the automated music composition and generation system of the present invention can be modified to adapt the musical score representations generated by the system, and convert this level of system output into MIDI control signals to drive and control one or more groups of MIDI-based musical instruments to produce the automatically composed music for the enjoyment of others. Such automated music composition and generation systems could drive entire groups of MIDI-controlled instruments such as displayed during Pat Metheny’s 2010 Orchestrion Project. Such automated music composition and generation systems could be made available in homes and commercial environments as an alternative to commercially available PIANODISC® and YAMAHA® MIDI-based music generation systems. Such alternative embodiments of the present inventions are embraced by the systems and models disclosed herein and fall within the scope and spirit of the present invention.

These and all other such modifications and variations are deemed to be within the scope and spirit of the present invention as defined by the accompanying Claims to Invention.

Claims

1. An automated music composition and generation system for composing and generating pieces of music in response to a system user providing, as input, musical energy quality control parameters, said automated music composition and generation system comprising:

a system user interface subsystem supporting spotting media objects and timeline-based event markers employing a graphical user interface (GUI) supporting the selection of musical energy (ME) quality control parameters including emotion/mood and style/genre type musical experience descriptors (MXDs), timing parameters, and one or more musical energy quality control parameters selected from the group consisting of instrumentation, ensemble, volume, tempo, rhythm, harmony, and timing (e.g. start/hit/stop) and framing (e.g. intro, climax, outro or ICO), and applying these musical energy quality control parameters along the timeline of a graphical representation of a selected media object or timeline-based event marker, to control particular musical energy qualities within the piece of digital music being composed and generated by an automated music composition and generation engine using the musical energy quality control parameters selected by the system user.

2. An automated music composition and generation system for composing and generating pieces of music in response to a system user providing, as input, musical energy quality control parameters, said automated music composition and generation system comprising:

a system user interface subsystem supporting spotting media objects and timeline-based event markers employing a graphical user interface (GUI) supporting the selection of dragged & dropped musical energy (ME) quality control parameters including a graphical using interface (GUI) supporting the dragging & dropping of musical experience descriptors including emotion/mood and style/genre type MXDs and timing parameters (e.g. start/hit/stop) and musical instrument control markers selected, dragged and dropped onto a graphical representation of a selected digital media object or timeline-based event marker, and controlling the musical energy qualities of the piece of digital music being composed and generated by an automated music composition and generation engine using the musical energy quality control parameters dragged and dropped by the system user.

3. An automated music composition and generation system for composing and generating pieces of music in response to a system user providing, as input, musical energy quality control parameters, said automated music composition and generation system comprising:

a system user interface subsystem supporting spotting media objects and timeline-based event markers employing a graphical user interface (GUI) supporting the selection of musical energy (ME) quality control parameters including musical experience descriptors (MXD) such as emotion/mood and style/genre type MXDs, timing parameters (e.g. start/hit/stop) and musical instrument framing (e.g. intro, climax, outro - ICO) control markers, electronically-drawn by a system user onto a graphical representation of a selected digital media object or timeline-based event marker, to be musically scored by a piece of digital music to be composed and generated by an automated music composition and generation engine using the musical energy quality control parameters electronically drawn by the system user.

4. An automated music composition and generation system for composing and generating pieces of music in response to a system user providing, as input, musical energy quality control parameters, said automated music composition and generation system comprising:

a system user interface subsystem supporting spotting media objects and timeline-based event markers employing a graphical user interface (GUI) supporting the selection of musical energy (ME) quality control parameters supported on a social media site or mobile application being accessed by a group of social media users, allowing a group of social media users to socially select musical experience descriptors (MXDs) including emotion/mood, and style/genre type MXDs and timing parameters (e.g. start/hit/stop) and musical instrument spotting control parameters, and apply the musical energy (ME) quality control parameters to a graphical representation of a selected digital media object or timeline-based event marker, to be musically scored with a piece of digital music being composed and generated by an automated music composition and generation engine using the musical energy quality control parameters selected by the social media group.

5. An automated music composition and generation system for composing and generating pieces of music in response to a system user providing, as input, musical energy quality control parameters, said automated music composition and generation system comprising:

a system user interface subsystem supporting spotting media objects and timeline-based event markers employing a graphical user interface (GUI) supporting the selection of musical energy (ME) quality control parameters supported on mobile computing devices used by a group of social media users, allowing the group of social media users to socially select musical experience descriptors (MXDs) including emotion/mood and style/genre type MXDs and timing parameters (e.g. start/hit/stop) and musical instrument spotting control markers, and apply the musical energy quality control parameters to a graphical representation of a selected digital media object or timeline-based event marker, to be musically scored with a piece of digital music being composed and generated by an automated music composition and generation engine using the musical energy quality control parameters selected by the social media group.

6. An automated music composition and generation system for composing and generating pieces of music in response to a system user providing, as input, musical energy quality control parameters, said automated music composition and generation system comprising:

a system user interface subsystem (BO) including at least one GUI-based system user interface, and at least one API-based system user interface that supports (i) pre-musical composition control over musical energy (ME) embodied in pieces of digital music being composed, and (ii) post-musical composition control over musical energy (ME) embodied in pieces of digital music that have been composed;

an automated music composition and generation engine in communication with the system user interface subsystem (BO), for receiving musical energy quality control parameters from the system user;

wherein said system interfaces support communication of both non-musical- theoretic and musical-theoretical parameters, between system users and said automated music composition engine, for transformation into musical-theoretical system operating parameters (SOP) to drive the diverse subsystems of said automated music composition and generation system, and support dimensions of control over the qualities of musical energy (ME) embodied or expressed in pieces of music being composed and generated from said automated music composition and generation; wherein the dimensions of control over musical energy (ME) in each said piece of music composed and generated by said automated music composition and generation system includes one or more musical energy qualities selected from the group consisting of emotion/mood type musical experience descriptors (e.g. expressed in the form of graphical icons, emojis, images, words and other linguistic expressions), style/genre type musical experience descriptors (e.g. expressed in the form of graphical icons, emojis, images, words and other linguistic expressions), tempo, dynamics, rhythm, harmony, melody, instrumentation, orchestration, instrument performance, ensemble performance, volume, timing, and framing,

thereby allowing the system user to exert a specific amount of control over the music being composed and generated by said automated music composition and generation engine, without having any specific knowledge of or experience in music theory or performance.

7. An automated music composition and generation system for composing and generating pieces of music in response to a system user providing, as input, musical energy quality control parameters, said automated music composition and generation system comprising:

a system user interface subsystem (BO) including at least one GUI-based system user interface that supports (i) pre-musical composition control over musical energy (ME) embodied in pieces of digital music being composed, and (ii) post musical composition control over musical energy (ME) embodied in pieces of digital music that have been composed; and

wherein said system user interface subsystem (BO) comprises a musical-event spotting GUI enabling the system user to control each virtual musical instrument used in generating the piece of composed music, and also various spots where certain musical events or experiences are desired, and which may possibly align with specific frames in a video or other media object being scored with said piece of music, thereby allowing the system user to exert a specific amount of control over the music being composed and generated by said automated music composition and generation engine, without having any specific knowledge of or experience in music theory or performance.

8. An automated music composition and generation system for composing and generating pieces of music in response to a system user providing, as input, musical energy quality control parameters, said automated music composition and generation system comprising:

a system user interface subsystem (BO) including at least one GUI-based system user interface that supports composition control over musical energy (ME) embodied in pieces of digital music being composed; and

wherein said system interfaces support communication of musical energy quality control parameters from system users and said automated music composition and generation engine, for transformation into musical-theoretical system operating parameters (SOP) to drive subsystems of said automated music composition and generation system, and support dimensions of control over the qualities of musical energy (ME) embodied or expressed in pieces of music being composed and generated from said automated music composition and generation; and

wherein the dimensions of control over musical energy (ME) in each said piece of music composed and generated by said automated music composition and generation system includes one or more musical energy quality parameters selected from the group consisting of emotion/mood type musical experience descriptors (e.g. expressed in the form of graphical icons, emojis, images, words and other linguistic expressions), style/genre type musical experience descriptors (e.g. expressed in the form of graphical icons, emojis, images, words and other linguistic expressions), tempo, dynamics, rhythm, harmony, melody, instrumentation, orchestration, instrument performance, ensemble performance, volume, timing, and framing,

thereby allowing the system user to exert a specific amount of control over the music being composed and generated by said system without having any specific knowledge of or experience in music theory or performance.

9. An automated music composition and generation system for composing and generating pieces of music in response to a system user providing as input to the system, musical energy quality control parameters, said automated music composition and generation system comprising:

wherein a machine-controlled computer-vision system is used to automatically recognize and extract specific features from graphical images (e.g. specific facial recognition details such as a smile, grin, or grimace on the face of a human being, or scene objects) and use said specific features to implement automated control over the quality of musical energy (ME) that is to be embodied or expressed in the piece of digital music to be composed and generated by said automated music composition and generation system,

10. An automated music composition and generation system for composing and generating pieces of music in response to a system user providing, as input, musical energy quality control parameters, said automated music composition and generation system comprising:

a computer-vision system for automatically recognizing and extracting specific features from graphical images (e.g. specific facial recognition details such as a smile, grin, or grimace on the face of a human being, or scene objects) and using said specific features to control the quality of musical energy (ME) that is to be embodied or expressed in the piece of digital music to be composed and generated by said automated music composition and generation engine,

11. An automated music composition and generation system for composing and generating pieces of music in response to a system user providing, as input, musical energy quality control parameters, said automated music composition and generation system comprising:

a system user interface subsystem (BO) including at least one GUI-based system user interface that supports (i) pre-musical composition control over musical energy (ME) embodied in pieces of digital music being composed, and (ii) post musical composition control over musical energy (ME) embodied in pieces of digital music that have been composed;

wherein the GUI-based system user interface subsystem (BO) supported on the display screen of a client computing system deployed on an automated music composition and generation network supporting an automated music composition and generation engine in communication with said client computing system; and

wherein a set of musical-instrument spotting control markers are provided for user placement at desired spots (i.e. time locations) along the time line model of the piece of digital music to be composed and generated by said automated music composition and generation engine, at which specific types of musical experiences or events are desired to occur, time-coincident with graphical events occurring in the scene of the selected video or other media object being scored with the piece of music to be composed by said automated musical composition and generation engine,

12. A method of composing and generating pieces of music in response to a system user providing, as input, musical energy quality control parameters, said method comprising the steps of:

(a) capturing or accessing a digital photo or video or other media object to be uploaded to a studio application, and scored with one or more pieces of music to be composed and generated by an automated music composition and generation engine (El);

(b) enabling an automated music composition studio supported by a graphical user interface (GUI);

(c) selecting one or more emotion/mood descriptors (MXD) from pull down menus supported by the GUI, so as to load default musical instruments and MXD settings;

(e) selecting style musical experience descriptors (MXD) from pull down menus supported by the GUI, so as to load default musical instruments and MXD settings;

(f) selecting musical instruments to be represented in the piece of music to be composed and generated;

(g) adjusting the spotting markers as desired;

(h) rendering the piece of composed music using selected MXD and spotting settings; (i) composed piece of music generated;

(j) optionally changing the spotting settings and re-render piece of music;

(k) reviewing new composed piece of music generated, to determine that it is acceptable and satisfactory for its intended application;

(l) combining the composed music piece with the selected video or other media object uploaded to the application; and

(j) send the musically-scored video or media object to the intended destination.

13. An automated music composition and generation system for composing and generating pieces of music in response to a system user providing, as input, musical energy quality control parameters, said automated music composition and generation system comprising:

a GUI-based system user interface subsystem (BO) supported on the display screen of a client computing system deployed on an automated music composition and generation network supporting an automated music composition and generation engine in communication with said client computing system; and

wherein said automated music composition and generation engine receives musical energy quality control parameters from a system user using said client computing system; and

wherein said GUI-based system user interface subsystem (BO) supports (i) pre-musical composition control over musical energy (ME) embodied in pieces of digital music being composed, and (ii) post-musical composition control over musical energy (ME) embodied in pieces of digital music that have been composed, thereby allowing the system user to exert a specific amount of control over the music being composed and generated by said automated music composition and generation engine, without having any specific knowledge of or experience in music theory or performance.

14. A method of composing and generating pieces of music in response to a system user providing, as input, musical energy quality control parameters, said method comprising the steps of:

(a) loading a computer application on a computing system supporting an automated music composition and generation process supported by a graphical user interface (GUI);

(b) capturing or accessing a digital photo or video or other media object to be scored with music to be composed and generated by an automated music composition and generation engine;

(d) selecting style musical experience descriptors (MXD) from pull down menus supported by the GUI, so as to load default musical instruments and MXD settings;

(e) selecting musical instruments to be represented in the piece of music to be composed and generated;

(g) adjusting the slidable spotting markers as desired for each selected musical instrument; (h) rendering the piece of composed music using selected MXD and sliding spotting settings;

(i) reviewing composed piece of music generated;

(j) changing the slidable spotting settings and re-render piece of music;

(l) combining the composed music piece with the selected video or other media object uploaded to the application;

(m) sending to its destination over the network, the video or media object scored with the emotionally-specified music composed and generated by the automated music composition and generation engine.

15. An automated music composition and generation system for composing and generating pieces of music in response to a system user providing, as input to the system, musical energy quality control parameters, said automated music composition and generation system comprising:

wherein said automated music composition and generation engine receives musical energy quality control parameters from a system user using said client computing system;

wherein said GUI-based system user interface subsystem supports a set of musical-instrument spotting control markers electronically-drawn on a compositional workspace of said GUI-based system user interface subsystem (BO) for user placement or positioning at desired spots (i.e. time points) along the time line model of the piece of digital music to be composed and generated by said automated music composition and generation engine, thereby allowing the system user to exert a specific amount of control over the music being composed and generated by said automated music composition and generation engine, without having any specific knowledge of or experience in music theory or performance.

16. A method of composing and generating pieces of music in response to a system user providing, as input, musical energy quality control parameters, said method comprising the steps of:

(a) accessing a communication application from a desktop or mobile computing platform connected to a network, in which an automated music composition and generation process is fully integrated and supported by a graphical user interface (GUI);

(b) capturing or accessing a digital photo or video or other media object to be scored with music to be composed and generated by the automated music composition and generation engine (El);

(f) adjusting the spotting markers as desired;

(g) rendering the piece of composed music using selected MXD and spotting settings;

(h) reviewing composed piece of music generated;

(i) changing the spotting settings and re-render piece of music;

(j) reviewing new composed piece of music generated, to determine that it is acceptable and satisfactory for its intended application;

(k) combining the composed music piece with the selected video or other media object uploaded to the application; and

(l) sending to its destination over the network, the video or media object scored with the emotionally-specified music composed and generated by the automated music composition and generation engine.

17. An automated music composition and generation system for composing and generating pieces of music in response to a system user providing, as input, musical energy quality control parameters, said automated music composition and generation system comprising:

wherein a GUI-based system user interface subsystem (BO) includes a set of slidable-type musical-instrument spotting control markers for placement on a compositional workspace supported by the social media or communication application, for user placement or positioning at desired spots (i.e. time points) along the time line model of the piece of digital music to be composed and generated by said automated music composition and generation engine,

thereby allowing the system user to exert a specific amount of control over the music being composed and generated by said automated music composition and generation engine without having any specific knowledge of or experience in music theory or performance.

18. A method of composing and generating pieces of music in response to a system user providing, as input, musical energy quality control parameters comprising the steps of:

(a) accessing a social media communication and messaging application from a desktop or mobile computing platform connected to a network, in which an automated music composition and generation process is fully integrated and supported by a graphical user interface (GUI);

(b) the conductor invites members from social group to help compose and perform a piece of music for a purpose;

(c) one or more members select emotion/mood descriptors (MXD) from pull down menus supported by the GUI, so as to load default musical instruments and MXD settings; (d) one or more members select style musical experience descriptors (MXD) from pull down menus supported by the GUI, so as to load default musical instruments and MXD settings;

(e) each member is invited to control one or more musical instruments;

(g) the spotting markers on each musical instrument are adjusted as desired;

(h) the piece of composed music is rendered by the automated music composition engine El using selected MXD and spotting settings;

(i) reviewing composed piece of music generated;

(j) changing the spotting settings and re-render piece of music;

(m) adding one or more text messages to the musically-scored video; and

(n) sending to its destination over the network, the social message and video or media object scored with the emotionally-specified music composed and generated by the automated music composition and generation engine.

19. An automated music composition and generation system for composing and generating pieces of music in response to a system user providing, as input, musical energy quality control parameters, said automated music composition and generation system comprising:

wherein said automated music composition and generation engine receives musical energy quality control parameters from a system user using said client computing system, allowing the system user to exert a specific amount of control over the music being composed and generated by said automated music composition and generation engine, without having any specific knowledge of or experience in music theory or performance.

20. A method of composing and generating pieces of music in response to a system user providing, as input, musical energy quality control parameters, said method comprising the steps of:

(a) accessing a social media communication and messaging application from a desktop or mobile computing platform connected to a network, in which the automated music composition and generation process is fully integrated and supported by a graphical user interface (GUI);

(c) enabling the automated music composition studio integrated into the social media communication and messaging application;

(d) selecting one or more emotion/mood descriptors (MXD) from pull down menus supported by the GUI, so as to load default musical instruments and MXD settings;

(f) render the piece of composed music using selected MXD settings;

(g) reviewing composed piece of music generated;

(h) changing the spotting settings and re-render piece of music;

(i) reviewing new composed piece of music generated, to determine that it is acceptable and satisfactory for its intended application;

(j) combining the composed music piece with the selected video or other media object uploaded to the application;

(k) adding a text message to the musically-scored video; and

(l) sending to its destination over the network, the social message and video or media object scored with the emotionally-specified music composed and generated by the automated music composition and generation engine (El).

21. An automated music composition and generation system for composing and generating pieces of music in response to a system user providing, as input, musical energy quality control parameters, said automated music composition and generation system comprising: a GUI-based system user interface subsystem (BO) supported on the display screen of a client computing system deployed on an automated music composition and generation network supporting an automated music composition and generation engine in communication with said client computing system; and

wherein said automated music composition and generation engine receives musical energy quality control parameters from a system user using said client computing system, thereby allow the system user to exert a specific amount of control over the music being composed and generated by said automated music composition and generation engine, without having any specific knowledge of or experience in music theory or performance.

22. A method of composing and generating pieces of music in response to a system user providing, as input, musical energy quality control parameters, said method comprising the steps of:

(b) capturing or accessing a digital photo or video or other media object to be scored with music to be composed and generated by the automated music composition and generation engine;

(c) enabling an automated music composition studio integrated into the social media communication and messaging application;

(d) selecting one or more emotion/mood descriptors (MXD) from pull down menus supported by the GUI of said automated music composition studio, so as to load default musical instruments and MXD settings;

(g) adjusting the spotting markers as desired;

(h) rendering the piece of composed music using selected MXD and spotting settings; (i) reviewing composed piece of music generated;

(j) changing or adjusting the spotting settings and re-render piece of music;

(m) adding a text message to the musically-scored video; and

(n) sending to its destination over the network, the social message and video or media object scored with the emotionally-specified music composed and generated by said automated music composition and generation engine.

23. An automated music composition and generation system for composing and generating pieces of music in response to a system user providing, as input to the system, musical energy quality control parameters, said automated music composition and generation system comprising:

wherein said GUI-based system user interface subsystem (BO) supports a set of musical experience descriptors (MXDs) that are displayed for selection for use in composing and generating a piece of digital music using an automated music composition and generation engine, where specific types of musical experiences or events are desired to occur, providing the system user greater control over the quality of music being generated,

thereby allowing the system user to exert a specific amount of control over the music being composed and generated by said automated music composition and generation, without having any specific knowledge of or experience in music theory or performance.

24. A method of composing and generating pieces of music in response to a system user providing, as input, musical energy quality control parameters, said method comprising the steps of:

(f) rendering the piece of composed music using selected MXD and spotting settings;

(g) reviewing composed piece of music generated;

(h) changing the MXD settings and re-render piece of music;

(k) adding a text message to the musically-scored video; and

(l) sending to its destination over the network, the social message and video or media object scored with the emotionally-specified music composed and generated by said automated music composition and generation engine.

25. An automated music composition and generation process for producing one or more pieces of digital music, comprising the steps of: (a) selecting a set of musical energy (ME) quality control parameters for supply to an automated music composition and generation engine;

(b) applying certain musical energy quality control parameters, as markers, to specific spots along a timeline of a selected media object or event marker by a system user during a scoring process; and

(c) providing said selected set of musical energy quality control parameter to drive the automated music composition and generation engine and automatically compose and generate the one or more pieces of digital music with control over specific qualities of musical energy embodied in and expressed by the piece of music to composed and generated by said automated music composition and generation engine.

26. An automated music composition and generation system for composing and generating pieces of digital music in response to a system user providing, as input, musical energy (ME) quality control parameters, said automated music composition and generation system comprising:

an automated music composition and generation engine; and

a system user interface subsystem interfaced with said automated music composition and generation engine, and supporting spotting of digital media objects and timeline-based event markers, and employing a graphical user interface (GUI) for supporting

(i) the selection of musical energy (ME) quality control parameters including emotion-type music experience descriptors (MXD) for a piece of digital music, style-type musical experience descriptors (MXDs) for the piece of digital music, and timing parameters indicating the time duration characteristics of each piece of digital music, and

(ii) the selection of one or more musical energy quality (ME) control parameters from the group consisting of instrumentation, melody, dynamics, ensemble performance, orchestration, volume, tempo, rhythm, harmony, start/hit/stop markers indicating the location of start, hit and stop events in a piece of digital music, and framing control markers indicating the location of the intro, climax, and outro of the piece of digital music; and

wherein said musical energy quality control parameters are applied along the timeline of a graphical representation of a selected digital media object or timeline- based event marker, so as to control particular musical energy qualities within the piece of digital music being composed and generated by said automated music composition and generation engine using said musical energy quality control parameters selected by the system user and supplied, as input, to said system user interface subsystem.

27. The automated music composition and generation system of Claim 26, wherein said digital media object is selected from the group consisting of a digital video, a podcast, an audio-recording, a digital image_* a slideshow, and an event-marker.

28. The automated music composition and generation system of Claim 26, wherein said musical experience descriptors have a graphical -icon format and/or linguistic format.

29. The automated music composition and generation system of Claim 26, wherein said system user interface is an interface selected from the group consisting of a text keyboard, a manual data entry device, a speech recognition interface, a graphical user interface (GUI), and a touch-screen graphical user interface (GUI).

30 . An automated music composition and generation system for composing and generating pieces of music in response to a system user providing, as input, musical energy quality control parameters, said automated music composition and generation system comprising:

a system user interface subsystem including at least one GUI-based system user interface that supports composition control over musical energy (ME) embodied in pieces of digital music being composed; and

an automated music composition and generation engine in communication with the system user interface subsystem for receiving musical energy quality control parameters from the system user;

wherein said system interfaces support communication of musical energy quality control parameters from system users and said automated music composition and generation engine, for transformation into musical-theoretical system operating parameters (SOP) to drive subsystems of said automated music composition and generation system, and support dimensions of control over the qualities of musical energy (ME) embodied or expressed in pieces of digital music being composed and generated from said automated music composition and generation engine: and

wherein the dimensions of control over musical energy (ME) in each said piece of music composed and generated by said automated music composition and generation system are provided by one or more musical energy quality control parameters selected from the group consisting of

(i) emotion/mood type musical experience descriptors expressed in the form of at least one of graphical icons, eniojis, images, words and other linguistic expressions,

(ii) style/genre type musical experience descriptors expressed in the form of at least one of graphical icons, emojis, images, words and other linguistic expressions, and

(iii) one or more musical energy quality control parameters selected from the group consisting of tempo, dynamics, rhythm, harmony, melody, instrumentation, orchestration, instrument performance, ensemble performance, volume, start/hit/stop event markers for marking the location of start, hit and stop events in a piece of digital music, and framing control markers for marking the location of the intro, climax, and outro of the piece of digital music,

thereby allowing the system user to exert a specific amount of control over the digital music being automatically composed and generated by said automated music composition and generation system without the system user requiring any specific knowledge of or experience in music theory or music performance.

31. The automated music composition and generation system of Claim 30, wherein said musical experience descriptors have a graphical -icon format and/or linguistic format.

32. The automated music composition and generation system of Claim 30, wherein the composed and generated piece of digital music is combined with a digital media object selected from the group consisting of a digital video, a podcast, an audio recording, a digital image a slideshow, and an event-marker.

33. The automated music composition and generation system of Claim 30, wherein said system user interface is an interface selected from the group consisting of a text keyboard, a manual data entry device, a speech recognition interface, a graphical user interface (GUI), and a touch-screen graphical user interface (GUI).

34. A method of composing and generating pieces of digital music in response to a system user providing, as input, musical energy quality control parameters, said method comprising the steps of:

(a) capturing or accessing a digital media object to be uploaded to a studio application, and scored with one or more pieces of digital music to be automatically composed and generated by an automated music composition and generation engine interfaced with a graphical user interface (GUI);

(b) enabling an automated music composition studio with said studio application and being operably associated with said graphical user interface (GUI);

(c) selecting one or more emotion-type musical experience descriptors (MXD) from menus supported by the GUI, and loading the selected emotion-type musical experience descriptors into said automated music composition and generation engine;

(e) selecting style-type musical experience descriptors (MXD) from menus supported by the GUI, and loading the selected style-type musical_experience descriptors and default libraries of musical instruments into said automated music composition and generation engine;

(f) selecting musical instruments to be represented in the piece of digital music to be automatically composed and generated by said automated music composition and generation engine;

(g) adjusting spotting markers along the timeline of the digital media object to be scored with one or more said pieces of digital music, so as to control the musical energy quality of said one or more pieces of digital music,

wherein said adjusted spotting markers represent music energy control parameters selected from a group consisting of instrumentation, ensemble performance, dynamics, melody, orchestration, volume, tempo, rhythm, harmony, start/hit/stop markers indicating the location of start, hit and stop events in a piece of digital music, and framing control markers indicating the location of the intro, climax, and outro of the piece of digital music;

(h) rendering the piece of composed digital music using the selected emotion- type musical experience descriptors, the selected style-type musical experience descriptors, the selected musical instruments, and the adjusted spotting markers along said timeline, provided to said automated music composition and generation engine;

(i) reviewing the piece of digital music automatically generated by said automated music composition and generation engine;

(j) changing the spotting marker settings and re-rendering the piece of digital music using said automated music composition and generation engine;

(k) reviewing new composed piece of digital music generated by said automated music composition and generation engine, to determine that said new composed piece of digital music is acceptable and satisfactory for an intended end- user application;

(l) combining the composed piece of digital music with the selected digital media object uploaded to the studio application; and

(m) sending the musically-scored digital media object to an intended destination.

35. The method of Claim 34, wherein said digital media object is selected from the group consisting of a digital video, a podcast, an audio-recording, a digital image_* a slideshow, and an event-marker.

36. The method of Claim 34, wherein said system user interface is an interface selected from the group consisting of a text keyboard, a manual data entry device, a speech recognition interface, a graphical user interface (GUI), and a touch-screen graphical user interface (GUI).

37. The method of Claim 34, wherein said musical experience descriptors have a graphical-icon format and/or linguistic format.

38. An automated music composition and generation process for producing one or more pieces of digital music during a scoring process, comprising the steps of:

(a) providing a set of musical energy (ME) quality control parameters to an automated music composition and generation engine; (b) applying certain of the selected musical energy (ME) quality control parameters as markers to specific spots along the timeline of a selected media object or event marker by a system user during a media object scoring process; and

(c) providing the selected set of musical energy quality control parameters to drive said automated music composition and generation engine to automatically compose and generate one or more pieces of digital music with control over the specified qualities of musical energy embodied in and expressed by the piece of digital music to be composed and generated by said automated music composition and generation engine.