button_tags
Music search by interactive graphical specification with audio feedback2010-03-25 00:00:00a JAVA program) that allows the user to access the graphical interface for graphically generating the musical segment via a web browser over a network (e.g., a LAN, WAN, the internet, wireless network, and the like). For example, a musical library such as that contained at the Library of Congress can allow users to search and retrieve music over the internet. Additionally, most new music purchases are based upon the purchaser hearing the music on the radio. However, in most instances the purchaser does not hear the entire song, artist, and/or title. Therefore, the present invention can be used by music companies or retail music stores to allow purchasers to search for songs based upon only a portion of the song the user has heard recently. Once again, the graphical interface for creating the musical can be accessed by a web browser and can query for a song via the internet remotely or on a LAN in a music store.
FIG. 3 shows an exemplary graphical interface 310 for graphically creating a musical search. For example, the musical segment generation section can be divided into three sections, such as a melody section 320, a bass section 330 and a rhythm section 340. Those skilled in the art will appreciate that invention is not limited to these sections and parts of a musical piece. For example, only the melody section can be used if the query only uses a monophonic search pattern.
Regardless of how many different sections are used to generate the musical segment, the user generates them via the graphical interface 310. For example, the user can generate a melody portion 325 of the musical segment using a graphical input device, such as a mouse, touch screen, stylus, graphics pad, joystick, and the like. The user simply sketches the musical segment, where higher tones are located at the top of the sections and lower tones are located at the bottom of the section. A similar process is used to sketch a bass portion 335 of the musical segment using the graphical input device. The rhythm portion 345 of the musical segment is also generated graphically using the graphical input device. However, since the rhythm portion 345 of the musical segment is based on a beat rather than the tone, the rhythm portion 345 can be graphically created by specifying the duration (i.e., width) and tempo (i.e., space between the individual elements). Optionally, those skilled in the art will appreciate that standard rhythm patterns (e.g., waltz, rock, boogie, swing, etc.) can be loaded into the graphical interface from a file to facilitate generation of the musical segment. However, the standard patterns can still be edited graphically by the user to generate a mucic segment that is acceptable to the user.
In addition to the three sections for musical segment generation, controls can be provided to further facilitate the generation of an acceptable musical segment that is used to generate the musical query. For example, a tempo control 360 can be provided. The tempo control can be used to adjust the overall tempo of the musical segment to fine tune the tempo to the user's preference. A pitch control 370 can also be provided to fine tune the pitch of the musical segment. For instance, the overall pattern (i.e., the relative tone changes) can be acceptable, but a user may still wish to raise or lower the overall pitch (e.g., changing key) so the musical segment is more acceptable to the user. Alternatively, the user can graphically select the appropriate portion of the musical segment (e.g., the melody portion 325) and raise or lower the pitch by dragging the portion up or down as appropriate.
A play
button 370 can be provided for the user to initiate audio feedback of the musical segment during the generation of the musical segment. Alternatively, the feedback can be automatically generated at a fixed interval (i.e., every 30 seconds until the query is sent) or each time a portion 325, 335, or 345 is edited or selected. A query
button 380 can be provided that allows the user to generate the musical query after the user is satisfied with the musical segment.
The exemplary graphical interface of FIG. 3 allows a user to specify a polyphonic musical segment including rhythm for generating musical searches. Unlike current systems that re...
Suspension of musical instruments2010-03-20 00:00:002 shows a guitar 21 that is suspended by a strap 22, which extends around the shoulder S of musician M, shown in phantom, in another conventional manner of suspension. Guitar 21 is formed by body B, elongated neck 24 and enlarged pad 25. Strap 22 is attached to the guitar at a conventional hook position 23-1 located on, and behind, the enlarged pad 25, and the hook position 23-2 on the body B. Because of the elongated neck 24, the guitar tends to swing in the direction indicated by the arrow AA. To overcome this swinging tendency, it is common practice among musicians with such instruments to apply a counter force with the arm A-1. Because of the long, unsecured span of the strap 22 between the shoulder S of the musician M and its point of attachment 23-1, and the resulting angle strap 22 makes with shoulder S, the weight of the guitar 21 tends to pull the strap 22 off the shoulder S of musician M in the direction indicated by arrow BB. When manipulation of such instruments requires rapid movement of the arm A-2, the performing musician must often readjust the position of strap 22 on shoulder S. Such compensating activity of the player causes fatigue and can reduce the facility with which the musician is able to manipulate the instrument.
In order to increase the facility with which a suspended musical instrument can be manipulated, the invention provides a three point harness 30 as shown in FIG. 3. The harness 30 is attached to guitar 31 suspended from shoulder S of musician M. The three point harness 30 is attached to guitar 31 at three hook positions 33-1, 33-2 and 33-3. The harness contains a strap 32, which has one of its ends attached to the hook position 33-1 at the usual position of attachment on the main body B of instrument 31. The opposite end of the strap 32 is attached at the usual position of attachment 33-2 behind the enlarged head or pad 35 and near the terminus of the elongated neck 34. To complete the connection of strap 32 to instrument 31, an intermediate attachment 36 extends from an intermediate position 37-1 on strap 32 to attachment joint 33-3, near the junction of body B and elongated neck 34. Intermediate attachment 36 contacts strap 32 by means of a ring 38, which loops about strap 32. Both the length of the intermediate attachment 36 and the location 37-1 where the ring 38 contacts the strap 32 can be made adjustable in accordance with the amount of counterbalance and security that is needed for the harness to provide a suitable suspension. The length of intermediate attachment 36 is adjustable by means of
button 39-1 and
button holes 39-2. In FIG. 3, bracket 37-1 indicates that ring 38 is moveable along strap 32, showing a typical range of movement as the musician manipulates the instrument. The harness depicted in FIG. 3 has an added advantage in that the musician could use the harness while seated, and at the same time play the instrument in a secure fashion. A still additional advantage...
Method and apparatus for teaching musical notation to young children2010-03-12 00:00:00to reinforce this connection.
Therefore, the shared color, shape, and first letter of the name makes it very easy for the child to associate each cartoon character with its respective object 22, and therefore with the note of the scale which each object represents.
As noted above, it is important that each of the cartoon characters 32c-32c' be endowed with personality traits which are easily distinguishable from those of the other characters. Moreover, it is preferable to somehow tie this character in with the distinguishing sensory characteristic of the object 22 which is linked to the musical note. For example, in FIG. 1A, the facial expression and other visible features of the character Crabby Crab apple are selected to endow that character with a sour disposition which is easily associated by the child with the sharp, sour taste of the crab apple 22c. So as to provide a contrast, the note upper "C" is represented by the cartoon character Cheerful Cherry, whose pleasant disposition corresponds to the sweet, pleasant flavor which the child associates with cherries 22c'. Although the link between the personality of the cartoon character and the flavor of its associated fruit or other edible object 22 may not always be as easy to grasp as in these two examples, it is nevertheless generally possible to craft each character to have a personality which can be linked (with a little imagination) to an emotional response or reaction which the child can reasonably be expected to have to the flavor or some other characteristic of the linking object 22.
Having provided the cartoon characters 32 with distinct personalities, the child and/or teacher is then able to use these characters in both educational introduction/instruction and relatively high level, secondorder symbolization, in the form of storytelling, games, puppet shows, individual play, and similar activities. When working with printed materials, it is therefore preferable that each of the cartoon character images be provided with a suitable border, as indicated by dotted lines 36, so that the child can cut the character out and use it in puppet shows or other activities. In particular, if the cartoon FIG. 32 is cut from paper, as is illustrated in FIG. 2, a small paper loop 38 or similar structure may be attached to the back surface of the character to receive one or more of the child's fingers so as to enable the child to use the character as a finger puppet in puppet shows and other animated storytelling. In addition to the paper structure which is illustrated, the cartoon character may be formed of any suitable material, such as cloth or plastic, for example, and may be formed as any other kind of puppet, such as a hand or paper bag puppet mitten, or as a doll, figurine, nesting doll, toy or any other similar device which is suitable for manipulation and animation by a child and/or teacher.
Moreover, the puppet character is preferably provided with a tonal device 40. Suitably, this may be a battery powered electronic device which emits a tone, sentence, or song in response to the application of finger pressure, in a tone which corresponds to that of the musical note with which the character is associated; such devices are commonly available from a number of sources, including for example, Darice Inc. of Strongsville, Ohio. The tonal
button 40, may suitably be mounted in the area indicated by the dotted line image of 42 on the front surface of the paper opposite the finger loop or band 38, with the pressure-sensitive switch portion 44 of the device facing outwardly. Thus, the person can selectively activate the tonal device by pressing it between his fingers, with his thumb on the switch portion 44, as he moves the puppet about to engage in a dialog or other introductory or storytelling activity. Thus, as the tonal device is activated (which may serve to provide "speech" for the cartoon character), the sound of the note which is associated with this character is reinforced upon the mind of the child. Moreover, this activity exercises and enhances the child's auditory perception and discrimination abilities.
In addition to or in place of the tonal
button described above, the present invention may also include a cassette tape player or other device for generating a voice or "speech" for the certain character. For example, prerecorded cassette tapes (or CDs, records, or the like) may be provided which the teacher can play to represent the "voice" of the puppet during interaction with the child or class. Advantageously, the recorded voice may have a tone which matches that of the note with which the character is associated, or there may be a background or intermittent tone produced (for example, by a piano key, tuning fork or electronically) which accompanies the recorded speech. Furthermore...
Method and Apparatus for Playing in Synchronism with a CD an Automated Musical Instrument2010-03-04 00:00:0045 is in communication with RAM 47 by communication channel 60. In the preferred embodiment, the controller 22 has 1 gigabyte of RAM, although other amounts can be used. The microprocessor 45 is also in communication with ROM 49 by communications channel 61. The ROM 45 is used to provide the music sequences, preferably MIDI files, to the controller 45. In the preferred embodiment, the ROM 49 is an SD card. The controller 22 is provided with a slot or interface 48 that will accept the SD card and link the card to the communications channel 61. On skilled in the art will recognize that other types of memory could be used for ROM 49, provided the controller 22 has the appropriate interface and the microprocessor 45 has the corresponding inputs and software to accommodate the type of memory used.
[0039] In the preferred embodiment, the microprocessor is a TriMedia manufactured by Philips. Other microprocessors can be used to accomplish the tasks described herein. For example, the microprocessor should be able to feed data to the DAC subsystem, monitor the data progress, and interface with the CD drive to read raw audio data if desired.
[0040] The controller 22 includes a display 51 in communication with the microprocessor by communication channel 64. The display is preferably an alpha numeric display capable of displaying information regarding the CD being played, as well as the music sequences available in ROM 49. In the preferred embodiment the display 51 is a multi character fluorescent display. Other displays may be used to convey information to the user.
[0041] The controller also includes user controls 53 in communication with the micro processor 45 by communication channel 67. In the preferred embodiment, the user control 53 includes a knob that can be rotated to scroll through the available selections, and pressed to select the displayed selection, which determines the music sequence the controller 22 will play. One skilled in the art will recognize that the user controls 53 can be any type of device that allows the user to interact with the controller 22. For instance the user controls 53 could be a push
button, keyboard, or touch screen. In the preferred embodiment, the display shows the titles of the music sequences available for play by the controller. The number of titles displayed at any one time depends upon the size of the display used. The user manipulates user controls 53 to change the titles displayed until the desired title is displayed and selected for play.
[0042] The titles are obtained from the files stored in ROM 49. In the preferred embodiment, the ROM 49 contains music sequences corresponding to a particular commercial CD. The individual music sequences generally corr...
Music Processing System Including Device for Converting Guitar Sounds to Midi Commands2010-03-03 00:00:00one embodiment, the data format is the Musical Instrument Digital Interface (MIDI) format.
[0003]For years digital keyboard players enjoyed unparalleled flexibility and functionality in interfacing and composing with their computers, such as the ability to instantly create notation and change sounds generated by their instruments with the push of a
button. The music processing system described herein offer this flexibility and functionality to guitarists as well as the ability to use a guitar with computer games. The methods and apparatus described may comprise a pick-up and converter that attaches directly to any electric, acoustic electric or acoustic guitar, thereby making a user's guitar fully plug and play compatible with Windows XP or higher as well as Mac OSX. Preferably, no driver installation is necessary.
[0004]The music processing system described herein may be adapted for use with Guitar Wizard, a game that allows users to jam along to popular songs while learning to play a real guitar. Guitar Wizard teaches aspiring musicians everything from single note picking to complex chords and strumming techniques. Modem Digital Audio Workstation (DAW) software, such as Sony Acid鈩?Music Studio and Apple GarageBand harness the power of PCs, allowing musicians to play samples and software instruments. With the music processing system described herein, guitarists can control these programs to play sampled sounds and synthesized instruments such as a keyboard or piano, a different style guitar, drums or a woodwind instrument. Using the music processing system described herein, guitarists can compose a complete masterpiece controlling and recording each instrument from trumpets to tympanis using their guitar.
[0005]Using the music processing system described herein, users will enjoy the ability to connect a real guitar to console systems bridging the gap between gaming and reality. For instance, using the music processing system described herein, one may be able to: use a guitar to connect with a computer, operating with for instance Windows XP and/or Mac OSX; learn to play guitar; record, compose and edit music easily; arrange with flexibility and control; and convert recorded songs into sheet music. As described below, the pick-up and control components of the music processing system mount on any guitar and preferably recognizes and transmits specific instructions for each individual note played on the guitar, thereby allowing for great flexibility in playing and recording. This is conveyed simply as a list of events which describe the specific steps that a soundcard, program or other device use to generate the specific sound. At its simplest the language would indicate for example `Middle C on" at a specific time along with the volume of the note--then it would indicate "Middle C off" at a later time. Any number of other commands can be added to make it as expressive as desired.
[0006]Thus, the music processing system may allow the user to make his or her guitar sound like another instrument. With the system, a guitar can sound like anything: a keyboard or piano, a completely different style guitar or a guitar with any number of different effects applied, a woodwind or brass instrument or the human voice. Each note can even be assigned to play a different recorded clip or sound effect. Different or "drop" tunings are simple because the note or tuning of the guitar need not be changed. The instructions for playing the note are simply "transposed" to the desired note in accordance with the desired tuning. The language of the music processing system is very specific as to what note is being played down to the specific fret on each string. This information can be used in conjunction with a learning program to teach guitar. Since each string is tracked individually this can be a very complex and robust application, teaching everything from single note picking to complex chords and strumming techniques.
[0007]Furthermore, the instructions generated can optionally be recorded on a computer memory. This allows recorded instructions to be edited using computer software. A single note within a recorded song is easily adjusted because all that is changed is the instruction for that specific note. To change or delete a note or passage in a regular recording would require clipping out the undesirable portion and re-recording--not an easy task as precision is next to impossible yet required. An embodiment described herein also allows for easy tempo changes of a recorded performance. The instruction is simply adjusted to change the tempo, thereby avoiding pitch change when a recording slowed down. Editing recorded music is simple using computer software--drag and drop functionality may be provided to edit individual notes. Shorten or lengthen a note simple by clicking on it and changing its duration. Using software, the user can change the whole recording to a new key using the same principle described above regarding alternate tunings. Users can cut and paste a section for use later in the song. File size is small because the methods described herein store instructions for playing a note, not sampling and digitizing the actual note or sound wave. This saves storage...
Method and apparatus for facilitating group musical interaction over a network2009-10-20 00:00:00example of this genre is the BEATMANIA series of games published by Konami Co., Ltd. of Japan. An example of the game environment provided by BEATMANIA is shown in FIG. 1. In this series of games the notes in musical phrases are graphically displayed to the player as a series of visual markers 104 spaced along one or more timelines 110, 120, 130, 140; each marker 104 corresponds to one note in the phrase. In the environment shown in FIG. 1 the visual markers move from the top of the display to the bottom of the display. As each marker 104 on the scrolling timelines passes a graphical cursor 108 displayed along this timeline, the player must simultaneously press a
button on the input device corresponding to the correct timeline to play the sound of the corresponding note at the correct time. If the player performs this action successfully for a sufficient percentage of the notes, he scores well and wins the game. If the player fails to perform this action successfully for a sufficient percentage of the notes, he scores poorly and loses the game. Two or more players may compete against each other, typically by each one attempting to play back different, parallel musical phrases from the same song simultaneously (shown in FIG. 1). The player who plays the highest percentage of notes correctly achieves the highest score and wins.
Multiplayer gaming increasingly incorporates various networking technologies that allow multiple players to compete against each other from remote physical locations via networks, and networked multiplayer gaming has become extremely popular. Unfortunately, however, the latency inherent in networked communication imposes a significant engineering and design burden on video game developers: data signals are often subject to large and unpredictable transmission delays. These transmission delays do not significantly impact turn-based games (such as chess) or other game genres in which timing sensitivity is not critical to gameplay. In action games and other "real-time" games, however, gameplay is extremely sensitive to the timing of various events, and transmission delays inherently result in inconsistencies continually forming between the local game states of the various players of a networked game. Consequently, developers of timing-sensitive networked games have had to invent various methods for gracefully performing "conflict resolution" to resolve divergent local game states.
The rhythm-action genre has a unique attribute, however, that makes traditional conflict resolution methods inapplicable. Specifically, the core activity of multiplayer rhythm-action involves simultaneous music-making, which is highly timing sensitive, by two or more players. If these two players are separated by a network, the data representing musical notes played by one player will incur transmission delays when being sent to the other player. If note data were simply transmitted to a receiving machine it would trigger corresponding audio that would sound "out of sync" to the receiving player, resulting in cacophon...
