using_tags
Musical tone synthesizing apparatus utilizing an all-pass filter having a variable fractional delay2010-03-29 00:00:00overtone structure. In the overtone structure, higher harmonics of which frequencies are not equal to the integral multiple of the fundamental frequency are contained in the musical tone. As described before, by changing the multiplication coefficient 伪, the resonant frequency of the closed loop can be changed, resulting that the tone pitch of the attenuating sound corresponding to the signal circulating through the closed loop can be controlled. As another method to control the tone pitch of the musical tone to be synthesized by the musical tone synthesizing apparatus, it is possible to employ a weighted interpolation which is effected on each of the delay stages of the delay circuit 2 so as to control the delay time 蟿p.
As described above, the conventional musical tone synthesizing apparatus can control the tone pitch in response to a variation of the delay amount of the closed loop which is carried out by changing the multiplication coefficient 伪 of the all-pass filter 4. However, this type of the musical tone synthesizing apparatus suffers from the following drawbacks. When largely changing the multiplication coefficient 伪 of the all-pass filter 4, the whole delay amount of the closed loop must be largely varied. In that case, the apparatus synthesizes a non-harmonious musical tone containing a plenty of higher harmonics of which number is larger than the necessary number of the higher harmonics. As a result, this type of the musical tone synthesizing apparatus is not suitable for the electronic musical instrument. A control of the delay amount which is controlled by changing the multiplication coefficient 伪 of the all-pass filter 4 is effective only when the delay circuit 2 provides one or two delay stages. Further, when changing the multiplication coefficient 伪 while also changing the number of the delay stages of the delay circuit 2, the multiplication coefficient 伪 should be changed discontinuously, which may cause a production of noises.
In another type of the apparatus in which the weighted interpolation is effected on each of the delay stages of the delay circuit 2 so as to control the delay time 蟿p, the tone pitch can be controlled in a relatively wide range. However, the interpolation of the delay stages causes an operation of a low-pass filter, which deteriorates the frequency characteristic of the musical tone to be synthesized. In addition, this type of the apparatus also suffers from a disadvantage in that an attenuation time of the attenuating sound must be changed responsive to the control of the tone pitch. In short, the conventional musical tone synthesizing apparatus providing the all-pass filter 4 cannot alter the delay amount smoothly without ca
using a variation of the amplitude of the musical tone. In other words, the conventional apparatus suffers from a problem in that the tone pitch of the attenuating sound cannot be controlled to be altered continuously.
SUMMARY OF THE INVENTION
It is accordingly a primary object of the present invention to provide a musical tone synthesizing apparatus which can control the tone pitch of the attenuating sound to be altered continuously.
The musical tone synthesizing apparatus according to the present invention is mainly configured by a closed loop which at least provides a first delay portion and a second delay portion. The first delay portion delays an input signal (e.g., excitation wave signal) by a first delay time corresponding to a certain integral number of sampling periods. The second delay portion receives an output of the first delay portion so as to delay it by a second delay time corresponding to a decimal fraction of the sampling period, so that an output of the second delay portion is fed back to the first delay portion.
The closed loop has a whole delay time consisting of an integral-part delay time and a decimal-part delay time. Herein, the integral-part delay time corresponds to the first delay time, while the decimal-part delay time corresponds to the second delay time. Thus, a musical tone signal representing a synthesized musical tone (or the attenuating sound) is picked up from the closed loop. Incidentally, an all-pass filter which acts upon a filter coefficient supplied thereto can be employed as the second delay portion, whereas the whole configuration of the closed loop can be embodied by a digital signal processor.
By controlling the first and second delay times respectively, it is possible to perform a fine control on the whole delay time of the closed loop. Thus, the tone pitch of the musical tone to be produced can be smoothly and continuously controlled without ca
using the noises.
BRIEF DESCRIPTION OF THE DRAWINGS
Further objects and advantages of the present invention will be apparent from the following description, reference being had to the accompanying drawings wherein the preferred embodiment of the present invention is clearly shown.
In the drawings:
FIG. 1 is a block diagram showing a whole configuration of a musical tone synthesizing apparatus according to an embodiment of the present invention;
FIG. 2 is a block diagram showing a functional model of a digital signal processor (i.e., DSP) used in the embodiment;
FIG. 3 is a block diagram showing a detailed configuration of a low-pass filter used in the DSP;
FIG. 4 is a flowchart showing a main routine;
FIG. 5 is a flowchart showing a routine of manual-operable member;
FIG. 6 is a flowchart showing a key-on routine;
FIG. 7 is a flowchart showing a key-off routine;
FIG. 8 is a flowchart showing a DSP routine;
FIG. 9 is a flowchart which is used for explaining a first control method employed by the embodiment;
FIG. 10 is a flowchart which is used for explaining a second control method;
FIG. 11 is a block diagram showing an essential part of a modified example of the DSP;
FIG. 12 is a flowchart which is used for explaining a third control method;
FIGS. 13(A), 13(B), 14(A), 14(B) are graphs which are used for explaining follow-up characteristics of an int...
Method and apparatus for representing musical information2010-03-26 00:00:00of the storage node corresponding to the first measures stored in said memory for each sound source and joining with said first note any notes to be performed at the same time, then continuing with the next succeeding note and any notes to be performed in said first measure and further continuing with the notes in measures of the storage node corresponding to the second and succeeding measures at the same time.
9. A method for electronically processing and storing musical information
using a programmable data processing system, the steps comprising:
providing the programmable data processing system with a plurality of data signals representing musical information; and
using the programmable data processing system to perform the steps of:
separating the musical information into a plurality of segments, each segment representing some portion of a measure;
assigning a sequential time dimension value to each segment;
separating the musical information into a plurality of channels, each channel representing a sound source;
assigning a sound dimension value to each channel; and
storing the musical information for a given channel and segment by associating the musical information corresponding to a given channel and segment with the time dimension value and sound dimension value assigned to the given channel and segment.
10. A music processing apparatus for representing musical information comprising:
means for selectively inputting musical information;
programmable data processing means operably connected to the means for selectively inputting musical information for electronically representing, storing and retrieving the musical information in a memory means associated with the programmable data processing means for storing information; and
a multi-dimensional data structure framework within the memory means of the programmable data processing means having:
a time dimension for separating the musical information into a plurality of segments, each segment representing some portion of a measure; and
a sound dimension for separating the musical information into a plurality of channels, each channel representing a sound source, such that a plurality of framework intersection points are defined by the intersections of the time dimension and the sound dimension,
whereby the musical information for a given sound source and measure is stored at the framework intersection point corresponding to a time dimension value and a sound dimension value that correspond to the given instrument and measure.
11. The music processing apparatus of claim 10 wherein the framework further comprises a performance dimension accessible at each framework intersection point for storing additional musical information representing one or more multiple renditions of a particular measure as played by a particular instrument.
12. A method for processing musical information comprising the steps of:
inputting the musical information into a programmable data processing means for electronically representing the musical information;
separating the musical information into a plurality of measures;
assigning a time dimension value to each measure;
separating the musical information into a plurality of channels;
assigning a sound dimension value to each channel;
storing the musical information for a given channel and measure by associating the musical information corresponding to a given channel and measure with an array location specified by the time dimension value and the sound dimension value assigned to the given instrument and measure.
13. The method of claim 12 further comprising the steps of:
retrieving the musical information for a specified range of instruments and measures by:
specifying all of the combinations of time dimension values and the sound dimension values for the specified range of instruments and measures;
determining whether musical information exists for each combination of the time dimension values and sound dimension values;
retrieving the musical information for each combination of time dimension value and sound dimension value that exists; and
generating a whole rest for each combination of a time dimension value and a sound dimension value that has no associated musical information; and
outputting the retrieved musical information.
14. A method for electronically representing musical information
using a programmable data processing system, the steps comprising:
providing the programmable data processing system with a plurality of data signals representing musical information; and
using the programmable data processing system to perform the steps of:
storing a plurality of entries that represent rhythmic, melodic, and interpretive aspects of the musical information, each entry comprising one unit of music data selectively representing a rest, a note or a chord and a set of details associated with the entry;
linking successive entries for a given instrument together in time sequence order;
grouping a portion of a sequence musical information to be associated with a specified measure for a given instrument by:
assigning a first pointer to the successive entries for the given instrument to designate the first entry to be included in the measure; and
assigning a last pointer to the successive entries for the given instrument to designate the last entry to be included in the measure.
15. A method for electronically representing pitch information associated with musical information
using a programmable data processing system, the steps comprising:
providing the programmable data processing system with a plurality of data signals representing pitch inf...
Music search by interactive graphical specification with audio feedback2010-03-25 00:00:00after the adjusted generated musical segment has been acknowledged as acceptable.
27. The computer-based system of claim 26, comprising:
logic that graphically adjusts the replaced generated musical segment in response to user inputs to change characteristics of the musical segment.Description
BACKGROUND OF THE INVENTION
1. Field of the Invention
The present invention relates to multimedia asset management systems, and in particular to the location and retrieval of multimedia files based on a graphically entered music search.
2. Background Information
Audio searching of large multimedia databases has many important applications. Large multimedia databases or collections can contain both audio and video files. Conventional systems store and retrieve specific information from a database
using, for example, descriptive information regarding the image file, such as file creation date, file name, file extension and the like. This form of data search and retrieval is not significantly different from the any other digital information.
By relying on the file information, only cursory information can be obtained about the file and nothing at all specifically related to the audio content of the file. For example, an audio file could have a name that has no relation to the features or content of the file, such as a file containing samples of barking dogs could have the file name "cats". Other systems can provide additional information based on the content of the file. However, this is usually done by keyword annotation, which is a laborious task.
Multimedia databases containing music files can have a variety of formats. However the Musical Instrument Digital Interface (MIDI) format, which has been used since 1983, is the most prevalent. The MIDI format has many advantages for representing music in a digital form. One of the most relevant features of the MIDI format for musical searching is the standardization of the musical scale into a range of integers, from 0 to 127. For example, middle C is assigned integer value of 60, corresponding notes above and below middle C are represented by corresponding integers (i.e., the C# above middle C is MIDI note 61). Additionally, the MIDI format allows for multiple tracks containing musical notes, percussion, timing, and the like, which provides a rich environment for digitally describing a musical piece. Therefore, the MIDI format is used in the following description. However, those skilled in the art will appreciate that the invention can be practiced on any file format that can be stored in a searchable format. Further, those skilled in the art will appreciate that the music files can be stored in related databases, where a searchable data set (e.g., MIDI files) is linked to a data set containing music files that are not easily searchable (e.g., raw audio files).
The amount of multimedia information available today due to the evolution of the internet, low-cost devices (e.g., digital video cameras, digital cameras, video capture cards, MIDI devices, audio cards, digital audio, and the like) to generate multimedia content, and low-cost storage (e.g., hard disks, CDs, DVD, flash memory, and the like) increases the need to search and retrieve relevant multimedia data efficiently. Unlike text-based retrieval, where keywords are successfully used to index into documents, multimedia data retrieval has no easily accessed indexing feature.
One approach to searching audio portions of multimedia collections is to hum a portion of the audio as the search criteria. A query by humming system is described in Ghias et al., "Query by Humming: Musical Information Retrieval in an Audio Database", ACM Multimedia 95 Proceedings, 1995, pages 231-236, which is hereby incorporated by reference in its entirety. Query by humming requires a user to hum a portion of the audio file, which is then converted into a musical contour (i.e., a relative pitch stream of audio symbols). The musical contour can be represented as a simple string of characters, such as "U, D, S", where U represents that the current note is higher than previous no...
Method and apparatus for generating musical tone waveforms by user input of sample waveform frequency2010-03-24 00:00:00step of generating musical tones, based on musical tone waveform samples generated through a plurality of channels, a performance information-inputting step of inputting performance information, a control information-inputting step of inputting control information depending on an amount of operation of an operating element operated by a user, and a musical tone waveform sample-generating step of generating musical tone waveform samples for each of the channels corresponding to the performance information input within a predetermined time period, in a number corresponding to the input control information, whenever the predetermined time period elapses, the musical tone-generating step generating musical tones, based on the generated musical tone waveform samples, and an apparatus for generating musical tones, comprising musical tone-generating means for generating musical tones, based on musical tone waveform samples generated through a plurality of channels, performance information-inputting means for inputting performance information, control information-inputting means for inputting control information depending on an amount of calculation of an operating element operated by a user, and musical tone waveform sample-generating means for generating musical tone waveform samples for each of the channels corresponding to the performance information input within a predetermined time period, in a number corresponding to the input control information, whenever the predetermined time period elapses, the musical tone-generating means generating musical tones, based on the generated musical tone waveform samples.
As a result, musical tones can be generated in either of a mode in which an increased number of musical tones are generated or a mode in which musical tones are generated with a high quality, depending on the user's choice.
To attain the first object, according to a second aspect of the invention, there are provided a method of generating musical tones, comprising a musical tone-generating step of generating musical tones, based on musical tone waveform samples generated through a plurality of channels, a performance information-inputting step of inputting performance information for a plurality of parts, a control information-setting step of setting control information for each of the parts, and a musical tone waveform sample-generating step of assigning the input performance information to at least part of the channels, and generating musical tone waveform samples through the at least part of the channels, in response to the input performance information, at a time density corresponding to the set control information for each of the parts corresponding to the input performance information, the musical tone-generating step generating musical tones, based on the generated musical tone waveform samples, and an apparatus for generating musical tones, comprising musical tone-generating means for generating musical tones, based on musical tone waveform samples generated through a plurality of channels, performance information-inputting means for inputting performance information for a plurality of parts, control information-setting means for setting control information for each of the parts, and musical tone waveform sample-generating means for assigning the input performance information to at least part of the channels, and for generating musical tone waveform samples through the at least part of the channels, in response to the input performance information, at a time density corresponding to the set control information for each of the parts corresponding to the input performance information, the musical tone-generating means generating musical tones, based on the generated musical tone waveform samples.
As a result, a part having a larger listening effect can be generated with a high quality, to thereby enable making the most of the limited processing capacity of the musical tone-generating apparatus.
To attain the first object, according to a third aspect of the invention, there are provided a method of generating musical tones, comprising a musical tone-generating step of generating musical tones, based on musical tone waveform samples, a performance information-inputting step of inputting performance information, a control information-generating step of generating control information, and a musical tone waveform sample-generating step of carrying out a musical tone-generating calculation based on waveform data stored in a waveform memory beforehand, in response to the input performance information, to thereby generate musical tone waveform samples at a time density corresponding to the generated control information, the musical tone waveform sample-generating step carrying out the musical tone-generating calculation by selectively
using different data of the waveform data stored in the waveform memory according to the generated control information, the musical tone-generating step generating musical tones, based on the generated musical tone waveform samples generated by the musical tone-generating calculation, and an apparatus for generating musical tones, comprising musical tone-generating means for generating musical tones, based on musical tone waveform samples, performance information-inputting means for inputting performance information, control information-generating means for generating control information, a waveform memory for storing waveform data, and musical tone waveform sample-generating means for carrying out a musical tone-generating calculation based on waveform data stored in the waveform memory, in response to the input performance information, to thereby generate musical tone waveform samples at a time density corresponding to the generated control information, the musical tone waveform sample-generating means carrying out the musical tone-generating calculation by selectively
using different data of the waveform data stored in the waveform memory according to the generated control information, the musical tone-generating means generating musical tones, based on the generated musical tone waveform samples generated by the musical tone-generating calculation.
As a result, in a channel for generating musical tones at a high equivalent sampling frequency, waveform data having frequency components over a broad band (with a high recording sampling frequency) can be processed, while in a chan...
Graphic/tactile musical keyboard and nomographic music notation2010-03-23 00:00:00again to the white keys for two more notes (F and G), and ends back on a black key (A鈾?. This asymmetry of the conventional keyboard, and the resulting irregular fingering sequences, has been the object of much inventive effort.
Twelve note whole tone alternate keyboards have been offered as the answer to various difficulties created by the asymmetry of the conventional keyboard. Whole tone keyboards are arranged so that adjacent keys in a single row are separated by a musical whole tone and adjacent keys in adjacent rows are separated by a half-tone. McChesney U.S. Pat. No. 161,806 discloses a three-row whole tone keyboard where the keys of the first and third rows play the same notes. The keys of the McChesney keyboard are all uniform in size and shape in order to render the touch more uniform, secure and certain. Firestone U.S. Pat. No. 2,406,946 discloses two different whole tone keyboard configurations. A first keyboard has two rows of keys: a rearward row of six black keys, and a forward row of six white keys. A second keyboard is very similar to McChesney, having three-rows of uniformly sized keys with the first and third rows playing the same notes. These keyboards are used in conjunction with a completely rewritten system of music notation, varying the shapes of the bodies of the notes, and utilizing a new system of octave clefs having no accidental markings (sharps "鈾?" and flats "鈾?"). Firestone U.S. Pat. No. 2,417,639 discloses a modified three-or four-row whole tone keyboard wherein the upper rows of keys are narrowed to facilitate certain fingering maneuvers.
The fingering advantages of the whole tone keyboard are only achieved when three or more rows of keys are provided. On a conventional three-row whole tone keyboard, those six of the twelve major scales beginning on notes in the middle row (C, D, E, F鈾?/G鈾? G鈾?/A鈾?and A鈾?/B鈾? are played
using a single sequence of three keys in the middle row, followed by four keys in the upper row, and ending back on the middle row. Thus a C major scale begins with three keys in the middle row (C, D and E), followed by four keys in the upper row (F, G, A and B), and ends on the middle row (C). An A鈾?major scale, which required four transitions between the black and white keys on the conventional keyboard, uses the same fingering sequence as the C scale on the graphic/tactile keyboard, beginning with three keys in the middle row (A鈾? B鈾?and C), followed by four keys in the upper row (D鈾? E鈾? F and G), and ending back in the middle row (A鈾?. U.S. Pat. No. 2,406,946 blackens all of the keys of a single row, visually emulating the conventional keyboard. Adams U.S. Pat. No. 682,014 blackens adjacent groups of three keys in a single row and offsets said groups from similar groups in adjacent rows. Stewart U.S. Pat. No. 334,484 blackens and corrugates the tops of those keys in a flattened three-row whole tone keyboard which correspond to the conventional black notes. In Barlow U.K. Patent No. 6,647 (1906) the keys of a two row whole tone keyboard which correspond to the conventional black notes are lengthened when they are located in the upper row of keys, and are blackened when they appear in the lower row. None of the keyboard marking schemes which rely on color are capable of providing a tactile cue regarding keyboard position. Corrugation of the key surfaces certainly provides a tactile cue, but unfortunately slows the player's transitions to and from such corrugated keys, by increasing the resistance to movement of the fingers across the key surfaces. None of the tactile marking schemes simultaneously provide an effective tactile cue of keyboard position and of the presence of the notes played by the cued keys as black keys on the conventional keyboard.
"Improved" systems of music notation are easily as common as "improved" keyboards, and infinitely more varied and complex. Most such improvements begin by supplanting all or part of the conventional system of notation, at one stroke restricting the player to music annotated
using the improved system. Barlow U.K. Patent No. 6,647 (1906), Adams U.S. Pat. No. 682,014, and Firestone U.S. Pat. No. 2,406,946 teach various such "improvements" on the conventional system of notation. No prior art notation system provides a simple yet effective indication of th...
Suspension of musical instruments2010-03-20 00:00:00in the vicinity of the connection of the main body to the neck. The strap desirably has a thickness which is less than its width and is removably attached to the instrument.
In accordance with still another aspect of the invention, the instrument is a guitar having a main body and a neck extending from the main body to a terminal head end, and a strap is attached at a first end to a portion of the main body remote from the head end and at a second end is attached to the main body in the vicinity of the connection of the main body to the neck. The intermediate attachment is to the main body, in the vicinity of the connection of the main body to the neck and removed from the position of attachment of the second end of the strap.
In a method according to the invention of balancing an instrument with respect to the body of a player, the steps include (a) attaching to the instrument a three-point harness formed by a strap and an intermediate attachment; and (b) positioning a portion of the strap on the body of the player. The strap is positioned to achieve a balanced orientation of the instrument without requiring the need for applying a countervailing torque to the instrument. When the instrument is a guitar, a member of the harness, such as a strap, extends about the neck of the player and rests on the shoulder, in the vicinity of the collar bone. The method can include the further step of adjusting the strap in relation to its intermediate connection to the instrument. The adjustment can be made
using the intermediate attachment to the strap, forming an intermediate connection that is either fixed to the strap at selectable positions, or is looped about the strap at the intermediate position. Both the length of the intermediate attachment and the location of its contact with the strap can be adjusted as needed to achieve balance and security of the instrument relative to the player.
In a combination according to the invention of a musical instrument and a suspension for the instrument, the instrument has two portions, each with its own center of mass, separated by an intervening connection, and the suspension has an attachment to each portion and a further intermediate attachment. The intervening connection can be an elongated neck, with the further attachment located near the junction of one portion and the elongated neck. One portion can be a main body and the other portion be a head member affixed at one end to the elongated neck.
When the musical instrument is a guitar with a main body joined to a head by a stringed neck, the suspension is by a strap with a first end attached to the main body, with the opposite end either attached also to the main body at a position removed from the position of attachment of the first end, or attached to the head, and with an intermediate portion of the strap attached to the main body at a position removed from the att...
Hand-held percussion musical instrument comprising elongate tube shaped as a ring, incorporating dividers, and incoporating contained sound-generating elements2010-03-18 00:00:0070 extends across the internal diameter of the ring 10 between opposite apexes of the regular hexagon. The upper half of the cross-handle 70a is formed integrally with the upper ring half 14, and the lower half 70b of the cross-handle is formed integrally with the lower ring half 16, with the upper and lower cross handle halves 70a,70b, having mating surfaces which are welded together as in the case of the construction of the ring itself as previously described, such mating surfaces being generally indicated by the joinder line 72. As shown, the cross-handle 70 is hollow, and is useful for the mounting and isolation of various accessories.
By grasping the cross-handle 70, the performer may directly rotate the ring 10 about its central axis 12 conveniently to achieve a variation in the sonic effect.
In the embodiment of the invention illustrated in FIGS. 1-3, the tubular hexagon ring 10 has an outer diameter "OD" (as measured directly between opposite flats of the hexagon) of 9 inches, and has an internal diameter "ID" (as measured between opposite flats of the hexagon) of 6 inches. The tubular walls each have an external diameter of 11/2 inches, and a wall thickness of 3/32 inches. Of course, measured apex-to-apex of the hexagon, the outer ring diameter would be slightly greater, this being the maximum external diameter of the ring.
Generally, it is found that the maximum external diameter of the ring should be within a range of about 7 to about 12 inches, and the external diameter of the tubular walls should be within a range of about 1 to about 13/4 inches, with a wall thickness within a range of about 1/16 inches to about 3/16 inches, while the steel shot may be of mixed diameters. Best results are obtained when the majority of such metallic steel shot (masses) have diameters within a range of about 1/16 inches to 4/8 inches. For example, the steel shot illustrated in FIG. 2 is all of the same diameter, about 1/8 inch; the steel shot illustrated in FIG. 6 would include for each tubular chamber A and B a 50/50 mixture of 1/8 inch diameter steel shot and 1/4 inch diameter steel shot.
By the choice of dimensions, materials, wall thickness and diameters, as well as by the specific placement of end walls, different sonic effects can be achieved
using the percussion instrument. The instrument can be constructed of separate pieces rigidly connected together, some of which could have a curvature (e.g., the tubes), and may even be constructed of thin metal, (e.g., thin metallic tubular walls).
Preferably, however, the tubular ring is injection molded in two halves as described from hard rigid plastic material such as polycarbonate or acrylic plastic, so as to (1) provide a durable structure that will withstand pounding, and (2) so as to achieve good common soundboard effects for the tubular walls in audibly coupling induced percussion vibrations from the loosely contained hard masses to the surrounding atmosphere. Steel shot is preferred. However, other metals may be employed, and hard non-metallic masses may be used.
One aspect of the invention that facilitates utility and variations is that the individual hollow tubes are contained in a rigid ring, and their longitudinal axes while generally in the same plane extend in different directions in that plane. At least five such hollow tubes are preferred, whether the ring is a circle, a polygon, or a hybrid of the two in general configu...
Method and apparatus for achieving timbre modulation in an electronic musical instrument2010-03-15 00:00:00with the change in that external signal rather than attack and/or decay indicator signal. This allows still another option to the musical instrument designer in utilizing the invention.
BRIEF DESCRIPTION OF THE DRAWINGS
For the purpose of illustrating the invention, there are shown in the drawings forms which are presently preferred; it being understood, however, that the invention is not limited to the precise arrangement and instrumentalities shown.
FIG. 1 is a block diagram of an electronic musical instrument utilizing the present invention.
FIG. 2 is a logic diagram of the present invention.
FIG. 3 is a timing diagram illustrating the operation of the digital magnitude comparator in relation to the basic audio waveshape to achieve timbre modulation
using a two-foot frequency signal.
FIG. 3A is a timing diagram as in FIG. 3 for an eight-foot frequency signal .
DESCRIPTION OF THE PREFERRED EMBODIMENT
The present invention as described herein is presently viewed as the best mode of operation, it being understood that the principle of operation may be embodied in different forms by one skilled in the art. For the purpose of this disclosure thepresent invention will be described in conjunction with a demultiplexing audio waveshape generator. In the copending applications of the inventor, Robert P. Woron, entitled, "Demultiplexing Audio Waveshape Generator," Ser. No. 787,696 (now U.S. Pat. No. 4,134,321), and "Method and Apparatus for Note Attack and Decay in an Electronic Musical Instrument," Ser. No. 787,685 (now abandoned in favor of application Ser. No. 891,874), both filed on Apr. 14, 1977, and assigned to the same assignee as thepresent invention, there is described a demultiplexing audio waveshape generator with attack and decay particularly suited for use with the present invent...
Method and apparatus for teaching musical notation to young children2010-03-12 00:00:00/>
11. The method of claim 10, further comprising the step of:
providing a recorded script which is associated with said figure.
12. The method of claim 11, wherein the step of providing said recorded script comprises:
providing a prerecorded script having blank portions at selected points therein; and
verbally interjecting a child's name into said blank portions in said prerecorded script
using a recording apparatus, so that said recorded script forms a simulated dialog between said fanciful figure and a child having said name.
13. The method of claim 11, wherein the step of providing said recorded script comprises:
providing a written script which is associated with said figure; and
dictating said written script into a recording apparatus so as to form said recorded script.
14. The method of claim 13, wherein the step of providing said recorded script further comprises:
verbally interjecting a child's name at selected points in said written script so said recorded script forms a simulated dialog between said fanciful figure and a child having said name.Description
BACKGROUND OF THE INVENTION
1. Field of the Invention
The present invention relates to the educational tools and display apparatus, and more particularly, to a method and apparatus for teaching musical notation and auditory perception to young children, by providing a system of symbols endowed with distinctive characteristics which the child can associate individually with each of the musical notes.
2. Background
Many systems and aids have been proposed for teaching the musical scale to young children. A number of these systems have utilized colors and/or colored objects, while others have taken the form of card games. Illustrative examples of earlier approaches include those set forth in the following U.S. patents:
U.S. Pat. No. 4,819,539 (Searing) discloses a system which employs display cases having horizontal dividers which represent the lines on a staff. The cases hold flash cards showing objects having names which begin with letters which correspond with the positions on the scale, i.e., a flash card showing a pair of gloves is provided for the note "G". A cassette tape device generates the noun, the name of the note, and then the sound of the note, after which the student selects another card; the time required to remove all of the cards is clocked by the device.
U.S. Pat. No. 2,807,183 (Ney) discloses a portable dummy keyboard having a frame 56 which displays the musical staves above the keyboard. The frame supports wires on which colored markers representing each of the keys can be mounted.
U.S. Pat. No. 2,447,213 (Sledge) discloses a color code system in which each of the lines on a staff is provided with its own color, i.e. the "G" line is colored blue, and a small blue house is mounted at the end of the line, drawing the analogy to a street. Markers in the shape of animals having names which begin with the appropriate letters (i.e., a goose for "GG", a bear for the note "B", and so forth) are mountable on the display board and are colored to match the appropriate note line. For example, the goose is colored blue (and is also marked with the letter "G"), and the child is taught that the goose lives in the blue house at the end of the blue street. After the child learns the line with which each note is associated, the colored house for that line is moved to the appropriate key on a dummy piano keyboard made up of blocks 12.
U.S. Pat. No. 2,236,638 (Adams) discloses a device comprising a series of interfitting dummy key blocks which are identical in shape to the keys of a piano, but which are organized according to a color arrangement.
U.S. Pat. No. 2,315,793 (Jay) discloses a system which is somewhat similar to that of Sledge, in that each note has associated therewith the image of an animal whose name begins with the letter which represents that note; i.e., a picture of the head of a goat appears with the note "G" on the printed musical score, along with the letter "G" itself. This same symbol is also displayed on the sides of a hollow toy block which houses swinging chimes which emit the sound of the appropriate note when the block is shaken.
The prior art systems described above all employ some form of symbology, by associating colors and/or images with the notes of the musical scale. However, some of these systems (e.g. Searing) are overly complex for use by very young childr...
Complete transposable notation and keyboard music system for typists2010-03-10 00:00:00are from left to right designated 11, 12, 13, 14, and 15, and the additional keys to the leftof the bottom row are designated respectively from right to left as I, II, III, IV, V, VI, and VIII, and wherein the music written for the said instrument comprises a standard musical score with a key designation in a ball in a clef, and said keydesignation being indicated by a letter in the ball, and wherein the letter in the ball designates the specific key which a typist would normally finger
using his/her left hand little finger to strike the closest and furthest left key
using normal touchtyping techniques thereby designating a home row to the typist, and wherein the notes which are normally light in the center would have dark letters, numbers, or symbols which indicate which key the typist should press, and those notes which are normallydark in the center would have light letters in the center, wherein a typist could sit to the instrument, read the letters, numbers, and symbols on the sheet of music and
using his/her normal typing expertise immediately begin playing the musical score.
2. A keyboard for a musical instrument of a type which includes means for producing musical tones when the keys are touched, wherein each key of the keyboard when pressed plays a particular note, said keyboard comprising a standard typewriterkeyboard wherein each key has a letter, symbol, or number, and wherein the keys of the standard keyboard are arranged in four horizontal rows of ten keys in each row, and wherein the bottom row is closest to a person playing the instrument, and whereinthe row next to the bottom row has its keys offset approximately one-half key-width to the left with respect to the bottom row, and wherein the third row of keys is offset approximately one-quarter key-width from the next to the bottom row of keys to theleft, and wherein the fourth and top row of keys is offset to the left with respect to the third row of keys approximately one-half key-width, and wherein the sixth key from the left in the bottom row when pressed plays the note middle C, and wherein thenotes played when keys in any row are pressed sequentially from left to right are successively one half-step higher than the note played when the preceding key is pressed, and wherein the first key on the left end in all rows, but the bottom row, whenpressed play a note one half-step higher than the note played when the key at the right hand end of the next lower row is pressed, and wherein five additional keys are added to each end of each row of the standard keyboard, and wherein the additionalkeys at the right hand end of each row when pressed sequentially from left to right play a note which is one half-step higher than the note played by pressing the key immediately adjacent to the left, and wherein the additional keys at the left end ofeach row when pressed sequentially from right to left play a note one half-step lower than the note played when the key immediately adjacent to the right is pressed, and wherein, therefore the additional keys on the left end of the bottom row play lowernotes than any keys on the standard keyboard, and wherein, therefore, the additional keys to the right of the top row play notes which are higher than any notes played by pressing any keys of the standard keyboard, and wherein the additional keys, w...
