JPH07111620B2 - Automatic composer - Google Patents

Description

Description: TECHNICAL FIELD OF THE INVENTION The present invention relates to an automatic composer.

[Background] One of the important factors to consider regarding the quality of an automatic composer is the music that humans have been familiar with in other words, in other words, the potential to generate music that is not pure mechanical but rich in musicality. It is whether or not the composer has the ability.

For example, in Japanese Patent Application No. 56-125603 (Japanese Patent Publication No. 60-40027), individual pitch data is randomly sampled from a series of pitch data (for example, data of 12 scales), and the sampled data is limited. If the condition is satisfied, it is adopted as a melody note, and if it is not satisfied, it is not adopted as a melody note, and the automatic composer of the method of re-sampling and repeating the condition inspection is disclosed. . Therefore, the melody generation process of this automatic composer is basically a trial and error method. When the pitch data is randomly sampled, a completely disordered pitch sequence is created. With this chaotic sequence of pitches, a melody cannot be established at all (although there is a possibility that a good melody can be created by astronomical randomness). Therefore, in order to bring some order to this disorder, a kind of filtering (selection) called condition inspection is performed. In this case, the degree of selection is an important factor. If the selection is too tight, the generated melody will be one-patterned, and if it is too loose, the original disorder will be dominant.

The above-mentioned automatic composer is more suitable for composing a melody that is more elusive than human beings, and is mainly effective as a music composition device for listening training and performance practice (familiar). Innovative songs that do not have general transcription and performance are difficult). In this sense, I do not have the abilities mentioned at the beginning.

In view of these points, the applicant has applied for an automatic composer that can control the consistency, variety, and hierarchy of songs by developing and growing the motifs triggered by the user's input. (Patent application, name "Automatic composer", filed on April 8, 1987 and filed on May 20, 1987). As its basic configuration, a means for evaluating and analyzing a motif given by a user, a melody control information generating means for planning and associating a melody outline and style to be generated based on the evaluation result, and planned control information. A melody generation executing unit that specifically generates a melody according to chord progression information is disclosed.

The automatic composer according to these applications controls the overall characteristics, mood, and style of the songs, and has a planning ability to compose, and can create songs with rich musicality. This is one of the great advantages. The second feature is that the motif is input by the user and composition is performed based on the motif. This feature works effectively to deepen user satisfaction and raise their sense of participation in the composition.

However, it is useless for users who do not have a clear concept or make a motif. Also, if you input a completely useless motif, you can get only useless songs (Garbage in Garbage in Garbage
out). It must be said that it is impossible to expect an automatic composer to create musically rich songs from motifs (materials) that lack musicality.

The present invention was devised in view of the above points.

[Object of the Invention] That is, an object of the present invention is to provide an automatic composer capable of composing even if a motif is not given by a user. Further, it is to provide an automatic composer having a simpler structure without lowering the composition ability.

[Summary of the Invention] In order to achieve the above-mentioned object, the present invention is a feature parameter generating unit that can change its value depending on the progression position of a song in a format that reflects the hierarchical structure of the song (motif feature parameter). The main point is that the melody characteristic parameter) is generated, and the generation / execution means executes the generation of the motif or melody based on the characteristic parameter and the chord in progress given by the chord progression giving means.

[Structure, Action, and Development of the Invention] In this invention, the motif is not input by the user but is generated inside the automatic composer. The motif is a part of the melody that constitutes the music, and the melody other than the motif is also generated inside the automatic composer. In this sense, “motif” and “melody” are similar concepts.

In claim 1, the means relating to the motif and the means relating to the melody are described separately, but this means that
It does not necessarily mean that each means is configured by means that is completely different in terms of hardware or functionality. In fact, claim 4 gives an example where functions are shared.

A structural advantage of the present invention is that it eliminates the need for motif evaluation means for analyzing and evaluating motifs and extracting parameters unique to the motifs. That is, there is an advantage that the configuration is simple. It becomes even simpler if the above functions are shared.

In one configuration example, a motif-specific parameter generating means is used, and by this means, a motif-specific parameter (PA) is randomly generated. Instead of random number generation,
The motif-specific parameter may be generated according to the instruction from the user. In addition, modal parameter generating means is provided for generating modal parameters (PB) used to characterize the modalities of the song such as consistency, variety, hierarchy of the song. The final motif or melody feature parameter (PC) is the motif-specific parameter (PA), style parameter (PB), the position of the motif or melody to be generated on the tune (for example, the Yth measure of the Xth passage). It is obtained by computing as a variable.

At least some of the characteristic parameters (PC) change in value depending on the progression of the song. Then, the generation / execution means generates a melody (motif) according to the given plan of the PC.
For example, if the parameter designating a range indicates a high range, the melody (or motif) in the progression section of the song is created in a high range, and if the parameter designates a low range, the melody is generated in the corresponding section. Is created in the indicated low range.

The calculation means for calculating the characteristic parameter includes a means for performing a function calculation and applies the function to the input parameter. Various functions can be used to obtain the characteristic parameters (eg, periodic, modulo, peak, temporary hold, combinations thereof).

The modal parameter generating means may include means for interchanging a set of modal parameters. This measure becomes more effective when combined with a monitor function or an interactive function. For example, when the user listens to the composition result or a part of the composition and the response from the user is "not satisfied", the automatic composition machine replaces the style parameter and composes again. The song obtained with the new set of modal parameters will be different than before. By repeating this feedback process, the song that the user expects can be obtained. Completion of the song by dialogue.

Embodiments Embodiments of the present invention will be described below with reference to the drawings.

<Overall Configuration> FIG. 1 shows the overall circuit configuration of the automatic bending machine according to this embodiment. In the figure, 1 is an input device, 2 is a chord component sound memory, 3
Is a chord progression memory, 4 is a root note data memory, 5 is a scale weight data memory, 6 is a parameter A memory, 7 is a parameter B memory, 8 is a music identification data memory, and 9 is a CP.
U, 10 are work memory, 11 is parameter C memory, 12 is motif data memory, 13 is melody data memory, 14
Is a monitor, 15 is a CRT, 16 is a notation printer, 17 is a tone forming circuit, 18 is a sound system, and 19 is an external storage device.

The chord progression memory 3 stores chord progression information represented by a string of chord names. The chord progression information may be input by the user sequentially specifying chords from the input device 1, or the CPU 9 automatically generates chord progressions in response to rough designation (for example, designation of music format). You may do it. Automatic generation of chord progressions is possible, for example, by concatenating basic chord patterns (chord patterns that are frequently used) or concatenating chords that are allowed, and as the concatenation logic, for example, Markov chain model can be used. . However, it is not important to the invention whether the chord progression is directly specified by the user or automatically generated by the machine.

The chord constituent sound memory 2 stores pitch data of constituent sounds (chord members) of various chords, and in the case of this example, chord constituents are obtained from the contents of each address (chord name) of the chord progression memory 3 described above. The storage area of the specific chord component sound data on the sound memory 2 is designated. The CPU 9 advances the address of the chord progression memory 3 for each chord change timing (for example, for each bar) during the automatic tune, and calculates the address on the chord constituent note memory 2 from the chord name which is the content of the chord progression memory 3. Each pitch data that composes the chord is read.

The root note data of the chord is stored in the root note data memory 4, and the weight data indicating the degree of effectiveness of each pitch forming the note (scale) in the note weight data memory 5 is weighted. Note scale data is stored (memory that stores a set of note scale data). At the time of automatic composition, a scale is selected by an appropriate method, and weight data of this scale is read out. The root note data memory 4 is used for root note shifting of the read scale weight data.

The parameter A memory 6 is for storing the parameter A which is the basis of motif generation. The parameter A represents information unique to the generated motif or basic characteristics of the motif.

On the other hand, the parameter B memory 7 stores data (parameter B) for controlling consistency and diversity in the melody flow. Further, the musical expression identification data memory 8 is used in order to give the music a higher hierarchy. The information stored in the memories 7 and 8 is used to characterize the style and style of the music. In the following description, the information in the memory 7 may be expressed in PB, but in this sense only PB is not involved in characterizing the style and style of the music, but data characterizing the format of the music. The information in the memory 8 also affects the style of the music, and in a broad sense, this data is also a type of PB.

At the time of automatic generation of the motif, the CPU 9 randomly creates a parameter A (PA) and sets PA having a value satisfying the constraint condition in the parameter A memory 6. Then, the PA, the PB read from the parameter B memory 7, the data read from the musical expression identification data memory 8, the measure number, and the like are used as variables to perform a function operation to create a parameter C. The parameter C here is a final parameter for generating a motif and is a parameter characterizing the motif. However, the parameter C in measures other than the motif measure is
Is generally not equal to the value in the motif measure. That is, the parameter C has the property of characterizing the data of the pitch / tone length sequence to be generated. The motif characterizes the motif and the melody part other than the motif characterizes the melody part. The sequence of each parameter C over the entire song is a sequence of data that generally changes as the song progresses, and determines the style of the song. The generated parameter C (PC) is placed in the parameter C memory 11.

The CPU9 has a function to generate melody (including motifs), that is, concrete melody data such as pitch and length sequences, and can generate motifs and melody from a given PC and chords in progress. To generate.

The work memory 10 stores intermediate data (for example, melody data being processed) generated in a process in which the CPU 9 automatically performs music.

The motif data memory 12 is a medium for storing the generated motif, and the melody data memory 13 is for storing the melody including the motif.

The generated motif or melody can be output to the monitor 14 as needed. For example, a melody can be displayed on the CRT 15 in a staff notation, or can be output as a sound through the tone forming circuit 17 and the sound system 18. Further, the staff notation printer 16 can obtain a copy of the score of the completed music.

As will be described later, in this embodiment, songs are created interactively. That is, the motif or melody once generated is output by the monitor 14 for the user's evaluation. The user notifies the automatic composer through the input device 1 of whether the output motif or melody is satisfactory. If the user replies that they are not satisfied, the automatic composer regenerates the motif and melody. When the user returns a satisfactory reply,
The composer shifts to the work of creating the melody to be read later.

The external storage device 19 is used as a backup copy of the completed song, learned knowledge, other copies, or as a resource for an alternative automatic song program.

<Automatic song function> Next, the function of the automatic song machine according to the present embodiment will be described.

For this automatic composer, relatively compact information (P
A, PB) is selected, and in order to change it according to the progression section of the song, calculation is performed, information (PC) that controls the style of the song, etc. is generated, and this information (PC) and chord information are It is applied to the melody generation rule to create concrete data, that is, melody. This is the basic function.

FIG. 2 illustrates the overall flow of composition. This flow assumes that the motif is the beginning of the song and is one bar long. Before entering the flow shown in the figure, it is assumed that the music identification data to be read from the music identification data memory 8 is selected and the parameter B to be read from the parameter B memory is specified. Furthermore, it is assumed that the chord progression to be read from the chord progression memory 3 is also determined. In the illustrated flow, it is assumed that the parameter B may be changed but the musical expression identification data is not changed. The latter change will be made separately.

In Flows 2-1 to 2-11 in the first column, the motif is generated and confirmed through the dialog with the user. In the second column, 2-12 to 2-15, the melody following the motif is generated through dialogue and is sequentially determined. IC in the figure
Is a counter that counts the number of times the user answers the generated result. In 2-2, the parameter A (PA) is
Random numbers are generated under predetermined constraint conditions. 2-10, 2-1
As shown in 1, 2, 3 and 2-4, if the answer from the user is negative for too long (10 in the example in the figure)
When there is a negative answer consecutively), PB, that is, the data related to the style of the song and deeply related are replaced. In the other cases, the range of composition change to the response of NO is basically determined within the range of PA for random number generation in 2-2. In the PC operation of 2-6, PA, PB (here, the data read from the memory 7 in FIG. 1), SB (here, the data read from the memory 8 and decoded) and the measure number are used as variables. Is calculated. 2-8 is the conversion from the PC to the data of the pitch string and the pitch string, and is the specific occurrence of the motif. In 2-9, the motif data created internally is output to the outside through the monitor 14 so that the user can evaluate it. For example, it is played as a sound by the tone forming circuit 17 and the sound system 18, or visually displayed as a score by the CRT 15. 2-10 is a check of the response of the user input from the input device 1. When the user gives an OK signal, the motif is decided and the melody generation work after the motif shown in the right column is started.

In this flow, the PC operations 2-6 and 2-12 are basically the same processing. Also, the process of generating a motif 2-8 and the process of generating a melody 2-13 are basically the same.
However, the whole melody generation work in the right column is an example, and for example, the monitor output of 2-14 does not have to be output every time one bar is completed, and may be output after the completion of one bar. Also, even in the melody generation work, the PBs may be replaced as necessary.

The PC modification 2-7 in the first column is a process related to the above-mentioned assumption, that is, the motif is the melody of the first bar of the song. For example, a PC contains parameters that require the melody generator to have a specific relationship with the features of the previous bar, but the first bar of the song has no previous bar. So fix this kind of parameter to a prohibited value. In addition, it is preferable to limit the PC so that it does not become a meaningless motif.

Hereinafter, the generation of the parameter A, the generation of the parameter C, and the specific generation of the melody (the same applies to the motif) will be described in more detail.

<Generation of Parameter A> The generation of the parameter A performed at 2-2 in FIG. 2 is a random number generation method. The detailed flow is illustrated in FIG.

The parameter A (PA) is a parameter that can be considered to be obtained by evaluating the motif, and in this sense is a parameter unique to the motif. However, later PC
In arithmetic, PA is typically used to determine the static components of PC. In this case, PA acts to give the whole song a static characteristic that does not depend on the progression of the song.

An example of the set of parameters A is shown below.

PA _{1 and 2} : Smoothness parameters. Represents a smooth measure between chords in a distributed chord.

PA _1,6 : parameters for homophonic progression, representing the scale at which harmonics of the same pitch occur consecutively.

PA _{2, 2} : A parameter of the weight of the sound, which indicates the degree of the sound included in the motif.

PA _3,2 : It is a parameter of the weight of the elapsed sound.

PA _{3, 3} : Parameter that limits the minimum pitch.

PA _{4, 4} : Parameters indicating the degree to which embroidery sounds are included.

PA _{6, 1} : Parameters of the characteristic rhythm.

PA _{1, 3} : Parameters of the number of notes (harmonic number).

RH _i : Initial tone length pattern of a motif (tone length sequence of motif-distributed chords).

In the flow of FIG. 3, the seven parameters A from PA _{1, 2} to PA _{6, 1} are randomly set at 3-1 to 3-5. We limit the random number results so that we don't have too weird motifs. According to the flow,
Each parameter A has an upper limit value U _i and a lower limit value D _i , and the value P _{i of the} parameter A is an intermediate value between the upper limit value and the lower limit value. For example, PA _1,2 = 1 to 4, PA _1,6 = 1 to 4, PA _2,2 = 0 to 4, PA _3,2 = 0 to 4, PA _3,3 = 2 or 1, PA _4, Randomization is performed within the range of ₄ = 0 to 4, PA ₆ , ₁ = 0 to 4.

3-7 is the setting of the dispersed chord numbers PA _{1 and 3} , and 3-8 is the setting of the tone length pattern {RH _i } of the dispersed chords.

The flow of FIG. 3 is merely an exemplary flow of PA generation. For example, for a tone length pattern, a pulse scale may be used to obtain a controlled tone length pattern.
This technology is based on the above-mentioned patent application (filed on May 20, 1987).
Date) (see, for example, FIG. 61 of the drawing of the same application).

<Generation of Parameter C> FIG. 4 is a block diagram showing functions relating to generation of the parameter C. As illustrated, the melody control information generating means F20 generates a PC. This is because the name of "melody control information" can be regarded as information for controlling the generation of a melody (including a motif) on a PC. That is,
In the concrete generation of the melody described later, the melody generation executing means F30 receives this PC, decodes the instruction content, applies the melody generation rule according to the decoding result, and concretely generates the melody. If the PC value changes, the generated melody also changes. For example, when the parameter C regarding whether or not to maintain the tone pattern has a value indicating that the tone pattern is maintained, the melody generation executing means F30 causes the tone pattern having the same tone type as the tone type of the previous measure (for example, ascending). Creates a high pattern, but understands that it may be possible to randomly create a pattern when no pattern maintenance is instructed, and uses the rules for creating a randomized pattern (though, In order not to be completely random, some constraint parameters PC are means F20
Will be passed more.)

The parameter PC is a local stylistic feature of the song, a slightly wider range of stylistic features, a regular appearing stylistic feature, a hierarchical style in the melody flow, a non-harmonic sound in the melody flow. Is a parameterized expression of the structural characteristic style of, the manner of regular or quasi-regular change in the flow of the melody, the characteristic over the entire song, and the like.

Features such as styles have different temporal dependence depending on the type of style. Some types of feature styles are fixed only temporarily, while other types of feature styles are stable for longer. Therefore, in principle, for each type of PC, the unit of the progress section that is considered to be fixed is set to a different length, and for each type,
It is also possible to generate the values of each PC in different intervals. However, this complicates the process.

Therefore, in the embodiment, a unit section (measure) that can be common to all PCs is used.

In FIG. 4, in the block of the melody control information generating means F20, a progress-dependent parameter generating means F22 for generating a parameter depending on the section number indicated by the section counter F23.
It is shown. Among such parameters, a parameter that regularly fluctuates as the music progresses is also included, and this kind of parameter is generated by the regularly fluctuating parameter generating means F22-1. The random number generation means F24 acts on the parameter generated by the means F22, and a random number or fluctuation controlled by the parameter can be introduced into the parameter. The elements of F22 and F23 described above are shown to show that the PC has the parameters having the above-mentioned properties, and the type is not a function operation type (for example, the database of the parameter C).
However, it is shown to clarify that the parameter C (melody control information) can be generated. actually,
In the present embodiment, the parameter C is generated in an arithmetic type, and the part that executes this arithmetic is the arithmetic means indicated by F21. The calculation means F21 receives as input the motif feature parameter PA, the information of the parameter B indicated by I1, the measure number indicated by the measure counter F23-1, and the musical expression identification data from the musical expression identification data generating means F25. The parameter C is calculated as a variable. The musical expression identification data generating means F25 has a phrase counter F25-1, which is used to select information on a specific phrase from the musical expression identification data I2.
The information about the passage includes the type of the passage (repeated type, expanded type). The music identification data generating means F25 reads the bar number indicated by the bar counter F23-1, inspects the positional relationship between the bar number and the phrase, and decodes the related music identification data based on the inspection result (data code ) Do. The decrypted musical expression identification data is passed to the calculating means F21. The role of the music identification data generating means F25 is to give a higher hierarchical structure to the music.

As can be seen from the above description, various PCs are output from the melody control information generating means F20, some PCs are constant for a relatively long period of time, and some PCs are comparable to a unit section (here, one bar). It fluctuates in the cycle of, and one PC is affected by the musical expression, and changes to another value at a specific section or point, and so on. Depending on the value of the parameter B, the value of the music identification data, the type of the function used by the influencing means F21, etc., various PCs will actually be generated even with the same PA.

FIG. 7 shows one row of a list of parameters C output from the melody control information generating means F20. For reference, FIG. 10 illustrates the value of each parameter C for each bar.

In this way, the parameter C output from the melody control information generating means F20 is used when the motif is generated (accurately when there is no preceding bar, or when the melody is generated in a bar which does not depend on the information of the previous bar or the previous bar at all). As shown by 2-7 in FIG. 2, some parameters C are modified.

Let me explain this modified example. PCs _{1 and 3} are parameters indicating whether or not the sound pattern can be maintained. However, since there is no previous measure, it is impossible to maintain the tone pattern. Therefore, we modify the values of PCs _{1 and 3} to zero so that the motif pattern is generated by a controlled randomization process. Also, PC _{1 and 5} are parameters that indicate whether the beginning note of the measure can be decided from the last note of the previous measure. Again, since there is no previous measure, PC ₁ and ₅ are prohibited from being decided by the former. Set the value to zero.
In addition, PCs _{1 and 7} are parameters that indicate the number of turns (range), but are initialized to zero without turns, and PCs _{9 and 1} are parameters for whether or not rests can be inserted. Insert is considered undesirable and set to zero (no rests allowed),
The parameters PC _{9 and 1} for jumping the distributed chords are set to the value "1" which is permitted only once, and the parameters PC _{1 and 12} that indicate the optimum turning in relation to the previous measure are set to zero without optimum turning. To do.

<Specific Generation of Melody> FIG. 5 illustrates a functional block diagram relating to specific generation of a melody corresponding to the processing of 2-8 and 2-13 in FIG.

As shown in the figure, the melody generation executing means F30 has a pitch sequence generating means F31 and a pitch length generating means F32 as its main elements. The pitch train generation means F32 uses the chord progression data I3.
On-going chords and melody control information generator F20
From the PC itself, or a random number generator F31-4
The distributed chord generation means F31-1 that generates a pitch sequence of dispersed chords using a PC in which fluctuations are introduced, and before or after the generated dispersed chords, according to the plan of the PC and internally added. It has a non-harmonic sound adding means F31-2 for adding a non-harmonic sound according to a rule. Each non-harmonic sound classification addition means F31
-2A is a configuration example of the means F31-2. F31-3 is a pitch control means used and has a function of controlling the use of the melody note candidates obtained in the generation process in the means F31-1 or F31-2. That is, the used pitch control means F31-3 generates data by weighting each pitch of the scale by the note scale generation means F31-3A, and the effective pitch inspection means F31-3B is used as a candidate based on the weight. Have them check the effectiveness of pitch. The melody note that has passed the inspection is sent back to the means F31-1, F31-2, where it is used as an official melody note.

The sound length sequence generating means F32 is composed of an optimum combining means F32-1, an optimum dividing means F32-2 and a characteristic pattern incorporating means F32-3, and generates a sound length sequence according to the plan of the PC. Optimal coupling means
In the case of this embodiment, F32-1 and optimum dividing means F32-2 are used to form a tone length sequence of distributed chords. Optimal coupling means
F32-1 is based on the initial note length sequence (for example, note length pattern formed by 3-8 in Fig. 3), and is the minimum combination until the target note number of distributed chord (given by PC). Combine lengths by number of times. Similarly, the optimum dividing means F32−
2 divides the initial tone length sequence by the minimum number of variances until reaching the number of distributed chords PC. Furthermore, both means F32-1, F
32-2 executes division and combination using a pulse scale. The pulse scale may be provided from the means F20 as a kind of PC (melody plan information), but in the flow showing the operation of the embodiment described later, the pulse scale is inherent in the dividing and combining rules of both means. ing. On the other hand, the feature pattern embedding means F32-3 operates according to the associated PC and incorporates the feature mini-pattern in the tone length sequence of the melody. In this example, the characteristic mini-pattern is injected in the final process of melody generation.

The control means F33 is for controlling the activation of each element of the melody generation execution means F30 and the transfer of data between the elements. The melody data which is the execution result of the melody generation executing means F30 is stored in the melody data memory 13 (FIG. 1). However, when the motif data is generated, it is temporarily stored in the motif data memory 12, and when the user gives an OK signal and the motif is confirmed, it is transferred to the melody data memory 13 (see FIG. 16, 25-1 to 25-25. −
5).

<Detailed Items> FIGS. 12 to 40 show more detailed flows regarding the generation of the parameter C and the specific generation of the melody. Due to space limitations, the detailed explanation is omitted. Those skilled in the art can easily understand the contents from a clear description such as a flowchart to a practicable level.

To help you understand, here are a few: A list of main variables is shown in FIG. 6, and a list of parameter C is shown in FIG. The symbols of the parameters shown in these lists are the same as the symbols used in the flowcharts of FIGS. 12 to 40. In the flow, pitch data is assigned as shown in FIG. 8b, and consecutive integer values are given to consecutive pitches on the chromatic scale. Regarding the sound length, the unit is the sound length when one measure is divided into 16 equal parts. Therefore, the note length of the 16th note is "1" and the note length of the eighth note is "2" (the note length data MD _i and the pitch data M shown in the motif data of FIG. 9).
See R _i ).

FIG. 11 illustrates the melody obtained when the chord component sound data, chord progression data, musical style identification data, scale weight data of FIG. 9 and parameter C data of FIG. 10 are used as input conditions. is there.

As you can see from this figure, the melody (same motif)
The process of concrete generation of the first is to create distributed chords, and then to each non-harmonic sound, here, tones, transitions, in this figure.
Embroidery sound (No. 35
(Refer to the figure), the missing sound is added, rests are added, and although not shown in this figure, characteristic rhythm generation (see FIG. 38) is performed and completed.

The overall flow of distributed chord generation is shown in FIG. The details of the chord component sound reading 26-1, the scale weight change 26-2, the optimum number of turns calculation 26-4, and the chord component sound turn 26-5 in this flow are shown in FIG. 19;
See Figures 21, 21B, 22; 23, 24. 2
When 6-5 is completed, the weight data of the scale to be used (data having the weight assigned to each note on the scale) and the chord in progress and its inversion, that is, each sum used in the generation of distributed chords. The pitch of the voice sound is fixed. The scale weight data is used to check the effectiveness of the melody note candidates picked up in the melody generation process, and the candidates determined to be valid are officially adopted as melody notes.

26-6 to 26-42 show the simplified flow in FIG. 26, in which a pitch sequence of distributed chords is being generated. The details of the decision from the notes before 26-15 shown in this are shown in FIG. In this process, the chord sound having the closest pitch to the last sound of the previous bar is set as the first melody note of this bar.

When proceeding from 26-11 to 26-29 through 26-12, it is in the sustain range of the note type, and during the sustain range, a note type (26-31) that is the same as or opposite to the previous measure is created. It For example, in the second bar shown in the distributed chord in (a) of FIG. 11, the tone pattern of the first bar is ascending, and (LL ₁ = 1, LL ₂ = 2, LL ₃ = 3, LL ₄
= 4), the note type parameters from the PC computing section for the second measure are notes from the first to the fourth sustain range (PC _1,4 = 0, PC _1,3 = 4), In addition, since the inversion of the tone pattern is instructed by PC _{1 and 13} , descending lines (LL ₁ = 4, LL ₂ =
3, LL ₃ = 2, LL ₄ = 1).

In the case of a measure such as a motif measure in which the tone pattern is not maintained, a tone pattern is formed by randomization starting from 26-16. Among the parameters 26-16 to 26-28 are the parameters C, which serve to limit the randomization.

Effective tests for pitch are performed at 26-35 and 26-36.

26-44 is the determination of the note length pattern of the distributed chord. In the case of the above-mentioned motif, since the initial pattern is four quarter notes and the number of harmony is 4, the initial pattern is a fractional chord length pattern as it is.

When the number of harmony sounds is larger or smaller than the number of harmony sounds indicated by the initial pattern, division or combination is performed by the pulse scale. See Figures 27 through 32 for details of 26-44. The basic logic of division is that it is the minimum number of divisions, and when dividing one, the pulse scale, that is, T ₀ T ₁ T ₂ T ₃ T ₄ T ₅ T ₆ T ₇ T ₈ T ₉ T ₁₀ T ₁₁ T ₁₂ T ₁₃ T ₁₄ T ₁₅ 5 1 2 1 3 1 2 1 4 1 2 1 3 1 2 1 (where T _{0 to} T ₁₅ are pulse points, T ₀ is the bar head, T ₈ is It represents the timing of the third beat, and the numbers shown below are the corresponding weights) and use the pulse scale (inherent in the rule) to find the heaviest pulse point in the current duration pattern. For a note that is crossing, the pulse point is divided as a dividing line. The basic logic of combination is to combine with the minimum number of combinations until reaching the target number of notes, and in one combination, the note that starts with the lightest weight in the current note length sequence is the previous note. It is a method of combining.

In addition of the onset (Fig. 33), the onset weights PC ₂ , ₂ given by the PC calculation unit, the addition positions PC ₂ , ₃ , the scale weights PC ₂ , ₁ , ascending, descending PCs ₂ , ₄ , A sound is selectively added according to the value of the note length limit PC _{2, 7,} etc., and according to the internal sound addition logic. Regarding the sound length, a part is taken from the sound length of the harmony sound next to the sound, to obtain the sound length of the sound.

Basically, the addition of transitional sounds (Fig. 34) is the sound that connects the harmony sounds and the harmony sounds in sequence. Part of deciphering the plan of parameter C (mainly the first column in FIG. 34)
, A part to be searched for and inspected whether or not there is a sound that can be used as a transitional sound between the chords (mainly the second column), the pitch conversion (embedding into the pitch pattern) and the pitch of the found transitional sound. It is composed of a portion (mainly the third column) for performing conversion (embedding into a tone length pattern).

Embroidery is added (Fig. 35) only when the preceding and following chords have the same pitch (see column 1). There are various other restrictions due to the parameter C. For example, PC _{4 and 4} have the meaning of prohibiting the addition of embroidery sounds when it is “0”.
It is intended that it can be added once when "1", cannot be added continuously when "2", and can be added indefinitely when "3". 44-9 ~ is the one who is deciphering this plan
44-14 and 44-15.

In the third column, the effective pitch of the embroidery tone is obtained by searching and incorporated into the tone length pattern {MED} (44-24 to 44-3).
0), a part of the note length is received from the adjacent chord sound and it is incorporated in the pitch pattern {MER}. In the second column, 44-16 to 44-20 are array shifts as preparations for embedding embroidery data in a tone length pattern and a tone pitch pattern.

Similarly, even in the case of adding noises (Fig. 36), there is a portion for decoding each parameter C and a portion for excluding or inspecting illegal noise additions (for example, 45-2, 45-3 and 45-4 to 45-16). is there.
By the time we entered 45-17, it was decided that there would be no problem with the added sound. 45-17 to 45-23 are for distinctive processing shown in the lower right of the flow. In the rightmost column, we find the pitch that can be an outlier between the previous and the subsequent sounds, and incorporate them into the pitch pattern. It should be noted that the number of notes does not increase in the case of adding a missing note. That is, the addition of the missing sound is a pitch change of the last sound of the bar.

Rests (Fig. 37) are often added last at the last measure of a passage.

The characteristic rhythm generation (FIG. 38) is where the characteristic mini-pattern is selectively incorporated into the tone length pattern according to the value of the parameter C. In this example, the characteristic rhythm generation is the final process of melody generation, and the characteristic mini-pattern is kept within the range allowed by the PC while preventing the length patterns that have been created up to that point from changing in a strange manner. , Here, a pattern having a tone length ratio of 3: 1 is incorporated in the tone length pattern. 47-9 to 47-12 are inspecting whether two consecutive notes can be converted into a three-to-one pattern. When the inspection is passed, the conversion is executed in the third column.

The modification learning of FIG. 39 and the parameter change by the learning of FIG. 40 are related to the learning function of using the parameter C of the user's preference at the bar selected by the user.
In the modification learning (Fig. 39), after the song is completed, the parameters of the bar that the user does not like are indirectly specified through the monitor 14, and the learning function learns the kind and value of the specified parameter of the bar specified. It is stored in a memory (not shown in FIG. 1). The parameter change by learning is performed in the parameter calculation as shown in FIG. 12, and the parameter C selected by the user is used in preference to the parameter C internally generated by the composer.

Although the order is reversed, FIGS. 12 to 15 are diagrams relating to the generation of the parameter C. The flow of FIG. 12 does not completely match the flow of FIG. The flow of FIG. 12 corresponds to 2-12 of FIG. 2-5 in FIG. 2 is
It corresponds to 21-2 in FIG. 21-1 and 21-3, 21-
4 is not specified in FIG. 2, but can be easily understood by referring to FIGS. 13 to 15.

In FIG. 12, the decoded musical expression identification data is shown generically by SB, but this musical expression identification data can also be regarded as a kind of style parameter (PB) or style control parameter in a broad sense.

<Advantages of Embodiment> From the above description, the features and advantages of this embodiment are clear.
Some of them are listed below.

(B) Motif is automatically generated.

(B) In response to the motif generation result, the judgment information regarding the quality of the motif is input from the user in an interactive form,
On the other hand, the automatic composer regenerates a different motif by generating a random number for PA within the constraints.

(C) If the user continues to receive unsatisfactory replies for a certain amount or more, replace the PB completely to create a motif with a different style. It is expected that the combination of this means, (b) means, and specific melody generation / execution means will provide a song that is sufficiently satisfactory to the user. In this example, the musical knowledge of the user is not required at all.

(D) The generation part of the parameter C and the generation part of the note length and pitch string data can be made common without distinguishing the motif and the melody. Therefore, the configuration is greatly simplified.

(E) Since the motif is automatically generated, the motif evaluation and analysis functions required in the automatic composer of the type in which the user inputs the motif are unnecessary. This also simplifies the configuration.

[Modification] The present invention is not limited to the above-described embodiment, and various modifications can be made.

For example, to create a motif, from the user side,
The PA or PB set may be directly or indirectly input and designated. This is suitable for users with musical knowledge.

Further, the motif is not limited to one bar, but may extend over a plurality of bars. For example, to create a two-bar motif, PA (and / or PB) of the first bar and PA of the second bar should be used.
(And / or PB) may be independently generated or selected. In this case, as a method of reflecting the motif on the subsequent measure, for example, P obtained from the first measure is used.
A and PB are used to make odd-numbered PCs, and PA and PB obtained from the second measure are used to make even-numbered PCs.

Also, the motif is not limited to the beginning of the song. On the way, for example, the beginning part (1 to several measures) of a passage such as a development part can be realized as a motif creation measure by a simple modification. In extreme cases, you may create different motifs for all measures of the song.

Further, in the embodiment, in order to generate a music piece, an interactive form in which a judgment result from the user is obtained in the middle of the music piece is adopted, but the dialogue may not be necessary. Alternatively, the result of generation may be notified to the user after creating a motif of one measure, for example, creating a melody that follows one verse.

[Effects of the Invention] In the present invention, all the melodies that compose a song are automatically created without the user having to input a motif. In the automatic composer according to the present invention, the function of evaluating and analyzing a motif input from the outside is unnecessary, and accordingly,
There is an advantage that the configuration is simplified. Further, both the generation of the motif by the parameter and the generation of the melody by the parameter can be basically configured by the same function realizing means, and further simplification can be achieved.

[Brief description of drawings]

FIG. 1 is an overall configuration diagram of an automatic composer according to an embodiment of the present invention, FIG. 2 is a flowchart of overall composition of the automatic composer, and FIG. 3 is a detailed flowchart of PA generation in FIG.
FIG. 4 is a functional block diagram related to the PC operation in FIG. 2, FIG. 5 is a functional block diagram related to the motif generation and melody generation in FIG. 2, and FIG. 6 is a main variable used in the automatic composer. FIG. 7 is a diagram showing a list, FIG. 7 is a diagram showing a list of parameters C used in the automatic composer, FIG. 8 is a diagram showing an example of pitch data, and FIG. 9 is an example of input data for explaining the action. Fig. 10 is a diagram showing an example of the value of the parameter C, Fig. 11 is a diagram showing the melody generation result for the data of Figs. 9 and 10 for each process, and Fig. 12 is an outline of the parameter C calculation. FIG. 13 is a flow chart, FIG. 13 is a diagram showing an example of music identification data, FIG. 14 is a flow chart for reading and decoding music data, FIG. 15 is a diagram showing an example of decoding results, and FIG. 16 is a flow chart for melody generation. , Fig. 17 is a flowchart for generating distributed chords, Fig. 18 The figure shows the chord composition sound memory,
A diagram showing an example of data in the chord progression memory and root note memory,
FIG. 19 is a flowchart for reading out chord constituent sounds,
Fig. 20 is a diagram showing an example of scale weight data, Fig. 21A is a flowchart of scale weight change (1), Fig. 21B is a flow chart of reading scale weight data, and Fig. 22 is a scale weight change (2). ), FIG. 23 is a flowchart for calculating the optimum number of turns, FIG. 24 is a flowchart for turning chord constituent sounds, and FIG. 25 is a flowchart for determining MED ₁ (bar beginning sound) from the previous sound, 26 Fig. 27 is a simplified flowchart of the pitch sequence generation part of distributed chords, Fig. 27 is a flowchart for determining the sequence of sound lengths of distributed chords, Fig. 28 is a flowchart of optimal combination processing of note lengths, and Fig. 29 is note length. FIG. 30 is a flow chart of the optimal division process of FIG. 30, FIG. 30 is a detailed flow chart of the check in FIG. 29, FIG. 31 is a detailed flow chart of the shift in FIG. 29, and FIG. 32 is a detailed flow chart of the execution in FIG. Flowchart of the flowchart of 倚音 addition, FIG. 34 passing notes added, 35
Fig. 36 is a flowchart for adding embroidery sounds, Fig. 36 is a flowchart for adding missing sounds, Fig. 37 is a flowchart for adding rests (breaths), Fig. 38 is a flowchart for generating characteristic rhythms, Fig. 39 is a flowchart for correction learning, FIG. 40 is a flowchart of parameter change by learning. 1 ... input device, 2 ... chord sound memory, 3 ... chord progression memory, 6 ... parameter A memory, 7 ... parameter B memory, 8 ... music identification data memory, 9 ...
... CPU, 11 ... parameter C memory, 12 ... motif data memory, 13 ... melody data memory, F20 ... melody control information generation means, F21 ... parameter C calculation means, F30 ... melody generation execution means.

Claims (4)

[Claims] 1. A chord progression assigning means for imparting chord progression information, a motif feature parameter generating means for generating a motif feature parameter characterizing a motif, a motif feature parameter from the motif feature parameter generating means, and the chord progression. Motif generation executing means for generating a motif based on the chord progression from the giving means, melody characteristic parameter generating means for generating a melody characteristic parameter characterizing a melody, melody characteristic parameter from the melody characteristic parameter generating means, and An automatic composer, comprising: a melody generation executing means for generating a melody based on the chord progression from the chord progression giving means. 2. The automatic composer according to claim 1, wherein the motif feature parameter generating means includes means for randomly generating a parameter in a limited format. . 3. The automatic composer according to claim 1, wherein the motif feature parameter generating means randomly generates a motif-specific parameter (PA) specific to a motif or based on an instruction from a user. Motif-specific parameter generation means to be used and style parameters used to characterize styles such as consistency, variety, and hierarchy of songs (P
B) a final form feature parameter based on the modal parameter generating means, the positional information on the music of the motif to be generated (for example, the bar number, the phrase number), the motif-specific parameter, and the modal parameter. The melody feature parameter generating means calculates the melody feature parameter from the motif-specific parameter, the style parameter, and position information on the tune of the melody to be generated. An automatic composer having a characteristic parameter calculation means. 4. The automatic composer according to claim 3, wherein the motif feature parameter computing means and the melody feature parameter computing means share a computing logic.
An automatic composer, wherein the motif generation executing means and the melody generation executing means share generation logic.