EP1563486A2 - Procede de visualisation programmee d'une oeuvre musicale - Google Patents

Procede de visualisation programmee d'une oeuvre musicale

Info

Publication number
EP1563486A2
EP1563486A2 EP03811337A EP03811337A EP1563486A2 EP 1563486 A2 EP1563486 A2 EP 1563486A2 EP 03811337 A EP03811337 A EP 03811337A EP 03811337 A EP03811337 A EP 03811337A EP 1563486 A2 EP1563486 A2 EP 1563486A2
Authority
EP
European Patent Office
Prior art keywords
color
yellow
violet
minor
major
Prior art date
Legal status (The legal status is an assumption and is not a legal conclusion. Google has not performed a legal analysis and makes no representation as to the accuracy of the status listed.)
Withdrawn
Application number
EP03811337A
Other languages
German (de)
English (en)
Inventor
Rainer Haase
Current Assignee (The listed assignees may be inaccurate. Google has not performed a legal analysis and makes no representation or warranty as to the accuracy of the list.)
Individual
Original Assignee
Individual
Priority date (The priority date is an assumption and is not a legal conclusion. Google has not performed a legal analysis and makes no representation as to the accuracy of the date listed.)
Filing date
Publication date
Application filed by Individual filed Critical Individual
Publication of EP1563486A2 publication Critical patent/EP1563486A2/fr
Withdrawn legal-status Critical Current

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Classifications

    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10H—ELECTROPHONIC MUSICAL INSTRUMENTS; INSTRUMENTS IN WHICH THE TONES ARE GENERATED BY ELECTROMECHANICAL MEANS OR ELECTRONIC GENERATORS, OR IN WHICH THE TONES ARE SYNTHESISED FROM A DATA STORE
    • G10H1/00—Details of electrophonic musical instruments
    • G10H1/0008—Associated control or indicating means
    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10H—ELECTROPHONIC MUSICAL INSTRUMENTS; INSTRUMENTS IN WHICH THE TONES ARE GENERATED BY ELECTROMECHANICAL MEANS OR ELECTRONIC GENERATORS, OR IN WHICH THE TONES ARE SYNTHESISED FROM A DATA STORE
    • G10H2210/00—Aspects or methods of musical processing having intrinsic musical character, i.e. involving musical theory or musical parameters or relying on musical knowledge, as applied in electrophonic musical tools or instruments
    • G10H2210/395—Special musical scales, i.e. other than the 12-interval equally tempered scale; Special input devices therefor
    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10H—ELECTROPHONIC MUSICAL INSTRUMENTS; INSTRUMENTS IN WHICH THE TONES ARE GENERATED BY ELECTROMECHANICAL MEANS OR ELECTRONIC GENERATORS, OR IN WHICH THE TONES ARE SYNTHESISED FROM A DATA STORE
    • G10H2220/00—Input/output interfacing specifically adapted for electrophonic musical tools or instruments
    • G10H2220/005—Non-interactive screen display of musical or status data
    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10H—ELECTROPHONIC MUSICAL INSTRUMENTS; INSTRUMENTS IN WHICH THE TONES ARE GENERATED BY ELECTROMECHANICAL MEANS OR ELECTRONIC GENERATORS, OR IN WHICH THE TONES ARE SYNTHESISED FROM A DATA STORE
    • G10H2230/00—General physical, ergonomic or hardware implementation of electrophonic musical tools or instruments, e.g. shape or architecture
    • G10H2230/005—Device type or category
    • G10H2230/021—Mobile ringtone, i.e. generation, transmission, conversion or downloading of ringing tones or other sounds for mobile telephony; Special musical data formats or protocols therefor

Definitions

  • the invention relates to a method for program-controlled, visually perceptible representation of a musical work on a display of an electronic device by means of control electronics integrated in the latter and having a processor.
  • US 2002 / 0138523A1 discloses an electronic device for the color display of musical tones on a monitor or screen with colors selected from a color palette created by an artist / musician for each musical tone, with a processor being designed so that at least one of them can be used in this palette representing selected colors are storable and digital signals can be recorded, which represent the selected colors or musical tones, and the processor generates signals which represent the colors selected from the stored color palette and transmits them to the monitor for the visual reproduction of the selected musical tones as selected colors ,
  • a basic tone octave corresponds to a certain basic color, by means of a microphone, which works with the interposition of an electromagnet, which acts on a vibrating system for converting the tones into colors.
  • the vibrating system having a plurality each assigned a particular frequency slats, each having a reflective surface, such that each of the "effect of the resonance between its natural frequency and the sound corresponding guessed in this frequency vibration blade a colored beam of light reflects, which produces a corresponding color effect on a screen.
  • the invention has for its object to provide a ner driving of the type mentioned above, with which it is possible to visually perceive the musical work, in particular a telephone or mobile phone ringtone sequence on the display of an electronic device, in particular a mobile phone in the form of reproduce two-dimensional and / or three-dimensional color elements that, alone or in a puzzle-like combination, result in an optically perceptible 2D or 3D color design related to the musical work.
  • the time signature, the key, the nuancesote values and / or the pauses and the number of musical voices of the music clock should be optically perceptible for any length of time.
  • the visually perceptible reproduction is e.g. a ringtone sequence on a display of a mobile phone in various colored 2D and / or 3D outline or contour possible, which is predetermined, in particular a successive color puzzle design of the colored 2D and / or 3D outline or contour design characterizing the ringtone sequence for an optically well detectable signal effect of the reproduction is advantageous.
  • a particularly advantageous development of the method according to the invention is characterized from that vis versa electronically records two-dimensional and / or three-dimensional color elements of colored images, color photos or any 2D outline shapes or rose-shaped color graphics or a colored body or any color 3D contours generated on the display of the electronic device, in particular the .mobile phone and based on their base color in accordance with the respective assignment of the two- and / or three-dimensional color element to the corresponding segments under the segments 1st to 12th or 13th to 24th of the color range of basic colors and in accordance with the assigned color gamut of the given 48 color gamut scales and in accordance with the tones assigned to the segments or the colors of the color circle, are program-controlled converted into acoustically perceptible tones, chords and / or tone and clock sequences of the musical work, in particular the cell phone ringtone sequence.
  • this advantageous procedure can e.g. in cell phones that the colored profile of a phone number holder of a first cell phone, which is stored on the memory chip of a second cell phone together with the cell phone ring tone sequence assigned according to the invention, when selecting the "phone number of the second cell phone from the first cell phone on the display of the second cell phone is constructed in a program-controlled, puzzle-like manner in accordance with the stored ringtone sequence, the ringtone sequence may be perceptible acoustically and / or in terms of pressure these correspondingly assigned tones, chords and / or musical measures as well as major and / or minor keys are used.
  • the musical work can advantageously be acoustically perceptible simultaneously on electronic Paths are reproduced.
  • the rosette-shaped color graphic of each musical beat of the musical work can be designed with a plurality of concentric circular rings corresponding to the number of voices of the latter, the height of the individual voices being assigned to the concentric circular rings such that starting from the innermost circular ring to the outermost ring, the voice descends from the highest pitch to the lowest pitch of the musical beat.
  • a graphic symbol that optically emphasizes the time signature of the respective music beat is preferably provided.
  • a mobile phone or an electronic watch of the required configuration is preferably selected, the dial of the electronic watch being used as a display for the program-controlled, visually perceptible representation of a rosette-shaped color graphic in accordance with the respectively assigned musical beat of the piece of music.
  • the control of the visually perceptible - "playback of the individual music clocks can take place in such a way that the display of the respective rosette-shaped color graphics on the display of the electronic clock changes from minute to minute or from hour to hour in accordance with the sequence of the musical clocks of the piece of music.
  • each musical measure is represented as a circle or annulus, which, depending on the time signature, in two (2/8; 2/4; 2/2 measure), three (3/8; 3/4 measure) or four of the same Parts (4/8; 4/4 time), etc is divided.
  • the note values such as sixteenth, eighth, quarter, half, whole note, dotted notes as well as pauses etc. are not made graphically visible in their conventional spelling, but in their concrete length of time.
  • a quarter note extends in 4/4 time over a quarter circle, a half note over a semicircle, a dotted half note over a three quarter circle, a whole note over the entire circle.
  • the quarter note in 3/4 time extends over a third of the circle.
  • All keys of the large circle of fifths and their associated scales are defined in color in a color system in the form of a circle of colored quinces, whereby each major and minor key is assigned a specific basic color.
  • the colors assigned to the scale of a key are determined in color tone scales depending on the basic colors.
  • the color quince circle ensures that the colors assigned to the tones of a complex musical work as well as to the tones of a simple melody "sound", so to speak, on the background of the basic color assigned to a specific key, that is, they are coordinated.
  • the method according to the invention makes it possible to visually perceive any desired musical beat, for example from the field of classical and modern music literature, in the form of a special color graphic on a display of an electronic device.
  • the color quince circle specially developed for the method according to the invention is constructed analogously to musical laws and is strictly based on the circle of fifths of music theory. Since all the colors used are subject to a color order and are therefore not selected at random, the optical color effect of the rosette-shaped color graphics, which can be displayed one after the other on the dial of an electronic watch, is equally harmonious for all assigned keys.
  • Each rosette-shaped color graphic assigned to a musical beat can be electronically re-inserted into the corresponding sheet music if required in a manner known per se. returned and reproduced acoustically perceptible. Relevant sensor systems using infrared interfaces, transmitter-receiver systems and / or digitization processes can be used here.
  • the method according to the invention can also be used for the design of electronic learning material on the display, in that the normal musical image reproduction of a musical work is carried out on the display in such a way that each notehead is designed in the color which corresponds to its level in the color gamut of a certain key, the entire, the sheet of music visible on the display is held in the base color of the relevant key.
  • Such a visually perceptible rendition facilitates the learning of notes optically and didactically, since e.g. one and the same note in different clefs and octaves can be quickly recognized due to the same color.
  • the method according to claims 1 to 5 or 6 to 9 can be carried out in such a way that vis-a-vis two-dimensional and / or three-dimensional color elements of colored images, color photos or any predetermined 2D outline shapes or any other generated on the display of the electronic device, in particular the mobile phone a rosette-shaped color graphic or a colored body or colored arbitrarily predetermined 3D contours are recorded electronically and based on their base color in accordance with the respective assignment of the two- and / or three-dimensional color elements to the corresponding segments under the segments 1 to 12 or 13th to 24th of the color circle as well as according to the assigned color scale of the predetermined 48 color scales and according to the keys assigned to the segments or the colors of the color circle, in program-controlled manner in acoustically perceptible tones, chords and / or tone and bar sequences of the musical work, in particular the mobile phone ringtone sequence are implemented.
  • This Vis-Versa procedure can be used according to the invention in the form of a electronic color ink box for composing a musical work using the given color circle, the given color scales and corresponding tones, chords and / or music measures as well as major and / or minor keys.
  • La is a representation of a circle of color quinces with the basic colors of all major and minor keys
  • 1 b shows a further representation of the color quince circle with all major and minor keys assigned to circle segments, each of which is assigned one of twelve unchangeable, mutually different basic colors,
  • 26 is a graphical representation of a pitch point system for locating each tone.
  • 29b shows a reproduction of the color scale E flat minor (harmonic) assigned to the 28th bar according to FIG. 29a
  • 29c shows the rosette-shaped color graphic of the 28th bar (3/2 bar) corresponding to FIG. 29a when the colors, the note names and the pitches are reproduced,
  • 29 d shows the rosette-like color graphic of the 28th bar (3/2 bar) corresponding to FIG. 29a when the colors, note names and pitches are reproduced,
  • 30a is a reproduction of the sheet music of the 42nd bar of Fuga XI, a 3 voci, F major, 3/8 bar from "Well-Tempered Clavier, Volume 1" by Johann Sebastian Bach,
  • 30c shows the rosette-shaped color graphic corresponding to FIG. 30a of the 42nd bar (3/8 bar) when the time signature, voices and note values are reproduced
  • 30d shows the rosette-shaped color graphic corresponding to FIG. 30a of the 42nd bar (3/8 bar) when the colors, note names and pitch are reproduced,
  • 31a is a reproduction of the sheet music of the 18th bar of the Prelude X, E minor, 4/4 bar by Johann Sebastian Bach,
  • FIG. 31b shows a reproduction of the color scale E minor assigned to the 18th bar of FIG. 31a
  • FIG. 31c shows the rosette-shaped color graphic of the 18th bar (4/4 bar) corresponding to FIG. 31a when the time signature, the voices and the note values and
  • 31d shows the rosette-shaped color graphic of the 18th bar (4/4 bar) corresponding to FIG. 31a when the colors, the note names and the pitch are reproduced.
  • Fig. 33 is a color graphic that reproduces the 7th bar (4/4 bar) of Praeludiuns X, E minor by Johann Sebatian Bach, in the form of a four-lane street leading to a vanishing point, on which 2D color elements corresponding to the music bars moving forward, reproducing the time signature, voices and note values,
  • 34 is a color graphic that reproduces the same clock as in FIG. 32, but in the form of a tunnel, with a square cross-section, tapering towards the exit or entering from the entrance, consisting of a square color element and a multitude of trapezoidal color elements, reproducing the time signature, the voices and the scores,
  • 35 is a color graphic in the form of a rotating sphere, the surface of which is composed of 2D color elements, a cycle being represented in each case on the upper and on the lower hemisphere,
  • 36 is a color graphic consisting of four 2D color elements in square form assigned to the voices soprano, alto, tenor and bass, which reproduces the 7th bar as in FIG. 32
  • 37 shows the illustration of a stylized rose in the form of a puzzle, which is composed of 2D color elements predetermined in outline and positionally in accordance with an assigned ringing tone sequence of a telephone, in particular a cell phone, and
  • FIG. 38 shows a schematic representation of a raster image of a human face formed from 2D color elements, which is assembled in a puzzle in accordance with a ringtone sequence.
  • the color yellow was determined for D major, since D major is generally perceived as the brightest and most radiant key.
  • the key G sharp major which is the most distant from D major, is found in the circle of color quinces according to Fig. La at right angles to D major.
  • the color furthest from the color yellow was chosen, which is the complementary color of the color yellow. All keys of the circle of color quints that are at right angles to each other are assigned to complementary colors.
  • the color circle in the direction of the B keys has closed, as can be seen from Fig. La.
  • the key and enharmonic representative lie opposite each other on the diameter of the circle of color quinces, whereby the same basic color is assigned to them.
  • the parallel minor keys are always assigned the same basic color as their respective major key.
  • Fig. Lb which shows the color quince circle of another embodiment of the invention, with which a musical work such as e.g.
  • the ringtone sequence of a mobile phone can be reproduced in a program-controlled manner on the display of a mobile phone by a large number of predetermined two-dimensional or three-dimensional color elements corresponding to the number of tones and / or cycles of the latter, in this embodiment there is also a different choice of the twelve basic colors which are different from one another as shown in FIG . la possible.
  • the color quince circle according to FIG. 1b has twenty-four colored circle segments of equal size, the keys in the color quince circle starting from its circle segment lying at the zenith being determined as follows, based on the twenty-four circle segments which follow one another in the clockwise direction.
  • Each of the segments 1st to 12th and each of the segments 13th to 24th of the color quince circle is assigned one of twelve base colors, which are unchangeable and mutually different, the sequence of the segments 1st to 12th and the twelve different basic colors assigned to segments 13 to 24 are always the same is equal to. Once the twelve basic colors intended for the color circle of colors have been selected, this selection is defined. The number of possible variations in the order of the base colors in the segments 1 to 12 or segments 13 to 24 is thus determined by the 12 circle segments of a semicircle of the color circle.
  • the color scale consists of seven colors.
  • Each color scale is represented as a developed seven-part color circle and interacts visually with the background of a color that corresponds to the base color of the key to which the color scale is assigned. Due to the colored background, which forms the basic color, the colors of the color scale are "made to sound" and develop their optimal color-aesthetic appeal.
  • the color of the first level of the color scale in major corresponds to the basic color of the respective key. For example, the basic color of D -dur yellow, so the first level of the D major scale on the color scale is also yellow.
  • Each major color scale is based on the base color of its own key.
  • All minor keys adopt the basic color of their parallel major key.
  • the basic color yellow for D major is the same as the color assigned to the parallel minor key in B minor.
  • the color assigned to the first level of the parallel minor key is not identical to the base color, but - as in music theory - corresponds to the color assigned to the sixth level of its parallel major key. If the first level in D major is yellow and corresponds to the basic color, the color turquoise assigned to the sixth level of D major corresponds to the color assigned to the first level of the parallel minor key B minor. It follows from this that the first level of the minor keys is not identical to the base color assigned to the latter. This is a criterion for distinguishing between major and minor within this color system. To transfer another law from music theory to the color system, it is specified that two tones that are in a fifth relationship to one another are assigned two colors that are at least approximately complementary to one another.
  • the color of the first level of the major color gamut corresponds to the base color assigned to the associated key. Since the fourth level and the fifth level are sub-dominant and dominate in the fifth ratio to the first level, the fifth level is assigned the complementary color and the fourth level an approximate complementary color to the basic color. In the case of the D major color scale, the fourth level is therefore violet red and the fifth level is violet. These two colors act as "opposing colors" to the base color "dominant".
  • the fifths on the second and third levels have to be inserted in such a way that the color circle with the seventh level closes again at the eighth level and the first level. All fifth ratios within the major and minor color scales are at least approximately complementary, with the fifth step of the major color scale being clearly complementary to the base color.
  • the minor key is closely related to its parallel major key.
  • the minor key When building the minor color scale (harmonic minor), the minor key therefore adopts the basic color assigned to the parallel major key and the colors assigned to the seven tones of the parallel major key. In contrast to the major color scale, however, the changed position of the tones or colors of the minor color scale in relation to the base color results in a different color effect.
  • the first level of the minor color scale is equal to the sixth level of the major color scale and therefore not identical to the base color of the color scale. It follows that the fifth step has no complementary color effect to the base color. The complete There is no mental color contrast from the fourth and fifth levels to the basic color, which gives an important distinguishing feature between major and minor. The overall color impression appears somewhat softer.
  • the complementary pair of colors of the sixth and second stages of the major color scale cannot be transferred to the minor color scale, for the sixth level major is equal to the first level minor and the second level major is equal to the fourth level minor.
  • the fourth level minor has the actual complementary color effect, while the fifth level has an approximate complementary effect.
  • the fifths are constructed as in the major color scale by complementary or approximately complementary color pairs, so that the color circle closes again from the seventh to the eighth stage or first stage.
  • the increase in the seventh step is identified in each case in FIGS.
  • a color frame FR in accordance with the identification of the increase in the seventh step in the harmonic minor scale by a sign in the musical score.
  • the color of the color frame is based on the color of the next higher level of the tone to be increased.
  • the color of the color frame is determined by the next lower level of the tone to be lowered.
  • is the seventh step in B minor a violet.
  • the a becomes the ais by the elevation and receives a color frame in the color of the eighth or first step of B minor, i.e. in turquoise.
  • the colors of the major and minor color scales always refer to only one major key with its associated parallel minor key.
  • the G in C major has a different color (Pupurrot) than the G in G major (yellow-green).
  • a dot in the corner of a rectangular colored step element on the color tone scale indicates that the assigned tone is within the streaked octave.
  • Two dots in the corners of a colored step element indicate that the assigned tone is within the two-octave, etc.
  • a dot in the middle of a colored step element means that the assigned tone is within the small octave.
  • Two dots in the middle of the colored step element mean that the assigned tone is within the large octave. With three points in the middle of the colored step element, the assigned tone is within the contra-octave and from four points in the area of the sub-contra-octave.
  • FIG. 27 shows a table of all major keys, from which the distribution of the colors on the respective tone levels can be read, the color of the first level being equal to the base color.
  • FIG. 28 shows a table of all minor keys, from which the distribution of the colors on the respective tone levels can be read, the color of the third level being equal to the base color. Since the seventh level of each harmonic minor key is raised by half a tone, the seventh level of the minor color gamut is given a so-called color frame assigned to the next higher level. The next higher level is the eighth or the first level.
  • the seventh step of A minor (purple) receives a color frame in the color of the first step (violet blue), the seventh step of E minor (violet red) receives a color frame in the color of the first step (cobalt blue), etc.
  • the colors of the color frames, which are each shown in the hue scales of the parallel minor keys, are not taken into account in the table according to FIG. 28.
  • 29a to 29d, 30a to 30d and 31a to 31d show an example of the implementation of the method for the visually perceptible representation with respect to three music measures from the well-tempered piano, volume 1 by Johann Sebastina Bach, namely the 28th bar of prelude VIII , E flat minor, 3/2 bar or the 42nd bar of Fuga XI, a 3 Voci, F major, 3/8 bar or 18th bar of Prelude X, E minor, 4/4 bar, in each case the pitch-point system according to FIG. 26 for determining the location of each tone in FIGS. 29d or 30d or 31d is to be included.
  • the predetermined colored two-dimensional surface element or colored three-dimensional space element assigned to each tone and / or beat of the musical work or the ringtone sequence on the background of the display is in that tone and / or beat assigned base color of the color circle of Fig.
  • the color of the major and minor color scales always refer to only one major key with its corresponding parallel minor key.
  • the color of the first level of the respective major key always corresponds to the base color of the respective major key, while for the respective parallel minor key, the color of the third level always corresponds to the basic color of the respective minor color scale.
  • 32, 33 and 34 show an example of the implementation of the method according to the invention for the visually perceptible representation of the 7th bar of the prelude X, 4/4 in E minor by Johann Sebastian Bach in color graphics composed of predetermined 2D color elements when the time signature is reproduced , the parts soprano, alto, tenor and bass and the note values.
  • the color graphic consists of circular, elliptical and rectangular 2D color elements.
  • the outlined 2D color elements corresponding to the musical clocks form a color graphic in the form of a four-lane road leading to a vanishing point on which the 2D color elements move forward.
  • Fig. 34 shows a color graphic in the form of a tunnel, which is square in section, tapering towards the exit or entering from the entrance, consisting of a square colored element forming the entrance or exit and a multiplicity of trapezoidal colored elements placed one against the other.
  • Fig. 36 shows a color graphic composed of square color elements, the finished measure giving a complete colored square and each voice (soprano, alto, tenor, bass) being represented by a separate square. Such a structure
  • the color graphic can also serve as a grid for a ringtone puzzle.
  • the reading direction of the color graphic according to FIG. 36 has to be clockwise, as is shown graphically in the lower left.
  • Fig. 36 illustrates the program-controlled, visually perceptible representation of a musical work as a color graphic in the form of a rotating sphere, the surface of which is composed of 2D color elements, a cycle being shown in the upper and in the lower hemisphere.
  • FIG. 37 shows the representation of a stylized rose in the form of a puzzle, which was composed of 2D color elements predetermined in outline and in position - from rose petals 1 to 6 - according to an assigned ring tone sequence of the mobile telephone.
  • Each sheet 1 to 6 of the stylized rose corresponds to a tone or chord.
  • 38 schematically illustrates a raster image of a human face formed from 2D color elements in the form of a puzzle in accordance with a predetermined ringtone sequence.

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  • Physics & Mathematics (AREA)
  • Engineering & Computer Science (AREA)
  • Acoustics & Sound (AREA)
  • Multimedia (AREA)
  • Electrophonic Musical Instruments (AREA)
  • Input From Keyboards Or The Like (AREA)

Abstract

L'invention concerne un procédé de visualisation programmée d'une oeuvre musicale sur l'écran d'un appareil électronique. Selon l'invention, l'oeuvre musicale est reproduite sur l'écran par une pluralité d'éléments chromatiques prédéfinis en deux et/ou trois dimensions, cette pluralité correspondant au nombre de tons et/ou de mesures de l'oeuvre musicale. Ces éléments chromatiques sont conçus de telle sorte que le fond de chaque élément chromatique est formé par une couleur de base associée au mode majeur ou mineur du ton et/ou de la mesure correspondant à l'élément chromatique dans un cercle des quintes spécial des couleurs de base de tous les modes majeurs et mineurs. Chaque demi-cercle de ce cercle comprend douze segments chromatiques, 1. à 12. et 13. à 24, à chacun étant associé un mode majeur et un mode mineur correspondant. A chaque segment de chaque demi-cercle du cercle des quintes correspond en outre une des douze couleurs de base différentes. L'ordre des douze couleurs de base différentes sélectionnées pour les segments 1. à 12. et 13. à 24. reste le même, mais la succession des douze couleurs de base différentes sélectionnées à l'intérieur des douze segments de chaque demi-cercle peut varier. Les tons et/ou mesures sont caractérisés sur l'écran par une couleur des éléments chromatiques, laquelle est tirée d'un échelle chromatique associée, correspondant à la position de chaque ton de la gamme du mode majeur ou mineur de la mesure musicale.
EP03811337A 2002-11-19 2003-11-16 Procede de visualisation programmee d'une oeuvre musicale Withdrawn EP1563486A2 (fr)

Applications Claiming Priority (3)

Application Number Priority Date Filing Date Title
DE10254893A DE10254893B4 (de) 2002-11-19 2002-11-19 Verfahren zur programmgesteuerten, visuell wahrnehmbaren Darstellung eines Musikwerkes
DE10254893 2002-11-19
PCT/DE2003/003672 WO2004045736A2 (fr) 2002-11-19 2003-11-16 Procede de visualisation programmee d'une oeuvre musicale

Publications (1)

Publication Number Publication Date
EP1563486A2 true EP1563486A2 (fr) 2005-08-17

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EP03811337A Withdrawn EP1563486A2 (fr) 2002-11-19 2003-11-16 Procede de visualisation programmee d'une oeuvre musicale

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US (1) US6927331B2 (fr)
EP (1) EP1563486A2 (fr)
AU (1) AU2003296514A1 (fr)
DE (1) DE10254893B4 (fr)
WO (1) WO2004045736A2 (fr)

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DE10254893B4 (de) 2004-08-26
US6927331B2 (en) 2005-08-09
AU2003296514A1 (en) 2004-06-15
DE10254893A1 (de) 2004-06-24
WO2004045736A2 (fr) 2004-06-03
AU2003296514A8 (en) 2004-06-15
WO2004045736A3 (fr) 2004-11-04
US20040148575A1 (en) 2004-07-29

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