Method and apparatus for computer-generated music

Abstract

The present disclosure relates computer music generation methods and devices. A method and associated apparatus is provided that operates with a computer to automatically create or “compose” music that is original as well as sufficiently complex to provide ongoing interest for listeners.

Description

TECHNICAL FIELD OF THE DISCLOSURE

The present disclosure relates generally to music composition and, more specifically, to a system and method for computer generated music using analysis of tonal and rhythmic structures.

BACKGROUND OF THE DISCLOSURE

Certain applications, such as music-on-hold systems, utilize computer-generated music, primarily to avoid either the payment of copyright royalties or the payment to a composer or songwriter for the rights to a custom-made song. Such computer-created music, however pleasant, typically is simple and becomes uninteresting to listeners after only a short time. Methods are needed that will improve the quality and complexity of computer generated music.

SUMMARY OF THE INVENTION

Accordingly, in one aspect, a method of automating the generation of musical compositions is disclosed, comprising the steps of: (1) generating a first musical structure from a random list of possible musical structures; (2) generating a second musical structure based on analysis of first representation of said first musical structure; wherein said first representation of said first musical structure is generated according to a method comprising the steps of: (a) labeling the perimeter of a circle with twelve labels corresponding to twelve respective notes in an octave, such that moving clockwise or counter-clockwise between adjacent ones of said labels represents a musical half-step; (b) identifying an occurrence of a first one of the twelve notes within said musical structure; (c) identifying an occurrence of a second one of the twelve notes within said musical structure; (d) identifying a first label corresponding to the first note; (e) identifying a second label corresponding to the second note; (f) creating a first line connecting the first label and the second label, wherein: (1) said first line is a first color if the first note and the second note are separated by a half step; (2) said first line is a second color if the first note and the second note are separated by a whole step; (3) said first line is a third color if the first note and the second note are separated by a minor third; (4) said first line is a fourth color if the first note and the second note are separated by a major third; (5) said first line is a fifth color if the first note and the second note are separated by a perfect fourth; and (6) said first line is a sixth color if the first note and the second note are separated by a tri-tone.

BRIEF DESCRIPTION OF THE DRAWINGS

The patent or application file contains at least one drawing executed in color. Copies of this patent or patent application publication with color drawing(s) will be provided by the Office upon request and payment of the necessary fee.

FIG. 1 is a diagram of a twelve-tone circle according to one embodiment.

FIG. 2 is a diagram of a twelve-tone circle showing the six intervals.

FIG. 3 is a diagram of a twelve-tone circle showing the chromatic scale.

FIG. 4 is a diagram of a twelve-tone circle showing the first through third diminished scales.

FIG. 5 is a diagram of a twelve-tone circle showing all six tri-tones.

FIG. 6 is a diagram of a twelve-tone circle showing a major triad.

FIG. 7 is a diagram of a twelve-tone circle showing a major seventh chord.

FIG. 8 is a diagram of a twelve-tone circle showing a major scale.

FIGS. 9-10 are diagrams of a helix showing a B diminished seventh chord.

FIG. 11 is a diagram of a helix showing an F minor triad covering three octaves.

FIG. 12 is a perspective view of the visual representation of percussive music according to one embodiment shown with associated standard notation for the same percussive music.

FIG. 13 is a two dimensional view looking along the time line of a visual representation of percussive music at an instant when six percussive instruments are being simultaneously sounded.

FIG. 14 is a two dimensional view looking perpendicular to the time line of the visual representation of percussive music according to the disclosure associated with standard notation for the same percussive music of FIG. 12.

FIG. 15 is a schematic block diagram showing a computer music generation system according to one embodiment.

DETAILED DESCRIPTION

For the purposes of promoting an understanding of the principles of the invention, reference will now be made to the embodiment illustrated in the drawings and specific language will be used to describe the same. It will nevertheless be understood that no limitation of the scope of the invention is thereby intended, and alterations and modifications in the illustrated device, and further applications of the principles of the invention as illustrated therein are herein contemplated as would normally occur to one skilled in the art to which the invention relates.

Before describing the method and apparatus for computer generated music, a summary of the above-referenced music tonal and rhythmic visualization methods will be presented. The tonal visualization methods are described in U.S. patent application Ser. No. 11/827,264 filed Jul. 11, 2007 entitled “Apparatus and Method for Visualizing Music and Other Sounds” which is hereby incorporated by reference in its entirety.

There are three traditional scales or ‘patterns’ of musical tone that have developed over the centuries. These three scales, each made up of seven notes, have become the foundation for virtually all musical education in the modern world. There are, of course, other scales, and it is possible to create any arbitrary pattern of notes that one may desire; but the vast majority of musical sound can still be traced back to these three primary scales.

Each of the three main scales is a lopsided conglomeration of seven intervals:

Major scale: 2 steps, 2 steps, 1 step, 2 steps, 2 steps, 2 steps, 1 step

Harmonic Minor Scale: 2, 1, 2, 2, 1, 3, 1

Melodic Minor Scale: 2, 1, 2, 2, 2, 2, 1

Unfortunately, our traditional musical notation system has also been based upon the use of seven letters (or note names) to correspond with the seven notes of the scale: A, B, C, D, E, F and G. The problem is that, depending on which of the three scales one is using, there are actually twelve possible tones to choose from in the ‘pool’ of notes used by the three scales. Because of this discrepancy, the traditional system of musical notation has been inherently lopsided at its root.

With a circle of twelve tones and only seven note names, there are (of course) five missing note names. To compensate, the traditional system of music notation uses a somewhat arbitrary system of ‘sharps’ (#'s) and ‘flats’ (b's) to cover the remaining five tones so that a single notation system can be used to encompass all three scales. For example, certain key signatures will have seven ‘pure letter’ tones (like ‘A’) in addition to sharp or flat tones (like C^# or G^b), depending on the key signature. This leads to a complex system of reading and writing notes on a staff, where one has to mentally juggle a key signature with various accidentals (sharps and flats) that are then added one note at a time. The result is that the seven-note scale, which is a lopsided entity, is presented as a straight line on the traditional musical notation staff. On the other hand, truly symmetrical patterns (such as the chromatic scale) are represented in a lopsided manner on the traditional musical staff. All of this inefficiency stems from the inherent flaw of the traditional written system being based upon the seven note scales instead of the twelve-tone circle.

To overcome this inefficiency, a set of mathematically based, color-coded MASTER KEY™ diagrams is presented to better explain the theory and structures of music using geometric form and the color spectrum. As shown in FIG. 1, the twelve tone circle 10 is the template upon which all of the other diagrams are built. Twelve points 10.1-10.12 are geometrically placed in equal intervals around the perimeter of the circle 10 in the manner of a clock; twelve points, each thirty degrees apart. Each of the points 10.1-10.12 on the circle 10 represents one of the twelve pitches. The names of the various pitches can then be plotted around the circle 10. It will be appreciated that in traditional musical notation there are more than one name for each pitch (e.g., A^# is the same as B^b), which causes inefficiency and confusion since each note can be ‘spelled’ in two different ways. In the illustrated embodiment, the circle 10 has retained these traditional labels, although the present disclosure comprehends that alternative labels can be used, such as the letters A-L, or numbers 1-12. Furthermore, the circle 10 of FIG. 1 uses the sharp notes as labels; however, it will be understood that some or all of these sharp notes can be labeled with their flat equivalents and that some of the non-sharp and non-flat notes can be labeled with the sharp or flat equivalents.

The next ‘generation’ of the MASTER KEY™ diagrams involves thinking in terms of two note ‘intervals.’ The Interval diagram, shown in FIG. 2, is the second of the MASTER KEY™ diagrams, and is formed by connecting the top point 10.12 of the twelve-tone circle 10 to every other point 10.1-10.11. The ensuing lines-their relative length and color-represent the various ‘intervals.’ It shall be understood that while eleven intervals are illustrated in FIG. 2, there are actually only six basic intervals to consider. This is because any interval larger than the tri-tone (displayed in purple in FIG. 2) has a ‘mirror’ interval on the opposite side of the circle. For example, the whole-step interval between C (point 10.12) and D (point 10.2) is equal to that between C (point 10.12) and A^# (point 10.10).

Another important aspect of the MASTER KEY™ diagrams is the use of color. Because there are six basic music intervals, the six basic colors of the rainbow can be used to provide another way to comprehend the basic structures of music. In a preferred embodiment, the interval line 12 for a half step is colored red, the interval line 14 for a whole step is colored orange, the interval line 16 for a minor third is colored yellow, the interval line 18 for a major third is colored green, the interval line 20 for a perfect fourth is colored blue, and the interval line 22 for a tri-tone is colored purple. In other embodiments, different color schemes may be employed. What is desirable is that there is a gradated color spectrum assigned to the intervals so that they may be distinguished from one another by the use of color, which the human eye can detect and process very quickly.

The next group of MASTER KEY™ diagrams pertains to extending the various intervals 12-22 to their completion around the twelve-tone circle 10. This concept is illustrated in FIG. 3, which is the diagram of the chromatic scale. In these diagrams, each interval is the same color since all of the intervals are equal (in this case, a half-step). In the larger intervals, only a subset of the available tones is used to complete one trip around the circle. For example, the minor-third scale, which gives the sound of a diminished scale and forms the shape of a square 40, requires three transposed scales to fill all of the available tones, as illustrated in FIG. 4. The largest interval, the tri-tone, actually remains a two-note shape 22, with six intervals needed to complete the circle, as shown in FIG. 5.

The next generation of MASTER KEY™ diagrams is based upon musical shapes that are built with three notes. In musical terms, three note structures are referred to as triads. There are only four triads in all of diatonic music, and they have the respective names of major, minor, diminished, and augmented. These four, three-note shapes are represented in the MASTER KEY™ diagrams as different sized triangles, each built with various color coded intervals. As shown in FIG. 6, for example, the major triad 600 is built by stacking (in a clockwise direction) a major third 18, a minor third 16, and then a perfect fourth 20. This results in a triangle with three sides in the respective colors of green, yellow, and blue, following the assigned color for each interval in the triad. The diagrams for the remaining triads (minor, diminished, and augmented) follow a similar approach.

The next group of MASTER KEY™ diagrams are developed from four notes at a time. Four note chords, in music, are referred to as seventh chords, and there are nine types of seventh chords. FIG. 7 shows the diagram of the first seventh chord, the major seventh chord 700, which is created by stacking the following intervals (as always, in a clockwise manner): a major third, a minor third 16, another major third 18, and a half step 12. The above description illustrates the outer shell of the major seventh chord 700 (a four-sided polyhedron); however, general observation will quickly reveal a new pair of ‘internal’ intervals, which haven't been seen in previous diagrams (in this instance, two perfect fourths 20). The eight remaining types of seventh chords can likewise be mapped on the MASTER KEY™ circle using this method.

Every musical structure that has been presented thus far in the MASTER KEY™ system, aside from the six basic intervals, has come directly out of three main scales. Again, the three main scales are as follows: the Major Scale, the Harmonic-Minor Scale, and the Melodic-Minor Scale. The major scale is the most common of the three main scales and is heard virtually every time music is played or listened to in the western world. As shown in FIG. 8 and indicated generally at 800, the MASTER KEY™ diagram clearly shows the major scale's 800 makeup and its naturally lopsided nature. Starting at the top of the circle 10, one travels clockwise around the scale's outer shell. The following pattern of intervals is then encountered: whole step 14, whole step 14, half step 12, whole step 14, whole step 14, whole step 14, half step 12. The most important aspect of each scale diagram is, without a doubt, the diagram's outer ‘shell.’ Therefore, the various internal intervals in the scale's interior are not shown. Since we started at point 10.12, or C, the scale 800 is the C major scale. Other major scales may be created by starting at one of the other notes on the twelve-tone circle 10. This same method can be used to create diagrams for the harmonic minor and melodic minor scales as well.

The previously described diagrams have been shown in two dimensions; however, music is not a circle as much as it is a helix. Every twelfth note (an octave) is one helix turn higher or lower than the preceding level. What this means is that music can be viewed not only as a circle but as something that will look very much like a DNA helix, specifically, a helix of approximately ten and one-half turns (i.e. octaves). There are only a small number of helix turns in the complete spectrum of audible sound; from the lowest auditory sound to the highest auditory sound. By using a helix instead of a circle, not only can the relative pitch difference between the notes be discerned, but the absolute pitch of the notes can be seen as well. For example, FIG. 9 shows a helix 100 about an axis 900 in a perspective view with a chord 910 (a fully diminished seventh chord in this case) placed within. In FIG. 10, the perspective has been changed to allow each octave point on consecutive turns of the helix to line up. This makes it possible to use a single set of labels around the helix. The user is then able to see that this is a B fully diminished seventh chord and discern which octave the chord resides in.

The use of the helix becomes even more powerful when a single chord is repeated over multiple octaves. For example, FIG. 11 shows how three F minor triad chords look when played together over three and one-half octaves. In two dimensions, the user will only see one triad, since all three of the triads perfectly overlap on the circle. In the three-dimensional helix, however, the extended scale is visible across all three octaves.

The above described MASTER KEY™ system provides a method for understanding the tonal information within musical compositions. Another method, however, is needed to deal with the rhythmic information, that is, the duration of each of the notes and relative time therebetween. Such rhythmic visualization methods are described in U.S. Utility patent application Ser. No. 12/023,375 filed Jan. 31, 2008 entitled “Device and Method for Visualizing Musical Rhythmic Structures” which is also hereby incorporated by reference in its entirety.

In addition to being flawed in relation to tonal expression, traditional sheet music also has shortcomings with regards to rhythmic information. This becomes especially problematic for percussion instruments that, while tuned to a general frequency range, primarily contribute to the rhythmic structure of music. For example, traditional staff notation 1250, as shown in the upper portion of FIG. 12, uses notes 1254 of basically the same shape (an oval) for all of the drums in a modern drum kit and a single shape 1256 (an ‘x’ shape) for all of the cymbals. What is needed is a method that more intuitively conveys the character of individual rhythmic instruments and the underlying rhythmic structures present in a given composition.

The lower portion of FIG. 12 shows one embodiment of the disclosed method which utilizes spheroids 1204 and toroids 1206, 1208, 1210, 1212 and 1214 of various shapes and sizes in three dimensions placed along a time line 1202 to represent the various rhythmic components of a particular musical composition. The lowest frequencies or lowest instrument in the composition (i.e. the bass drum) will appear as spheroids 1204. As the rhythmical frequencies get higher in range, toroids 1206, 1208, 1210, 1212 and 1214 of various sizes are used to represent the sounded instrument. While the diameter and thicknesses of these spheroids and toroids may be adjustable components that are customizable by the user, the focus will primarily be on making the visualization as “crisply” precise as possible. In general, therefore, as the relative frequency of the sounded instrument increases, the maximum diameter of the spheroid or toroid used to depict the sounding of the instrument also increases. For example, the bass drum is represented by a small spheroid 1204, the floor tom by toroid 1212, the rack tom by toroid 1214, the snare by toroid 1210, the high-hat cymbal by toroid 1208, and the crash cymbal by toroid 1206. Those skilled in the art will recognize that other geometric shapes may be utilized to represent the sounds of the instruments within the scope of the disclosure.

FIG. 13 shows another embodiment which utilizes a two-dimensional view looking into the time line 1202. In this embodiment, the spheroids 1204 and toroids 1206, 1208, 1210 and 1212 from FIG. 12 correspond to circles 1304 and rings 1306, 1308, 1310 and 1312, respectively. The lowest frequencies (i.e. the bass drum) will appear as a solid circle 1304 in a hard copy embodiment. Again, as the relative frequency of the sounded instrument increases, the maximum diameter of the circle or ring used to depict the sounding of the instrument also increases, as shown by the scale 1302.

Because cymbals have a higher auditory frequency than drums, cymbal toroids have a resultantly larger diameter than any of the drums. Furthermore, the amorphous sound of a cymbal will, as opposed to the crisp sound of a snare, be visualized as a ring of varying thickness, much like the rings of a planet or a moon. The “splash” of the cymbal can then be animated as a shimmering effect within this toroid. In one embodiment, the shimmering effect can be achieved by randomly varying the thickness of the toroid at different points over the circumference of the toroid during the time period in which the cymbal is being sounded as shown by toroid 1204 and ring 1306 in FIGS. 12 and 13, respectively. It shall be understood by those with skill in the art that other forms of image manipulation may be used to achieve this shimmer effect.

FIG. 14 shows another embodiment which utilizes a two dimensional view taken perpendicular to the time line 1202. In this view, the previously seen circles, spheroids, rings or toroids turn into bars of various height and thickness. Spheroids 1204 and toroids 1206, 1208, 1210, 1212 and 1214 from FIG. 12 correspond to bars 1404, 1406, 1408, 1410, 1412, and 1414 in FIG. 14. For each instrument, its corresponding bar has a height that relates to the particular space or line in, above, or below the staff on which the musical notation for that instrument is transcribed in standard notation. Additionally, the thickness of the bar for each instrument corresponds with the duration or decay time of the sound played by that instrument. For example, bar 1406 is much wider than bar 1404, demonstrating the difference induration when a bass drum and a crash cymbal are struck. To enhance the visual effect when multiple instruments are played simultaneously, certain bars may be filled in with color or left open.

The spatial layout of the two dimensional side view shown in FIG. 14 also corresponds to the time at which the instrument is sounded, similar to the manner in which music is displayed in standard notation (to some degree). Thus, the visual representation of rhythm generated by the disclosed system and method can be easily converted to sheet music in standard notation by substituting the various bars (and spaces therebetween) into their corresponding representations in standard notation. For example, bar 1404 (representing the bass drum) will be converted to a note 1254 in the lowest space 1260a of staff 1252. Likewise, bar 1410 (representing the snare drum) will be converted to a note 1256 in the second highest space 1260c of staff 1252.

The 3-D visualization of this Rhythmical Component as shown, for example, in FIG. 12, results in imagery that appears much like a ‘wormhole’ or tube. For each composition of music, a finite length tube is created by the system which represents all of the rhythmic structures and relationships within the composition. This finite tube may be displayed to the user in its entirety, much like traditional sheet music. For longer compositions, the tube may be presented to the user in sections to accommodate different size video display screens. To enhance the user's understanding of the particular piece of music, the 3-D ‘wormhole’ image may incorporate real time animation, creating the visual effect of the user traveling through the tube. In one embodiment, the rhythmic structures appear at the point “nearest” to the user as they occur in real time, and travel towards the “farthest” end of the tube, giving the effect of the user traveling backwards through the tube.

The two-dimensional view of FIG. 13 can also be modified to incorporate a perspective of the user looking straight “into” the three-dimensional tube or tunnel, with the graphical objects made to appear “right in front of” the user and then move away and into the tube, eventually shrinking into a distant center perspective point. It shall be understood that animation settings for any of the views in FIGS. 12-14 can be modified by the user in various embodiments, such as reversing the animation direction or the duration of decay for objects which appear and the fade into the background. This method of rhythm visualization may also incorporate the use of color to distinguish the different rhythmic structures within a composition of music, much like the MASTER KEY™ diagrams use color to distinguish between tonal intervals. For example, each instance of the bass drum being sounded can be represented by a sphere of a given color to help the user visually distinguish it when displayed among shapes representing other instruments.

In other embodiments, each spheroid (whether it appears as such or as a circle or line) and each toroid (whether it appears as such or as a ring, line or bar) representing a beat when displayed on the graphical user interface will have an associated small “flag” or access control button. By mouse-clicking on one of these access controls, or by click-dragging a group of controls, a user will be able to highlight and access a chosen beat or series of beats. With a similar attachment to the Master Key™ music visualization software (available from Musical DNA LLC, Indianapolis, Ind.), it will become very easy for a user to link chosen notes and musical chords with certain beats and create entire musical compositions without the need to write music using standard notation. This will allow access to advanced forms of musical composition and musical interaction for musical amateurs around the world.

The present disclosure utilizes the previously described visualization methods as the basis for a system of computer generated music. As described above, diatonic music is structured so that certain notes or chords naturally follow other notes or chords; if this natural progression is not followed, the resulting music is dissonant and not enjoyable to hear. The unique tonal and rhythm visualization systems previously described provide a clear way to recognize these natural progressions of musical elements. This ability to “see” which elements fit within the acceptable range of successive musical elements is a significant characteristic of the visualization systems of the present disclosure. This ability can be implemented in software, for example, to allow a computer to create original and interesting music.

FIG. 15, shows, in schematic form, one embodiment of a computer music generation system 1500 according to the present disclosure. It is understood that one or more of the functions described herein may be implemented as either hardware or software, and the manner in which any feature or function is described does not limit such implementation only to the manner or particular embodiment described. The system 1500 may include a first subsystem 1501 including a digital music input device 1502, a sheet music input device 1506 for inputting sheet music 1504, a processing device 1508, data storage device 1509, a display 1510, user input devices such as keyboard 1512 and mouse 1514, a printer device 1516 and one or more speakers 1520. These devices are operatively coupled to allow the input music and command information into the processing device 1508 so that the music or sounds may be produced by the speaker 1520 and the visual representations of the music or sounds may be displayed, printed or manipulated by users.

The digital music input device 1502 may include a MIDI (Musical Instrument Digital Interface) instrument coupled via a MIDI port with the processing device 1508, a digital music player such as an MP3 device or CD player, an analog music player, instrument or device with appropriate interface, transponder and analog-to-digital converter, or a digital music file, as well as other input devices and systems. As one non-limiting example, a piano keyboard with a MIDI interface may be connected to the processing device 1508 and the diagrams discussed herein may be displayed on the display 1510 as the keyboard is played. As another non-limiting example, a traditional analog instrument may be sensed by a microphone connected to an analog-digital-converter.

In addition to visualizing music played on an instrument through a MIDI interface, the system 1500 can implement software operating as a musical note extractor, thereby allowing the viewing of MP3 or other digitally formatted music. The note extractor examines the input digital music and determines the individual notes contained in the music. The various musical structures can optionally be used as basis or as “hints” for the system 1500 to use when generating compositions. The note extraction methods are described in U.S. Patent Application Ser. No. 61/025,374 filed Feb. 1, 2008 entitled “Apparatus and Method for Visualization of Music Using Note Extraction” which is hereby incorporated by reference in its entirety.

The system 1500 can also be configured to receive musical input using the sheet music input device 1506. In certain embodiments, sheet music input device 1506 may comprise a scanner suitable for scanning printed sheet music. Using optical character recognition (OCR) or other methods known in the art, the system 1500 is able to convert the scanned sheet music into MIDI format or other mathematical data structures use in generating additional compositions.

The processing device 1508 may be implemented on a personal computer, a workstation computer, a laptop computer, a palmtop computer, a wireless terminal having computing capabilities (such as a cell phone having a Windows CE or Palm operating system), a game terminal, or the like. It will be apparent to those of ordinary skill in the art that other computer system architectures may also be employed.

In general, such a processing device 1508, when implemented using a computer, comprises a bus for communicating information, a processor coupled with the bus for processing information, a main memory coupled to the bus for storing information and instructions for the processor, a read-only memory coupled to the bus for storing static information and instructions for the processor. The display 1510 is coupled to the bus for displaying information for a computer user and the input devices 1512, 1514 are coupled to the bus for communicating information and command selections to the processor. A mass storage interface for communicating with data storage device 1509 containing digital information may also be included in processing device 1508 as well as a network interface for communicating with a network.

The processor may be any of a wide variety of general purpose processors or microprocessors such as the PENTIUM microprocessor manufactured by Intel Corporation, a POWER PC manufactured by IBM Corporation, a SPARC processor manufactured by Sun Corporation, or the like. It will be apparent to those of ordinary skill in the art, however, that other varieties of processors may also be used in a particular computer system. Display 1510 may be a liquid crystal device (LCD), a cathode ray tube (CRT), a plasma monitor, a holographic display, or other suitable display device. The mass storage interface may allow the processor access to the digital information in the data storage devices via the bus. The mass storage interface may be a universal serial bus (USB) interface, an integrated drive electronics (IDE) interface, a serial advanced technology attachment (SATA) interface or the like, coupled to the bus for transferring information and instructions. The data storage device 1509 may be a conventional hard disk drive, a floppy disk drive, a flash device (such as a jump drive or SD card), an optical drive such as a compact disc (CD) drive, digital versatile disc (DVD) drive, HD DVD drive, BLUE-RAY DVD drive, or another magnetic, solid state, or optical data storage device, along with the associated medium (a floppy disk, a CD-ROM, a DVD, etc.)

In general, the processor retrieves processing instructions and data from the data storage device 1509 using the mass storage interface and downloads this information into random access memory for execution. The processor then executes an instruction stream from random access memory or read-only memory. Command selections and information that is input at input devices 1512, 1514 are used to direct the flow of instructions executed by the processor. Equivalent input devices 1514 may also be a pointing device such as a conventional trackball device. The results of this processing execution are then displayed on display device 1510.

The processing device 1508 is configured to generate an output for viewing on the display 1510 and/or for driving the printer 1516 to print a hardcopy. Preferably, the video output to display 1510 is also a graphical user interface, allowing the user to interact with the displayed information.

The system 1500 may optionally include one or more subsystems 1551 substantially similar to subsystem 1501 and communicating with subsystem 1501 via a network 1550, such as a LAN, WAN or the internet. Subsystems 1501 and 1551 may be configured to act as a web server, a client or both and will preferably be browser enabled. Thus with system 1500, remote composition and music exchange may occur between users.

In operation, system 1500 may randomly select a note or chord as the beginning musical element. In certain embodiments, the user may enter an initial chord progression upon which the system will base additional compositions. In further embodiments, the user may indicate a desired genre (e.g., rock, jazz, classical, etc.) for the composition. However, the present disclosure contemplates that the system 1500 can initiate compositions automatically. Processing device 1508 then creates tonal and rhythm visualization components from the initial note, chord, or rhythm pattern chosen. For example, if the initial chord is a C major seventh chord, the system will choose successive chords that are in the key of C major, and perhaps choose jazz or easy listening as the genre due the presence of the major seventh note. When choosing the third chord, the system 1500 can then consider both the first and second chords to determine an acceptable chord that fits musically with the first two chords.

The system may also choose a first melody note based on random selection from notes in the key signature of the first chord, with successive notes being chosen based on intervals and rhythms common to the selected genre. The visualization components are illustratively represented in encoded or digital form for use by system 1500, which selects successive note and chords, or a new rhythm pattern. The chords and rhythm patterns selected will fall within the acceptable sound of music that is considered to be within the music genre that has been selected by the user or the system 1500. Such chords and rhythm patterns that are acceptable within the selected music genre may be previously stored in storage device 1509. System 1500 continues to “compose” by selecting musical elements until a predetermined song length has been reached, or the user terminates the operation of the system 1500. The created music may be stored or recorded on removable media that are compatible with data storage device 1509. System 1500 can therefore create or compose music that is sufficiently musically complex to be “listenable” for long periods of time.

Remote subsystem 1551, which is substantially similar to subsystem 1501, can be used to send and receive control data or music signals via network 1550. This allows a user to initiate or terminate operation of subsystem 1501 from a remote location.

While the disclosure has been illustrated and described in detail in the drawings and foregoing description, the same is to be considered as illustrative and not restrictive in character, it being understood that only the preferred embodiments have been shown and described and that all changes, modifications and equivalents that come within the spirit of the disclosure provided herein are desired to be protected. The articles “a,” “an,” “said,” and “the” are not limited to a singular element, and may include one or more such elements.

Claims

1. A method of automating the generation of musical compositions comprising the steps of: (1) generating a first musical structure randomly from a list of possible musical structures;(2) generating a first representation of said first musical structure;(3) generating a second musical structure based on analysis of said first musical structure; and(4) generating a second representation of said second musical structure;wherein: said first representation of said first musical structure and said second representation of said second musical structure are generated according to a method comprising the steps of:(a) placing twelve labels in a pattern of a circle, said twelve labels corresponding to twelve respective notes in an octave, such that moving clockwise or counter-clockwise between adjacent ones of said labels represents a musical half-step;(b) identifying an occurrence of a first one of the twelve notes within said musical structure;(c) identifying an occurrence of a second one of the twelve notes within said musical structure;(d) identifying a first label corresponding to the first note;(e) identifying a second label corresponding to the second note;(f) creating a first line connecting the first label and the second label, wherein: (1) said first line is a first color if the first note and the second note are separated by a half step;(2) said first line is a second color if the first note and the second note are separated by a whole step;(3) said first line is a third color if the first note and the second note are separated by a minor third;(4) said first line is a fourth color if the first note and the second note are separated by a major third;(5) said first line is a fifth color if the first note and the second note are separated by a perfect fourth; and(6) said first line is a sixth color if the first note and the second note are separated by a tri-tone.

2. The method of claim 1, wherein step (a) further comprises arranging each of the twelve labels to be substantially evenly spaced from each adjacent label.

3. The method of claim 2, wherein step (a) further comprises arranging each of the twelve labels to be spaced 30 degrees from each adjacent label.

4. The method of claim 1, further comprising the step of: (g) if the first note and the second note comprise the same note, highlighting the label corresponding to the note.

5. The method of claim 1, wherein the first color is red, the second color is orange, the third color is yellow, the fourth color is green, the fifth color is blue and the sixth color is purple.

6. The method of claim 1, wherein: the first color has a first frequency that is lower than a second frequency of the second color; andthe second frequency is lower than a third frequency of the third color; andthe third frequency is lower than a fourth frequency of the fourth color; andthe fourth frequency is lower than a fifth frequency of the fifth color; andthe fifth frequency is lower than a sixth frequency of the sixth color.

7. The method of claim 1, further comprising the steps of: (g) identifying the occurrence of a third one of the twelve notes within said musical structure;(h) identifying a third label corresponding to the third note;(i) creating a second line connecting the second label and the third label; and(j) creating a third line connecting the third label and the first label.

8. The method of claim 1, wherein said analysis comprises the steps of: (1) determining a list of musical structures that fall within the same key signature as the first musical structure(2) randomly choosing said second musical structure from said list.

9. The method of claim 1, wherein said analysis comprises the steps of: (1) determining a list of musical structures that share common musical tones with the first musical structure(2) randomly choosing said second musical structure from said list.

10. A method of automating the generation of musical compositions comprising the steps of: (1) generating a first musical structure randomly from a list of possible musical structures;(2) generating a first representation of said first musical structure;(3) generating a second musical structure based on analysis of said first musical structure; and(4) generating a second representation of said second musical structure;wherein: said first representation of said first musical structure and said second presentation of said second musical structure are generated according to a method comprising the steps of:(a) providing a plurality of labels in a pattern of a helix, wherein: (1) each turn of the helix has a respective plurality of labels corresponding to a plurality of respective sounds in a respective plurality of frequency ranges; and(2) moving clockwise or counter-clockwise on the helix between any one of said labels represents a first frequency interval;(b) identifying an occurrence of a first sound;(c) identifying which of the plurality of respective sounds and which respective plurality of frequency ranges corresponds to the first sound;(d) identifying an occurrence of a second sound;(e) identifying which of the plurality of respective sounds and which respective plurality of frequency ranges corresponds to the second sound;(f) identifying a first label corresponding to the first sound;(g) identifying a second label corresponding to the second sound;(h) creating a first line connecting the first label and the second label, wherein: (1) the first line is a first color if the first sound and the second sound are separated by the first frequency interval;(2) the first line is a second color if the first sound and the second sound are separated by a second frequency interval;(3) the first line is a third color if the first sound and the second sound are separated by a third frequency interval;(4) the first line is a fourth color if the first sound and the second sound are separated by a fourth frequency interval;(5) the first line is a fifth color if the first sound and the second sound are separated by a fifth frequency interval; and(6) the first line is a sixth color if the first sound and the second sound are separated by a sixth frequency interval.

11. The method of claim 10, wherein the plurality of respective sounds comprise a plurality of musical notes and the plurality of frequency ranges comprise a plurality of octaves.

12. The method of claim 11, wherein like notes from all octaves lie in a substantially straight line.

13. The method of claim 10, wherein step (a) further comprises arranging each one of the labels to be substantially evenly spaced from each adjacent label.

14. The method of claim 10, wherein the plurality of labels comprises twelve labels and step (a) further comprises arranging each of the labels to be spaced 30 degrees from each adjacent label.

15. The method of claim 10, wherein the first color is red, the second color is orange, the third color is yellow, the fourth color is green, the fifth color is blue and the sixth color is purple.

16. The method of claim 10, wherein the first interval is a half-step, the second interval is a whole step, the third interval is a minor third, the fourth interval is a major third, the fifth interval is a perfect fourth, and the sixth interval is a tri-tone.

17. The method of claim 10, wherein said analysis comprises the steps of (1) determining a list of musical structures that fall within the same key signature as the first musical structure(2) randomly choosing said second musical structure from said list.

18. The method of claim 10, wherein said analysis comprises the steps of: (1) determining a list of musical structures that share common musical tones with the first musical structure(2) randomly choosing said second musical structure from said list.

19. The method of claim 17, wherein said analysis further comprises the steps of: (3) randomly choosing a third musical structure from said list;(4) repeating the first, second and third musical structures.

20. The method of claim 19, wherein said analysis further comprises the steps of: (5) determining a melody structure by randomly selecting individual notes from said key signature which have common tones to said first, second or third musical structures;(6) outputting said first, second, and third musical structures sequentially while simultaneously outputting said melody structure.