JP2022521357A - Systems and methods for generating harmonious color sets from pitch data - Google Patents

Abstract

[Summary] A system and a method for generating a color set based on the musical concept of pitch and harmony are disclosed. The color set is obtained by a music-hue process that analyzes the musical pitch data associated with the musical input that determines the pitch contained in the music. The pitch angle associated with the pitch is applied to the adjusted hue index to identify the hue notes ordered within the separated index by the hue spacing angle similar to the pitch angle associated with the analyzed pitch data. The system and method generate a chord-like color set in that it contains multiple hue notes selected based on the hue spacing angle obtained from the musical spacing angle associated with the received musical input. do. [Selection diagram] 11

Description

The present invention is generally a computerized system for improved selection and generation of color sets (color sequences and combinations of colors) and aesthetic color effects, through the use of music-related methods and data. And methods. Color sets can be viewed in an animation sequence at the same time / or as an option. This process is important in a variety of areas, including areas where pigment chemistry is used for color output, areas where colored lighting is used for color output, and areas where both lighting and pigment chemistry are used, such as in stores and theme parks. Process. Effective selection of color sets for the output of colored lighting is useful for marketing and entertainment, including display applications for colored signs and products, architectural lighting, casino lighting, entertainment and theater lighting.

Effective selection of color sets for computer games, console games and virtual media can be attractive, intriguing and intriguing. Effective color set selection is also useful for music visualization and VeeJay performance tasks. In addition, color set selection uses pigments in the areas of personal beauty (clothing selection, cosmetic color decisions), interior and exterior design, marketing (eg logo design and packaging). It is also important in the field of design.

In many cases, it is desirable in the above cases that a set of colors or combinations exhibits the characteristics of the individual colors as well as the characteristics and quality of the color harmony. However, there is no general consensus on what effective color harmony is. Without such consensus, systems that generally use software that outputs color variations for aesthetic purposes have come to adopt the basic colors for selecting a set of colors. Only the harmony rule of. In addition, such software standardization, including correction measures, enhances functionality and economics in certain scenarios (eg, large-scale events and theme parks), but exists in the prior art. It would not have been possible without more knowledge and consensus than one. In addition, instead of using the prior art "color harmony rules", users are often adopting direct and cumbersome choices and artist-provided presets. Randomization is also done in some cases. Users need selection skills, which cannot always exist and can be costly to make an artistic contribution.

Obviously, there is a lack of robust and automated algorithm-driven methods. Such a method should be able to reduce the cost and limitations of producing an improved color set and provide the possibility of standardization. Ideally, such a method should be comparable to the method and technique of adopting music theory, which allows musicians and recorders to compose and improvise the material of notes.

Current color harmony systems often employ methods and principles developed by Johannes Itten or an extension of it. Itten is known as the person who coined the term "color chords". In his book, The Elements of Color, Itten states that "color chords are made up of two, three, four, or more, that is, diads, triads, tetraads, and so on." When you think of "chords," you might think of musical chords, but I haven't found any records that Itten was familiar with music theory, and he chose the term "color chords" rather than geometry. I don't know if it was inspired by music. For at least the last 500 years or so, the function of intervals in chords and tunes (as seen in the discussion of music theory such as voice reading, counterpoint, chord replacement and reharmonizing) has been extensively written. With the advent of modern music technology, such features are often complicated by musicians who are unaware of how much knowledge and theory they apply, especially compared to what was understood centuries ago. It has been applied. This knowledge can often be applied to "transposition" in music, apart from the specific pitch and tuning used. Itten's way of combining "color chords" is to combine colors in a way that is superficially similar to "transposition" in music (that is, something similar to the one before "transposition" remains. ), But it doesn't seem to be defined in great detail. However, Itten used the painter's three primary colors, RYB, instead of the current scientific primary (2nd, 3rd, 4th, etc.) for the color model to associate the tones. Also, in music theory, the use of pitches and chords is such a high-dimensional one, but the extensibility of the chord relations of his colors, that is, the exact use of each other, is explained. not. In other words, extending Itten's color chords to more complex color sets results in artistic sensibilities rather than understood processes, but with considerable development in the context of music. There is. The combination of pitches C and G is a good example of such potential. C is understood as the harmonic root of these two pitches, and since the function of the G: C relationship also includes an understanding of the relationship and connectivity with other relationships, 2 in this relationship. Each pitch has a clear role. In general, other pairs of pitches with approximately the same proportions (range of comfort) are expected to work as well. However, the two in Itten's theory, and in the general theory of complementary colors, are in relative positions where key colors and complementary colors are considered interchangeable. If a yellow is a complementary color of a blue, that blue is also a complementary color of a yellow. On the other hand, G and C are not interchangeable, regardless of which octave they are located in. G is not C's harmonic route (but F is always). G and C are not interchangeable, regardless of the octave in which they are located. Although the rules for applying such color sets are simple, different pitch types can be handled in different ways by a method that is common in music. Each has its own attributes and divisions, and its function may depend on a larger context (especially the context of rhythms such as downbeats and offbeats). Unlike Itten's systems such as two chords, three chords, and four chords, the pitch of chords can have different functions in music (for example, root tones, third tones, fifth tones, seventh tones, etc.) ). The better this feature is, the greater the impact on the construction of the melody. It is well known that the pitch of a melody is a particular chord tone, passing tone, or chromatic tone, without knowing the source of the chord harmony. Simple melodies like "Three Blind Mice" often exist in fairly clear chords without looking at what chords are accompanied. In music, the accuracy of the definition of context for such extensible relationships exists whether the pitches are displayed in series or at the same time. This makes it possible to predict interesting and complex pitch progressions and extend them into longer sequences. Such extensibility is characteristic of music-theoretic color harmony systems.

Josef Albers' book "Color Interactions" states that in color harmony, context is important for explaining relationships. On the other hand, the physiological effects of each particular color in the set are fundamental, with unique and sometimes predictable psychological and cultural effects. These effects are described in "Color Image Scale" (by Shigenobu Kobayashi), "Color Me Beautiful" (by Carole Jackson), "Making Colors Sing" (by Jeanne Dobie), "Art and Visual Perception" (by Rudolf Arnheim), "Visual Illusions; Their Causes, Characteristics and Applications" (Matthew Luckiesh), "Color Science" (Giinther Wyszecki and W.S. Stiles), "Computer Generated Color" (Richard Jackson, Lindsay MacDonald and Ken Freeman), etc. Excellent research is summarized in various books. Such materials include means that can be incorporated into color harmony methods. It is at a level similar to the more precise nature of applied music theory. It takes into account both the composition of the pitch and the unique context and timbral texture of the method of composition and orchestration. If the technique of music is somehow incorporated into the technically processed algorithm of color harmony, it seems to be extremely effective.

It turns out that the fundamental relationship between music and color that Isaac Newton and others pursued does not exist. Isaac Newton made a breakthrough discovery about the nature of light seen in prisms around 1666 (announced in 1672), where there may be a link between the color of the visible spectrum and the pitch of music. It also records the concept of not being. His musical and color relevance was not recognized in science, but his "color wheel" (a circle connecting the bottom and top of the visible spectrum) is still visually informative. be.

Recently, other methods of associating color with pitch have been offered, but have not been widely adopted. The method of the temperament researcher Charles Lucy has been proposed for some time. Lucy's method is to increase the frequency of the pitch until it reaches the frequency of the visible color. The frequency of this visible color is considered to be aesthetically correlated with the pitch of the sound source. In this method, the scale of the color corresponds to the scale as it is. However, some of the individual colors have no frequency (such as magenta), and it is not known if such a nasty theoretical approach would work.

Prior art methods for associating color and pitch have not been widely identified or adopted in the technology market.

Currently, very effective music visualization methods that visually synchronize while listening to music are popular, but with these methods, the generated color set and the pitch structure of the visualized music, that is, the progression of chords and melody. There is no correlation with. The pixel arrays generated by these techniques follow the waveform of the music, but the colors are selected by color presets (called colormaps) that have nothing to do with the content of the music. Musical waveforms interpreted in this way produce pixel movements that correlate with both the dynamics of the music and the evolving frequency mixture of the music. By further modifying this result using a methodology based on mathematical aesthetics (independent of the input of music), the flow of aesthetic space is realized. Again, neither the colormaps (by these techniques) nor the modifications (applied to move the pixels over time to create the illusion) are music-independent. In other words, these methods can be integrated with new methods that correlate the pitch structure of music with color sets (color series and color combinations), but at present there is no such correspondence.

Prior art color harmonies, on the other hand, often limit the number of vibrant colors to maintain their effect, such as using monochromatic color harmony themes or similar themes, or using split complements. are doing. This limitation is acceptable if artistic input is achievable (due to the economics and time available). However, for certain applications such as multimedia and advertising, concert lighting, casino lighting, signage, music visualization, etc., extremely limiting the number of vibrant colors in a color set can be a significant drawback. be. For example, extreme multimedia and advertising, concert lighting, casino lighting, signage, music visualization, etc. These require rapid color changes, it is beneficial to use a wider palette (or multiple palettes) of vibrant colors, and manipulate and provide complex changes in real time. It is definitely a drawback in the case of applications where it is necessary.

In summary, there is a lack of consensus on color harmony methodologies, and prior art does not have a method of color harmony that is as extensible as the method of music theory. Also, in the prior art, there was no ability to provide an algorithm to use a large number of vividly changing colors in a reasonably complex harmony. Further, in the prior art, there is no widely accepted correlation between music and color, and the musical pitch composition relationship is not used or visualized as a qualitatively functionally corresponding color set. (For example, major chords, minor chords, diminished chords, increased chords, genus seven chords, etc.).

The present invention relates to a system and a method for generating a color set based on the principle of musical harmony and dissonance. Just as the pitches of music can be combined in a pleasing combination or order, different hues can be combined to create a pleasing visual experience that you would experience while listening to music. Furthermore, by presenting colors that are inspired by the visual harmony of the music being played, it is possible to improve the listening comfort of the music.

According to one embodiment of the invention, a system that produces a color set based on the concept of music harmony includes an input device, a computer processing unit, a computer memory, and a color output device. The input device is adapted to receive pitch interval data. The computer processing unit is adapted to execute computer program instructions stored in computer memory. Computer program instructions include a pitch analysis module for identifying pitches and pitches in pitch data received by the input device. Computer program instructions further include a music-hue module that performs at least one music-hue process that identifies one or more color sets based on one or more pitch intervals identified in the pitch data. Ultimately, a color output device adapted to produce one or more colored objects having hues belonging to the color set identified by the musical hue conversion process is provided. Music Harmony-The Tone Harmony module defines a music-to-hue index that defines a spectrally tuned hue gradient containing multiple discrete main wavelength hue notes ordered by increasing wavelength. The hue gradient contains a plurality of relatively small interpolated hue notes that mix different numbers of colors from each end. The interpolated hue notes provide a smooth color transition between each end of the hue gradation. Each hue note (both the principal wavelength and the interpolated hue note) is assigned a unique tuning hue spacing variable and a unique tuning hue spacing angle between 0 and 360 °, with each hue half of the tuning hue. It corresponds to a unique angular position around the circle. The at least one music-hue process includes the process of identifying the pitch received by the input device. Such pitches generally have a bottom pitch and a top pitch. The music-hue process identifies the spacing angle associated with the received spacing. The Music-Hue process associates the first hue note with the bottom pitch to define the color key, and is separated from the first hue note by the amount of tuning hue spacing angle equal to the pitch angle associated with the received pitch. Identify the 2 hues. Finally, the tuning hue interval variables associated with the first and second hue notes are provided to the output device, which produces color objects for the colors of the first and second hues.

According to another embodiment, the method of generating a color set requires generating a pitch index containing a plurality of pitch classes. Each pitch class is separated at a predetermined frequency ratio, and all of the pitch classes come together to correspond to an octave of music. Then, in this method, a pitch angle is assigned to each pitch class so that the pitch classes represent a unique position around one octave music chromatic circle. Also, an index containing a plurality of different hue notes arranged in a gradation of tuning colors is generated. Each hue note is assigned a hue angle, and the hue note represents a unique, evenly spaced position around the synchronized hue semitone circle. Next, according to the method of the present invention, the first hue sound is designated as the hue main sound, and the hue angle of 0 ° is assigned to the hue sound. When the first pitch is received, this method requires determining which pitch class the pitch belongs to. Next, the first pitch angle, which is equal to the angle separation between the pitch class of the first pitch and the pitch root, is identified. Next, the second hue sound separated from the hue tonic is specified by the hue interval angle corresponding to the first pitch angle. Then, a color set including the first hue tone and the second hue tone is generated.

In yet another embodiment, the method of generating a harmonious color set is to create a tuned music semitone circle that represents multiple tuned pitch classes evenly distributed around the circumference of the tuned music semitone circle. demand. A step of creating a first tuned hue semitone circle having a diameter different from the diameter of the tuned music semitone circle and located coaxially with the tuned music semitone circle, and substantially the first tuned hue semitone circle. Creates a second tuned hue semitone circle that is identical to and located coaxially with the first tuned hue semitone circle, but has a different diameter than the first tuned hue semitone circle and the tuned music halftone circle. Including steps to do. The first and second tuned color semicircles represent tuned color gradations containing a plurality of different hues evenly arranged on the circumference of the tuned color semicircle. Then, in the method of the present invention, a music root sound on a tuned music half-tone circle and a specific hue sound as a hue root sound on the first and second tuned hue half-tone circles are designated, and the first and second tuned hue circles are designated. It aligns the hue tonic on the tuned hue half-tone circle with the music route on the tuned music half-tone circle. When the semicircles of the tuning color are properly arranged, the pitch interval data can be received and analyzed. The pitch data includes a first pitch belonging to the first pitch class and a second pitch belonging to the second pitch class. Analyzing the pitch interval data involves identifying the first and second pitch classes, and identifying the first spacing angle between them. Once the input pitch data is analyzed, according to the method, the second tuning color semicircle is then rotated by the width corresponding to the first spacing angle, starting from the first tuning color semicircle. We request that you create a color set that includes the first hue note of, the first hue note from the second tuning color semicircle, and the second hue tone arranged radially.

Indicates a pitch chromatic circle;

Shows an example system for generating color sets;

Shows an example of how to generate a color set

Shows an example of the 240 hue resolution adjusted hue chromatic circle (THCC) and the division of the range inside and outside the main wavelength window (DWW);

Indicates the central angle of the THCC for drawing the composition of the "spacing angle";

Shows a number of significant spacing angles (formation of color set pairs) to the "violet" hue tonic;

Shows a figure explaining that the rotation offset allows modulation like music in a significant color set, the significant spacing angle shown in Figure 6 with the THCC rotated;

Shows a graph of the three necessary criteria for the functional correspondence between music and hue;

Shows a tabular representation of the three criteria required for functional support of music and hue (m2h);

Shows a relatively favorable hue of perfect P5 (perfect 5th);

Indicates a 24-hue resolution THCC with an English color name given to the adjusted hue spacing variable (THIV);

Shows THCC with a basic 12-hue resolution, a general chromatic-scale hue-carrying visualization from about 425 nm violet as an exemplary tonic that blocks music progression in hue note form;

Shows a "hue tooth profile" used to select the hue spacing determined by the m2h process if the values around the CIE chromaticity diagram are not economically (or for other practical reasons) available;

Indicates a hue-spaced nested chromatic circle (thiNC) interface;

Shows the pairing of color science key colors and complementary colors and the application of the present invention to "slight arcs" away from color science complementary colors to achieve hue P5 and hue P4 spacing;

Shows an example of an LED strip light;

Is an explanatory diagram of the various components used to "block" the various color sets in Figures 18-22;

Indicates the blockage of a melody that was only sent to a single pixel strip light;

Indicates the melody and bass cutoff sent to two 1-pixel strip lights;

Indicates the blockage of the melody and chord root that was also sent to the two 1-pixel strip lights ;.

Indicates blocking of melody, bass, and chord roots sent to three 1-pixel strip lights;

Blocks the above melody, bass, and chord roots and shows the numbering of hue intervals in 12 resolution THCC;

Shows a set of 6 out of 24 hue tonality, using the progression of IV-V-I on the tonic pedal;

Shows the correspondence between the peak of the color matching function shown below and the preferred (linear) hue half-life (hue semitone) of the present invention, about 21.7 nm;

Indicates the ratio corresponding to the partner channel allegedly involved in the human visual system;

Shows the use of chromatic circles used as the basis for the 3D Interval Helix GUI of the present invention;

Shows a pitch spiral diagram that is a means of providing visualization of the simultaneous interactions that occur in response to octave-reduced and non-octave-reduced pitches, and a graphical user interface;

Is a GUI consisting of a tuned pitch helix and a tuned hue interval cylinder, which visualizes the universe of music and hue composition including the transposition of those tunes, and is input when tuning the hue notes on the color object array. Shows visualization of non-octave-reduced pitch tuning used as data, and visualization of hue tonic handles;

Shows m2h-cent-measurement-bin (m2hcmb's) and interpolation basis points (IBP's);

Shows an example of the table for m2hcmb (indicated relative to its principal wavelength value if in DWW); Is an example of the table of m2hcmb, continued; Is an example of the table of m2hcmb, continued; Is an example of the table of m2hcmb, continued;

Is an exemplary default table with a Prime Pitch Index (PPI) bin and a Prime Hue Index (PHI) bin, both of which are via independent tonic offset (MTO) and hue tonic offset (HTO) interval offset variables. The intervals can be offset independently; Is a continuation of Figure 31a; Is a continuation of Figure 31b;

Is an angular illustration of how PPI examines the pitch of music, adds MTO and HTO to the negative central angle, and derives the final adjusted hue variable with PHI;

Is a block diagram showing an exemplary method of tuning hue variable values using octave reduction;

Is a block diagram illustrating an exemplary method of using pitch bend and other pitch modifiers, which is useful when using music protocol data;

Is a block diagram showing an advanced flow method according to an embodiment of the present invention;

Is a block diagram showing the configuration and usage of an exemplary embodiment of the invention;

Indicates the "bass enhancement" of the THINC interface;

Shows examples of miscellaneous random color objects in random positions;

Indicates a color object along the path;

Shows the "musical score tune" according to the invention, the notes of hue shown along the path in a fixed (non-animated) image;

Shows the basic use of dimensions to represent time and pitch;

Shows that time and pitch dimensions can be modified in a way that the viewer can predict, without removing the music-aware effect, as shown in Figure 41;

Indicates a networked use of embodiments of the invention;

Shows how to map "melody spacing" in the music-color object "peripheral space" along the path;

Shows how to map the "pitch height" of music (measured from the origin of AMIB or other selected pitch height) to the spatial size;

Shows how to map hue notes relative to the size of an existing color object;

Shows how to map chord note members from position in the pitch hierarchy to spatial positions along the path;

Shows the procedure for mapping the height of a chord tone reduced by two octaves on the chord route to a spatial position along the path;

Shows a mapping procedure for mapping the musical rhythm interval position of a note event (hence, proximity in time or beat) to a spatial position along the path or to other hues along the path;

Shows a 240 hue resolution thiNC interface that displays the results of the chords that make up the major triple chords;

Shows a 240 hue resolution thiNC interface that displays the results of the chords that make up the minor triplets;

Shows a 240 hue resolution thiNC interface that displays the result of a chord consisting of a major seventh chord;

Shows a 240 hue resolution thiNC interface that displays the results of chords consisting of genus nine degree chords;

Shows a thiNC interface with a 240 hue resolution that displays the results of a dominant seventh chord with a tuned third and a natural seventh chord;

Shows a block diagram of a color-in-color-out system according to an embodiment of the present invention;

Shows a block diagram of a color-in / music-out system according to an embodiment of the invention; color versions of all drawings are available online. URL: tiny.one/pm3ejkmm

Detailed description of the invention

See FIGS. 1 and 2, disclosed embodiments of computerized systems 100 and 200 for improved selection and generation of color sets and color harmony effects through the use of music-related methods and data. There is. The music-hue process (m2h process) is, by definition, calibrated so that the hue spacing determined by the m2h process should meet the three required criteria disclosed for functional correspondence (see below). It is assumed that it is. Upon receiving the set of pitches, the m2h process determines the functionally corresponding set of hue intervals in the form of thiv, which are placed on the at least one color output device via the adapter of the at least one color output device. It is configured to output as a set of analog colors.

Music Protocol Data The "music protocol data" in the present disclosure is data that expresses music in a non-analog or more analog manner, and the intervals between music are distinguished in the data. Examples of such data include music protocol hardware interface data and music protocol sequence data (eg, MIDI or OSC data).

Color Freshness When describing hue intervals, most typically, hues formed in vibrant colors are referred to. The accuracy to be obtained depends on the purpose of the embodiment, but it is assumed from current studies that the effectiveness is significantly improved by both higher accuracy and greater color vividness of the output color. There is. When it comes to color vividness, there is a problematic hue. If you try to use as much hue spacing configuration as possible for all hue tones, as provided in this method, care must be taken to ensure that they are as vibrant as possible.

In terms of vividness, the blue-green and cyan ranges do not use the cyan primary colors, which can be problematic in additive three primary color systems (images viewed on a typical computer display containing cyan water are real). When viewed sideways, it often looks whitish, for example), the blue range and the warm green range can be problematic in a subtractive three-primary system that does not use the blue or green primaries. On the other hand, unfortunately, both systems have some problems with the expressiveness of orange, and if you try to express the most vivid orange in either system, the color will be halfway or slightly brownish. Seems to be many. People do not seem to be accustomed to the very bright orange color obtained from computer displays of the three primary colors and print media of the three primary colors, but with this method, as this decrease in vividness, functional responsiveness becomes available. Decreases (especially when trying to establish the intensity of the orange hue). To understand this, compare the flowers that bloom in nature, the orange band when the sun's light is reflected by a prism, and the orange band when it is diffracted on the surface of a CD. There will be. The decrease in the sufficiency rate of the three primary systems with respect to orange is also related to the position of orange on the Munsell color solid. It should be noted that the orange color spreads in the high saturation area only in the case of high brightness. In order to realize such high added value, brilliance and strength are required, but the realization is not always easy and cannot be economical. Also, since orange, which is a general three-color primary color system, is a direct primary color that is neither additive nor subtractive in itself, it is necessary to mix the two primary colors (each with impurities) significantly, and the target color. The possibility that the vividness of the orange is impaired also contributes to the failure. (Yellow is often achieved with the maximum intensity of red and green, which is advantageous in the additive three primary color system. To obtain orange, green must be reduced and the intensity is reduced. At the same time, the vividness also decreases.)

Therefore, when looking at the addition examples of the present disclosure, especially with respect to hues, such problematic colors (especially orange and cyan; because these are the most problematic hues of the three primary colors of the addition formula) are used. Note that the characteristic hues are not shown very effectively, and to show them most effectively, you need more vibrant hues that are not always available on a typical workplace display screen. want. In the present invention, it is most appropriate to display the hue related to the pitch of the downbeat in the most vivid state.

Introducing DWW Here are some basic aspects related to color science and color selection. Colors of interest are often described herein in terms of main wavelengths and in terms of CIE-based color science. As a result of many experiments and observations, the present invention appears to be the result of conceptually parallel (but very different) functions of the perceptual physiology of human sound and light. However, these conceptually parallel functions are not clear. Above all, there is a physiological problem that the human eye cannot perceive light with a frequency or wavelength equivalent to one octave. Also, at first glance, it may seem that the color range of the visible spectrum and other colors (colors that cannot be approximated by a single wavelength such as red) are clearly separated to some extent. However, in practice, it seems that at least three ranges are needed to explain the invention. At the border of the visible light region, human perception does not seem to stop suddenly. Therefore, in this disclosure, a concept called a main wavelength window (DWW) is adopted with the intention of excluding colors in the range where color perception gradually stops (generally, great caution). You have to pay). Here, the wavelength from 425 nm to 625 nm is defined as DWW. Descriptions of dominant wavelengths and monochromatic wavelengths are limited to this DWW.

Again, embodiments differ in terms of color output devices and their capabilities. An embodiment capable of producing the vivid colors of a full color wheel will more fully demonstrate the present invention. And further, much of the perceptual effect of the color sets of the present invention is most strongly obtained when the color is as highly saturated as a monochromatic cousin with a 1 nm limit (if within the DWW). (It is also possible to reveal such vivid colors by using the diffraction characteristics of a general CD held in sunlight.)
If a color comes from a particular principal wavelength and it is not exceptionally vibrant, then a line of constant hue (as understood in prior art chromatics) should be found and determined. The hue of a color should appear as similar as possible to the hue of the intended monochromatic wavelength value whose principal wavelength is named. (For example, a bright color with 450 nm as the main wavelength looks like a single color wavelength of 450 nm, but a less vivid color is not, and it may be necessary to adjust with reference to the above-mentioned constant hue line. No.) The idea of this constant hue line will be explained in a little more detail later.

Music Theory, Music Chromatic Circle and Octave Reduction Next, in order to explain the present invention, it is necessary to explain some basic concepts of music theory such as music chromatic circle and octave reduction. (The term "chromatic circle" here refers to a music chromatic circle unless otherwise specified.) In addition, a "adjusted hue chromatic circle" (THCC) based on a music chromatic circle will also be described. THCC indicates the color determined by the m2h process (m2h index and / or m2h calculation / interpolation process, etc.).

FIG. 1 shows some of the important concepts of music theory used in the present invention and its disclosure that should be clearly defined to avoid misunderstandings. Most essentially, this figure clarifies the use of basic pitch configurations. The use of such pitch configurations is further disclosed with reference to the Music Chromatic Circle and THCC.

A modem piano can be mentioned as a typical Western musical instrument. Modern piano notes are repeated every 12 keys, and these repeating notes can resemble or substitute for each other. The "Music Chromatic Circle" is a simple expression of this relationship between repeated notes. The music chromatic circle is a geometric space that shows the relationship between the 12 scale classes that make up the familiar chromatic scale (upward by semitone, -30 ° (central angle) around the circle in sequence. Go.) This can be explained as follows. Starting from any pitch in the midrange of the piano and repeating ascending or descending at musical intervals of semitones, it goes through all other homogeneous chromatic pitch classes in between and finally the same as the first pitch class. To reach. The music chromatic circle represents the cyclical relationship of this pitch class feeling.

Music chromatic scale, rhythm, and cent resolution details Movements larger than the music octave on the piano (or pitch space) can be represented by a path that "wraps" the music chromatic circle once per octave. Turning clockwise means going up one octave, and turning counterclockwise means going down one octave.

It should be noted that although the Music Chromatic Circle is the most appropriate representation of 12-ET tuning, it is also used herein to roughly represent many modem tunings. Most 12 pitches / octave tunings (enharmonic pitches tuned to the same pitch, such as Ab, G #, etc.) with common semitones (not divided into 100 exact 12-ET cents). Can be expressed. This is because it is possible to genetically describe how a typical semitone interval behaves when combined with a chord or melody, and how the octave is repeated in such a tuning. Current methods of dealing with pitches that functionally correspond to hues require this level of tuning accuracy. In other words, a general pitch composed of semitones can be realized with various tunings, and many of these tunings can be used for playing music, so they can be used as the basis of basic THCC. .. However, a more accurate one is desirable, which can also be easily obtained. Therefore, in the embodiment of the present invention, it is preferable to use a 12-ET music chromatic circle for assistance in explanation and GUI, and in this preferable 12-ET music semitone circle, each -30 ° semitone is further subdivided. Is preferable. In addition, divide each into 100 12-ET cents (-.3 ° central angle for each upward music cent), or a fraction of the cents to get the exact cent or semitone pitch for each 12-ET tuning. It is possible to see the correspondence of the pitches, which are composed of values smaller than a semitone, by considering the central angle. This made it possible to think and see the nuances of vibrato and pitch bend. Also, both this accurate 1200ET music chromatic circle and the THCC based on it can express all octave-based tunings, including anharmonic ones. However, as an example here, it is sufficient to show this concept by dividing the semitone of a musical semitone circle into 20 steps of 5 cents each.

In music, scales are repeated within an octave, and the repeated sounds are similar to each other and can often be substituted. Also, the pitch of the cent bass is repeated in the octave, resulting in a similar sound. Therefore, both conceptually and programmatically in music theory-related technology, fine pitch divisions such as pitches and cent basses may be treated as within one octave. This way of thinking is called octave reduction. A music chromatic circle can be used to show the concept of such octave reduction. Assuming that one of the pitches on the music chromatic circle is the pitch bottom of the pitch component, this pitch bottom does not necessarily have to be pitch A or pitch C. Simply put, in order to express a pitch in an octave-reduced form, it is necessary to describe the pitch in relation to a specific pitch bottom and consider it (often in a ratio format). The composition of the pitch may be a simple two pitch or a pitch of two or more pitches. If the pitch component is a chord, the bottom of the pitch is the root of the chord. If the interval element is part of the music, this interval bottom can be the tonic of the music. When the pitch composition is unknown, as in some embodiments of the present invention, the pitch composition is general purpose and has any musical pitch bottom, also known as AMIB (ie, the starting pitch which is the bottom of the pitch composition). Is selected as the starting point on the circle). The other octave-reduced members of the pitch composition are placed on a circle as ray points at various angles from the bottom of the pitch, and adjacent ray points have a negative central angle between them. By convention, the pitch of a musical chromatic circle rises clockwise, and by convention, the central angle of clockwise rotation on a circle is described as negative, so the central angle of a pitch within an octave of a musical chromatic scale is , It is in the range of -0? -360 degrees from the starting point. (These are referred to as "interval angles" in the present specification.)

Although the term "tonic" is used here, the input pitch-composed data may constitute one musical chord at a given time, and the hue data processed at a given time is It should be noted that one hue chord may be composed. In such cases, the terms music root and hue root may be more appropriate, but the intended meaning of "the central member of the pitch set" is the same.

Invention that is conceptually most preferably understood by being represented by two circles The present invention by understanding the above music theory and then visualizing two circles that share a common center. An exemplary concept of is obtained. The spacing angle from the center of both of these circles represents the adjusted spacing. Such an angle can start from the starting point of any arc. The starting point represents the bottom of the adjusted interval. The interval angle of one circle represents the pitch of music. The spacing angle of the other circle represents the hue spacing. (Note that the particular pitch and color of this concept is less important than the spacing formed by the two circles.) One of the two circles is the musical chromatic circle just described above. Pitch class and music spacing with reduced octaves (analog music pitch). In the visualization of the two circles, this musical chromatic circle basically represents a measurement of pitch.

Introduction of THCC The second circle represents the hue spacing (composed of vibrant analog colors). This is called a tuned chromatic circle (THCC) and visualizes the hue spacing produced by the system and method as an analog color output. The music chromatic circle can be visualized as being within THCC for consistency with the later figures.

THCC forms a tuned hue gradient designed to correspond almost functionally to a continuum of one octave of common pitch. For simplicity, we call this the hue octave (only figuratively; it does not mean that the range is the actual octave). A less common variation of this method may cause the THCC to vary slightly compared to successive octaves of the music pitch (unlike extending the music octave, but slightly distinguishing different octaves of the same pitch). Therefore, the main points of the concept remain the same, and THCC corresponds almost to the octave of music.

The recommended accuracy of THCC is at least 1/24 of THCC. A special series of 24 hue names is shown in Figure 10 to help understand this requirement.
As an example, yellow is at 577 nm and yellow-orange is at 588 nm. If you use a hue interval that requires the included yellow and a yellow-orange that replaces it, you are less likely to get the intended result.

It is important to understand that the adjusted hue gradient visualized in analog format in THCC represents the order of the measured hue intervals. On the other hand, when the thiv of the m2h process are generated in series, those colors represent the adjusted hue gradient produced as an analog output (although it is important that thiv is in a mathematically predictable position). There are various functions). Thus, THCC represents the adjusted hue of the m2h process, which provides hue adjustment. Hue adjustment provides an effect parallel to what happens when: a) When playing a series of pitches on a tuned instrument; the purpose here is to provide a function similar to that of a tuned instrument that can easily trigger a musically desirable value.

In one embodiment, a display screen is made available to visualize THCC as an interface for selecting and displaying hue spacing.

Thiv type Depending on the nature of the color output device used to produce the analog color, the thiv type (or the type of m2h process based on them) can be formulated.

In one type of m2h process, each thiv has a mechanical setting to get the desired hue, such as the orientation of a multicolor lens, or a set of digital lighting protocol controller values (such as a set of DMX color mixing controller values). Is defined.

In another type of m2h process, each thiv stores an electronic state that results in the intended hue.

In yet another type of m2h process, each thiv defines a mixing value (such as an RGB or CMYK pixel value).

In yet another type of m2h process, each thiv is a variable value that quantifies the hue component portion of the complete color value. For example, a color space composed of hue components (HSB, HSV, HSL, if applicable, a more accurate modern space in color science). When accessing this type of thiv, this hue component variable value will be defaulted, generated, or accessed from other data sources available on the system to produce the full color (specific). Combined with other color component values you need (in spaces). (As an example, the last MIDI velocity value of a channel can generate a saturation level.) This allows you to achieve creatively adjustable hue intervals, reflect different note timbres, or different types of note envelopes. It is possible to reflect the progress of.

In yet another type of m2h process, each thiv is a variable value that quantifies the hue component portion of the complete color value, and for the target color, after procedural inclusion of the texture component, or the texture and lighting component. Estimated. An object is a texture-based color object (a color object created using texture methods that can control most of the object's hue properties). In unrealistic lighting scenarios, adjust the target color object directly. Can be color adjusted by. In a more realistic lighting scenario, the target color object is a hue that is considered an acceptable approximation of the thiv hue, for example if the target color object is composed of glass, a metallic texture, or in the procedure for reaching the target hue. It is necessary to repeat the scene lighting on the glass / metal texture multiple times to reach the range.

Dww value to help "tune" many M2h processes
The color DWW portion of the m2h process can be formed according to the principal wavelength span specified by the developer during thiv. The main wavelength value in the main wavelength window (DWW) can define about 39/48 of this more precisely adjusted THCC. Next, Thiv, which is not related to the DWW for the remaining about 9/48 minutes of THCC, smoothly connects them and adds them to the non-DWW color range, as shown in Figure 3 (discussed further below). In order to do so, it can be interpolated from the edge of the resulting range of DWW thiv to roughly maintain the smoothness of the hue gradient. THCC is preferably displayed as a hue gradient such as the visible spectrum. [Note that the use of the term "spectral-like" does not mean that the method is inherently obvious. Finding a method is counterintuitive. Not only does the visible spectrum contain no true mathematical octaves, but the "hue semitone rate" is not clear, but the visible spectrum boundaries for estimating these, or other aspects of the hue adjustment rate or method. There is no cutoff. These problems exacerbate the elusive fact of functionally corresponding hue semitones. Within this method, it operates in the opposite direction to the music semitone (eg, at the upper P5 from C to G, G has a higher frequency than C, but at the upper P5 of the method, the visible spectral hue in the DWW. The "spacing bottom" is composed of, and the wavelength is increased rather than the frequency than the "spacing top".) For these reasons, the adjustment principle of the method cannot be obtained directly from the natural world.]

Figure 4 shows a 240-resolution THCC (the THCC has 240 "color chips" because the 240-resolution m2h index represents 240 thiv.) The Music Chromatic Circle measures the pitch, as mentioned above. For visualization, THCC is for visualizing the measurement of hue spacing. And the relationship between the two circles that are offset around a common center is to visualize the offsettable functional correspondence between the pitch of the music and their spacing in the visual color domain. .. Music chromatic circles span and overlap a series of 12 chromatic pitch classes (complete a clockwise circle to move to the next octave, complete a counterclockwise circle to move to the next octave). Similarly, when correlating hue intervals, perform "wraparound" (that is, use modulus) at the m2h index for music pitch intervals that rise or fall beyond the octave (modulus values at the resolution of the m2h index thiv). Yes.) This can be easily visualized by continuing around the THCC (one wraparound per octave).

THCC resolution
The m2h index and THCC can be used at resolutions consisting of only 12 hues (12 resolution m2h index and 12 resolution THCC), but they are not very useful. The musical nuances that exist in pitch variations that are finer than a semitone have a major impact on our musical experience. The approximate minimum resolution that needs to be used to achieve functional correspondence with musical vibrato, pitch bend, and adjustment variations is about 240 resolutions (humans can distinguish between about 200-400 hues). As it is said, these are not evenly distributed, so higher resolutions are actually recommended.) With 12-ET tuning (THCCs mostly support for the above reasons). When it comes to measuring, there are 1200 vibratos per octave. 1200 cents / 240 color chips = 5 hue cents per color chip. In other words, each color chip corresponds to a 5 cent pitch.

In summary, the two circles are a means of visualizing the offsettable functional correspondence between pitch spacing and visual color areas. This functional response is actually achieved using the m2h index supplied to the pitch obtained from the data from the pitch configuration data receiving device via the pitch feeding process. When entered into the m2h index by the pitch feeding process, the thiv corresponding to the pitch of the music is displayed in the m2h index.

In one embodiment, the data receiving device including the pitch is a hardware device that provides pitch source data. In another embodiment, the data receiving device including the pitch is a software device that provides pitch source data. In one embodiment, the received source data is stamped to indicate multiple pitch source tracks. In one embodiment, the source data is stamped to indicate multiple pitch source channels. The pitch feeding process completes the data consisting of the pitches for input to the m2h index. In one embodiment, the m2h index is constructed to search for pitches that have been reduced by an octave, and completion includes octave reduction of the pitch before feeding them to the m2h index.

In one embodiment, completion by the pitch feeding process also includes the creation of one or more of time stamps, track stamps, channel stamps, and layer stamps. In one embodiment, completion by the pitch feeding process also includes routing one or more of time stamps, track stamps, channel stamps, and layer stamps. Then, in one embodiment, the computer program module from music harmony to color harmony further includes a distribution process module and distributes hue notes obtained from the pitch. It is per one or more timestamps, track stamps, channel stamps and layer stamps on a particular color object array, and time / channel to a particular color object in the aforementioned color object array. / Follow track information. See Figures 44-56. (The pitch feed process may, of course, receive intervals that are already time stamped or already marked for independent input source tracks and channels, but upon completion, such stamps. Additional information may be added or reconstructed in some way, both to improve flexibility or quality.) Music protocol data, for example MIDI, is usually required. There are already MIDI channels that can be analyzed and used accordingly, and the MIDI MTC values can be used as usual. In the case of a MIDI file, there may be multiple tracks in the file (MIDI file type 1), and this information can be used or track information can be obtained from a MIDI channel (MIDI file type 2). .. If the data consisting of pitches is digitized audio, it is usually received via a multi-channel digital audio card, and the digitized music from these channels is processed separately for pitch detection. Placed in different locations. Stamped according to the source channel. Information on time stamps, track stamps, and channel stamps can be used.

The pitch feed process associated with this time stamp, track stamp, and channel stamp information may allow the user configuration to direct such various inputs to a particular color object array according to a particular mapping method (Figure 37). See? 49). It can be implemented in more developed music harmony to color harmony computer program modules, including a routing GUI for users. This can be done by providing a user-editable 1) mapping method by default for each track or channel, and 2) an array of objects in at least one color as the target of the mapping. It can also provide layer values for each track and channel. It can be used to send multiple arrays to the same color output device pixel, with tracks or channels with higher layer assignments taking precedence over or prioritizing lower layers (overwriting them and only the top layer of each pixel). "Wins" on output.) (There are special cases because colors are characterized as having multiple properties. For example, an algorithm can divide a color into hue, saturation, and lightness (HSL) properties. , A mapping method can be assigned. For a track or channel, one of the properties "bubbles up" and takes precedence over the specified higher layer. The other color properties for that channel have the assigned priority. One example of using this is called "twinkle layer" mapping, which utilizes existing music rhythm patterns, or music percussion elements, but is affected by existing color output device pixels. Simply "brighten" the color of.

The system can have a basic setup that includes a data receiving device consisting of basic pitches. More sophisticated systems can include pitch configuration data receiving devices connected to pitch generation or processing devices. There are many creative music theory processes in the generation and reconstruction of music. An improvisation generator can be used that weights a group of weighted pattern segments and comfortably creates the resulting pitch output. Chord replacement, harmony, and reharmonizing can also be used with existing pitches. All of this is well understood and can be done via simple math or a simple key. For example, one scale (eg, C Ionian) can take groups of intervals and reharmonize them with a new scale (eg, C Dorian). A rule that simply moves an out-of-key note to the next available in-key note (or to the next available in-key note) if you don't know the original scale, or if there aren't many notes in the new pitch. You can force the pitch to any "target" mode by creating.

Other methods of music, such as arpeggiators, step sequencers, and single-tone to chord tables, can also be combined with your MIDI instrument playing, or with a computer interface and GUI-based input of music sequences, or at pitch. It can be used to creatively enhance the composed data. ..

The pitch feed process may be configured to accommodate the receipt and adjustment of such various possible materials. Such a configuration indicates that it is sourced from different track types and / or that it is from different channels and / or that it needs to be processed into a particular layer. The material shown (eg, by including a "stamp" in the data) can be made to contain and route properly.

Preferred correspondence between THCC and 12-ET adjustments A large number of adjustments with 12 pitches per octave can be effectively represented as music and hue data by the rule of two circles, but are generally used later for simplicity and accuracy. It is recommended to use the example of the 12-ET adjustment system used. Therefore, we will use the 12-ET music chromatic circle and the 12-ET-based THCC, which aims to functionally demonstrate the characteristics of this 12-ET adjustment.

Within the 12-ET octave, the pitch values correspond to a sharp, continuous P5 of just about 2 cents each in the order F, C, G, D, A, E, B. This difference is not easy for humans to hear. However, one-third of the music in the 12-ET adjustment system is considered impure, which is easily recognizable by certain skilled musicians. Instruments such as guitars (due to bent notes) and violins (because they are fretless) are regularly used to access such pitch variations. The tension between pure and impure intervals has important uses. From our research, we believe that accessing such accuracy has advantages in the area of hue. Other octave-based adjustments can also be visualized as deviations from the 12-ET adjustment using the cent-based increment and THCC based on the 12-ET adjustment. In other words, the octave shortened intervals of other octave-based adjustments can be measured with respect to the cent position of this 12-ET music chromatic circle. In addition, modern computing technology can take advantage of dynamic tonality, for example, to allow pure one-third to be used only within certain parts of a musical progression that are considered appropriate. ) 12-ET Music Chromatic Circle Angles -30 ° and -.3 ° represent semitones (semitones) and cents of 12-ET music, respectively (these are upward frequency spans). Therefore, the THCC angles of -30 ° and -0.3 ° functionally correspond to these, hue semitones (hue semitones) and hue cents (in the DWW, these hue spacings can correspond to the upward wavelength span). Is called.

The pitch and spacing of the sorted music received in the data composed of pitches can be visualized as the end points and central angles (referred to as "spacing angles") of the rays on the music chromatic circle. These are considered to be functionally (mostly) corresponding to the angular rays (hue note rays) and spacing angles (hue spacing angles) formed by THCC. It is important that the functional correspondence between the music chromatic circle spacing angle and the THCC spacing angle is not determined by the orientation of one circle and the other. The THCC can be rotated relative to the musical chromatic circle (and vice versa), creating a new direction between the two circles, but the hue semitones and hue cents are still considered to work.

Therefore, basically, in order to relate the incoming pitch from music to the hue interval of THCC, it is only necessary to do as follows. 1) a) Select a static (fixed, immutable) direction, or b) an offsettable default direction (either). It can be set arbitrarily between the pitch domain and the hue domain. 2) Octave-Shorten the interval between incoming music. 3) Sort the pitches with these octaves shortened to find the corresponding pitch. 4) Output thiv color values to at least one color output device via at least one color output device adapter.

The method of orienting the m2h index, which can be explained by the relationship between the music chromatic circle and THCC, will be further explained later.

However, in order to consider the general system and method of the present invention, the musical chromatic circle and THCC can be conceptualized, both having the same geometric center and one being larger than the other (what is happening). To see if). Next, you can imagine offsetting the rotation between the music chromatic circle and the THCC in any direction, that is, rotating one circle with respect to the other. It turns out to work in any direction (this is the visualization of the music chromatic circle to THCC, and the intervals obtained in the pitch feed process that can be "musically transposed" to thiv in the m2h index. It also applies.) Nevertheless, it should be mentioned that the interval context (and main note) of a particular piece of music is affected. Our tests have shown that more relaxed and vibrant colors (violet, blue, etc.) are more functional than the tonic of music. Things with a low degree of relaxation (orange, red, etc.). (Clearly no "setup" is needed to match the tonic to a relaxed and vibrant hue, but for example, to match the tonic to orange or red, a "setup" will be more effective (eg). , If the hue is displayed later) Pause and then "setup" means to use the referral segment, or if the hue material was previously displayed, what is "setup"? , Means the use of music modulation technology to facilitate "key changes". The system follows a default orientation that can be offset, such as b (as shown immediately above), and in the general way, The default is probably tonic = violet in most cases, and after the system operation has begun, the user can set the new placement as desired when the user is providing data containing the new pitch.

The importance of pitch constructs and their members in each music theory In the present invention, "intervals" are used to refer to the relationships between pitches or hues defined according to their spans. The spacing configuration is an arbitrary set, regardless of the size of the member spacing or the span range. The interval construct is specified from the point specified by either the THCC (or the interval spiral described below) or the m2h index. This specified point is referred to here as the "interval bottom". The pitch composition may include important "spacing bottoms" such as momentary or persistent tonal centers (tonics), musical chord roots, or musical arpeggio roots. These are all important places in the pitch space. And in one embodiment of the invention, the hue spacing construct may have similarly important spacing bottom positions (such as a hue tonic, a hue chord root, or a hue arpeggio root). Note that the pitch composition of the music can be specific or general. In general spacing, placement in actual pitch space or hue space is a separate step from the first selection or creation of spacing configurations. Then, in one embodiment of the present invention, the stored hue spacing configuration is specific. And in one embodiment of the invention, the stored hue spacing configuration is common (eg, ii-VI, figured bass, or complete with no specific hue information but with only the required rhythmic relationships. Hue spacing relationships can be manipulated. General forms (such as adding pitches to chords and melodies, applying chord replacement and reharmonizing principles, etc.). The general configuration can later be flexibly applied in a particular analog color format for a particular purpose.

The first example uses a simple static (fixed) M2h index. This aligns the violet to the tonic of the music (the tonic of the current incoming pitch).
Later, an embodiment using the method and rationale for pitch data transposition and hue interval data transposition will be described. However, examples of hues (m2h) from the first few music are shown in Figures 16-21, and any fixed orientation between music and hue is all that is needed for a practical embodiment ( This can be conceptualized by a fixed rotation array between the musical chromatic circle and THCC). Here, violet is aligned with the tonic of the music for the reasons mentioned above. In this example, it is the key in F major. (Remember that when tonality music is composed as in normal practice, the pitch creates the sensation of "solving the tonic," and according to the invention, the hue spacing produces a similar sensation. Therefore, for the first set of these first examples shown in Figures 17-22, the adjusted hue gradient of THCC shown in Figure 3 will roughly determine the pitch and remaining hue correspondence. Next, the THCC-related spacing angle configuration first shown in Figure 3 corresponds to the correspondence reached between the pitch and hue spacing configurations in the form of thiv relationships as measured by the m2h index. Can be shown (eg by sorting according to virtual bins). Therefore, FIG. 4 shows the use of spacing angles in THCC to define the points of the spacing configuration.

FIG. 5 shows various m2h interval configurations, listed by pitch cent value, with angle values on THCC, and given in general pitch ratios where appropriate. All of these are shown for each hue tonic of 425 nm violet (as an example only). Figure 5, based on Figure 3, was created with a 360 ° circle using a 240 resolution THCC (240 hue resolution THCC). Figure 5 is an example of how hue spacing is calculated and uses THCC to illustrate how such indexing and calculation works with the m2h index. For 240 hues, given that the preferred hue cent is currently .217 nanometers and there are 1200 hue cents divided within the resolution of 240 hues, within the DWW, each part of the 240th consecutive circle. Consists of the hue spacing span. 5 hue cents (equivalent to music cents of the same span). Each negative angle (-1 °) consists of a hue interval span of 3.333 ... hue cents (equivalent to the same span of music cents). The hue resolution can be finer than the 240 resolution. Figure 5 calculates the spacing from a violet of about 425 nm using a negative angle. FIG. 5 shows the approximate angle of a series of hue intervals from below this interval. The angle is reached by moving clockwise. (Here, the clockwise angle is assumed to be negative). The angles and their meanings are listed below, but the 12-ET intervals are skipped because the angles and ratios are self-explanatory. In all other cases, after the angle, list the number of 12-ET cents above the tonic of the music (the approximate angle is (approximately) 3.333 .... from this cent value above the bottom of the interval. Calculated by dividing by).
List the ratio after the value of 12-ET cents. The list is as follows.
[-0 °, 0 cents, interval bottom]
[-21 °, 70 cents, 25:24]
[-33.6 °, 112 cents, 16:15]
[-61.2 °, 204, 9: 8]
[-69.3 °, 231, 8: 7]
[-80. G, 267, 7: 6]
[-94.8 °, 316, 6: 5]
[-115.8 °, 386, 5: 4]
[-122.4 °, 408, 81:64]
[-149.4 °, 498, 4: 3]
[-174.9 °, 583, 7: 5]
[-177 °, 590, 45:32]
[-210.6 °, 702, 3: 2]
[-244.2 °, 814, 8: 5]
[-290.7 °, 969, 7: 4]
[-298.8 °, 996, 16: 9]
[-305.4 °, 1018, 9: 5]
[-3 26.4 °, 1088, 15: 8]
[-333 °, 1110, 243: 128]

FIG. 6 shows the introduction of the THCC rotation offset from FIG. 5 and does not change the spacing configuration angle shown in the figure. The set of thiv offsets in the m2h index is an operation represented here graphically by the offset between the music chromatic circle and the THCC (the graphic is available in the GUI). Such offsets are similar to musical transpositions (not to be confused with math transpositions). The meaning of the pitch composition does not change. Such offsets are the basis of this method in terms of color relationships. It would have been possible to rotate the complete set of angles in Figure 5. It was reversed because it is easier to keep the THCC in place and do it with graphics software. If thiv is searched in the wrapping key, one simple method is to introduce the offset amount associated with thiv's resolution. For example, in a 240 resolution m2h index, each thiv corresponds to 5 music cents, and transposing the interval configuration by 5 cents exceeds the original calculated position by 1 thiv.

As already mentioned, modern piano keys are repeated at a rate of every 12 piano keys, and it is said that these repeated notes are similar to each other and can be replaced with each other. In fact, within the middle range of a piano, a set of pitches starting with one particular "lowest piano key" can be shifted to start with another "lowest piano key". This also applies to musical pitches and hue pitches using THCC and m2h indexes. The shift of the pitch composition centered on THCC is called "musical transposition". The shift of the section composition in the wrapping table of the m2h index is also called "musical transposition".
This fact of "musical transpose" of hues allows the current method to have many functions, including hundreds of possible hue tonics, hue chord roots, hue arpeggio roots, and more.

In the paragraph on DWW, it was mentioned earlier that when explaining hue spacing, we are referring to targeting the color relationships formed from the target colors. Optimal target colors are not always achievable for specific applications or due to specific economic considerations. However, the optimal target color produces the best functional response. Therefore, in order to specify this, "three criteria that require functional response" are used. By satisfying these, the hue interval can be functionally matched with the pitch. In addition, the recommended values for achieving higher functional responses, such as using a 12-ET cent-based interval configuration that may mimic other non-12-configurations; It may be used with dynamic tonality to mimic pure intervals such as 5: 4 major thirds and 6: 5 minor thirds and 7: 4 natural sevenths. Note that the following m2h index relationship is just an example. To better understand this, FIGS. 6 and 7 may be referred to again. However, it should be noted that the example does not mean that the particular pitch referenced must correspond to the particular color indicated by that particular transposition. No such response has been proposed. The music interval feature is transposed (very generally speaking). This m2h function support (accessed via the m2h index) can be transposed in a way that the pitch can be transposed. Individual colors need to be taken into account rather than individual pitches, but current methods allow transposition of hue chords to different hue chord roots. Also, the hue sequence can be transposed to another hue tonic. In addition, it allows chord substitution and reharmonizing. If the pitch function is known, such music theory operations are possible.

Three Criteria Required for Functional Response The three criteria required for functional response are shown by the examples in Figures 7-8. (Fig. 8 is in graph format and Fig. 9 is in tabular format). The hue spacing of the present invention is indexed by the m2h index in relation to the pitch, resulting in:
1) In the music-hue spacing correspondence, within the DWW, a music semitone with a geometrically increasing frequency corresponds to a hue semitone with a continuous value in which the principal wavelength span increases almost linearly. (A strong linearity is clearly preferred to mimic the function of the equal temperament tuning system of music.)
2) The total of the main wavelength spans of the hue semitones in the DWW is on average 19 nm or more and 25 nm or less (the total is divided by the number of hue semitones and averaged). (When mimicking the equal temperament tuning system of music, the current recommended value for the main wavelength span of hue semitones in the DWW is 21.7 nanometers, and the hue cent is one-hundredth of this, or .217 nm.)
3) The approximate hue span in the clockwise direction of the CIE chromaticity diagram corresponds approximately to the pitch span of P5 from the purple-violet region to the yellow region (eg, from C to G).

FIG. 10 is an illustration of the preferred hue P5, and the relative acceptability of hue P5 in THCC (both according to current studies). Its first use is to select thiv for the THCC part, which is almost outside the DWW. The second application is the general design of a typical embodiment in which a color output device is selected by weighting between cost and ideal vividness. Figure 10 shows relative acceptability (according to current studies) and is provided as a resource to weigh these two factors. As the spacing composition becomes more complex (as in jazz, or works that include at least some examples of unrelative key modulation), of course, the use of very high vibrant colors and more favorable hue spacing. More necessary to use. As shown in FIG. 10, in addition to satisfying the three criteria required for the above functional response, the m2h index can be configured as follows. Indigo-The clockwise span between the hues from the blue region and the hues from the orange region of the lower wavelength corresponds to music P5. Therefore, the clockwise span between the hues from the blue region of the upper wavelength and the hues from the orange-red-warm red region is indexed to correspond to the music P5. Therefore, the clockwise span between the hues from the cyan region and the hues from the cool red-brush red region is indexed to correspond to the music P5. Therefore, the clockwise span between the hue from the cool green region and the hue from the magenta region is indexed to correspond to the music P5. Therefore, the clockwise span between the hues from the warm green region and the hues from the purple-violet region is indexed to correspond to the music P5. Therefore, the clockwise span between the hue from the yellow-green region and the hue from the indigo-lower wavelength blue region is indexed to correspond to the music P5. Therefore, the clockwise span between the hue from the yellow region and the hue from the blue region of the upper wavelength is indexed to correspond to the music P5. Therefore, the clockwise span between the hue from the orange region and the hue from the cyan region is indexed to correspond to the music P5. Therefore, the clockwise span between the hues from the orange-red-warm red region and the hues from the cool green region is indexed to correspond to Music P5. Therefore, the clockwise span between the hues from the cool red-brush red region and the hues from the warm green region is indexed to correspond to the music P5. And therefore, the clockwise span between the hue from the magenta region and the hue from the yellow-green region is indexed to correspond to the music P5.

Figure 11 provides thiv with a 24-resolution THCC with English color names in case it may clarify the method for a particular reader or user. The m2h index does not have to include thiv at all positions in THCC. It must contain enough thiv to represent the pitch of the music data required for the corresponding color output. The m2h index may be distributed over the entire THCC, or more sparsely, only where it is needed for a particular musical tonic and hue tonic (conceptually described below). The meaning of the arrow corresponds to the relationship between C and G in the music chromatic circle, and the octave is reduced. From C to G is P5, and from G to C is P4. Playing note C and then note G creates a slightly harmonious tension. This is the same as moving in the opposite direction of the arrow between the two hues in the figure. In contrast, if you play note G and then note C, you can say that C feels like a break. And when you play C, G, and finally C, you can say that the last C releases the harmonious tension created by playing G after the first C. This explanation is approximate and needs to be experienced. There is clearly some functional correspondence between the musical experience just described and the hue experience indicated by the arrows associated by multiple experienced people. (In music, experience is clearly related to the experience of the basic and overtones of musical tones).

12 thiv of FIG. 12 Basic embodiment using only Thiv shown in THCC FIG. 12 is 12 thiv for demonstrating some basic principles of the present invention, as in FIGS. 16-21. A 12-resolution THCC representing a 12-resolution m2h index with.
THCC hue spacing works according to modl2. (Simply, THCC is considered one "hue octave" and is equivalent to an octave shortened pitch). As observed using Figure 12. As an example of using thiv based on 12 resolution THCC, we can find the octave shortened pitch hue spacing (and functionally corresponding hues) of typical 12 pitch music. This can be done by simple addition and subtraction at a given resolution. It is also possible to start with a high resolution angle value that specifies the functionally corresponding hue in the low resolution THCC. If the calculation result is less than zero when adding 12, then subtract 12 when the calculation result reaches 12 or more. For example, 7 can be simply subtracted from any number in FIG. Find the hue P5 resolution of that hue. For example, 5-7 = -2. However, -2 is less than zero. Therefore, adding 12 to -2 gives 10. Therefore, the hue labeled 10 is the P5 resolution of the hue labeled 5.

First Embodiment-Based on the simple chromatic scale hue spacing of FIG. 12, in one embodiment of the invention, the incoming octave-reduced pitch (which may be visualized by a musical chromatic circle) is an m2h index. Sorting against thic (which can be visualized in THCC), the sorting process (in the central angular ray of THCC, which represents the top of the octave reduced pitch space spacing) is via at least one color output device adapter. Therefore, it is output to at least one color output device as an analog hue interval.

Rhythm So far, I have briefly explained the m2h index and its THCC hue interval angle expression. Now you can see the basic usage for choosing a color set to produce a harmonic effect. It can be easily stated that visual hue correspondence is possible in music in at least five commonly discussed aspects of musical harmony: rhythm, melody, bass, chords, and tonality. .. However, it is necessary to lay the foundation for some terms.

As for visual rhythm, for now, the American Heritage English Dictionary (1973) can easily refer to a typical and broad definition of artistic rhythm. "In paintings, sculptures, and other visual arts, regular or harmonious patterns, shapes, and colors created by lines." When assigned rhythmically within the displayed sequence (such as this). It can be added that the relationship is also taken into account (for example, when the relationship is assigned in a sequence of frames or a sequence displayed on the LED display screen).

Hue melody, bass, chords, tonality Hue notes and color objects Conventional techniques lacked functional correspondence between color sets and music chord types and melody scale types and modes. Current methods utilize what are called hue melody, hue bass, hue chords, and hue tonality. All of these consist of a set of hue notes. I understand that the music pitch effectively forms the music because of the pitch relationship (as evidenced by the ability to transpose Beatles songs and maintain the mood and flow of the songs). And in the present invention, the hue notes substantially form hue music due to the characteristics of their hue spacing relationship. The current method describes these hue notes as being displayed on (or through) a color object. Color objects can be color lights or virtual objects on the display screen. Alternatively, it can be an object formed of colored pigments (in the entire image). Print, stencils, or automatically painted objects. Color objects are managed using computer programs such as arrays. They can be presented in animation combinations and series, or static combinations or series. The latter is to allow the viewer to follow a path along the still image and provide a "time" aspect of the musical experience when displaying the still image.

The set of hue note spacing displayed on a color object (consisting of a hue melody and / or hue harmony) has a quality that is understood to correspond to comparable pitch qualities. Data composed of different types of pitches can be used as a source for creating sets of hue notes. According to current methods, hue notes are empirically and quantitatively associated with notes. Note data and hue note data can be exchanged using this system. The data including the hue interval from this method can even be used as an input in place of the data including the pitch. In addition, the hue note set can be modified using methods and algorithms based on known music theory, and the consequences of such changes are completely unexpected, but predicted according to music theory. It is true that individual colors have a great influence on the perceptual quality of any color set, but nevertheless, this method allows the selection of color sets that functionally correspond to the pitch composition. Such pitch configurations include chord types and chord progressions, as well as melody scale types, modes, and progressions, including processes that affect the tension and resolution experience. Such musical relationships have inherent extensibility, the effects of which are independent of the response evoked by the individual pitches. The same can be said about the relationship of adjusted hues, but it was a phenomenon that has not been observed so far because a specific hue definitely has a much larger effect than a specific pitch. However, because of this strong effect of a particular hue in a particular hue relationship, methods of transposing, replacing chords, and reharmonizing music are more useful in current ways than in the realm of music, or perhaps more. Is. Transpose so that you can use simple GUI methods such as palettes and the thiNC interface described below to get the very explicitly required color relationships that match the required rhythm properties from the end user's perspective as well. Or because it can be replaced.

According to the teaching of this method, the color relationship between colors with low vividness (hue, shade, etc.) is not so strong in terms of functionality.
The prediction accuracy is low as the vividness of the color is reduced. For now, they gradually shift from behaving like a constant pitch instrument to behaving like a semi-deterministic pitch instrument (eg, pitched percussion), and then gradually. It can be assumed that it will be bluish or brownish gray. White and those close to black start to operate in the same way as percussion instruments without pitch. In addition, less than vibrant colors, such as when a new color of paint does not obscure the previous color, just as a poor quality instrument can produce undesired tones that are unintentional. The color may be unintended. Conversely, there may be positive examples such as glazes and 3D texturing added to the paint. These provide a pleasing change in wavelength, as well as so many musical tones that may have a clear pitch, without significantly obscuring the purity of the constituent colors. Tonal "color" and "movement" of varying degrees (flute, saxophone, trumpet, violin, etc.) (from pitch and amplitude modulation). Of course, in terms of both the degree of vibrancy and the physiological color response, the viewer's distance (and often the angle) will change the effectiveness of the method. Both of these variants can be understood according to the prior art.

FIG. 13 shows a certain hue associated with selecting the hue spacing of the m2h index when desaturation is needed for economic reasons or the like. For a basic m2h index, it is ideal to use the purest possible color that is closest to the perimeter of the CIE chromaticity diagram. This is because these colors have the highest degree of vividness, saturation, saturation, and saturation. However, it is not always possible to approach this boundary in the entire THCC color range. For example, the color gamut of a color output device that uses RGB or CMYK primary colors usually has a specific color range that provides only moderate saturation, saturation, and saturation. In such a case, there is a concern that the hue that accurately and perceptually approximates the main wavelength of the target near the periphery of the CIE chromaticity diagram will be achieved too much. This is because there are known factors that cause colors calculated using CIE chromaticity coordinates to appear different from the primary wavelengths assumed for each calculation of hue coordinates. Known effects such as the Purkinje effect and the Bezold-Briicke shift may be factors. (Maybe the Abney effect can also be a factor in the case of a monochromatic light source with white added). However, most commonly, FIG. 13 shows that Mansell lines of constant hue are distorted when plotted on a CIE chromaticity diagram. Therefore, as shown in FIG. 13, a technician who follows the method of the invention with the goal of high accuracy will take these issues into account. The hue spacing of the method of the invention may itself be a monochromatic wavelength when described by a value within the DWW (although this is usually not practical), or a specified highly saturated main. It may be a hue having a wavelength. However, they can also be hues that fall along a line of constant hues from these major wavelengths. It can follow a constant hue of the Munsell system, or optionally a constant hue value derived using methods such as CIECAM02, CIELAB, CIELUV. Of course, color measurement can also be used to adequately take into account the intended observation conditions of the embodiments in order to best achieve the intended hue spacing.

Description of Your Interface In one embodiment, a display screen to display a graphical user interface (GUI) that provides nesting of multiple THCCs and independent rotation around a common center to form a color set. Will be made available. This GUI allows users to audition color sets for specific purposes. It should also help convey the features of the invention and the methods of the invention that apply music theory to color harmony.

Here, this GUI is called a "nested chromatic circle of hue spacing" interface (thiNC interface). FIG. 14 shows the thiNC interface. It consists of n concentrically nested THCCs. Each of the concentrically nested THCCs can rotate independently around a common center with an angular offset of the center. As before, the hue gradient of THCC (which constitutes the thiNC interface here) represents the adjusted hue gradient produced by thiv of the m2h index.

Each THCC is essentially a rotatable THCC ring with a color set display mechanism. This color set display mechanism allows the user of the embodiment to select and visualize the color set through generating the relative rotational alignment of the set of THCC rings. The concentric THCC rings gradually shrink from the outermost to the innermost (gradual contraction at any rate). In use, the outermost large THCC ring usually represents the smallest non-octave reduction pitch visualized, and the continuously smaller THCC rings represent the continuously higher non-octave reduction pitch. The reason for this will be explained later. The thiNC interface basically "visually voices" a set of colors and their progression, and all but one, according to the full resolution (Res) of the system's hue tonic, or according to a particular hue root or hue tonic. Cover the top covering the "hue spokes" (see below). The thiNC interface consists of n THCC rings (4 in the drawing), each with n possible hue notes (the same number of hue notes for all THCC rings that are the resolution of the thiNC interface). Hue notes are in the form of colored circles, color chips, or other colored shapes (n = multiples of 12, 48, 48 resolution thiNC interfaces for drawings).

In thiNC, each THCC ring is similar to the THCC example above, except that it does not have to represent the full resolution of the m2h index. (Selection of a single specific hue note by a human interface device (computer arrow keys / mouse / touch screen) becomes easier as the hue note is larger).

A particular decrease in the size of the THCC ring from the outer neighbor does not represent a very specific relative increase in pitch (eg octave, or M2). Rather, larger hue notes tend to have an inaccurately known effect on other notes in the current hue harmony, and notes above the bass give other notes in the current musical harmony. It turns out to work as well as the effect. Larger hue notes occupy more space in the field of view, just as bass frequencies spread more in the space of the audio field.

By rotating each ring so that the shapes of each color can be angled with each other, the colored shape (which acts as a note of hue) becomes a straight line called the hue spokes seen in FIG. Can be aligned along. The number of hue spokes is the same as the resolution of the thiNC interface.

In the default orientation (called the non-rotating position), all hue notes in each hue spoke contain the same hue value, similar to a series of "unison" intervals (a series of n-0 ° angles of rotation). In the non-rotating position, the spokes composed of the violet collar shape are preferably on a radius that intersects the 6 o'clock position of the thiNC interface.

The thiNC interface can represent a pitch structure such as a chord according to the amount of clockwise central angle rotation of each THCC ring.

When representing a chord, all spokes represent chord arranging, and each THCC ring provides one chord voice. One usually represents a series of spacings in the spacing configuration, with the outermost hue notes of the spokes representing the lowest pitch. Music pitches that increase continuously are represented by continuously small THCC rings. The thiNC interface can also represent a scale or mode, or the entire progression of music. In fact, the central angle direction of each THCC ring can represent one monaural music sequencer track, and smaller THCC rings tend to be used for higher pitch tracks. In general, the angle at which each THCC ring rotates from the -0 ° position (non-rotating position) is based on the current octave-shortened pitch above the bottom of the spacing, divided into the resolutions of the thiNC interface. With a 48-resolution thiNC interface, each THCC ring rotates -7.5 ° every quarter semitone of music. With a 240 resolution thiNC interface, each THCC ring rotates -1.5 ° every 5 music cents. The 1200 resolution thiNC interface advances -.3 ° every cent. This is not always practical.

Thus, each hue spoke represents one of the n possible visual tunings of the visualized hue spacing. As shown in FIG. 14, from the outside to the inside, all hue spokes utter a color set consisting of series 1) hue root 2) M3 3) P5 and 4) M7. This is the vocalization of the hue interval of "root position HueMaj7". Again, for each spoke of the thiNC interface, each of the THCC rings provides one voice of this pitch configuration. A series of hue spokes around the thiNC interface show the composition of the transposed strings or pitches by the angle of the central angle span of the thiNC resolution and the number of divisions of the resolution, and in a series of times. (The 12 resolution thiNC interface has 12 divisions, each with a central angle span of -30 °). It may be functionally equivalent to a series of different hue chord roots or hue tonics. Also, in any alignment, the series of hue spokes basically forms a palette of hue spokes (representing potential color set choices). Music theory allows you to logically audition from such palettes and select chords to build more complex color sets such as chord progressions and music progressions. A single section configuration can be displayed in thiNC. However, those timed sequences can also be displayed. The thiNC interface provides a convenient GUI, but each hue spoke is sent as a color set to a set of pixels (as defined below) that contains the object array of the color output devices that make up the color. It can be expressed conceptually very effectively.

This system can "visually voice" the hue interval as a hue note on the "color object" in the dimensions of the color object along the color object path. This is achieved using arrays. After deriving the hue spacing using the m2h index, the use of such an array provides further correlation with musical aesthetics. By utilizing several steps to store and update hue notes in an array, the spatial representation of hue notes maintains a mathematical correlation with rhythmic properties in which the octave of the data composed of intervals is not reduced. increase. These procedures are further shown in Figures 37-48.

One way to use such a color object array is as follows. Sort the set of received pitches into pitch order (pitch order not octave reduced) and use the lowest octave reduction interval to convert each to an octave reduction interval value. Pitch defines the thiv of the first element of the array (color object) until every pitch defines each, and the interval with the second lowest pitch reduced octave defines the thiv of the second element of the array. .. Pitches that exceed the available array elements are "overflowing". It is clear that this will be explained later. The thiNC interface is optimally programmed by using vector graphics to create colored shapes, similar to displaying them in virtual form on a display screen. This helps to simultaneously display a particular hue chord with all available hue transpositions (within the current THCC resolution). (Hue transposition means the concept corresponding to music transposition). These transpositions can be chords, scales, or mode transpositions. Displaying them is the same as listening to them. (For visual clarity, sufficient THCC rings are required to display scale and mode so that both the outermost and innermost represent the unison spacing of that particular tonic). ..

In one embodiment, the sequence track reproduces the chord progression interval on thiNC, and the sequence remembers when to change the respective angle of the THCC ring. During playback of such a sequence, so many color relationships are fluid and dissonance is expected with such a number of colors, but conversely, harmonious musical material is used as input. If so, it is perceived as beautiful. Here, this hue spoke can be called "polytonal color harmony". Polytonal color harmony based on hue spacing is a very convenient color harmony effect. This effect can be achieved not only by using the thiNC interface, but also by offsetting the adjusted hue gradient to achieve the same pattern on any geometry that can generate an adjusted hue gradient. The polytonal sequence of color harmony is suitable for the exterior walls of casinos covered with RGB LEDs, the visuals of theme parks and amusement parks, and the architectural decoration of cultural gatherings. Any music material can be displayed as "polytonal color harmony".

As mentioned earlier, each THCC ring provides a single voice of chord or progression at a particular spoke. In music, the transitions of continuous beat pulses between nearby pitches (usually 1 to 4 semitones, the smaller the span, the smoother) are described as "smooth voice progression" because they are easier for the listener to hear. Has been. In the method of the invention, "smooth hue note voice progression" is achieved when the positions of the intervals near within the pitch of the continuous pulse are on spatially adjacent hue notes. This is one type of time-to-space conversion of aesthetics used in current methods. This type is essentially a "smoothness of pitch transition" conversion from the music domain to the hue domain. Another type of time-to-space conversion is related to frequency. The frequency of music is inversely proportional to the wavelength. Relatively low pitch frequencies are relatively long wavelengths. And a relatively high pitch frequency is a relatively short wavelength. As mentioned above, the large color shape of the outer THCC ring best represents the function of the lower pitch spacing of the longer wavelengths of music.

Thus, for example, most commonly, if the musical progression involves a bass melody voice and a series of chord changes, the bass melody voice may be uttered in the outermost THCC ring. And usually, if the progression of the music includes the voice of the top melody, the voice of the top melody may be most often uttered in the innermost THCC ring.

As mentioned above, the thiNC interface provides a means of communicating some of the features and methods of the invention.

Also, as mentioned above, the angle of each THCC ring (each voice) is based on the pitch shortened by an octave from the bottom of the interval used in the calculation. Here we describe the use of several types of spaced bottoms. As mentioned above, the section composition may be a chord. This chord can be input with or without a known duration.
If the interval configuration is a known chord with a known chord root, the interval bottom is that chord root. If the interval composition is a known tonal musical progression, the interval bottom is the tonic of the music. However, it is also possible to input an interval structure that is a chord of an unknown route or a musical progression of an unknown tonality. To enable this, by default, until the root of the chord or the center of the tonality is known, such incoming pitches, for example, with respect to what is referred to as "absolute cents" in the prior art, are arbitrarily spaced bottoms (AMIB). ) Can be processed. The default AMIB gives you the widest and most flexible spacing structure in your system. Structural information of music theory regarding the center of tonality, scales, and chords (including their roots) is later determined by the system or provided to the system. In the case of musical progression, further structural information is later determined by the system to allow for more analysis or creative manipulation using the rules and procedures of music theory. Or provided to the system. This additional structural information may include information about the routing strength of the intervals that make up the chord and the arpeggio (relative stability of the pitch represented by the pitch), harmony and melody rules or weights.

THCC rings (each voice) are usually defined from only one interval bottom. AMIB is an improvement. Using AMIB as the default provides a consistent spacing bottom for all spacing configurations and provides a fallback position if the user changes his mind about the tonic (or chord root). The data still refer to the original AMIB. To provide the rules of this disclosure, the approximate frequency 8.199445678hz (C-l, or C, expressed as "octave minus 1") was selected for absolute cent zero. Again, this is just a rule that allows multiple systems to communicate.

It can be seen that the central angles from these three types of spacing bottoms (chord root, tonic, AMIB) can be understood by basic calculations. As an improvement, the process of sending the pitch either receives the data or converts it into a format suitable for the MIDI system. In this format, the note value is a non-octave reduction central angle consisting of -360 ° per octave, and an octave-reduced version (pitch, also known as C or Eb). It is between -0 and -360 °. This is because the system may use intervals that are not shortened octaves in a way to map a color set to an array of color objects. Formats without reduced octaves (also represented as 0-127 MIDI notes #, pitch and octave (such as C5 and G # 2)) are spirals, and chromatic circle formats with values from -0 to -360 °. By repeatedly dividing by -360 ° until it fits in between, the octave is "decreased" (the result of the division is rounded off for each THCC ring resolution. Note the number of times to achieve this. Must be divided by -360 °. This is the number of octaves at the bottom pitch of the original interval. After dividing the octaves, take the rest (central angle) and rotate the THCC ring by this amount. The terminology of the 12-resolution thiNC interface is the same as counting the intervals of a piano. You can count up (and / or down) from any starting pitch of the piano to all members of the interval construct. (Use this as an AMIB), then multiply by 12 until the value that reduces each semitone span (number of piano keys, also known as semitone) by splitting the octave-semitone span is less than 12. To find, multiply this amount by -30 ° (the central angle of the chromatic circle and the THCC half note, which can be represented as 12 thiv of the 12 resolution m2h index). For each THCC ring, monaural music. The sequencer track spacing is the central angle span with the octave reduced from the AMIB to the spacing, which is the central angle span with the octave reduced from the AMIB to the current main note (if known) and from the main note to the spacing. It can also be expressed as the sum of the reduced central angle spans of the octave, and this interval is the octave reduction central angle span from AMIB to the current main note (if known) and the octave from the main note to the current chord root. It can be expressed as a reduced central angle span (if known), and can also be expressed as a central angle span in which the octave from the current chord root to the pitch is reduced.

As mentioned above, the polytonal color set that can be generated by feeding the chords and progressions of the music functions as a palette of hue spokes. Each hue spoke represents one possible example of a spacing configuration (if the spacing configuration is a chord, each spoke represents a chord from one particular potential hue root; if the spacing configuration is progressive, one. Shows only the progression along the spokes; all but one with a graphical cover] indicates the progression from one particular potential hue tonic). The user can audition the hue chord and progression and select the hue chord root or hue tonic to use. Users can also create new color set relationships by listening to chord substitutions or variations in hue spoke progression as defined by music theory.

Displaying a multi-tone set (all spokes at the same time) can also be performed as a color matching effect of the present invention, such as an LED light on a casino wall.

More generally, selecting a particular hue chord or progression palette requires the user to select a single hue chord root or hue progression tonic and use it to visually voice the hue spacing. (Similar to the general case of non-polytonal music)

To allow the user to achieve this, the GUI improvement is to provide a "cover" (preferably black) that the user can turn on or off (eg, show or hide as a vector graphic element). do). All rings except a single slice-out section show a single hue spoke (or a small hue spoke range if the resolution of thiNC is high enough). With this cover turned on, the user can audition the hue spacing composition according to a single chord root or a single musical tonic. By default, the visible hue spokes revealed by the sliced out section are preferably along a vertical radius (the intersection of the 6 o'clock or 12 o'clock position on the thiNC interface with the sliced out section). Be vertical).

In typical music, chord changes usually occur less often than one-third per second. However, melody notes can change faster than this. If you intend to cover the thiNC interface to visually voice the hue spacing with a single hue tonic or hue chord root, and if the innermost THCC ring represents the voice of the top melody line. , It is recommended to use another cover. Above this innermost THCC is a melody cover (a single hue note is displayed in the sliced section). In this top melody voice, it is desirable to change the rotation processing method.

This adaptation of the special methodology for melody voices often involves note changes that occur at speeds faster than 1/3 second. It is preferable that the color change at a certain constant viewing angle does not occur very quickly due to the limitations of typical human vision. Repositioning subsequent hue notes (or color objects where hue note transitions occur) with respect to the pigment in the viewer's eye can help improve this. Therefore, this innermost THCC ring can be left stationary, but the melody line audio spacing above it can be used to rotate the melody cover instead. Therefore, the melody spacing is displayed "around the ring" rather than the spokes. A similar methodology can be applied to color objects such as color lights where a series of notes, including bass lines, is a fast melody, a visual display of bass lines, or a rapid musical "riff" in the middle voice. .. (Keeping the hue notes moving is also applicable to "percussive hue notes" where the rhythmic material flashes white or is visualized as an unsaturated color object such as a shade or shade).

This static THCC ring can be thought of as representing a special melody color object array (the color objects that make up the array are time-to-space where relative cent or semitone interval increments are converted to relative ones. Based on the form of conversion to. Spatial position is, for example, along a line formed by a series of color output device pixels (as defined by the pixels shown below) for displaying hue notes by the viewer. Increments according to the recognizable definition geometry.

As an aside, one of the things you can observe is the thiNC interface as shown in Figure 14. Not only does each spoke have its own set of colors with its own physiological and cultural effects, but the adjacent hue notes of each spoke are in terms of the relative JND characteristics of the color range shown. Varies. If both adjacent hue notes are in the range of the MacAdam ellipse being relatively very small or relatively very large, this can affect the user's color set decision making. The thiNC interface can be used to assist such user decision making. These factors are most applicable when adjacent hue notes in the spokes are based on octave-reduced semitones (eg, C and B, E and F, or any pitch interval in this octave-reduced span). Adjacent hues based on). When the JND is narrowed, the functionally corresponding hue semitones are more dissonant than they would otherwise be. If the JND is wide, the semitones of the functionally corresponding hues may be less noticeable in function (such as lead function or "pull") than in other cases. Logically, this can be considered to depend on the size of the hue notes involved (experienced by a particular viewer) and where they occur in the field of view. However, the purpose of the above description is to be aware of the effects of these factors on thiNC in the case of data consisting of pitches containing such octave-reduced semitones, and if necessary, the desire for actual colors. It is to weight these factors against. Then adjust the chord root and tonic hue choices to achieve the best overall results.
Color Harmony Prior Art-Key color and complement switchable

Figure 15 shows the major color vs. complementary color combinations of color science, "slightly" away from the color science complement of the present invention, in order to achieve hue P5 at -210 ° and hue P4 at -180 °. Shows the use of "color arc". "Key color" (hue chord root or hue tonic) as the most important hue interval of the present invention. Why is this important along with other comparisons between music theory and color, when color is definitely not music? In the conventional technique of color harmony, the key color and its complementary color can be exchanged with a color wheel. In the present invention, it was understood that the decrease in musical pitch corresponds to this "more energetic, tense, ambivalent, atonal" behavior (indicated by the colors connected by the red arrows in FIG. 15). Has been). The "complementary" relationship between yellow and violet used the red, yellow, and blue color wheels, but the opposite colors on this red, yellow, and blue wheel are the more modern scientific definition of complement. Often does not comply with. In other words, the artist may have been able to perceive that this yellow and violet color pair is actually acting as a basic harmony pair. The current method has determined that it is acting as a violet-rooted hue P5 (which means that violet can be used to create a sense of resolution when displayed after yellow). Further research believes that other hue spacings of this method should be manners that functionally correspond to their musical counterparts when producing vibrant hues. Therefore, reducing and increasing the spacing should create an interesting sense of energy, tension, or uncertainty. (And if they are placed too close to each other for simultaneous display, or if they are not vibrant in hue, the pair can create an unpleasant discord). Other intervals are also expected to produce functionally corresponding effects, but usually as individual hues convey the expected physiological and cultural effects. On the other hand, it was observed that the decrease in pitch and the increase in pitch were the cause of the degree of excitement of contemporary music when used skillfully. For example, the diminished seventh chord is essential to the main chord, and the diminished seventh chord and the dim7 chord are intriguing, help harmonious movements, and allow the modulation of literally countless jazz tunes. Also, the min7b5 and min6 chords are the keys to enable minor cadences and minor jazz tones of melody and harmony. And Lydian-based melody lines (which harmoniously emphasize reduced pitches) are popular in modern rock and fusion. Meanwhile, many popular song and movie soundtracks include Led Zeppelin's "Stairway to Heaven," Eddie Money's "Baby Hold On!", Star Wars' numerous accompaniment, and Pink Floyd's "Us and Them and Dogs." And Beatles works such as "Michelle," "Something," "lam the Walrus," and "She's So Heavy" use progressions that respond to extended chords. In contrast to P5 and P4, which define a more relaxed tonality above, these are energetic and often tense pitch configurations. These examples are C and G pitch class sets, which can be either P5 or P4, depending on which pitch is the root. This pair of knowledge can be used to enhance the route (as P5) or to create the often desirable effect of pauses (as P4) at each timing context and inversion. There are 3 and 6 degrees between very energetic, vague or tense intervals and very tonality-defining intervals. Major third and minor third pitches add a layer of nuance to the triad. All of the above nuances can be synthesized by stacking one-third, adding M6 spacing, or adding one-ninth. Second, there is a denser spacing structure that adds a whole new dimension, described as "mystery" rather than "tense". Sus chords, such as those used in Led Zeppelin's "The Rain Song," help create this sound ("The Rain Song" also uses extended chords, and probably extended suspension chords as well). You can create another such chord, a major 7 flat 5 chord, a complete mystery sensation. In music, the nuances of intervals and the stacked thirds and fourths are used like the whole language. But music is clearly based on a simple pattern of nature called harmony that exists in nature. However, the reasonably corresponding relationship in the hue sensation domain is unexpected for the reasons expressed in the prior art literature.

LED Strip Light Example-Corresponds to the strip light in Figure 16.
Definitions of the terms pixels and pixel units used herein Figure 16 shows some examples of LED strip lights. The RGB LED strip light is an example of a color output device. For purposes of illustration, the term "pixel" is used to refer to an embodiment or theoretical configuration that manipulates the relative power of a series of color mixing components such as red, green, and blue. Perhaps along with the spot color component, it is the intensity variable of the primary component). Accordingly, in the present specification, a "pixel" is an RGB that achieves a single color from the viewer's point of view using a single iteration of this configuration (the configuration is a variation of a computer program of mixed color components). It can represent an LED color output device. (In many cases, especially with respect to the present invention, in such cases, a mixing means such as a diffusion filter can be used to prevent the observer from seeing the individual color mixing components). Pixels can be local bundles of LEDs of any configuration. However, it can also be a group of RGB LED lights "pixels" such that the same set of color mixture component values are transmitted at the same time. In this case, we call this group "pixel-by-pixel" (because, in effect, a group receives only one color at a time, much like a pixel on a computer's display screen). Pixel groups can be of any size consisting of any number of LEDs.
Alternatively, the color output device may consist of n (independent) pixels and thus may function as n color objects. Nonetheless, pixels and pixel units are two simpler configurations that act as color objects. Similar configurations exist in a virtual sense, such as when the entire vector graphic object is of uniform color and is known for the current set of pixel positions. This is sometimes referred to as a virtual pixel unit. Virtual color objects may also be more sophisticated than this, including textured effects. A color object's "device" is a structure that allows you to manipulate the actual or apparent (virtual) spatial position of the color object. Here is a very simple case so that this method can be properly interpreted from the most general point of view.

12 Example of blocking in terms of resolution THCC Now let's look at Figures 17-22. Explain and illustrate examples of working with such track types, including tracks containing melodies, bass, and chords (chord roots have been detected as described above) (in some embodiments, each piece of music). Multiple hue notes for chords are utilized). For simplicity, we don't simply use bass notes and / or chord roots here to harmonize with the melody. This makes it possible to convey the use of the present invention in embodiments using simple RGB LEDs. Remove the light as a color output device. In the case of this example, each of these track types is shown to result in a series of hue intervals that are displayed over time in the RGB LED strip light set. Each RGB LED strip light receives only one color at a time as a set of RGB components (that is, each acts as a pixel by definition above). (Many strip lights allow you to address each RGB LED or its bundle individually, but this is not necessary here.)
Note that the THCC can be arbitrarily aligned to the pitch of one octave. Later figures illustrate the use of variable arrays between music and hues of the m2h index. Next, the use of independent musical tonics (related to input) and hue tonics (related to output) will be described.

In the section on the association between the music chromatic circle and THCC above, you can select 1) a) static (fixed, immutable) direction (between the music and hue that can be expressed by the music chromatic circle in relation to THCC). Or b) Use the default direction (either is optional) that can be offset between the pitch domain and the hue domain. Here, for the sake of simplicity, the static orientation is used in FIGS. 17 to 22. Since the music used in these figures is on the F key, we use a static correspondence such that the placement between the music chromatic circle and THCC is F = violet. In FIG. 15, the value 0 can be arranged in any hue. This indicates that it is a hue tonic. This is based on the 12-resolution THCC spacing arrangement in Figure 12. This indicates a 0 (optionally acting as a tonic) aligned with the violet, as violet is actually the recommended default hue tonic. However, in the music visualized in FIGS. 17 to 22, since the tonic of the actual music is F, the hue matched to F should be the center of the hue of the hue interval output by at least one color output device. Can be done. That is, of course, when the interval composition of the songs has a strong tonality. (Also note that if you don't know the tonic of the actual music, you can use the tonic C of the default music.)

FIG. 17 is a diagram showing various components used to "block" different color sets for the following example.

Figures 18-22 vary from one channel to three channels with respect to the number of channels. The data consisting of the pitches of these example channels (as notes of a particular length and note rests) can be entered directly from the leadsheet as an octave reduction value of 0-11. Dynamics / velocity information is not required for this process. (Actual exact note duration and note rest information is not entirely required, as a typical chord progression can include whole note chord tones, such as whole notes and half notes. In such chord progressions, for a given time, if no subsequent Note On for that note number is found in the range, then the entire note or each of the note numbers continued before the end of half the note time. Note Off can be automatically inserted in. For each received pitch, the system obtains the functionally corresponding hue interval value as the thiv of the m2h index. Figures 18-22 show the results of the blocked hue notes. The height of the blocked hue note is arbitrary. The horizontal length of the hue note block is determined according to the length of the source note, and the example in the following figure is generated for this. The arrangement of color sets derived from music is output.

Figures 18-22 represent a sequence that can be generated with one or more RGB LED strip light color objects. This is effective as an in-store advertisement, such as when it provides aesthetic appeal, attracts attention, and is placed in a window outside a newly opened store. The pitch data used as inputs in Figures 17-21 comes from the eight-bar pop music chorus section of "Don't Let The Sun Go Down On Me" by Elton John and Bemie Taupin. Rights are owned by Hal Leonard Corporation and have sought permission for this reference).

FIG. 18 shows blocking only the melody sent to one single 1-pixel strip light.

FIG. 19 shows blocking melody and bass so that it is sent to two 1-pixel strip lights.

FIG. 20 shows blocking the melody and chord roots that are also sent to the two 1-pixel strip lights. The hue notes of the melody line have an aesthetic flow related to the root of the chord. This mimics what happens in the progression of music composed of melody and harmony elements. Most melodies incorporate "harmony" as a result of the intervals that make them up. There is a persistent effect of the interval over time, regardless of whether the interval itself is persistent. Therefore, the composer can interact the "color note" with the chord tone and the chord tone with the chord root. And there is a possibility that a solution will occur if there is a delay from the expectation. The observation that hue notes share this effect is fundamental to the usefulness of the present invention. This effect is present whether the hue notes are created in an animated format or via a still image [the dimension of time is displayed along a line or curve]. The melody and bass hue notes (as shown in Figure 19) can be aesthetically interwoven in the same way as the melody and chord root, but are more delicate. The effect is more pronounced when the melody is displayed against the root of the chord.

FIG. 21, shows blocking melody, bass, and chord routes so that they are sent to three 1-pixel strip lights.

FIG. 22 shows blocking the melody, bass, and chord roots as described above, and shows the numbering of hue intervals according to THCC at 12 resolutions. (Because the numbering in the previous figure is omitted, the colors in the figure represent the intended sequence of hue notes more simply and clearly.)

The Iv-VI hue tone interval construct may or may not have a known musical tonic. And this interval configuration is often auditioned to various hue keys (using different hue tonics) by transposition until the most appropriate one is found. It makes sense to adjust the musical tonic and preserve the spacing so that it best represents the tonality determined by the proper Western music theory of the composition itself. Determined musical tonality (this is what we call hue tonality here). Hue tonics are usually selected for aesthetic effects. Alternatively, you can set the desired key color on the logo or stage background. Hue main sound settings or changes may also be made to reach a particular hue (or their hue and hue) of interest. Experiments to reach these desirable conditions may include a combination of transposition, chord substitution, and reharmonizing until the most desirable color set is achieved. Note that in Western music, a significant proportion of cases are fairly obvious, but there can be ambiguous conditions as to what is the current center of tonality. And the non-absolute color tone situation influences the user's decision making. For example, a real or perceived momentary change in tonality may be a good time to introduce a change in the hue key. The improvements in Figure 22 are estimated below.

Iv-VI Hue Tonality Figure 23 shows the hue tonality using six exemplary hue tonics using the Progressive IV-VI on the tonic pedal, each of the 24 total hue tonics. Shows 6 sets. The hue tonic travels equidistantly on the THCC and is essentially divided into 12 positions. For each set, (1) the color of the thick line box (acting as a pedal tone) around the progression is defined by the tonic spacing. The other rectangles are defined in hue according to the associated pitch. Working upwards from the thick lines that form the bottom of this box, (2) a thick rectangle that functions as if it provides a triple route in the bass range is placed. (3) The next lowest rectangle acts as the triple root of the treble register, followed by (4) the third rectangle, and (5) the rectangle acting as P5. Above these, there is a thick line that forms the top of the box, but since it has the same hue value as the first hue chord tone, it will not be relisted. The IV-VI chord spacing follows its very simple arrangement, going from left to right. The IV-VI progression of each hue tonic progresses downward from row to row. In our hexadecimal notation described in Figure 9, this progression is as follows:
From the tonic: From each chord route:
IV) 05590 70047
V) 077b2 50047
I) 00047 00047
Ii-VI Hue Tone_Figures 27-30

Accidental Correspondence Regarding Color Matching Function Figure 24 shows a perhaps coincidental correspondence between the peak of the color matching function shown below and the preferred (linear) hue semitone (hue semitone) of the present invention at approximately 21.7 nm. There is. Physiological studies that may support things like the visible spectrum

FIG. 25 shows the proportions found during the study of the present invention, corresponding to the contralateral channel allegedly involved in the human visual system. It is unclear whether these ratios are somehow involved or meaningful with respect to the present invention. Color harmony for the present invention can be considered to include a hue gradient such as the visible spectrum. We have noticed that these proportions of the contralateral mechanism occur almost along the gradient of the visible spectrum. At least Figure 32 is based on the figure published in Richard Jackson's Computer Generated Color, showing contralateral channel signals by electrode recordings from contralateral ganglion cells. Unfortunately, there is not enough information to make a complete guess, as this book does not show the specific source of the figure (human physiology, primate physiology), but it is included for completeness. ..

Chromatic Circle as Base for Spacing Helix Figure 26 shows the use of a chromatic circle as the base for the GUI of the 3D spacing spiral of the present invention.

Spacing spiral Figure 27 shows the spacing spiral. The interval helix of the present invention is a 3D spiral structure particularly related to pitch, and an increase in vertical height is associated with a decrease in music wavelength and an increase in music frequency.
The relationship of hue spacing that correlates with pitch can be expressed as a 3D position on the spiral of spacing. The interval spiral is a convenient visualization tool because it simultaneously represents the interval with reduced octaves and the interval without decreased octaves. By convention, the "arbitrary pitch bottom" (AMIB) on the interval spiral is C, octave = "minus 1" (Cl), MIDI note # 0, = 8.175798916 hz.400, optional, as shown at the bottom of Figure 22. Shows the "musical tonic arrow" colored in green. This is an arrow that points to the tonic of the current music (the root of the current music key), which is defined in the sequence file or defined by the user's direct input. (In a preferred embodiment, both the music tonic and the hue tonic can be present for the interval data.) In virtual form, it rotates around the central axis of the interval spiral and is the music chromatic circle of the current music key. Point to the almost cent position above.

Use of non-decreased pitch values and spacing from amib equiv to Midi note number notation (including octave and pitch) (eg C5 or D # 3)
The m2h index is configured to search for a hue interval that functionally corresponds to the received pitch to be searched. Octave reduction is typically performed at the pitch in the system before routing to the m2h index, in a format that matches the octave dimension of one color of the THCC-tuned hue gradient. In a more preferred embodiment, the received pitch is in the form of both octave-reduced and non-octave-reduced values from the AMIB. This rule is equivalent to a MIDI music sequencer that references MIDI note numbers with pitch names and pitch octave numbers. In the present invention, the interval at which the octave is not reduced is important. Both the octave-decreased interval and the octave-less interval must be clearly inferred in the GUI (this is a feature of the Piano Roll GUI and is the pitch for the piano key representation to recognize the pitch class of the values. Shows the relationship (for a repeating 1 octave black and white key pattern). Just as unoctave tunes play a role in musical aesthetics, so does color aesthetics, which derives from intervals where octaves are not shortened. Understood (expressed through the relationship between color objects and their sets, which will be described later in Figures 38-49).

Interval Spiral in Hue Spacing Helix Figure 28 shows a GUI format (including a tuned pitch spiral and a tuned hue spacing cylinder). It allows you to visualize the relationship between the world of music and the hue composition, displaying the transposition of the tonic and the voicing of the undecreased pitch that is input when arranging the hue notes in the color object array. include. In this figure, two circles, a music chromatic circle and a THCC, are extruded upwards in relation to multiple octaves of music, forming an adjusted pitch spiral (TMIH) and an adjusted hue spacing cylinder (THIC). .. Visually, as a GUI, this has the advantage of displaying the spacing relationships that make up the spacing configuration, both in terms of octave-decreased relationships and octave-free relationships. Because the "hue octave" can be simply repeated for every musical octave (changes in the octave can radically change the timbre of the music), the hue dimension is more useful in later figures. , Here we consider it as a simple cylinder. (Each hue octave is a spiral cycle through THIC following TMIH).
(TMIH height can be used to determine other non-hue variables, such as color object size, brightness, lightness, saturation, texture (reflectance, opacity, etc.), if desired. It is imperative that there is no specific direction of rotation between TMIH and THIC (around the vertical z-axis). It works in any direction because it is basically a tuned hue gradient.

As in Figure 34.400, Figure 35.410 shows a "music tonic arrow". Music key arrows are used as part of the description of the more preferred offset method of the present invention. Offsets and defaults shown in Figure 22. Introduce M2hcmb, Ibp, M2hoffvar, Mto, Hto.

If the m2h index v method does not include an offset variable, this arrangement is a choice of embodiment (fixed, not user adjustable). However, since both music and hue spacing can be transposed musically in the current way, at least the basic offset function is usually provided using m2hOffVar. This allows automatic and user selection of various arrangements of values stored in the sequence (written to memory or recording media). More optimally, one embodiment uses two separate indexes, the first for searching for pitches and the second for searching for hue intervals, because the directions can be offset incrementally. The hue index can be recalibrated in case of hardware fluctuations. It is more preferred to provide one offset variable to set the music tonic and another second offset variable to set the hue tonic. This will be described below.

In one embodiment, any orientation fixed during the design of the embodiment is selected so that any note is functionally aligned with the corresponding hue. This system does not have an offset function and cannot be adjusted by the user.

In one embodiment, the violet is selected by the designer of the embodiment so that it has a fixed alignment with the musical tonic of the source music data (because this alignment is likely to work well). This relationship is fixed and cannot be adjusted.

In one embodiment, the basic offset function is added by the user using a single m2h offset variable (m2hOfVar) implemented in a "wrapping" lookup table consisting of m2h cent measurement bins (m2hcmb) containing thiv. (See Figures 29 and 30 below). In a preferred embodiment, the concept of "absolute cents" is used. Absolute cents are a convenient musical theory practice that allows indexing of cent intervals from specific, potentially arbitrary points. Based on the functional correspondence of the present invention, the absolute cent of music functionally corresponds to the absolute cent of hue. Therefore, m2hcmb provides a means of measuring correspondence. Once the pitch span (the "upper" span from the "arbitrary pitch bottom" (also known as AMIB)) is obtained, it is reduced by an octave within one octave from the AMIB (according to the existing resolution) (for example, figure). See 33). Then a single m2h offset variable is obtained. This controls the amount of offset added during the search for thiv. (This allows you to create a new m2h array for responding to music tonics and selecting new hue tonics). This is basically the same as offsetting the rotation of THCC from the music chromatic circle (as a visual analogy). The offset function for each octave reduction will be a wraparound function or a modulus function of the existing resolution. For example, for angles, it is a mod-360 ° function (of course, divisions smaller than 1 degree are possible).

4) In one embodiment, the members of a subset of m2hcmb (equidistant to each other), including thiv, are special points called interpolation base points (IBPs). When one of the adjacent pairs of IBPs is adjusted by user input, the program triggers an automatic readjustment of points between the adjacent pairs (see Figure 29 below).

5) In one embodiment, the use of certain "arbitrary pitch bottoms" (AMIBs) is used as a reference point, making pitches potentially independent of their pitch and tonic (for memory and processing).

6) In one embodiment, the AMIB rule is selected from C-l, and MIDI note # 0, = 8.175798916hz, which is the "absolute" of "any pitch bottom" (AMIB), which is particularly suitable for MIDI input. It's a "cent" version, but it can also be used for audio input.

7) In one embodiment that provides an offset function, the music on the C key is common, and the music on this key has no sharps or flats, and is therefore more often the simplest, so the pitch C is Selected as the preferred default musical tonic.

8) In one embodiment that enables the offset function, hue violet is used as the default hue tonic.

9) In one embodiment, offsets to compensate for changes in the music tonic away from the default music tonic are made possible by a new offset variable called the Music Tonic Offset (MTO), offset to compensate for the hue tonic. do. Changing the musical tonic away from the default hue tonic is made possible by a second new offset variable called the hue tonic offset (HTO). It is possible to reach the same layout as m2hOffVar, but these two different functions are applied differently and can be controlled separately or stored separately in memory, files and media, which is convenient. This naturally evolves the understanding of changes in aesthetic preferences and spacing composition, allowing users to track and narrow their choices. This point [Point 9]
Now, the MTO and HTO refer to a simple "two-step operation" (m2h index bin (m2hcmb is directly associated with thiv) with the prime pitch interval index (PPI) bin (m2hcmb) as shown in the next embodiment. Used in comparison) and prime hue index (PHI) bins (compared to thiv). Instead of splitting the M2h index into two separate indexes, you can simply reuse the same index later. Each mathematical action of offset (from MTO and HTO). Therefore, in this embodiment, the pitch and hue spacing are provided with the same m2h index (although there cannot always be independent resolutions for music and hue). Here, the system is instructed as follows. Find the pitch interval of the music, add the current MTO, then add the current HTO, and finally find the adjusted hue variable value to determine m2hcmb #. The disadvantage is that it requires an unnecessarily high m2h index resolution. Music pitch Bend, vibrato, and portamento features must be repeatedly tried to be tracked accurately. The m2h index is split into PPI and PHI bins to avoid unnecessary computational redundancy if the hue spacing is applied or reapplied only in the hue domain.

10) (The PPI and PHI bins referenced in this paragraph and this document are independent cent measurement bins for absolute music cents and absolute hue cents, respectively, and m2hcmb and thiv numbers are not the same and are processed separately. Will be). In one embodiment, the m2h index comprises two indexes (or a table within them), a pitch span "index point" (acting as an absolute cent pitch map) and a hue spacing span "index point" (absolute cent hue spacing). Acts as a map). It solves the problem of unnecessary computational redundancy as described in the embodiments described above and is more customizable for specific color output hardware and specific music input means. The m2h index of one table consisted of m2hcmb containing thiv. In embodiments of these two tables, they are now referred to as prime hue spacing bins (PHI bins). The PHI bin can contain a subset of interpolation base points (IBPs). Both are shown in Figure 29. On the other hand, the pitch map is composed of pitch span index points, and the values are stored in what is called a prime pitch interval bin (PPI bin). In particular, in this embodiment, the resolution of the music does not have to be the same as the resolution of the hue, and it does not necessarily have to be associated with it. The m2h offset variable, which is MTO + HTO, shifts the direction between PPI and PHI (similar to musical transposition).

This allows the same basic computer program to be used on many color output devices. Therefore, music can be detected in high resolution (high resolution PPI bin), even for certain color output devices that require lower hue resolution, and this information can be used to determine other properties besides high resolution hue. Can be driven. However, it is rounded at low hue resolutions (sorted at the lower resolutions of the PHI bins available on certain color output devices). Even a single offset variable shifts direction between PPI and PHI (similar to musical transposition).

Further elucidate the above points.
First, we return to the exemplary visualization described in the previous section. This was obtained by forming the spiritual concepts of a musical chromatic circle (inside) and THCC (outside) with two circles that share a common commonality, with the same center. The central angle (interval angle) from the center of both of these circles was said to represent the interval between music and the interval between hues. Once the tuned hue gradient is properly tuned and the color output device is able to produce reasonably saturated colors for the required hue notes, any alignment of the THCC and the music chromatic circle will work. In one embodiment, fixed alignment designed to match a particular color setting or need can be used. For example, you can make an embodiment of a Christmas wreath, and Christmas colors such as red and green serve as the key to possible colors for playing Christmas songs.

Measurement bin (M2hcmb) and Ibps (interpolation derivation subset)
FIG. 29 shows the m2h-cent-measurement-bins (m2hcmb) and the interpolation base point (IBP). Figure 29 stores one "hue octave" of thiv at a resolution of 5 cents per bin of m2hcmb (ie, 240 bins, 12-ET, corresponding to a music span of 5 cents each, 20 bins. The span corresponds to the pitch span of a half note, also known as one half note). Also, for every 5th m2hcmb, 48 interpolation base points (IBPs) are shown, shown as short colored cylinders. When implemented, IBP can act as a "master m2hcmb", so editing IBP thiv causes compensatory reinterpolation of adjacent thiv. Implementing this feature allows users to quickly readjust m2hcmb as needed. In Figure 29, the span between each of the 240 thiv (stored in m2hcmb) is treated as functionally corresponding to the 5 cent span between the 12-ET frequencies. Here, 8.175798916 hz is arbitrarily used as an arbitrary pitch bottom (AMP3), and the default violet corresponding to this 8.175798916 hz frequency and its octave is arbitrarily selected as the default hue tonic.

Calculation of M2h Index In one method, the m2h index is constructed by mathematically defining the bin frequency threshold boundary using the AMIB frequency as the lower bound of the first m2hcmb. From this, n upper threshold boundaries are calculated as the nth root of 2. For example, if you need 240 resolutions (resolutions every 5 cents, or 240 m2hcmb per hue octave), multiply by the frequency of any music. Multiply the interval bottom by the 240th route of 2 (about 1.00289228786937) to find and save the top of the first m2hcmb, and multiply the result (which also acts as the bottom of the second m2hcmb) by the 240th route of 2. Find and save the top of the second m2hcmb and continue until you find and save all the top and bottom values of 240m2hcmb. Next, Thiv is associated with m2hcmb and forms the m2h index.

Example of M2HCMB at main wavelength Figure 30 shows an example of m2hcmb. This figure contains the main wavelength values (if in the DWW). In one embodiment, the m2h index is created with a resolution of 240 m2hcmb, as shown in FIGS. 29 and 30, and the hue is adjusted according to a hue gradient such as the visible spectrum shown in FIG. Then, it is arbitrarily aligned with the incoming pitch from any pitch bottom (AMIB) of 8.199445678hz (Cl, that is, C "octave minus 1"). For any fixed array for a hue gradient, such as the visible spectrum, the frequency of 8.894455678hz [Cl] acquires or determines the hue of purple. The frequency is a multiple of 1.05946 (...) from there. That is, the MIDI note #Cl gets or determines the indigo hue according to the conventions chosen in this document. Dl acquires or determines medium wavelength blue and the like. All octaves are reduced to this octave, ranging from Cl to just below CO, so COs of these interests are considered to be the next octave. ) In Figure 30, the column with the header marked "m2hcmb #'s" contains a list of measurement bin numbers for m2h cents. The bottom of the frequency in each row is shown in the column just to the right of the cell containing the bin number. Incoming pitches are classified into a particular bin if they are above or above the bottom of the frequency just to the right of the cell, but below the bottom of the frequency listed in the next row.

In one embodiment, the frequency is detected in a set of data events consisting of incoming pitches. Its frequency is reduced by an octave to a real number. Then a sort is performed and the m2hcmb # containing the span from which the real number is found is searched. The placed m2hcmb # contains the thiv approximation of the measured interval.

In Figure 30, m2hcmb (also applicable in Figure 31) is shown by the lowest bin minimum at 8.1757898hz (also known as bottom), which means the minimum bin max just below 8.99345679hz. The bin is shown this way for simplicity, but in reality the range of m2hcmb is not the minimum value for the target, but the center frequency of the bin (in this case about 2.5 cents from the bottom) as the target frequency. It is more appropriate to configure. For example, in Figure 30, m2hcmb # 1 (m2h-cent-measurement-bin number, also known as m2hcmb number, see column 4), the center value of the bin is 8.1757898hz. About 2.5 cents below that is the minimum value for the bin, and about 2.5 cents above that value is the maximum value for the bin.

So far, I've explained how m2hcmb works. I explained m2hcmb and IBP, which can easily visualize the basic offset for each m2hOffVar by simply rotating the THCC around the music chromatic circle according to the amount of m2hOffVar. As this basic principle of offset applies to Figure 30, bins containing frequencies larger than the m2hcmb bottom and smaller than the m2hcmb top do not point to that m2hcmb (thus calling thiv for each major wavelength in the rightmost column). No), but increase the offset from that position until you find the target m2hcmb, and call thiv for that m2hcmb instead.

Since the data including the pitches used by the present invention often have tonality characteristics (note that both the degree of tonality and the stability vary), the use of offsets by the user is often the following: Either. 1) Find a tonality that is more appropriate than the default tones according to the characteristics of the music (if the default is not ideal), or 2) Match the mood, logo key color, architecture, stage background, etc. Tonality is assumed according to. Tonality means that a particular pitch "sounds like a house." That is, it is the resolution of other pitches that form the pitch in the data including the pitch. Since the term tonic is related to the term key, a musical tonic has a related music key and a hue tonic has a related hue key. (Since the key signature is shared in all included modes, the term key signature is not the same. For example, the C major has the same key signature as the A minor, but the pitch "C" is the former, the pitch "A". Is the tonic of the latter music.)

Next, we need to consider tonality and keys. For the same reason, we didn't need the music tonic default and the hue tonic default, as long as the music and hue adjustments were each assumed to be flexible. This assumption is not true, but if so, the more subtle effects can be ignored. Therefore, in such a system, if a particular alignment priority is required (such as aligning the tonic to violet or another color), the known music tonic (or test case music tonic) of the data You can do this by simply increasing the offset in the modulus (thus "stepping through" the alignment position) until it matches the desired hue tonic.

In this case, in one embodiment, the m2hOffVar can be controlled directly by the user in real time. In another embodiment, m2hOffVar can be controlled by placing m2hOffVar "change events" at multiple locations in the sequence.

However, due to the subtle aspects of hue and musical tonality (both usage and effect are different), the ideal usage is in the form of MTO and HTO settings and their "change events". It depends on the user's ability to save, modify, and organize music tonic settings.

In one embodiment, the MTO and HTO can be controlled directly by the user in real time. In one embodiment, the MTO and HTO change events are placed at sequence positions to make the desired changes.

The purpose of assigning a music tonic to a file is to enable control based on the harmony relationship contained in the music pitch interval data. This can be easily determined using music theory algorithms in the most common music. Hue spacing, on the other hand, is even more essential for aesthetic decision-making than a singer who arranges the work to fit into a particular color (which has a significant effect on mood and energy) and color context (similar but within scope). Is much defined by). The choice of hue tonic is unique and important as a process, as each different hue has such a unique physiological and psychological effect. Therefore, the selection of the hue tonic can be considered a major function, and sometimes it may be the first function to be performed.

In one embodiment, the selection of a hue tonic is made possible by providing a set of potential hue key palettes for the user to make a temporary or permanent hue tonic selection for viewing.

Furthermore, the importance of hue tonics, by their very nature, is to derive intensities from data composed of specific pitches with specific "home" positions. Therefore, creating a "hue tonic" means finding a particular hue that matches its "home" position in a particular pitch data set for the data containing the particular pitch being manipulated. .. (And in that arrangement, the other hues perform important functions, such as when constructing a Dom7 type hue chord.) Therefore, as described above, in one embodiment, the data composed of pitches or their thereof. The section can be marked as a pre-determined musical tonic change event. In addition, if the user manually changes the new music tonic in the system in real time (for example, if the pre-determined music tonic in the section is considered incorrect), this will quickly change the orientation of the system. An arrangement is created between the new musical tonic and the existing hue tonic. Music tonics are like an aspect related to music theory of finding a "home" in the pitch of music, but it is the singer's scope, purpose, or purpose that influences the hue tonic. Often it is done to transpose to match the quality. However, this general approach can also be annoying. Nevertheless, MTO and HTO are essentially related. In one preferred embodiment, the angles that cause their arrangement are summed to find a position in the m2h index where the intervals of the incoming music pitches are measured. This interval measurement determines the thiv used to color the hue notes, and this sum is equal to m2hOffVar compared to the default musical tonic of pitch C (AMIB in undecreased octave format). Note that from this position, in the preferred embodiment, it forms the absolute cent index of the PPI bin. The most preferred system embodiment utilizes both octave-reduced and non-octave-reduced values based on absolute cents from AMIB. AMIB matches the violet default hue tonic. This can act as a "zero hue" where the absolute cent-based index of the PHI bin is formed). Changing the tonic of the music, by its very nature, affects the output of the hue, but changing it should leave the current HTO (corresponding to the tonic of the current hue) defined internally in the system unchanged. Also, changing the hue tonic affects the pitch adjustment, but the current MTO (corresponding to the current music tonic) defined internally by the system must not be changed.

The m2h index consists of a PPI bin and a PHI bin (independent bins for pitch and hue spacing). Although shown as a single table, PPIs and PHIs are separate, but may be in connected tables. When an incoming pitch is received, the MTO and HTO values are summed, the sum is reduced by an octave, and the number of PHI rows moving down from the PPI's received row position is shown. (PPI and PHI are m2hcmb for measuring music cents and hue cents, respectively).

When AMIB is implemented, the C-l and MIDI note # 0, = 8.175798916hz conventions are selected, pitch C is selected as the preferred default musical tonic, and hue violet is selected as the default hue tonic.

Figure 28 is used to show the relationship between AMIB, m2hOffVar, MTO and HTO to TMIH and THIC. (These relationships are further shown in Figure 32).

Figure 35 shows three items, each sharing a common center. 1) Black TMIH represents the vocal aspect of undecreased octave music pitch values and their potential hues, and AMIB is at the bottom of C-l (8.199445678hz). 2) The sliced green pie under TMIH represents the tonality / tonal space of the music. This can be thought of as being substantially rotatable about the vertical z-axis using the 410 musical tonal arrows. 3) THIC is represented in the drawing by showing the upper cylinder THCC and the lower cylinder THCC connected by a pair of lines representing the surface of the cylinder. On the 420, the hue tonic handle for rotating the THIC vertically around the vertical z-axis is shown in black. In the default state, both the MTO and HTO are in the default position of -0 °, and the 425 nm violet on the hue tonic handle is aligned with the tone center and pitch "C" indicated by the green tonic arrow.

In Figure 28, the -0 ° position (6 o'clock position in Figure 26) is shown with a slight shift to the right, which is also the trick used in Figure 27 to add perspective. It simply made it easier to express the note value of TMIH.

The hue tonic handle can be used to visualize from the 28 states shown in the figure. Rotate the THIC about -338 ° (or positive 22 °) to align the system to the default alignment so that C aligns with 425 violet. Figures 30 and 31 convey this condition without applying any offset, and the input pitch C (unison spacing from AMIB) is violet hue and C # (minor second spacing) with a main wavelength of 425 nm, 446.7. Produces an output of indigo hues with a main wavelength at nm. To keep things simple, let's move the hue tonic handle and the music tonic arrow only in the positive direction (counterclockwise). Assuming the hue tonic handle is in the default position (-0 °), when moved 30 °, pitch C produces indigo hues with a main wavelength of 446.7 nm, and C # is a medium blue with a main wavelength such as 468.4 nm. Generate hue. (For example, there is a -30 ° shift around THCC in the array between all input pitches and all hues. You can think of it as HTO-30 °.) Conversely, the music tonic arrow is in the default position (- At 0 °), moving 30 ° (up to pitch B) means that THIC also moves 30 °. The purpose of changing the tonic of music is to match the tonic of the new music with the tonic of the existing hue. (That is, the arrows of THIC and the tonic of the music cancel each other out, so the net change shifts -30 ° around THCC at the alignment between all input pitches and all hues. MTO-30 °. (Of course, the purpose of changing the hue tonic is also to match the new hue tonic with the existing music tonic.) Therefore, pitch C is the hue of the indigo with a tonic of 446.7 nm (ie, that is). Hue) is generated. That is, it becomes -30 ° around THCC). Therefore, MTO and HTO are interrelated and their sum is the total amount of m2hOffVar. Since the spacing of the input pitches above AMIB is measured, of course, add m2hOffVar, or MTO and HTO, to find the hue angle and derive thiv (hence hue). Below are some examples of each use of the 12-resolution THCC as shown in Figure 12, with the default hue tonic of violet, the default music tonic of pitch C, and pitch C (C-1) as AMIB. be.
Step 1 of the algorithm to find thiv below is to maintain the current m2hOffVar. (This is explained in terms of angles, as it is the easiest way for us to explain. The algorithms described below have only negative angles (this is simply based on Western conventions). ) So, of course, all of these negative angles are first converted to positive angles to make the following steps easier.) Step 1 changes either the current MTO or the current HTO. It is executed when it is done. This step consists of summing the MTO and HTO values. Then iteratively subtracts -360 from the sum until it is greater than -360 (for example, at very high resolutions, this can be -359.99). The result is the current m2hOffVar. Step 2 is performed during reception of pitch-based data to reduce the pitch of each input current pitch set by an octave. Then add the current value of m2hOffVar for each pitch and subtract -360 from this sum until it is greater than -360. This provides a hue angle that represents the cent value of that pitch. This is done for each current input pitch in the input current pitch set to maintain the current color of each hue note while the pitch is maintained.
(Different input pitch types require different algorithms to track the input pitch, detect when they stop sustaining, and track the vibrato or pitch bend occurring at that particular pitch. It is done according to the prior art.)
Reduced Octave Incoming Pitch MTO HTO m2hOffVar Hue Angle thiv
C (-0)-0 -0 -0-0 Violet
D (-60)-0 -0 -0-60 Medium wavelength blue
C # (-30) -0 -120 -12-150 Warm green
C (-0) -120 -60 -180-180 Yellow-Green
C (-0) -210 -30 -240-240 Orange
C (-0) -210 -210-60-60 Medium wavelength blue
Bb (-300) -60 -0 -60-30 Indigo / Low Wavelength Blue
D (-60) -60-60 -120-180 Yellow-green
F # (-180) -60 -330 -30-210 Yellow
G (-210) -30 -330 -0-210 Yellow
E (-120) -90 -300 -30-150 Warm green
F (-150) -30 -240 -270-60 Medium wavelength blue
D (-60) -150 -120 -270-330 Magenta
Eb (-90) -180 -30 -210-300 Cool Red
Ab (-240) -120 -90 -210-90 Cyan

In one embodiment, m2hOffVar is available as a function along with the functions of MTO and HTO. In this embodiment, the m2hOffVar can be changed for each pitch in case the user forgets or does not understand what the music and hue tonics in the system are at that time. In this embodiment, the user is provided with a hue selection interface. Second, if the user is playing Pitch F and is looking at greenish yellow, they may want to see another slightly distant hue, such as purple-indigo. When the user saves the pitch F (the pitch the user wants to create a new m2h association) and touches the desired hue purple-indigo position in its hue selection interface, the system now supports the hue and purpose of F. Calculate the purple-indigo hue difference. The calculated difference is added to the HTO, the MTO remains the same, the new HTO and MTO are added together and a new m2hOffVar is obtained.

Figure 31 is an exemplary PPI bin and PHI bin (both of which can be offset independently of each other as a system or user control method via independent interval offset variables for MTO and HTO). Default table.

Figure 32 is an exemplary demonstration (angle form) of pitch retrieval in PPI, then adding MTO and HTO to the negative central angle to derive the final thiv in PHI. The 700 also shows the use of double tonic offsets in the search for pitches in the m2h index. 703 shows that the PHI bin just to the left of the 6 o'clock position is equal to one-third of the default hue tonic (violet 425nm). (A negative angle from the center of this bin represents the hue interval measured from this default hue tonic); 705 is the pitch that is fed to the m2h index by the pitch feed process (octave reduction above any pitch bottom). 12-ET P5) is shown. 710 indicates a PPI containing 240 PPI bins. 715 indicates the use of the PPI to locate the received octave-reduced 12-ET P5 position (within the resolution of the PPI). The 720 shows a -210 ° span / negative central angle resulting from an octave-reduced 12-ET perfect fifth (P5) reception pitch (this depends on the resolution and nature of the audio or music protocol file). Represents the current musical tonic, "B" pitch class, .2 semitone flat (for example, in the case of an improperly tuned band, as is common in the last few decades). 725 indicates that a -36 ° MTO has been added to the initial span / negative central angle above. 730 indicates the span / negative central angle resulting from the -36 ° music tonic offset (MTO) variable value. 735 indicates that a -24 ° HTO is added to the span / negative central angle calculated at "730". 737 shows the result of the current hue tonic position, -60 ° = MTO (-36 °) + HTO (-24 °). As a corollary to this, subtracting the MTO from the hue tonic yields the HTO, and subtracting the HTO from the hue tonic yields the MTO. In one embodiment, the total offset, along with the two offset variable values, is always available to the user as well as the system. If the user is uncertain about the tonic of the music, corrects it, and then decides to recreate a pleasing color set based on the previous conditions, the user will directly use the stored tonic of the previous hue. You can enter it. 740 indicates the span / negative central angle resulting from the -24 ° hue tonic offset (HTO) variable value. 745 indicates that the final span / negative central angle being searched (the sum of -24 °, -36 °, and -210 °) detects thiv at PHI (-270 °). 750 indicates a prime hue spacing index (also known as PHI) containing 240 PHI bins.

FIG. 33 is an exemplary diagram using octave reduction.

FIG. 34 is an exemplary diagram using pitch bend and other pitch modifications to be useful when using music protocol data.

FIG. 35 shows the advanced flow of the present invention. On the 550, music event data is sent to the system via channels and tracks. On the 560, these are time stamped and parsed into classes, types, and subtypes for each input source, such as per channel or per track. The pitches found in the music event data are analyzed relative to the AMIB, reduced by an octave, and added with an octave value (this is 1 + so that the current frequency in Figure 33 is less than 2 * 2). The number of times divided by). The octave range in this example uses 240 bins, each representing 5 music cents, with additional values indicating the total number of octaves in this music pitch interval for future use (pitch +). Equivalent to specifying MIDI note # as an octave (eg C2, G5, F # 7, etc.). Interval data is useful because both the octave-reduced and non-octave-decreased intervals below any MIDI interval are useful. Ideally, both octave reduction intervals and non-octave reduction intervals should be stored in a readily available format. On the 570 the octave reduction value is in PPI, on the 580 the MTO is taken from 590, and on the 600 the HTO is. Obtained from 610. In 620, the PPI interval, MTO, and HTO are all summed up to generate thiv. In 640, the note of the color object (consisting of thiv) is automatically determined. Assigned to a color object array by class, type, or subtype. Automatically assign / reassign channels / tracks / layers; or instead, the system assigns a user-determined array to each channel / track / layer. You can use the channel / track / layer mapping method (stored in channel / track /) to map the hue notes to the color objects on the color object array using the mapping method of your choice (650, Saved as channel / track / layer mapping index shown in 660, 670).

Pitch Detection, Chord Route Detection, and Beat Detection of the Previous Invention The present invention may benefit from pitch detection and chord route detection. (See, for example, Figures 20 and 21. Detecting a chord root is considered synonymous with detecting a chord, as the other pitches of the chord are thereby generally defined with respect to music theory functions. Note that it can be done). Although there are many methods and algorithms for pitch detection and chord route detection in the prior art, it should be noted that the pitch detection and chord route detection functions are most effectively achieved in combination with the beat detection algorithm.
Details about color object arrays, note buckets and clip buckets

Color object arrays are made up of polyphonies of array elements. A convenient way to determine the distribution of chord and melody hue notes to such array elements (which in some cases may have very limited polyphony) is to use the trigger method. These can be used in real time, as in the "trigger mode" in Omnisphere of Spectrasonics. Ableton Live refers to a related method called "clip launch". In Omnisphere's "trigger mode", this is used in real time and affects the notes played in the MIDI stream. It relies on an internal clock pulse (MTC in this case) that continuously defines the tempo and temporal beat position. To use "trigger mode", the user sets "trigger pulses" such as eighth notes, quarter notes, and bars. Suppose the user selects a selected pulse, such as an eighth note. Between the pulses, the notes are "bucketed". It then sounds when it reaches a "trigger pulse" (eg, an eighth note) (thus the next eighth note becomes an "activation pulse"). This frees non-musicians and keyboard players from worrying about "getting out of the beat" and makes it easier to create music. By using this Omnisphere trigger mode, the present invention can also "determine" the notes of the hue chord of the "activation pulse" by waiting for the distribution of hues. This means that non-keyboard players can use the keyboard to trigger very rhythmically accurate lighting performance, but it also means that the voice progression can be properly transferred to the color object array (below). reference). Similarly, the use of the method illustrated in Ableton Live's Clip Launch also helps the invention obtain rhythmically and accurately. However, in this case it would signal the triggering of an existing clip of lighting material. The activation pulse is triggered (also known as "triggered" as a "clip"). In either case, the "trigger pulse" setting is present even when it is "off" or "on". If "off", the clip will be triggered immediately. When "on", the clip is triggered when the next pulse occurs. (The clip contains hue note events or "continuous controller" messages, and the clip plays these events when triggered). (The "trigger pulse" in either "trigger mode" or "clip activation" can be anything useful, such as 16, 8, quarter notes, half notes, whole notes, etc. In "clip activation" In some cases, the "trigger" pulse can be 2 whole notes, 4 whole notes, 8 whole notes, etc. The launch of the clip is a bit like the launch of the "Lighting Chase Sequences" following the MTC (knob or MIDI instrument). It is adjusted in real time by playing repeated hits in). However, when combined with a method called "trigger mode" in Omnisphere, it is a moving performance by writing performers with limited rhythmic functions. Will be possible.

For color object arrays, bucketing live performance notes until a "trigger pulse" is reached, as in trigger mode, or invoking a clip (in "Lighting Material Clips") is most useful. This is not a rhythm-tuned performer's writing method for more rhythmic accuracy. It also provides a means for a more predictable distribution of hue note melodies and chords to array elements. Imagine, for example, that lighting performance is triggered by a MIDI keyboard. Keyboard players often play at slightly different tempos, so when distributed in near real time, the temporal order of the chord notes performed is often completely different from the pitch height order, and is a color object. If the array has far fewer color objects available than the number of notes, then in composition (its full multi-octave range), a complex and incomplete way to help disperse the hue notes to follow the order of the keyboard player. Therefore, the pitch height of the musical note does not correspond to the position of the hue note of the color object. The "activation pulse" provides excellent rhythmic time in which the ordering of chord notes according to the pitch height can occur (the benefits of the excellent voice progression of the existing musical composition are that of the composition. It is assisted by maintaining a significant correspondence between the pitch height and the "position of the hue notes" on the color object). As the performer's rhythm becomes more accurate, shorter "trigger pulse" settings can be selected.

In one embodiment of the invention, just prior to the "activation pulse", the "bucketed" hue notes may simply "overflow" the selected sequence (pitches above the polyphony of available sequence elements). There is) "Complete 1" in the pitch order up to the polyphony of the available array elements. The number of remaining pitches is divided by the number of array elements available. If there is a percentage of the remainder, it is split in half and almost this part of the color object is used as a buffer before and after the color object array. In this very rough method, the hue notes are kept in pitch order and distributed in contiguous array positions approximately in the center of the sequence of array elements. This avoids cases where hue chords "appear to be agglomerated" on one or the other side of the color object array. In one embodiment, a more sophisticated "proportional-based" method of distributing bucketed notes is used: 1) to obtain bucketed notes within a pre-established pitch range and polyphonic limits. 2) Determine the proportional pitch height in the pre-established pitch range for all pitches in the bucket. Then, the next time the selected pulse occurs, the hue notes are distributed over the color object array and the pitch proportionality of the music is approximated (rounded up or down to an integer as needed [integer represents an array element]. ). The purpose of this method is to more closely approximate the voice progression of music. (Voice progression in this particular context does not actually refer to the "voice" separated by channels or tracks. Rather, it refers to the apparent voice. The transitioning consecutive notes within a chord are listeners. It can be presumed that it is likely to form an apparent "musical line" to the other. It is relatively closer than other consecutive notes, where the pitch of consecutive notes transitions from one note to another at approximately the same beat. Case. In the prior art, the closer the pair of consecutive notes is, the greater the weight. In this embodiment of the invention, the visual correspondence to this "apparent voice progression" is a similar day-generated hue note. Is achieved by distributing the music vertically to the musical object (a very compact form of this method can only be used if proportional hints are still present, but still useful for visual correspondence).

In another embodiment of the invention, the prior art method of "latch" a note is used to latch a hue note (like Omnisphere's "latch mode").

FIG. 36 illustrates the configuration and use of an exemplary system.

To construct an exemplary system, step 810 defines a functional correspondence between music and hue intervals (usually with hues based on the incoming octave reduction interval). In step 820, the correspondence between the input source and the color object array is defined, which usually defines the filtering of the incoming non-octave shortening interval (according to the track, channel, pitch filter, etc.) and is therefore received. Define things. A separate color object array (also known as a "visual sounding array". In step 830, the temporal and spatial sounding mapping is determined. This is their "visual sounding array" (determined from step 820). It means the mapping of the incoming non-octave reduction interval within), for example, the actual melody interval if it contains a solo or melody, the pitch height position of the current chord member if it contains chords, or if it is configured. Mapping hue notes to array elements related to measures such as or position within a beat group. In step 840, a visual harmony performance mapping is defined, which is a preset variation of steps 810, 810, and 810. In a system with a virtually modifiable color object and an array of color objects, step 840 may be a virtually modifiable position and flow rate (eg, on-screen) of the color object, or a virtual modification. It may include adjusting possible color object arrays (such as on the screen). To use an exemplary system, the pitch composition data is acquired at the 850. At the 860, the pitch is the data consisting of the intervals. The hue spacing is obtained from them. In the 870, based on tracks, channels, pitch filters, etc., the system maps "hue-tone parts" (ie, chords, solos, bass, etc.) to the array. Obtained and based on the relationship of intervals where the octave is not reduced (the mapping method adopted in that array), obtains the hue note mapping within each array, i.e., in step 870, a music harmony related event. Gets the current mapping logic for (this mapping logic points the hue notes [based on the pitch without the octave shortened] to their determined color object array, then to the individual hue notes, Orient the hue notes to the color objects in those arrays). Then, in step 880, a visual output is generated.

Bass Enhancement In the description of the thiNC interface above, in our study, the current hue that acts like the effect a musical note has on other notes in a momentary musical harmony, with a low pitch in the bass. It turns out that it can have an inaccurately known effect on other hue notes in harmony (perhaps larger hue notes spread the bass frequency over a wider space in the audio field). Similarly, it occupies a larger space in the visual field). When composers work, they are aware of this effect. In one embodiment of the invention, a relatively low pitch is placed on a relatively large colored object. Composers also recognize that rhythm and harmony are interrelated, and chord roots are often played in downbeat bass registers. Therefore, in one embodiment of the invention, chords in a music file can be "mined" for their chord roots, which are on a color object array composed of relatively large color objects. It can be displayed.

Figure 37 shows the “bass enhancement” of the thiNC interface.
In this example, the concentric THCC resolution is reduced to 24, allowing a significant increase in hue note size from the inside to the outside THCC ring. In the present invention, it is possible to correlate with a large difference in pitch between the available THCC "voices".

FIG. 38 shows examples of other randomly colored objects in random positions.

Figure 39 shows a color object along the path.

FIG. 40 shows the basic use of dimensions by that method for depicting time and pitch in a fixed (non-animated) image.

FIG. 41 shows "musical score tuning", showing hue notes along a fixed (non-animated) image path. The dimension of time flows from left to right along each staff, but the dimension of pitch is vertical (if the band repeats from bottom to top of each successive staff).

FIG. 42 shows the dimensions of time and pitch, as illustrated in FIG. 47, which can be changed in a predictable manner by the viewer without removing the effect of the musical correspondence.

FIG. 43 provides an exemplary illustration of network use.
The client PC processor 900 is connected to the client PC read-only memory (ROM) 905 by a bus. 910 indicates the RAM of the client PC. The hard drive 915 and DVD ROM 920 are connected to the client PC I / O adapter 925. The client PC network adapter 930 is connected to the server machine 1020 via LAN 935. A large number of additional clients are shown in 1025 and individually in 1030, 1035, 1040, 1045, 1050, 1055. The standard set of mouse / PC / USB adapter 940 connects a mouse 945 and a PC keyboard 950. The color output device adapter (# 1) (PC display adapter) is displayed on the 955. From the PC display adapter 955, the display adapter cable 960 connects the display device 965. The color output device adapter (# 2) 970, which is a DMX adapter, is shown connected to a bank of DMX controlled RGND LED lights by a DMX cable. 980 Consists of three color object array paths (here, arbitrarily colored purple, green, and blue). The speaker output of the audio interface 985 is connected to the speaker 990 via a speaker output cable, and the electric guitar 995 and microphone 1000 are connected to the input of the audio interface 985 for pitch detection by the pitch detection processor computer program module. Provide data. The MID keyboard 1010 is interconnected to the MIDI interface 1015 to provide music protocol data (MIDI format). The 940's USB adapter can also receive OSC (Open Sound Control) data. Some MIDI devices provide a MIDI-via-USB driver that enables a MIDI interface via a 940 USB adapter. An example of the use of this method over a network is for interactive multiplayer online games where control is gained through lighting such as gameplay, virtual club audio, Veejay fx, and virtual club room sets. Use the game-licensed pitch construct to modify the generated audio and visuals via the specified user's MIDI keyboard, guitar, and microphone input. In such games, only one user associated with a particular virtual club room can change the hue tonic at a time. However, it is possible that multiple users will provide or generate interval data at the same time.
Voice progression-conversion from relative pitch position to relative spatial position

He said that sudden changes in notes, such as those that occur in a melody, can overwhelm human vision when displayed as consecutive hue notes in the same place. This is the reason why the hue melody is displayed so as to move along the "path" in one method of the present invention. Also, in the section on the thiNC interface, in music, when transitions occur in continuous beat pulses between nearby pitches (usually the smaller spans are smoother 1 to 4 semitones), the music is "smooth voice progression". It is explained that. This is because these narrowly spaced pitch transitions can be easily tracked by the listener. In the current method, the "smooth hue note voice progression" is relative in which the position of the interval between the continuous pulse and the pitch loosely approximates the position of the "interval distance" (or rarely the "pitch distance"). Achieved if it is on a hue note in a relative "spatial distance" position similar to the value. In one method of the invention, the approximate transformation is performed from the proximity between the pitch obtained by the data receiving device, including the pitch, and the proximity of the color objects distributed in the color object array.

Then, using the path and dimensions of the color object, map it to the color object array to effectively "visually voice" the color set (of hue spacing) as the hue note of the "color object". Some methods will be described. In these methods, pitches such as "melody interval proximity", "pitch height", "chord tone member pitch hierarchy position" (relative pitch height of chord tones), and chord tone height reduced by the above two octaves. Get the relationship data. Chord root (chord root position format), and "musical rhythmic spacing of musical events" (to map events so that the relative proximity of time is mapped to the relative proximity of space). This information is obtained from the received pitch data and is to be mapped to the color object array according to the mapping method selected and defined (also known as the "output procedure" method) by the computer program module from music harmony to color harmony. Used as described below.

FIG. 44 shows how to map the "melody spacing proximity" of music to the "spatial proximity along the path" of a color object.

In one embodiment of the invention, a relatively low pitch produces a relatively large colored object.

FIG. 45 shows mapping the "pitch height" of music (measured from the origin of AMIB or another selected pitch height) to the spatial size. In one embodiment of the invention, the spatial size of the hue notes is affected by the pitch height attribute of the received pitch. For example, a color object can be a sprite whose size is generated or an array of lights whose size is existing. In the former case, the size of the color object can be adjusted to fit the note of a particular hue based on the pitch height of the note in the source, and in the latter case, the determination of the color object in which the hue note is displayed is affected. ..

Figure 46 shows the hue note mapping to existing color objects related to their size characteristics. In one embodiment of the invention, the spatial existence of existing color objects is used to determine the hue notes displayed on them, with the hue notes from the notes with higher pitch heights and the smaller spatial existence. Decide to display in the color object of. The reverse is also true.

FIG. 47 shows the mapping of music chord tone members from pitch hierarchical positions to spatial positions along the path. In one embodiment of the invention, the spatial position along the path of the color object array is determined by the pitch hierarchical position of the musical chord tone members. (If you have more color objects than there are chord tones in a chord, you can choose another algorithm to determine which part of the color object path the hue notes are mapped to, for example, one of the paths with the hue notes. It can be oriented towards the edges of the object, arranged in the center, and even spaced apart. The important thing is that the sequence of notes in hue follows the sequence of notes. Helps to capture part progression and increase predictability when visualizing source notes as audible music.

FIG. 48 shows the procedure for mapping musical chord tones, where the height of the chord tone, which is reduced by two octaves from the chord root, is mapped to a spatial position along the path. (It is necessary to understand that 2 octave reduction uses the stack 1/3 chord theory, where the 9th, 11th, and 13th are mapped to the 2nd octave, etc., regardless of the inversion or pacing of existing chords. There is). This is essentially a method for converting the output from the mapping procedure shown in FIG. 47 into a visual sounding of the root position. This can be used to enhance harmony pulls such as emphasis at the right time in the hue sequence. In one embodiment of the invention, the inversion of a musical chord is reduced to a two octave format, and the sequence of chord tones in this format is mapped from low to high to spatial positions along the path in the color object array. For example, E4, C5, G5, D6 (C major inversion adds 9 chords) is reduced by 2 octaves to C, E, G, D (C, E, G are reduced by 2 octaves). , And D [9th of the chord] are in 2 octaves). Therefore, the series C, E, G, and D hue notes are mapped to color objects along the path of the color eject array (often a continuous series, but optimally maintain the voice progression of the notes. In some cases it follows a weighting algorithm for).

Figure 49 shows the relative musical rhythm interval position of a note event (hence, proximity in time or beat) to a relative spatial position along the path, or to other hue notes along the path. Shows a mapping of gender (relative proximity) (eg, quantized every millisecond; quantized at the current estimated tempo, eg every 3/64 triplet). Position and proximity can be recycled by detecting repeated accents, using circular paths, and so on.

In one embodiment of the invention, the relative musical rhythm spacing positions of the note events are mapped to relative spatial positions along the path. In one embodiment of the invention, the rhythmic closeness of the note event determines the spatial closeness of the hue note.

Figures 50-54 show
Major (Fig. 50), Minor (Fig. 51), Major 7th (Fig. 52), Genus 9th chord (Fig. 53), Adjusted 3rd and natural 7th chord and Genus 7th chord (Fig. 54), " Various hues in different chord categories, such as modified genus, major seventh chords, along with some examples of chords with more purely tuned hue intervals than those present in 12-ET, including "natural chords" hue chord examples. It consists of an example of a 240 resolution thiNC interface for chords.

In one embodiment, the system is a color-in-color-out system. FIG. 55 shows an exemplary color-in-color-out system, comparable to FIG. 1 except that the input is a data receiving device that includes hue spacing. This can be a digital camera or colorimetric device (such as a spectrophotometer or colorimeter), and the output of this device is analyzed in comparison to the PHF. In the case of FIG. 55, the data is processed into histogram data representing the hue peak of PHI and its intensity (and optionally with the perceived purity based on the position of a suitable representative viewer). This combination of peak and intensity (and optionally purity) can then be interpreted as if it were pitch and amplitude (and optionally purity) information. The m2h index can be thought of in reverse, with the hue being the input and the pitch being the output. The color output device can output the color spacing as text via a screen or printer, as light through a lighting device or display screen, or as a pigment via a printer or the like.

As an application example, take a digital camera photograph of human eyes, hair, and skin, interpret these as pitches, and determine complementary hue intervals based on music theory, or "hue to avoid" based on music theory. Determine the "interval". The "hue spacing to avoid" may be a color that produces an unpleasant hue chord, based on music theory. You may want to avoid wearing colors that produce a set of increased or decreased hue spacing, including when taking into account eyes, hair, and skin. The "hue spacing to avoid" can also be a hue spacing that tends to focus or enhance the viewer's attention to other hue spacing that should not be emphasized more appropriately. This system can be used to inform people about their personal beautification choices. For example, certain yellow and green tones can be detrimental to the personal appearance of skin tones. And if you wear them in makeup or clothing, or if you wear certain other hue intervals (especially not only P5 apart, but also hue majors or hue minor thirds apart), this Sometimes they emphasize these to others who see a person and make this person look pale. For example, a computer program warns you not to wear certain blue hue intervals that are P5 from the yellow or yellow-green tones you want to avoid, and instead theoretically (eg, P5 itself away from them). It may be suggested to wear another blue hue interval that may "pull out" other hues of skin tones that suggest health (eg, warmer or more ruddy hues).

In one embodiment, the system is a color-in-music-out system. FIG. 56 shows an exemplary color-in-music out system. However, the input is a data receiving device composed of hue intervals, which is a digital camera or colorimeter (such as a spectrophotometer or colorimeter), and the output of this device is analyzed in relation to PHI. In the case of FIG. 56, the data is processed into histogram data representing the hue peak of PHI and its intensity (and optionally, with the perceived purity based on the position of a suitable representative viewer). This combination of peak and intensity (and optionally purity) can then be interpreted as if it were pitch and amplitude (and optionally purity) information. The m2h index can be thought of in reverse, with the hue being the input and the pitch being the output. The music output device outputs the resulting pitch as text or sheet music via a screen or printer, or as audio via a set of music playback devices (using a music protocol such as MIDI or synthetic MIDI to audio). And can generate a sound file or a music output event on the speaker.

Preservation and Reuse of Pitch-like Hue Spacing In one embodiment, pitch-like hue spacing as derived by the method can be preserved and reused.

In one embodiment, such pitch-like hue-spacing data can have a music-like transposition method applied to it.

In one embodiment, the hue spacing data, such as pitch, may include a musical tonic and a hue tonic, as well as a hue chord root.

The hue chord root may be simply the same as the source music chord root, but since the music tonic and the hue tonic have different configurations, the subject of the specified musical tonic in the hue data, such as a pitch. Need to be clarified. Therefore, it is necessary to point out that the meaning of "musical tonic" is "for musical theory, a tonic that exists in a series of pitches or hue intervals such as pitches".

In music, progression is genetically described as ii-V-I progression. This explanation is possible due to the ability of music theory techniques to recognize that a particular interval configuration performs a particular function, regardless of the inversion of the chords used in the sound mixing. These two basic interval configuration functions are the chord root function and the music tonic function. If these functions are found to be unclear, as in the case of chord C6, where it is difficult to distinguish Am7 in some musical contexts, then probability weighting can be assigned, so here the weighting process Now you can look at the octave-reduced intervals as if each were chord routes, and see which interval configuration made that particular route the strongest or the weakest. Properly constructed. The pitches "C" and "A" should necessarily be heavier than the other intervals. If the routing strengths of "C" and "A" are exactly equal, then the "tiebreaker" approach is used. Recommended. If there is a "tie" between these two pitches, the lower of the two pitches will be selected as the strongest route in the undecreased octave format [most likely to be pulled]. Sexual route]). For a slightly more complete example, see the example of the routing strength evaluation method below. The present invention makes such determined or weighted musical tonics and such determined or weighted chord roots applicable to color harmony theory. In the case of the above general ii-V-I progression, the root of the I chord is the tonic of the music. In music, this progression can be transposed musically to make this tonic of music any pitch. Similarly, in the method of the present invention, this musical tonic can be any hue, but this root of the I chord remains the musical tonic when it is tuned to a pitch-like hue interval. The hue selected (by the system or the user) is what the term "hue tonic" means. (Perhaps the term "hue tonic" can be replaced by the term "selected hue key root".) However, regardless of this decision to transpose the progression to have a different hue tonic, "music tonic" "Remains as a hue-constituting tonic like a general pitch, with a specific interval relationship with other general hue intervals. Therefore, a hue interval such as a pitch may include both a designated musical tonic and a hue tonic. (Of course, neither may be included).

Examples of String and Arpeggio Routing Strength Evaluation Methods The interval weighting described is just an example. (Evaluate a chord (a set of chord tones) by testing each chord tone as a "test root". That is, find the intervals in the CRVI table as if they were chord roots, and then use the CRWI table below to find the "" Get the weight for each "found interval".
"Chord interval from test root" evaluation index (v8 / 31) [also known as CRVI]
"Chord interval from test root" weight index (v9 / 14) [also known as CRWI]
procedure:
The values in the table are the 12 semitones of the octave {0, 1, 2, 9, a, b} (a and b represent 10 and 11 and work that way in the formula below).
(Empty cells indicate "skip cells" and "do not use for search and weighting")

Use each octave-reduced note value as a test root to access the CRVI using the octave-reduced note value of the note group [chords, arpeggios, ...]. For example, the first test route finds all octave reduction intervals for that note group, CRVI (to find the position of the weights in CRWI) and CRWI (for each interval weight, all interval weights in the process). Search by). Find the total test route weight from the addition of all interval weights for that test route, then do the same for the second test route, find the total test route weight for the second test route, and so on. Their total test root weights are given up to the value.

Example: Start in the upper left cell and check if the interval exists for the current test route. For each interval that exists in the set of chord tones, the value is accumulated from the CRWI (in each cell) to the weight of the test root until the table is read as described below. If the interval does not exist, move to the cell below to see if there is a related interval. (For example, if P5 does not exist, check below to see if # 5 or b5 exists. If major third does not exist, check below to check minor third or suspension third. Check if the major third is present. If the major seventh is not present, check if the minor third is present. If the nineth degree is not present, check if b9 or # 9 is present. After finding one or all of the intervals between the top cell or the cells below it, or after exhausting all the cells that contain values in that column, go to the next column on the right. Do the same thing.

Once CRWI finds the interval weights for all chord tones and those weights are cumulative, find the test route with the highest total weight for the test route. If multiple test routes are tied, get the test route, which is the lowest chord tone on the pitch without lowering the octave, and add 10 to make it the strongest route.

This procedure is not only to find (probably) the most probable chord route, but also to set the routing strength weights of all chord tones within the set of chord tones.

In one embodiment, the hue interval data, such as the pitch with the m2h index, is incorporated into the DVS (Digital Vinyl System) data and the media, enabling a light show sequence corresponding to the interval received by the pitch. Corresponds to the interval received by the pitch data receiving device, which is played and controlled via the DVS turntable. This light show (corresponding to the pitch received by the data receiving device including the pitch as the source music sequence) can be displayed on the color output device in synchronization with the playback of the source music sequence. Alternatively, it can be synchronized from the source music sequence to a creatively manipulated music output (and may remain desirable as a light show product as long as it maintains a significant amount of correspondence with the source music sequence. ). The tempos of both the light show sequence and the source music sequence can be changed in sync with each other. Depending on the settings of the computer program, the hue can or cannot be shifted in a way that corresponds to the tempo shift (usually shifting the pitch of the music). On the other hand, by setting the software, it is possible to transpose without transposing either the hue interval or the pitch while keeping the tempo as it is.

When the source music sequence is output as music protocol data, such as a MIDI instrument, transposition simply moves the set of intervals up and down in pitch. When the source music sequence is output as an audio file, the transposition of the intervals is done by algorithmically shifting the notes up and down by increasing or decreasing the length, but by extending or contracting this. The basic operation is to change both the length and the pitch. Length and pitch can be changed individually using more advanced algorithms such as Zplane's Elastique and Serato.

In one embodiment, hue spacing data such as pitch is chemically printed or rotated on a turntable platter (such as a record player platter) to at least one fiber optical strand as a color output device. Formulated into a circular lens that can affect the Christmas tree (for use in lighting Christmas trees).

Various embodiments of the invention have been described and illustrated;
However, the explanations and illustrations are just examples. Other embodiments and embodiments are possible within the scope of the invention and will be apparent to those of skill in the art. Accordingly, the invention is not limited to the particular embodiments of the exemplary embodiments and illustrated examples in this description. Accordingly, the invention should not be limited except as required by the appended claims and their equivalents.

Claims (24)

A system for generating color sets based on the concept of musical harmony, which includes:
Input device adapted to receive pitch data;
Computer processing unit adapted to execute computer program instructions;
Computer program instructions, pitch data including a computer memory that records computer program instructions adapted to be executed by a computer processing unit, a pitch analysis module for identifying pitches and pitches in pitch data received by the input device. At least one music that identifies one or more color sets based on one or more pitches identified in-Music Harmony that performs a hue process-Tone Harmony Module; and identified by a music-to-hue process. A color output device adapted to produce one or more color objects with hues belonging to a color set. The Music Harmony-Color Harmony module is a system that produces the color set according to claim 1, including the Music-Hue Index, based on the principal wavelength associated with each principal-wave hue note and relatively few interpolated hue notes. Aligned like a spectrum to produce smooth color transitions between each edge-adjusted hue gradient, defining an tuned hue gradient like a spectrum containing each of the multiple principal wavelength hue notes aligned in Including changing the amount of color from each of the short wavelength end and the long wavelength end of the hue gradient, and each hue note (both main wavelength and interpolated hue note) is a hue chromatic with each hue note adjusted. Assigned to a unique adjusted hue spacing angle and a unique adjusted hue spacing variable between 0 and 360 ° that corresponds to a unique location around the circle. The system for producing the color set according to claim 2, wherein the at least one music-hue process comprises:
Identify the pitch received by the input device, including the bottom and top pitches;
Identify the spacing angle associated with the received spacing and
Associate the bottom pitch with the first hue note to define the color key;
Identifies the second hue note separated from the first hue note by an adjusted hue interval angle amount equal to the pitch angle associated with the received pitch; and on the output device, the first and second hue notes. Provides a tuned hue spacing variable associated with. A claim comprising further comprising an electronic memory device, comprising recording on the electronic memory device pitch data including at least one music-hue process including bottom pitch, top pitch, pitch angle, and adjusted hue spacing variables. A system for generating the color set according to 3. At least one music-hue process associates a third hue note with the bottom pitch and adds an offset angle to the hue spacing angle assigned to each hue note to make the color key from the first color key. The system of generating the color set according to claim 3, which is adapted to transpose to a second color key, where the offset angle is equal to the angular spacing between the first hue note and the third hue note. The system for generating a color set according to claim 2, further comprising an interface including a display adapted to display the following:
A pitch chromatic circle with multiple pitch classes evenly distributed around the circumference of a pitch chromatic circle corresponding to one music octave; and a coordinated hue chromatic circle concentric with the pitch chromatic circle. The interface display is further adapted to display one or more additional adjusted hue chromatic circles concentric with the pitch chromatic circles, where each hue chromatic circle has a different diameter and is mutually exclusive. The system for generating the color set according to claim 2, which appears to be nested. The system for producing the color set according to claim 7, wherein the at least one music-hue process comprises:
Identify pitch tonics and hue tonics;
Identify the first and second pitches, the chord root pitch and the first pitch, including the first top pitch, and the second pitch, including the chord root and the second top pitch, corresponding to the chord received by the input device. do;
Identify the root spacing between the pitch tonic and the chord root, the first spacing between the chord root and the first top pitch, and the second spacing between the chord root and the second top pitch;
Shows a hue tonic and an adjusted hue chromatic circle that is rotated away from the pitch tonic by an angle equal to the root spacing angle;
A second adjusted hue chromatic circle in which the hue tonic is rotated away from the pitch tonic by an angle equal to the root spacing angle plus the first spacing angle between the chord root pitch and the first top pitch. Is displayed;
A third adjusted hue chromatic circle rotated relative to the first adjusted chromatic circle is displayed, and the hue tonic is the second between the chord root pitch and the second top pitch at the root spacing angle. Select a color set containing hue notes radially aligned from the first, second, and third adjusted hue chromatic circles that rotate away from the pitch tonic by an angle plus the spacing angle. The system for generating a color set according to claim 1, wherein the color output device comprises a plurality of lights having selectable multicolor lenses. The system for generating a color set according to claim 8, wherein the plurality of lights include one or more lights of different sizes. A system for generating a color set according to claim 1, comprising the following and comprising at least one music-hue process:
Construct a music-hue index using any pitch bottom (AMIB) and any hue spacing bottom (AHIB);
Receive the first music data melody from the input device;
Identify the first angular separation between AMIB and the first music data melody note and record the angular separation angle as the first pitch angle;
Find the first hue data melody at the first hue spacing angle equal to the first pitch angle from AHIB;
Outputs the first hue data melody that the color output device does not have;
Receive a second music data melody from the input device;
Identifies the second angle separation between any pitch bottom and the second music data melody note and stores the second angle separation as the second pitch angle;
Find the second hue data melody note at the second hue spacing angle equal to the second pitch angle;
Output the second hue data melody note to the color output device. How to generate a color set that includes:
Generates a pitch index containing multiple pitch classes, each pitch class is separated at a given frequency ratio, and that pitch class corresponds to a music octave;
Specify the first pitch class as the pitch route;
Pitch roots are assigned a pitch angle of 0 degrees and a pitch angle to each pitch class that indicates a unique location evenly distributed around a single octave chromatic circle;
Generates a hue index containing several different hue notes arranged in a tuned hue gradient;
Assign a hue angle to each hue note so that the hue note represents a unique, evenly distributed position around the adjusted hue chromatic circle;
Specify the first hue note as the hue tonic;
Specify a 0 degree hue angle for the hue tonic;
Receive the first pitch;
Identify the pitch class to which the first pitch belongs;
Identify a pitch angle equal to the angle separation between the pitch class to which the first pitch belongs and the pitch root;
Identify the second hue note separated from the hue tonic by the hue spacing angle corresponding to the first pitch angle;
Generates a color set that contains the first and second hue notes. Specify the third hue note as an alternative hue root, and the offset angle equal to the hue interval angle between the first hue note and the third hue note is the hue angle associated with each hue note in the hue index. The method of generating the color set according to claim 12, further comprising transposing the color set to an alternative color key by adding to, wherein the color set contains a third hue note and a pitch angle. Includes a fourth hue note separated from the third hue note by a hue spacing angle equal to. The method of generating the color set according to claim 12, which comprises:
An adjusted hue spacing variable is assigned to each hue note; and a first adjusted hue spacing variable assigned to the first hue note and a second adjusted hue interval assigned to the second hue note. Output the variable to an output device adapted to render the color set to one or more color objects. The output device is adapted to render the first hue note on the first color object and the second hue note on the second color object, and the first color object is the second color object. The method of generating the color set according to claim 14, which is larger than. The method of claim 14, wherein the adjusted hue spacing variable comprises the physical settings of the output device for rendering the hues associated with the first and second hue notes. The adjusted hue spacing variable is required for the output device to render the hue associated with the first and second hue notes, and the adjusted hue spacing variable wraps the electronic state value, hue mixture or hue component. , The method of generating the color set according to claim 14. 12. The method of generating a color set according to claim 12, wherein the hue index has a hue resolution equal to the number of hue notes, which is a multiple of 12. The method of generating the color set of claim 18, wherein the hue index has a hue resolution of 240 hue notes. How to generate a harmonious color set, including:
Create a tuned music chromatic circle that represents multiple tuned pitch classes evenly distributed around the tuned music chromatic circle;
Create a first adjusted hue chromatic circle with the same center as the diameter of the adjusted music chromatic circle but different diameters, the first adjusted hue chromatic circle is around the first adjusted hue chromatic circle Represents a hue gradient containing multiple uniquely adjusted hue notes evenly distributed in.
A second adjusted hue chromatic circle that is substantially identical and centered on the first adjusted hue chromatic circle, but has a different diameter than the first adjusted hue chromatic circle and the adjusted music chromatic circle. Create a hue chromatic circle;
Prescribe notes with a tuned musical chromatic circle;
Define a particular hue note as the hue root note of the first and second adjusted hue chromatic circles;
Align the hue tonics of the first and second adjusted hue chromatic circles to the music root of the adjusted music chromatic circle;
Receives pitch data including the first pitch belonging to the first pitch class and the second pitch belonging to the second pitch class;
Identify the first pitch angle between the first pitch class and the second pitch class; rotate the second adjusted hue chromatic circle by the amount corresponding to the first spacing angle;
Create a color set containing the first hue note from the first adjusted hue chromatic circle and the second hue note radially aligned with the first hue note from the second adjusted hue chromatic circle. do. Receiving pitch data further comprises receiving a third pitch belonging to the third pitch class, a method of generating a harmonious color set according to claim 20, further comprising:
Substantially identical and concentric with the first and second adjusted hue chromatic circles, but with different diameters than the first and second adjusted hue chromatic circles and the adjusted music chromatic circles. Create a third adjusted hue chromatic circle;
Align the hue tonic of the third adjusted hue chromatic circle with the hue tonic of the first adjusted hue chromatic circle;
Identify the second spacing angle between the first pitch class and the third pitch class; rotate the third adjusted hue chromatic circle by the angle corresponding to the second pitch class; and
Add a third hue note radially aligned with the first hue note from the first adjusted hue chromatic circle and the second hue note from the second adjusted hue chromatic circle to the color set. The method of generating a harmonious color set according to claim 21, wherein the first, second, and third adjusted hue chromatic circles are displayed, and the first, second, and third adjusted. Hue The user can select a color set that contains the hue notes displayed along the radial spokes defined by the hue notes of the chromatic circle. 22. The method of generating a color set of harmony according to claim 22, respectively, for generating other color sets including color chords based on a pitch different from that in the received pitch data. The user can rotate the first, second, and third adjusted hue chromatic circles. A method of generating a harmonious color set according to claim 22, further comprising:
Determine the bottom of any pitch and the bottom of the hue interval at any time;
Receive music data chord notes with one or more pitch notes from the input device; identify the recognition pitch bottom and the angle separation between any pitch bottom and each pitch note in the music data chord set;
Music data for one or more pitch notes with any hue spacing bottom and angle separation between each hue note corresponding to the angle separation between the pitch bottom and each pitch note in the music data chord set. Find one or more hue notes corresponding to each of them; and
Output hue notes to a color output device array.

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