Canadian Patents Database / Patent 2395863 Summary

Third-party information liability

Some of the information on this Web page has been provided by external sources. The Government of Canada is not responsible for the accuracy, reliability or currency of the information supplied by external sources. Users wishing to rely upon this information should consult directly with the source of the information. Content provided by external sources is not subject to official languages, privacy and accessibility requirements.

Claims and Abstract availability

Any discrepancies in the text and image of the Claims and Abstract are due to differing posting times. Text of the Claims and Abstract are posted:

  • At the time the application is open to public inspection;
  • At the time of issue of the patent (grant).
(12) Patent Application: (11) CA 2395863
(54) English Title: DEVICE FOR DISPLAYING MUSIC USING A SINGLE OR SEVERAL LINKED WORKSTATIONS
(54) French Title: DISPOSITIF D'AFFICHAGE DE MUSIQUE AU MOYEN D'UN OU PLUSIEURS POSTES DE TRAVAIL CONNECTES
(51) International Patent Classification (IPC):
  • G10G 1/00 (2006.01)
(72) Inventors :
  • SITRICK, DAVID H. (United States of America)
(73) Owners :
  • SITRICK, DAVID H. (United States of America)
(71) Applicants :
  • SITRICK, DAVID H. (United States of America)
(74) Agent: SIM & MCBURNEY
(45) Issued:
(86) PCT Filing Date: 2001-01-24
(87) PCT Publication Date: 2001-08-02
(30) Availability of licence: N/A
(30) Language of filing: English

(30) Application Priority Data:
Application No. Country/Territory Date
09/492,218 United States of America 2000-01-27

English Abstract




A musical workstation system produces a display presentation of a musical
composition responsive to musical composition data and to one or both of input
variables and a selected operating mode. The system is comprised of means to
provide the musical composition data (such as local storage (ROM, RAM, CD-ROM,
hard disk, etc.), or via a communications interface to an external device
(such as another music workstation, a master controller, a computer), a
memory, a selection subsystem, a controller, and a display subsystem. The
system can also provide for hierarchial editing and librarian functionality to
facilitate practice, teaching, performing, librarian, archive, and
distribution functionality.


French Abstract

L'invention porte sur un système de poste de travail musical qui permet d'afficher une composition musicale en réponse à des données de composition musicale et à une ou deux variables d'entrée et à un mode de fonctionnement sélectionné. Ce système comprend un moyen pour générer des données de composition musicale (tel que mémoire locale (ROM, RAM, CD-ROM, disque dur, etc.), ou par l'intermédiaire d'une interface de communication à un dispositif externe (tel que : autre poste de travail musical, contrôleur maître, ordinateur), une mémoire, un sous-système de sélection, un contrôleur et un sous-système d'affichage. Le système permet également d'obtenir une édition hiérarchique et une fonctionnalité bibliothécaire pour faciliter la pratique, l'enseignement, la performance, l'archivage et la fonctionnalité de distribution.


Note: Claims are shown in the official language in which they were submitted.




-42-

WHAT IS CLAIMED IS:

1. A musical display system comprising:
an individual workstation comprising:
(a) a memory, for selectively storing musical composition data representative
of a
selected musical composition;
(b) means for producing a display presentation responsive to the respective
musical
composition data;
(c) means for determining a selected display format;
(d) data processing means for selectively processing the stored musical
composition data
responsive to the selected display format to produce a corresponding
particular display
presentation format; and
(e) at least one display subsystem, responsive to the data processing means,
for
displaying at least a video presentation of the musical composition in the
selected display
format.

2. The system as in claim 1, for use by a plurality of users in providing a
plurality of
display presentations of a selected musical composition, said system
comprising:
a plurality of the individual workstations; and
means for displaying the presentation on the plurality of local visual display
presentations of the selected musical composition.

3. The system as in claim 1, for use by a plurality of users in providing a
plurality of
display presentations of a selected musical composition, said system
comprising:
a plurality of the individual workstations, each of the individual
workstations further
comprising:
a communication interface providing for communications with the respective
individual
workstation of the musical composition data representative of the selected
musical composition;
wherein the system is further comprised of:
means for displaying the presentation on the plurality of local visual display
presentations of the selected musical composition.

4. The system as in claim 2, further comprising means for displaying the
presentation on
the plurality of local visual display presentations of the selected musical
composition.




-43-

5. The system as in claim 2, further comprising an input device responsive to
a performance
by the user of the displayed musical composition for providing an output of
user performance
data.

6. The system as in claim 5, wherein the system provides for a display
presentation of the
differences between the displayed composition data and the user performance
data for at least
one of the individual workstations.

7. The system as in claim 4, wherein the means for synchronizing is responsive
to at least
one of an embedded timing signal within the musical composition data, timing
data, and an
external timing signal.

8. The system as in claim 3, further comprising:
an input device responsive to a performance by the user of the displayed
musical
composition for providing an output of user performance data; and
combining means for synchronizing and combining the user performance data from
a
plurality of the individual workstations to generate composite virtual
performance data,
responsive to the user performance data output from each of the plurality of
individual
workstations.

9. The system as in claim 3, further comprising:
an editing subsystem for changing features of at least one of pitch, key,
tempo,
instrument type, notation, and composition of the musical composition data to
create modified
musical composition data;
wherein the modified musical composition data is communicated to at least one
of the
individual workstations which provides a local video presentation responsive
to the modified
musical composition data.

10. The system as in claim 9, wherein the modified musical composition data is
distributed to
a plurality of the individual workstations, which each provide a local video
presentation
responsive to the modified musical composition data.

11. The system as in claim 9, wherein the editing subsystem is a part of at
least one of the
individual workstations.

12. The system as in claim 9, wherein the changing is restricted to permit
changing of only
some of the features.





13. The system as in claim 9, wherein the changing of features is restricted
at a defined level
of permission.

14. The system as in claim 10, wherein there are a plurality of the editing
subsystems; and
wherein for each of the editing subsystems the changing of features is
programmably
restricted at a defined level of permission.

15. The system as in claim 10, wherein the plurality of individual
workstations are each
associated into defined subsets of individual workstations;
wherein each of the editing subsystems is associated with at least one of the
defined
subsets and communicates the respective modified musical composition data to
the respective
associated defined subset of individual workstations each of which provides a
respective local
display presentation responsive to the respective modified musical composition
data.

16. The system as in claim 15, wherein at least one of the editing subsystems
is a master that
communicates its respective modified musical composition data to all of the
plurality of
individual workstations.

17. The system as in claim 16, wherein the modified musical composition data
from the
master is given priority for display on the individual workstations over all
the modified musical
composition data from all other ones of the editing subsystems.

18. The system as in claim 3, wherein the communication between the individual
workstations is bidirectional.

19. The system as in claim 9, wherein the changing is responsive to a user
input.

20. The system as in claim 19, wherein the user input is at least one of an
audio stimulus,
digital data, a switch, a touch input device, motion sensor, motion capture
data, and speech
recognition.

21. The system as in claim 9, wherein there are a plurality of the editing
subsystems;
wherein the plurality of the individual workstations are each associated into
defined
subsets of individual workstations; and
wherein each of the editing subsystems is associated with selected ones of the
defined
subsets, wherein each of the editing subsystems communicates its respective
modified musical
composition data to the respective associated selected ones of the defined
subsets of individual
workstations each of which provides a respective local display presentation
responsive to the
respective modified musical composition data.





-45-

22. The system as in claim 21, wherein the modified musical composition data
from the
master is given priority for display by all of the individual workstation
relative to any and all
other modified musical composition data from all other ones of the editing
subsystems.

23. The system as in claim 21, wherein at least one of the editing subsystems
is a subgroup
master that communicates the respective modified musical composition data to
the respective
associated selected ones of the defined subsets of the individual
workstations.

24. The system as in claim 22, wherein there are a plurality of subgroup
masters.

25. The system as in claim 23, wherein at least one of the editing subsystems
is a master that
communicates its respective modified musical composition data to all of the
plurality of
individual workstations.

26. The system as in claim 25, wherein the modified musical composition data
from the
master is given priority for display by the individual workstations over all
the modified musical
composition data from all other ones of the editing subsystems.

27. The system as in claim 25,
wherein the master is for use by at least one of a conductor, band leader,
teacher,
librarian, and composer; and
wherein each of the plurality of subgroup masters is for use by at least one
of a section
leader, a band leader, a teacher, and a librarian.

28. The system as in claim 3, wherein the musical composition data is further
comprised of
type data;
wherein at least one of the individual workstations is programmed to
selectively receive
the communicated music data responsive to the type data.

29. The system as in claim 28, wherein there are a plurality of the individual
workstations,
each programmed to selectively receive the communicated musical composition
data responsive
to the respective type data.

30. The system as in claim 28, wherein at least one of the individual
workstations is
programmed to respond to a specific type responsive to at least one of
preprogramming, a
switch, an audio input, a direct line input, MIDI data, user programming, and
remote program
control.

31. The system as in claim 3, wherein the musical composition data is further
comprised of
type data;




-46-

wherein the musical composition data is broadcast to a plurality of the
individual
workstations, each of which provides a local video display presentation
responsive to processing
of the musical composition data to locally convert the musical composition
data to customize the
video display presentation in accordance with the respective type data.

32. The system as in claim 3, further comprising a conductor workstation
providing
controlled addressable communications of the musical composition data to at
least one of
individual ones of the plurality of the individual workstations.

33. The system as in claim 32, wherein the communicating is selectably
addressable to
defined subgroups within the plurality of the individual workstations
providing band-based
communications;
wherein communications is mapped between each of the respective bands and each
of the
subgroups.

34. The system as in claim 1, wherein the individual workstation is operable
in a user
selected automated mode comprising at least one of auto-advance mode, training
mode,
performance mode, auto-repeat mode, conductor mode, marching band mode, auto-
compose
mode, self learn mode, and user activated display page turning mode.

35. The system as in claim 3, wherein one of the individual workstations is a
master
workstation in communication with the remaining ones of the individual
workstations.

36. The system as in claim 1, wherein said processing comprises at least one
of display
formatting, transposing, and communicating external to the musical display
system.

37. The system as in claim 3, wherein the plurality of individual workstations
each provide
means for independently capturing the musical performance of the respective
user and generate
respective individual performance data;
wherein the means responsive to the performance data is further comprised of
means for
synchronizing and combining the individual performance data from the plurality
of individual
workstations to generate combined performance data; and
means for communicating said combined performance data to the plurality of
individual
workstations;
wherein at least one of the individual workstations provide a local
presentation
representative of the combined musical performances for all of the
communicating plurality of
individual workstations responsive to the combined performance data.




-47-

38. The system as in claim 5, wherein a plurality of the individual
workstations each provide
for output of individual performance data representative of the performance by
the user
corresponding to the display presentation.

39. The system as in claim 3, further comprising:
synchronization means for generating a synchronization signal for start of
performance;
wherein the selected musical composition is performed over a time period and
is
communicated in discrete time segments, wherein each of the time segments is
synchronized
responsive to the synchronization signal and the individual performance data
output.

40. The system as in claim 5, further comprising:
means for storing user performance data concurrent with the corresponding
display
presentation responsive to the performance by the user;
means for comparing the user performance data to the respective associated
composition
data; and
means for modifying the display presentation to reflect the result of the
comparing
concurrent with the performance of the composition data.

41. The system as in claim 3, further comprising:
association means for associating a type to the individual workstation;
control means for broadcasting display data for multiple separate graphical
display
presentations corresponding to multiple separate respective multiple types;
wherein the individual workstation is further comprised of discrimination
means for
discriminating between the multiple separate graphical presentations to select
a specific one
representative of the corresponding respective one of the types, responsive to
the association
means and the discrimination means.

42. The system as in claim 41, wherein the display presentation is one of
visual and
audiovisual, the system further comprising:
a source of secondary video data representative of a secondary video image;
video controller means for displaying the secondary video image as a picture-
in-picture
within a subpart of the display presentation.

43. The system as in claim 41, wherein the display presentation is one of
audio, visual, and
audiovisual.

44. The system as in claim 3, further comprising:




-48-

means to provide a combined output of composite virtual performance data
responsive to
communicated performance data out from at least two from the plurality of the
individual
workstations.

Note: Descriptions are shown in the official language in which they were submitted.


CA 02395863 2002-06-26
WO 01/56013 PCT/USO1/02395
DEVICE FOR DISPLAYING MUSIC USING A SINGLE
OR SEVERAL LINKED WORKSTATIONS
RELATED APPLICATIONS
This is a divisional application of Serial No. 09/039,952 filed March 16,
1998, which is a
continuation-in-part of Serial No. 08/677,469, now issued as U.S. Patent No.
5,728,960.
FEDERALLY SPONSORED RESEARCH OR DEVELOPMENT
Not Applicable.
BACKGROUND OF THE INVENTION:
The present invention relates to thP..field of music. More particularly, the
present
invention relates to a display system for.di'splaying musical compositions,
either batch or in a
real time environment, and processing and communicating user performances.
Music is usually only available in the written form for one (or a fixed set
of) performer/
instrument types in a fixed key. Adaptations or variations of musical
arrangements are complex
and costly. Remotely located musicians are unable to effectively practice
together. Small
communities each with only a few musicians are limited to practicing with the
few musicians
they have.
Performers of music have many inconveniences to deal with. One such
inconvenience
deals with the composing, distribution, and utilization of music display
presentation,
traditionally sheet music. Another major problem relates to the inconvenience
of scheduling and
physical gathering of multiple musicians (including instrumentalists and
vocalists), which when
combined in their performance provide a musical ensemble or orchestra. For
example, high
school band practice requires that all students be available to practice at
the same time at the
same place (i.e., the school music room). However, this creates difficulties
in that many students
have other activities which conflict with band practice which is then
incomplete. Additionally,
when composing, musicians often will come up with an idea when physically not
with another
musician.
Musicians typically work from sheet music. When composing, they write the
notes
down on paper that has a number of staffs. If the musician transposes a
composition from one


CA 02395863 2002-06-26
WO 01/56013 PCT/USO1/02395
-2-
key to another, the notes are also written down on the staff paper. The scores
for different
instruments must also be generated and written down. All of the scores are
then copied for
distribution to other musicians and/or music stores.
When performing, the sheet music must be found, for all parts to be played,
manually
distributed, manually set-up, manually handled (turn pages, etc.). There is
also an unfulfilled
need for quick access to a more comprehensive database of music for the
performing musician,
whether he is solo or part of an orchestra. Also, musicians often perform
audience requests, and
require access to sheet music for requested songs. Presently, there are
various combinations of
songs compiled in "FAKE" Books, usually by category (e.g., rock, country,
blues, big band,
etc.). This is only of limited help. Furthermore, the use of paper sheet music
is cumbersome and
inconvenient; pages often get damaged or lost, and indexed access is poor and
slow.
This method of composing and distributing music is inadequate when the music
is used
by a band or orchestra that requires hundreds of copies. If the conductor
desires the piece to be
played in a different key or certain sections of the music edited to suit the
conductor's tastes, the
composition must be rewritten and the new transposed copy distributed to the
band or
orchestra. This is a very costly, time-consuming, and laborious task if the
orchestra has a large
number of members.
Additionally, if the composition does not have a part for a certain
instrument, the
conductor must generate the required part from the original composition. After
the score for the
required instniments has been generated, the parts must be copied and
distributed to the
individual musicians. This, again, is a very costly and laborious task if the
band has a large
number of musicians requiring different parts. There is a need, therefore, for
a more effcient way
of transposing, editing, and distributing music scores.
Over the past many years, great advances have been made in the electronic
input, storage,
and display of music. Electronic bands and orchestras are constructed using
computers and
MIDI equipment. Programs exist for personal computers (e.g., Apple Macintosh,
DOS, and
Windows machines) for an individual to use the computer for transposing music,
composing
music. Programs also exists for automatically inputting music from direct
performance (such as
directly from a keyboard, electronically through MIDI converters (such as for
string
instruments), via pickups and microphones, and sequencers, tone generators,
etc.) To generate
digital data and/or music notation.


CA 02395863 2002-06-26
WO 01/56013 PCT/USO1/02395
-3-
Musicians often perform both pre-planned and ad hoc compositions during the
course of
a performance. It would therefore be desirable to have the ability to access a
large database of
musical compositions on demand. It would also be desirable to permit
communication and
synchronization of a music presentation to multiple performing musicians who
are playing
together. It would also be desirable for a performing musician to have his or
her performance of
the music input onto an individual music workstation, and stored, and analyzed
by an automated
system, and/or communicated to one or more other networked (remote) individual
music
workstati ons..
SUN>MARY OF THE INVENTION:
The present invention encompasses a musical presentation system. In one
embodiment,
the system enables one or more users to select a musical composition, and
perform the selected
musical composition at each of a plurality of individual music stands,
independently capturing
the performance of a respective user and communicating the individuals
performance data to a
master workstation (which can be standalone or one of the networked individual
workstations),
which combines the plurality of individual workstation performance data into a
composited
combined performance data and communicates said combined performance data back
to all of the
individual workstations wherein the individual workstations provide for audio
(and/or vide and/or
audiovisual) output representative of the combined performance data (which
represents the
musical performance inputs for all of the communicating plurality of
individual workstations).
The time between the users performing the segment of music and that same user
hearing the
audio presentation of the combined data is less than the time interval
detectable by a human
being. In a preferred embodiment, the plurality of individual workstations
collectively provide
for synchronized display presentation of a selected music composition's
presentation, and
provide for output of individual performance data representative of the
musical performance of
the user corresponding to the display presentation. Timing-synchronization is
also provided for
to permit synchronization of the display presentation of the plurality of
individual workstations,
and for synchronization by the master workstation of the plurality of
individual performance
data to construct the combined performance data. In one embodiment, the master
workstation
generates a synchronization signal that is communicated to all the individual
workstations from


CA 02395863 2002-06-26
WO 01/56013 PCT/USO1/02395
-4-
the master workstation. Other synchronization structures are also equally
acceptable, such as
embedding timing synchronization data within the individual performance data.
In another embodiment of the present invention, a musical presentation system
enables a
user to select from one or a variety of musical compositions, control the
adaptation of the
selected composition, and distribute the edited version efficiently in a
paperless environment.
The system and process of the present invention also provides means for
receiving music from a
number of sources. The user selects the desired musical composition from the
source. The
desired composition is displayed and/or stored in the system's memory for
further processing by
the system prior to display and/or distribution.
In accordance with one aspect of the present invention, each of the music
workstations in
an intelligent music composition communication architecture provides for
musical information, to
be distributed for a video or visual presentation of music in a user-friendly
notation, and/or
provides an audio presentation that can be selectively tracked and synched to
the video
presentation and/or tracks and synchs the displayed video presentation to a
live performance,
etc.
In still another embodiment, the system includes a user input device enabling
selection of
the musical composition, and optionally, permitting any user specified editing
desired in the
composition, and, in a preferred embodiment, permitting user selection of
parameters (such as
the musical key in which the composition is to be played). The user can then
instruct the
system to transmit the newly generated music scores to one or more display
subsystems (such
as CRT's, LED's, LCD's, etc.), or to other systems. In the preferred
embodiment, these
displays take the form of liquid crystal displays built into music stand based
systems, also
referred to herein as display stations or workstations.
This invention also relates to a musical presentation and/or communication
system, and
more particularly, to a system which permits musicians to view the score or
other audiovisual or
visual-only presentations of a musical composition, to permit the
musician/user to perform the
musical composition on the instrument of choice, as selected by the user, and
in the key of
choice, as selected by the user.
In accordance with one aspect of the present invention, one or more music
workstations
are provided, consisting of a video presentation means, such as a display
screen (CRT, LCD,
LED, Heads Up Display (HUD) etc.) in conjunction with a computer-based system
which in


CA 02395863 2002-06-26
WO 01/56013 PCT/USO1/02395
-$-
one embodiment stores a database of songs and music which can be utilized by
the musician/user
of the system.
In accordance with yet another embodiment of the present invention, there are
provided
numerous music workstations, such that different or similar instruments can
each select a
respective portion of a song to be performed, such that all musicians
performing the same
musical piece are provided musical presentation or representation in the same
key to permit the
playing of the music together. In a preferred embodiment, the system is
capable of locking into a
particular key (and/or instrument type) responsive to input variables (such as
can be provided
via an input device such as a microphone or keyboard, or voice recognition, or
camera) to
determine the desired key to be played in. In a preferred embodiment, the user
can select an
auto-transpose mode where all music is thereafter automatically transposed.
The transposition
can take place at a master workstation and then be communicated to the
individual workstations.
In one of the illustrated embodiments, the transposition of the music takes
place locally at the
music workstation which provides local intelligence. An original musical
composition, such as
selected from a stored database of a library of music is then transposed in
accordance with
transposition rules. Many options are available, and various transposition
rules and methods are
well known and documented and in use on numerous products, such as keyboards
which have
built-in capabilities for transposition of music, as well as computer software
which provides for
transposition and notation of music.
In accordance with an alternate embodiment, the user connects to a remote
database via
wireless or wired communication to permit downloading to the local computer of
those musical
pieces which the user has selected for performance. The user music terminal,
or the central
computer, can receive the transposed (derivative composition) version or can
receive an
unmodified (original musical composition) version, which it can then display
and/or convert and
transpose music as necessary for each instrument and/or key.
In another alternate embodiment, a user can prearrange for downloading of
selected
compositions via a remote connection service, where the music user terminal
can include a
non-volatile storage memory permitting the storage and replay of all requested
compositions.
Alternatively, a central server can be provided, where multiple music end
terminals share a single
central controller computer, or each have their own computers which share in a
central server
computer or with each other in a distributed architecture.


CA 02395863 2002-06-26
WO 01/56013 PCT/USO1/02395
-6-
Alternatively, a non-volatile storage structure, such as a CD-ROM, can contain
a
database of music which can be selected from for transposition in accordance
with the present
invention.
The present invention provides a music communication architecture and
methodology
that permits the synchronizing of music display presentations for multiple
display stations
performing the same musical composition. Bands and orchestras can be
constructed using
multiple independent music workstation display whether at one site or remotely
distributed. In
one embodiment, the music display presentations provides one or more of the
display of the
musical composition, performance by the user, and the output presentation for
the combination
of the individual performance data for a plurality of individual workstations.
In one embodiment,
a master workstation is responsive to the individual performance data from the
plurality of
individual performance data and provides means for synchronizing and
compositing the
individual performance data from the plurality of the individual workstations,
and providing a
presentation output (audio and/or video) comprising the combined virtual
performance.
It is a further object of the present invention to permit the comparison of a
performer's
performance parameters, such as parameter signals obtained via a microphone
and/or camera, of
the perfonming artist's performance or execution as compared to the stored and
displayed music.
The comparison includes the pitch, timing, volume, and tempo etc. of the music
(such as through
audio recognition) and critique the artist's physical movements (e.g., proper
finger position, etc.)
through visual recognition. In a preferred embodiment, the music workstation
system provides
the performer and/or a conductor with a presentation performance feedback
indicating the quality
of the performance as compared to the stored or displayed music, such as any
errors, where they
occurred, etc.
It is a further object of the present invention to provide a system whereby
any displayed
music can be transposed (e.g., to a different key, or converted to include
different or additional
different instruments and voices than that in which the sheet music is
originally displayed).
It is a further object of the present invention to provide automated modes of
intelligent
operation of the music workstations, and to provide responsiveness to multiple
forms of user
input.
These and other aspects and attributes of the present invention will be
discussed with
reference to the following drawings and accompanying specification.


CA 02395863 2002-06-26
WO 01/56013 PCT/USO1/02395
BRIEF DESCRIPTION OF THE DRAWINGS:
FIGS. 1A and 1B show a music presentation system in accordance with the
present
invention;
FIGS. 2A-2G show flow charts of the processes in accordance with the present
invention;
FIG. 3 shows one embodiment of the display for the music display workstations
and
input devices in accordance with the present invention;
FIG. 4 shows a shared music database and stand alone workstation embodiment in
accordance with the presentinvention;
FIG. 5 shows a music communication system in accordance with the present
invention;
FIG. 6 shows a master workstation and slave workstations in accordance with
the
presentinvention;
FIG. 7 shows an alternate embodiment of the present invention using one or
more of the
workstations coupled to a master controller and music database;
FIG. 8 shows a marching band environment in accordance with the present
invention;
FIG. 9 shows a person outfitted with a sensor body suit in accordance with one
aspect of
the present invention;
FIG. 10 shows a movement and pattern recognition system in accordance with one
aspect of the present invention;
FIG. 11A illustrates a flow chart for an alternative embodiment of the
operation of the
automated mode "A Mode" 240 of FIG. 2A, alternative to that illustrated in
FIG. 2C;
FIG. 11B illustrates the process flow for an alternative overall operation
relative to FIG.
2A of a music composition communication workstation in accordance with the
present invention,
wherein steps 200-250 of FIG. 2A are redefined to show an overall operation
which also
encompasses a specific networked mode A Mode 5, as further illustrated in FIG.
12;
FIG. 12 illustrates the process flow for the networked virtual performance
mode 1150 of
FIG. 11B;
FIG. 13 illustrates the process flow for automated mode 6 corresponding to
process step
1153 of FIG. 11A, directed to synchronizing the display to the performance, to
resynchronize
the display of the music to account for performer error;


CA 02395863 2002-06-26
WO 01/56013 PCT/USO1/02395
_g_
FIG. 14 illustrates a communications architecture in accordance with the
present
invention, where each of the individual music stands 1410 receives a music
input 1411 and
provides performance data output 1412 coupled to and communicating with a
master
workstation which generates an output of virtual performance data 1451
responsive to
compositing the plurality of individual performance data signals which virtual
performance data
1451 is communicated back to all of the plurality of individual workstations
1410 which provide
audio output responsive thereto;
FIG. 15 illustrates one example of data flow communication architecture for a
plurality of
physically separate remotely located locations, such as a teacher/master
conductor/server
location and each of a plurality of locations that provide communication of
performance data for
users of the individual workstations at each of those locations, wherein
timing information is
utilized by the master workstation to reconstruct and combine all of the
individual performance
data into a combined virtual performance data output coupled back to the
plurality of individuals
workstations which responsive provide audio output;
FIG. 16 illustrates a data word structure compatible with one embodiment of
the present
invention;
FIG.. 17 illustrates a block diagram for a workstation (generally shown in
FIGS: 5-7) and
further comprising a network interface and a MIDI performance data processor;
FIG. 18 illustrates a timing diagram showing the synchronization timing of the
architecture as illustrated in FIGS. 14 and 15, and data structure illustrated
in FIG. 16, and
showing the composited synchronized virtual performance data and the multiple
individual
performance data; and
FIG. 19 illustrates one example of a memory work space structure for the
individual and
master workstations in the virtual performance mode, in accordance with the
present invention.
DETAILED DESCRIPTION OF THE PREFERRED EMBODIIVVIENT:
While this invention is susceptible of embodiment in many different forms,
there is
shown in the drawing, and will be described herein in detail, specific
embodiments thereof with
the understanding that the present disclosure is to be considered as an
exemplification of the
principles of the invention and is not intended to limit the invention to the
specific embodiments
illustrated.


CA 02395863 2002-06-26
WO 01/56013 PCT/USO1/02395
_g_
In accordance with the teachings of the present invention, a system and
methodology are
provided for music presentation and communication. Musical compositions can be
input to the
present invention from any one or more of multiple sources, such as from
prestored score
images, live microphone, direct input from musical instruments or vocal direct
performances,
scanning in of existing printed score images (optically character recognized),
cameras, visuals, etc.
These inputs by the system are used in the selective storage, composition,
communication, and
presentation of the musical system of the present invention. The system can
generate additional
material automatically, or permit a user to modify, communicate, display
and/or reproduce the
musical compositions.
Modification can be performed on rhythm, primary key, individual notes,
chords, etc.
The vast store of musical information stored in digital notation format and/or
any video format,
can be broadcast (analog or digital) to a local music workstation or a master
controller, which can
also be a local workstation. The master controller can be a stand alone unit,
or act as a server as
well as its own stand alone unit, or simply as a server to a plurality of
other stand alone units.
However, in the minimal configuration, only a single musical user station is
needed.
In one preferred embodiment, the workstation is provided as a music stand
where the
display presentation is a liquid crystal display (LCD). The LCD that can
provide monochrome,
gray scale or high quality color displays, depending on design and cost
constraints and desires.
Other display types can also be used. A touch-screen input can provide for
simplified and
adaptive user input selections. An optional built-in metronome function can
also be provided for
display presentation audio and/or video. A subsystem can also be optionally
provided to permit
the music to be audibly reproduced at the workstation through a speaker or
headphone jack or
other output.
It is well known in the art to convert user analog audio input into a digital
format, ranging
from straight Analog to Digital (e.g., A/D) conversion to processed data
conversion to encoded
digital music data, such as MIDI. Examples of MIDI include guitar input or
other stringed
instrument input through microphones or directly to MIDI-converters, or
voice/non-pickup
instruments through microphone converted to MIDI-input, or keyboard MIDI-
input. Such
input systems are commercially available from numerous companies for numerous
types of
interfaces at numerous interface levels. Similarly, numerous A/D converter
subsystems are


CA 02395863 2002-06-26
WO 01/56013 PCT/USO1/02395
- 10-
commercially available at chip and board solution levels (such as from Analog
Devices
Corporation and from Mattrox Systems).
In accordance with one aspect of the present invention, the multi-dimensional
music
transformation system of the present invention also enables a user to select
one or more musical
compositions from a larger database from a plurality of musical compositions.
The database can
be stored locally within the workstation, on site, or remotely stored and
transmitted to the user
(such as over cable, wire, telephone lines, wireless (such as radio
frequencies)). The user can also
optionally edit the selected score of the composition (such as changing the
key and/or any note
and/or timing, etc.) to suit his or her taste. The score (altered (the
derivative composition) or not
(the original composition)) can then be transmitted to one or more displays
such as liquid crystal
or CRTs in the music stands of the band or orchestra. The present invention,
therefore, provides
an efficient, paperless solution to communicating, presenting (displaying),
and optionally one or
more of transposing, editing, inputting, comparative testing-teaching,
conducting, and
disseminating music to one display or a large number of displays. Each display
can have the
same, or a different, unique, customized presentation of music notation as
appropriate per
selection, responsive to a set-up by a system, automatically per predefined
parameters, and/or to
user input. The score can also be printed out if a hard copy is desired.
As illustrated in FIG. 1, the music is stored, such as on a large hard drive
or CD ROM
jukebox, in a digital format as a music library (120). The music library (120)
is coupled to a
processor subsystem (115). Coupling can be wireless or cabled such as through
a shielded cable,
fiber optic conductor, switched connection (such as via phone lines), local,
or remote. The
processor (115) has the local storage capacity (e.g., semiconductor memory,
disk storage, etc.) to
hold the digitized version of the music composition transmitted to it on
request from the library
(120). The music library can be local or proximately remote from the rest of
the system.
In a wireless embodiment, the music library (120) is coupled to a
communications
subsystem (such as a radio frequency transmitter) (125) that transmits the
contents of requested
compositions from the remote music library (120) to the processor (115)
through the antenna
(104) of the transmitter. The antenna (102) at the receiver picks up the
transmitted signal and
the receiver conveys it to the processor (115). This embodiment enables the
music library (120)
to be remote and located at a great distance from the requesting site. The
communications
subsystem (125) can be a transceiver for bidirectional wireless communication,
or a transmitter


CA 02395863 2002-06-26
WO 01/56013 PCT/USO1/02395
-11-
for one-way wireless communication (such as where the requests are otherwise
communicated to
the music library subsystem (120), such as via a wired connection).
As illustrated in FIG. 1A, a system controller, in the form of a music stand
(105C) with a
liquid crystal display, is used by an operator (e.g., performer, conductor,
etc.) to select one or
more musical compositions. FIG. 1 A illustrates two types of music
workstations stands. The
workstation stand (105C) provides certain optional features for a more full-
featured stand,
including as illustrated, speakers (140) both wireless and wired
communications capability, and
as illustrated, shows the processor with memory (115) as an external separate
component. The
music stand (105P) shows the integration of the processor and memory into the
music stand
itself, and also shows both wireless (antenna (101)) and wired connection
(port (107)) to permit
network communication. Alternatively, the conductor stand (105C) could have
all or part of the
features integrated into the music stand (105C). Depending on the function for
which the music
workstation stand will be used, some or all of the features can be provided
for that stand to
minimize costs or optimize versatility. For example, in one situation, only
the teacher or
conductor needs the full-featured, full-powered music workstation. In that
case, the performers
or students do not have a full-feature workstation, but rather a scaled-down
version of the
workstation stand. In the preferred embodiment, a user input device (110)
(such as a touch
screen, microphone, keyboard, switches, voice recognition system, visual
recognition system,
etc.) is coupled to the processor in a wired (such as over a cable or fiber
optic link) or wireless
(such as over an RF link or infrared link) manner for workstation stand
(105C), or directly to the
processor, where it is built into the system controller as workstation (105P).
The user can select
an original musical composition from the touch screen of the liquid crystal
display (135). The
processor responds by storing that composition in the memory (115) of the
local workstation of
the user as requested.
lJsing the touch sensitive LCD (135), the user can now create a derivative
musical
composition. The touch sensitive LCD allows the user to enter the musical key
in which the
original composition will be played, edit any notes desired, and select the
instruments and parts
that will be playing the composition. The composition as originally composed,
and the
derivative or modified composition can be played back to the user over
speakers (140) so that he
or she may listen (e.g., such as to observe how the changes will sound) while
optionally
permitting simultaneous viewing of the score on the presentation visual
display. Once the score


CA 02395863 2002-06-26
WO 01/56013 PCT/USO1/02395
- 12-
has been designated (e.g., selected, edited, etc.) to the users (e.g.,
conductor's) taste, the
appropriate portions (e.g., by musical instrument) of the scores can then be
transmitted for
(optional storage and) display to the respective associated individual music
workstation stands
of the band members.
S In a preferred embodiment, each stand has an input device (110) that permits
the user of
the stand to select which instrument will be using the stand. (As discussed
above, this input
device can take the form of a touch sensitive screen or a number of buttons or
switches or voice
or audio recognition, etc.)
In the preferred embodiment, each individual music workstation stand (105) can
be
directly and/or remotely programmed to addressably receive (and optionally to
locally convert)
and display the music score that is intended for the respective instrument
type (user type) that
will be using (is associated with) the stand. As an example, the user of the
stand (or a conductor)
can input their selection of saxophone into the user input device (110) of the
workstation stand
(105C), to program that workstation stand (105C) only to receive the musical
score for the
saxophone (see FIG. 3). Then, the musical scores for all selected parts can be
independently
broadcast to all connected workstation stands, with each individual
workstation stand
individually distinguishing and accepting only its part. Alternatively, each
workstation stand can
be individually addressed for separate broadcast reception of its own
respective selected part.
Additionally, the user of the stand can program the user input to select a
musical part of a
selected musical composition (e.g., saxophone first chair) and receive only
the musical score
intended for that chair. This same procedure can be followed for other
instruments within the
band or orchestra. Alternatively, a single music composition can be broadcast
to all
workstations, where each workstation has local intelligence (processing and
storage) to permit
local conversion for display at each workstation for the selected instrument
for each workstation.
For wireless communications, the individual music workstation stands (105) are
comprised of receivers (or transceivers where bidirectional communication is
desired) and
antennas (101,103) for receiving (or transceiving) the radio frequency
information from (and to)
the master workstation (such as for the conductor). The music stand also has a
display (such as
an LCD (135)) for displaying the musical score intended for that stand.
Referring to FIG. 1B, the music workstation stands can either be identical or
broken
down into conductor stands and performer stands. A conductor stand (105CON)
may have


CA 02395863 2002-06-26
WO 01/56013 PCT/USO1/02395
-13-
more functions and control than a performer stand (105PER). A performer stand
(105PER)
might only have the ability to receive and display musical scores, whereas the
conductor stand
(105CON) has the ability to select the musical score, change the key of the
musical composition,
and perform other tasks only a conductor would be permitted or required to do.
In one embodiment, an RF antenna for the stand (105) can be built into the
stand itself.
Alternatively, instead of using RF, the performer's stand can be linked to the
main (e.g.,
conductor's) stand using infrared, fiber optic cable, shielded cable, or other
data transmission
technologies. As discussed above, the communications link can be
bidirectional, such as to
facilitate requests and responses to facilitate the feedback of performance
parameters or such that
any workstation can be a master or slave, or used in combinations.
FIG. 2A illustrates the overall operation of the music composition
communication
workstation. It begins by starting up the system (200). The system then
provides a menu (201)
that allows the user to select a listing of available music compositions. The
user then selects one
or more compositions (210). If the user selects one from the menu that is
locally stored, it
directly retrieves the information. Alternatively, if it's not something
locally stored, the system
couples (e.g. will dial up or go through a database or network) to a remote
storage site and
requests and receives the selected compositions.
Any changes that are desired to the composition can be selected at the next
logic block
(215). If there are changes (such as to the key, or note editing, or selection
of form of display or
instruments), then those can be accomplished as illustrated at blocks (255) to
(285).
If no changes are desired, the musical score for the composition that is
selected is
broadcast, transmitted, or otherwise transferred to the workstation music
stand (220). It is
internally stored in the local workstation music stand. Next, the score is
displayed (225) on the
workstation display (e.g., LCD or CRT) or a video projection system. The
display can also be
part of an integral stand-alone workstation or an interconnected group of
components including a
personal computer (such as Macintosh, or DOS or Windows PC).
The display mode selection is then made (230). This permits selection of an
operational
display mode, not simply choosing the resolution or color. The two main
choices in the
preferred embodiment are a manual mode (250) and an automated mode (240). In
the automated
mode selection (240), there are many sub-modes or options, such as the
operational mode that
permits the performer or user to do their performing without having to tend to
the selection of


CA 02395863 2002-06-26
WO 01/56013 PCT/USO1/02395
- 14-
the portion of the music to be displayed or the turning of pages. In the auto
performance mode
as shown on LCD (135P), there is provided the simultaneous displaying of the
selected musical
composition, and a display representative of the audio performance of the
user, and a divergence
signal or divergence data representative of analyzing the performance,
preferably in
approximately real-time.
FIG. 2B illustrates the manual mode (250), which provides for user manual
selection of
functions (252). There are many functions that the user can select, even in
the manual mode,
such as hitting a button or a touch screen to cause the turning of the page of
the display.
Another function is to go back a page or to scroll forwards or backwards. For
those who are
vision impaired, another function can increase the font size of the music
presentation.
Thus, there are many manually selected functions that can be provided. While
the
manual mode can have automated functions selected, it is distinguished from
the automated mode
where control is partially predefined without user assistance. In the manual
mode (250), the user
selects any and all features that are going to be provided (some of which can
be automated). The
selected function is then processed (256).
Next, any ongoing needs are processed (257). These needs can include any
overlapping
automated function (not otherwise inconsistent with any other selected
function).
Referring to FIG. 2C, the operation of the automated mode "A Mode" (240) is
illustrated. First, the user selection of the desired automatic mode is
detected and responded to,
illustrated as the auto-advance mode (242), the training mode (244), the
performance mode (246),
or any one of a number of other modes (248) as is described in further detail
hereinafter. For
example, auto repeat mode can be selected by designating the start and stop
points, and the
number of times to repeat a "looped" portion (or portions) of the displayed
musical
composition. Marching band mode (auto-advance based on metronome function,
conductor
control, etc), auto-compose mode, and many others can also be implemented. The
order of
selection of auto-advance, training, or performance mode is arbitrary, and the
user can
alternatively decide from a menu where all are simultaneously presented as
choices.
The display can advance the music by page option, or by a user selection of
one of many
options (e.g., scrolling, tablature, video graphic tutorial display, etc.).
Referring to FIG. 2D, the automated mode 1 for auto-advance operation (242) of
FIG. 2C
is illustrated, where the user has selected an auto-advance performance mode.
In this mode "A


CA 02395863 2002-06-26
WO 01/56013 PCT/USO1/02395
-15-
Mode 1" (271), the system tracks the performance by the user of the
composition to the score
(272). Performance refers to the actual performance by an individual person
(or people) who is
(are) reading the musical score upon which the performance is based. Whether
that score is in
tablature format, staff and clef and note notation, or some other format, the
system generates
appropriate signals to permit comparison of the user's performance to the
musical score.
Based on a comparison, a decision is made pursuant to selection criteria
programmed into
the system (such as the rate at which the piece is being played, the time
signature, the tempo, the
rhythm, and the advancement of the music on the available display), the
display presentation is
advanced (274 and 278). In some cases, the music~might move backwards, such as
with D.S.
Coda. The presentation of the display tracks the performance to permit smooth,
uninterrupted
playing or singing. The capability can be provided for the user to override
this auto-advance,
such as for practicing where it is desired to keep going back over sections.
In this case, a user
override option (276) is permitted to alter the automated operation. Upon
cessation of user
over~de, the system can be programmed to stop, to automatically return to the
regular
auto-advance mode, or to process other auto-modes (270) of FIG. 2C.
Referring to FIG. 21:u, the automated mode "A Mode 2" (244) operation of FIG.
2C is
illustrated corresponding to the training mode. In this mode, the system
tracks the performance
(280) of the individual user to the composition score, primarily for the
purpose of permitting a
critical analysis and comparison of the performance to the score (282). This
analysis determines
divergence from the selected musical score, and reveals errors or deviations
from desired
performance goals (e.g. match of timing of notes, duration of notes, pitch of
notes, etc.), and to
display those errors (284) (such as by audio or video means). Predefined
performance goals
provide the knowledge basis for expert system based analysis.
The system can then generate a graded score (286) indicating errors, and can
present it in
numerous formats such as histograms, frequency of errors, spacing of errors,
etc. Identification
of when the errors occur (e.g., only when going from slow to fast, or fast to
slow), absolute
position within the score and so forth, are also tracked and reported. Other
expert system rules
can be provided by music teachers which give the necessary parameters for
modeling expert
system reasoning, as well as guidance and suggestions on how to correct
problems such as via
display text, graphics, audio, etc.


CA 02395863 2002-06-26
WO 01/56013 PCT/USO1/02395
-16-
The comparison of the performance to the score in the training mode is for the
purpose
of detecting the performer's compliance to parameters (such as the tempo,
rhythm, filter,
parameter, pitch, tonality, and other features that are adaptable or can be
modified by
performers). This parameter information is available and published in numerous
forms. Thus,
having provided this core set of parameters, the system can thereafter perform
the training
automated mode.
As illustrated in FIG. 2F, automated mode 3 "A Mode 3" is the performance mode
(246).
In this mode, the operation is as in automated mode 1 (auto-advance mode)
except that no user
overnde is permitted. Its primary purpose is to accompany the performer during
the entire
performance of a score as an automated page turner. The tracking of the "page
turning" to the
performance can optionally be based on inputs or criteria independent of a
performer's actual
performance input (e.g., microphone), such as a built-in metronome clock, a
central control (e.g.,
a conductor or special user input), etc. Additionally, performance
characteristics can be tracked,
computed, and reported as in the teaching and training mode. Training feedback
can optionally
be provided real-time, or subsequent to completion of performance, to assist
the performer as in
the training mode. Alternatively, the score can be presented in a moving score
mode (e.g.,
vertically, horizontally, or otherwise) or linear presentation as opposed to a
real page turning
display.
FIG. 2G shows the operation of automated mode 4 ("A Mode 4") which provides
for the
processing of other automated functions selected by the system. These modes
can include
conductor mode, karaoki mode, etc..
In conductor mode, a conductor can control communications of signals to his or
her
performer (such as "increase volume", or "increase tempo", or "play
staccato"). Icons can be
provided where the conductor simply touches a touch screen (or other input
mechanisms) to
supplement his hand and body motions to permit more effective communication
with the
performers. Alternatively, as illustrated in FIGS. 9 and 10, in a more
advanced system version,
the conductor's movements are first learned by a monitoring system, based on
user definition and
assignment of meanings for movement to provide an expert knowledge database.
This system provides for tracking of movement input such as in FIG. 10 via
video
camera (1005) input of the conductor (1015) against a backdrop (e.g., blue
screen) (1010) is
processed by video processing unit (1020), or, as shown in FIG. 9, via body
glove technology


CA 02395863 2002-06-26
WO 01/56013 PCT/USO1/02395
-17-
(gloves (935) or sensors (944) or sensor clothing (940) or head or eye
movement tracking sensor
(930) (such as used in virtual reality, flight simulation, avionics equipments
(such as jets and
space travel), and sports players for analyzing movement) to provide the
necessary movement
input. This movement input is analyzed utilizing the expert knowledge database
to
automatically generate a display (video and/or audio) to provide local visual
and/or audio
reinforcement on the local display (such as overlaying on a then unused
portion of the music
score display as a picture in a picture) to permit audio and video
reinforcement of the
conductor's body language. Thus, "a hush" body language signal that is
directed towards a
particular section of the orchestra would automatically be interpreted to
cause the system to
indicate, and only on that particular section's respective displays, a message
(e.g., big face with a
finger in front of it making a hush sound with a "hush" sound simultaneously
output from a
speaker). The conductor mode provides many benefits to performance and
communication.
For all these automated modes (e.g., A Modes 1, 2, 3, 4), training feedback
can be
provided real time or subsequent to performance at either or both of the
performer's workstation
and a second (e.g., teacher's) workstation.
The advantages of electronic music composition, communication and display are
many.
In addition to those discussed elsewhere herein, a capability exists for
expert system based
artificial intelligent type assistance where the expert system assists in many
of the functions
performed in musical composition and performance. For example, in the Auto-
Compose Mode,
if the words need to be changed to match the meter, equivalent terms can be
chosen from the
many sources such as thesaurus, dictionaries, rhyming dictionaries,
encyclopedias, etc., to assist
as well. Phrases from poetry, selected and indexed by content or topic can be
re-expressed to
create new works. Drum and rhythm section accompaniment can be expertly
suggested, as well
as harmonies, melody lines to accompany chords, chord progressions to
accompany melodies,
harmonies to accompany a melody, and suggested musical instrument groupings to
support a
particular sound, rhythm, style, tonal quality, etc.
The expert system can be built from commercially available technology,
including
component hardware systems with supporting software, as well as commercially
available
software packages which operate on commodity-type personal and business
computers such as
the Macintosh by Apple Computer, Windows and DOS machines based on the X86 and
Pentium processor technology of Intel, technology based on the Power PC and
68XXX


CA 02395863 2002-06-26
WO 01/56013 PCT/USO1/02395
-18-
processor by Motorola, DEC PDP-11 technology, Sun workstations, etc. Custom
microcomputer or DSP based system architecture on a chip can also be
constructed, as well as
ASICs, custom or semi-custom logic.
The system can be designed to take advantage of expert system design
knowledge. A
database of rules and facts are provided, and accumulated over time by the
system in a self learn
mode. The expert system itself has the necessary logic to probe the user,
monitor the
performance, and apply the rules to provide feedback and reports to the user
of skill level, errors,
automated performance display, etc., starting with a base defined set of
rules, instructions, and a
knowledge database specific to music.
The form of the musical score communication can be easily shaped to fit needs.
One
example is MIDI (Musical Instrument Digital Interface standard) which has
advantages such as
of bandwidth of storage used, is widely available commercially, is
standardized, etc. However,
signal processing, text, icon-based, object based, and various other forms of
storage, user
interface, and processing can also be applied to more specific applications of
product.
1 S FIG. 3 illustrates one embodiment of an LCD display used for input control
and for
displaying the information from the processor and memory. In the preferred
embodiment, this
LCD is a touch sensitive screen enabling the functions associated with each
displayed button to
change, and also for the displayed buttons to be moved around the screen,
depending on the
function to be activated. The musical score may be edited by the conductor,
such as by touching
the individual note after which he is presented with a number of notes to
replace the touched
note. The lower portion of the screen displays instruments from which the
conductor can select
which instrument will be playing the composition. After a button on this
screen has been
touched, a number of sub-screens may come up, each with their own individual
touch sensitive
areas and functions to be activated by those areas. Alternatively, in addition
to or instead of the
touch screen, the system can provide input via separate key switches, voice
recognition, etc.
As an example, if the conductor touches the transmit key on the main screen,
he will be
presented with a screen showing all of the instruments that he has selected
for that piece and a
button labeled "ALL". He may now transmit to each individual music stand or by
depressing the
"ALL" area, transmit to the entire orchestra.


CA 02395863 2002-06-26
WO 01/56013 PCT/USO1/02395
-19-
The music library can be contained ("stored") on non-volatile storage either
locally or at a
remote central site containing the entire (or a subset) database of all
possible music (that is then
downloaded to local storage on request, either real-time at performance time
or in advance.)
Alternatively, the music library can be provided on storage medium that can be
easily
transported and used on site locally with the presentation system. Thus, for
example, disk
drives, cartridges, FLASH RAM cards, plug-in memory modules, or a CD-ROM or
multiple
CD-ROMs in a CD-ROM changer can be used to store and contain massive data
libraries on
musical compositions. While this would be a more expensive route than shared
use of a central
library, requiring each musical group to obtain libraries on all possible
compositions they may
want, it has the advantage of speed, flexibility, no need for communication
with a separate
remote source, and creates a whole new mass marketing area (such as for CDs or
Digital Audio
Tape (DATs)). Another way of utilizing this technology is to maintain a
history of music used,
either with the remote music library or local music library. This could be
done for many reasons,
including copyright royalty assessment, determining a history of musical
performances and
requests for future use in determining performance itineraries, etc.
Alternatively, a hybrid of
locally stored and centrally shared libraries can be utilized to optimize
cost, speed and flexibility
benefits.
In accordance with another aspect of the present invention, each display
workstation can
also provide the ability to convert performed musical compositions into
annotated musical
compositions, generating the appropriate musical notation (e.g., staff,
tablature, MIDI), notes,
time signature, key, instrument, or user type, etc.
The display workstation can be implemented as a totally self contained
workstation,
where each workstation contains its own processing subsystem, optional
communications
interface (such as wireless or cable) for network use, input/output interface
including one or more
of a user input keypad, a speaker, a microphone, joysticks, push buttons, etc.
Each of the stand
alone workstations can then operate with a local database or couple to a
shared music database as
illustrated in FIG. 4.
The stand alone workstations) (105), are coupled to the shared database
interface (405),
and can either couple remotely (e.g., via phone lines) to the remote shared
music database or to a
local shared or dedicated music database (410). The shared music database
(410) can either be
primarily a storage means (e.g., hard disk or CD-ROM), or can include a
processing subsystem


CA 02395863 2002-06-26
WO 01/56013 PCT/USO1/02395
-20-
(420) for local intelligence. In one embodiment, the stand alone music
workstation includes the
shared music database (410) and interface (405), non-volatile local storage
medium for the shared
databases (410), and a local processing subsystem (420), and can operate
completely
stand-alone. In an alternate embodiment of this stand-alone device, the shared
database interface
S is contained in the stand-alone workstation (but not the shared music
database or processing
subsystem), and provides capability for communication with a stored database
(410) remote
from the stand-alone device.
In either of these embodiments, an alternate additional embodiment provides
capability
for each stand-alone workstation to function as a master stand-alone, or a
master or slave
workstation within a workstation set including multiple stand-alone
workstations, wherein one is
designated master and the rest are designated slaves. The slave workstations
in this configuration
receive communication of music compositions to be displayed from the master
workstation,
thereby permitting one shared music database to be communicated among all
workstations which
are a part of the group. It is to be appreciated that the shared music
database function can be
distributed in many different ways among the workstations, or separable from
and independent
from the workstations. The choice is simply one of design, and the
illustration herein should not
be taken in a limiting manner.
In one embodiment, the master workstation has complete control over the slave
workstation. Anything displayed on the master workstation is also displayed on
the slave
workstation. It is also possible for the user to mask certain portions of the
display of the master
workstation before it is displayed on the slave workstation. In this manner,
the conductor, using
the master workstation, can transmit to the slave workstations only that
information that is
required by the orchestra members.
In an alternate embodiment, the slave workstation communicates performance
parameters
or deviation signals to the master workstation, for error analysis feedback.
In accordance with another aspect of the present invention, means are provided
wherein a
plurality of individual workstations are coupled together in the network
configuration to provide
for networked communication of musical performance data wherein each of the
individual music
workstations provides for capturing the performance data for a users
performance and
communicating that performance data to a master or a conductor workstation
which
synchronizes and combines the plurality of individual workstations performance
data to create a


CA 02395863 2002-06-26
WO 01/56013 PCT/USO1/02395
-21-
composite virtual performance data output which is recommunicated back to all
of the individual
workstations in approximately real time, so that the individual workstations
can receive the
composite virtual performance data and provide an audio output (and/or visual
presentation) of
the combined composite virtual performance data including all of the
individual workstations
S users performances. While the networking can be used in conjunction with
other features and
embodiments of the present invention, including communication of musical
compositions for
display, and other musical performance data analysis and data communication,
as well as
inter-musician interpersonal communication, the networked embodiment of the
present invention
permits synchronized virtual performance thereby permitting multiple remotely
located
individual workstations to physically separately perform with the benefit of
hearing in
approximately real time the combined result of all the performances at the
individual
workstations with their own individual performance.
In accordance with another aspect of the present invention, means are provided
to permit
a user of the music workstation to accomplish a transposition of a musical
composition in pitch,
tempo, and otherwise. In a preferred embodiment, the lead voice or instrument
can audibly
indicate the key via the microphone input or via another type of input
stimulus. The
workstation can analyze the user input, determine the key, pitch and tempo for
a musical
composition being partially performed by the user, and adjust and transform
the composition to
be displayed in the new user desired key, pitch, tempo, etc., either solely
for use on that
workstation, or communication for use on one or more other workstations. In a
networked
version, this user input can also be communicated to other workstations for
use by one or more
of the workstations in transposing, or communicated to a master workstation,
which transposes
and rebroadcasts the transposed composition.
Alternatively, the user can input the pitch, tempo, and key via the user input
(e.g.
keypad, joystick, push buttons, voice recognition, playing of an instrument,
etc.) and the system
performs the transformation and displays (and/or prints out and/or audibly
performs) the
modified transformed composition for the user. Additionally, where a musical
composition is
written for one instrument and a different or additional instrument version is
desired for
simultaneous performance, the user can indicate the other instruments via the
user input, and the
system will generate the appropriate displays. The workstation can also
provide an audio
output of the transformed musical composition, either for the individual
additional instrument or


CA 02395863 2002-06-26
WO 01/56013 PCT/USO1/02395
-22-
voice transform and present it, or for the composite of additional versions
and the original
version, to hear the blended piece.
Referring to FIG. 5, a music communication system is illustrated comprising
multiple
workstations (500) each comprising a display (510), user input such as a
keypad (522), a
S joystick (524), push buttons (525 & 526), a microphone (527), and a speaker
(528). The
workstation also includes communication interface means such as a wireless
interface including an
antenna (531), or alternatively or additionally a wired or cabled
communication interface (540).
Each workstation further includes a local microcomputer subsystem (550) that
provides local
intelligence and management of functions in the workstation.
In the networked embodiment, where multiple physically separate locations each
having
one or more individual workstations provide for communication of performance
data from the
individual workstations and presentation by the individual workstations of the
combined virtual
performance data at the individual workstation, to provide for a virtual
performance. In this
case, the communications interface would utilize slightly different structure,
such as a phone
modem (analog modem), a cable modem, ISDN as between locations, etc.
Communications interfaces of various types are well known and commercially
available.
At the present time, they are available for purchase at the chip, board, or
system level. In fact,
many single chip microcomputers include communications interface capabilities,
wired or
wireless.
The workstation further includes an optional musical instrument input (562)
and a
musical instrument output (564) that permit the coupling of a musical
instrument via a musical
instrument interface (570) directly to the workstation. Thus, a keyboard,
electric guitar through
appropriate input, or a microphone input through the interface (570) permits
instruments or
voices to be directly input to the workstation for direct input independent of
the microphone
(527).
The instrument output permits coupling of the instrument input signal, either
directly fed
through or as modified by the workstation for output to the appropriate public
address or
amplification and presentation system or separate analysis system. The
workstations are
coupled either via wired or wireless communication to a processor subsystem
(580) that includes
a processor, non-volatile memory, read/write memory and an interface to a non-
volatile storage
medium (582).


CA 02395863 2002-06-26
WO 01/56013 PCT/USO1/02395
-23-
The processor subsystem (580) includes an appropriate communications
interface, such
as a communications interface (540) for wired interface or (532) for wireless
interface including
antenna (533). The processor subsystem couples to a non-volatile storage
medium (582)
containing, among other things, application programs, transformation programs,
and either a
S shared music library interface application program or the actual shared
music library and access
program.
As described above, the processor subsystem (580) and non-volatile storage
(582) music
library can be built directly into one of the music workstations (500) to be a
master, with the
other workstations being slaves, that can either include the processor
subsystem and non-volatile
storage or can be lower cost dummy slave terminals. As illustrated in FIG. 6,
a first master
workstation (300) provides a basic workstation subsystem (200) plus contains
the processor
subsystem (280) and non-volatile storage system (285) as a part thereof so as
to provide a
complete stand alone music communication system, and be capable of acting as a
master or
master/slave. This master workstations) (300) can function as a stand alone,
or can couple to
one or more other workstations, including one or more masters (300) and/or one
or more
non-master workstations (105).
The multiple connected workstations can operate as stand alone workstations
using their
local intelligence for displaying downloaded or resident music compositions.
They can also
interact in a master/slave linked environment, where one of the master
workstations (300) asserts
a master status, and all other interconnected workstations, whether
workstations (105) or
master/slave workstations (300) operate in a slave mode coupled to independent
on the
designated master. Additionally, masters can communicate between each other
for a
master/master network configuration.
Alternatively, the multiple connected workstations can operate together in a
networked
virtual performance mode, or in a networked communications mode. A dedicated
stand alone or
distributed master workstation architecture can provide for the coordination
and combination and
synchronization of the multiple individual performance data outputs into a
combined virtual
performance data output.
Referring to FIG. 7, an alternate embodiment of the present invention is
provided where
one or more workstations (105) include, at a minimum, a display of the music
notation. These
workstations are coupled to a master music communications controller (415)
that provides for a


CA 02395863 2002-06-26
WO 01/56013 PCT/USO1/02395
-24-
separate user input (411) which provides input interface, such as to a MIDI
status stream,
computer data links (such as RS232, modem data link) etc. that designate
requested musical
compositions, transformations, and display requests for various ones of the
coupled
workstations.
In an alternative embodiment, the master music communications controller 415
provides
for additional functionality including virtual performance mode, wherein the
input interface (such
as the MIDI stream, computer data links, etc.) provide one or more of musical
compositions data
for display, transformation information, display requests, user individual
performance data, and
wherein the workstations respond to the master music communications controller
to couple their
individual performance data and receive back the combined virtual performance
data.
The workstations (105) access the music database storage means (420) that
provides the
data for the requested music composition via the master controller (415). The
master controller
(415) displays both the requested music composition as well as user interface
communication for
the music communication system to be displayed on either a dedicated display
(416) or on one of
the workstations (105) as designated by the master controller (415). The music
database (420)
can either be local, or can be via a data link (e.g., phone line, RF,
otherwise). In one embodiment,
a motion sensor subsystem (422) monitors motion of a target person and
responds in accordance
with predefined movement interpretation characteristics parameters, such as
for a conductor.
In a preferred embodiment, the user input means (411) is comprised of a key
switch
device, such as a touch membrane keypad or capacitance touch surface.
Alternatively, in one
preferred embodiment, the user input is provided via a touch screen
technology. Touch screen
technology permits the display of user interactive icons and legends including
text and graphics
making possible unlimited customization of user input structure according to
task needs. Thus,
specific switches or sequences of touches to the touch screen can be
associated with common use
icons from the task being performed in conjunction with words to provide
ultimate clarity. User
error is virtually eliminated, with the aid of automatic entry error
detection, such as defined
faelds, mandatory fields, etc.
Alternatively, the microphone input (527) can provide for coupling of user
speech to a
processor subsystem (580) that uses any of a number of commercially available
and well known
speech recognition algorithms. These algorithms provide far speech recognition
input control,
either solely or as a supplement to touch screen or other tactile input
mechanisms.


CA 02395863 2002-06-26
WO 01/56013 PCT/USO1/02395
-25-
In a deluxe embodiment, an output (421) is provided that permits coupling of
an external
display, such as a color monitor, projection unit, or other display
presentation system including
one or more of audio, visual, and audiovisual.
Additionally, the display presentation output of the workstation can provide
for an
audio output presentation of the musical performance, either generated by the
work station
responsive to the music composition data, to the users performance, to the
combined virtual
performance data, or responsive to an external source. Additionally, a visual
or audio visual
presentation can be provided to provide information feedback to the user on
both their individual
performance as well as from and between individual workstations and/or the
master controller or
conductor workstation.
In accordance with another aspect of the present invention, means are provided
for
moving through the printed (displayed) notation of the music in
synchronization with the live
performance from the displayed musical notation.
Musical notation is used, in the generic sense, to refer to any way of
conveying musical
1 S performance instructions including but not limited to common musical
notation with staffs,
notes, sharps, flats, and clefs, extending to written instructions in text
form to supplement this or
supplant or partially replace, as well as alternate forms of expression such
as chord charts, words
and chords (letters), tablature, any video, graphic, audio, audiovisual or
other display
presentation or combination of the aforementioned types of presentations.
An annoyance in performing music using any written notation (whether on paper
or
displayed on a presentation apparatus such as a screen) is smoothly performing
music and timing
"flips of pages" (or the communication of change to a third party, such as
touching a key or
button). This is especially true when the user is marching and both hands are
required
simultaneously.
In accordance with one aspect of the present invention, means are provided to
accept
inputs from one or more sources that initiates a "page turn". Types of inputs
include
conventional touch input apparatus (such as key switches or capacitive touch
pads), motion
sensing gear, and automatically when operating in the operational mode of Auto
Mode. The
motion sensing gear can be for a portion of the performer's body, such as a
head tilt sensor or an
optical eye movement sensor, etc.


CA 02395863 2002-06-26
WO 01/56013 PCT/USO1/02395
-26-
Additional types of inputs that can initiate a "page turn" include voice or
sound
recognition apparatus built into the microcontroller system. This apparatus
has the ability to
use pattern recognition specific to the sound or user voice and words being
said (for extremely
high accuracy). Of course, any type of user actuated device such as a foot or
hand switch, or
head motion device, or sound or voice recognition system, in a preferred
embodiment, is
selectively permitted to control the override of the normal progression of the
music's play.
The override may cause the progression to go backwards or forwards in the
music score
irrespective of the normal reading of it. The performance mode AutoMode blocks
the user
override to permit performance according to proper material timing and either
progresses
responsive to the music composition data timing, or in an optional embodiment,
to the
performer. This automatically moves through the musical score as written and
preferably shows
an indication of metronome time and an indication of the proper place in the
score where the
performer should be for that instrument at any specific time. This is
especially valuable in a
conductor mode of networked communication, where a conductor couples to one or
more music
workstations.
The user's performance can be compared to the score, and feedback can be
provided to
the perfonmer as to the quality of their performance.
In the performance monitor mode, for a single user or multiple users, the user
(or a
remote teacher or conductor) can indicate the rate at which he feels the
performer should be
performing. A microphone input on the music workstation samples the user's
actual
performance and permits providing a graphical mapping (for the user or
teacher/conductor)
showing the relative synchronization of the performer's actual performance
versus the
conductor's desired performance.
In an alternate automatic advanced mode, the display of the music composition
is
synchronized to the performers actual performance. Thus, rather than simply
indicating visually
for the teacher/conductor or user what their relative performance was to the
written displayed
musical composition, the relative performer to written music synchronization
information can be
utilized to adjust the display rate of the actual musical composition to match
that of the
performer.
With use of appropriate sound bailing, a plurality of instruments can
simultaneously be
monitored and controlled by the conductor, so long as each instrument's output
sound pattern is


CA 02395863 2002-06-26
WO 01/56013 PCT/USO1/02395
- 27 -
communicated directly to a respective workstation. The output of each of the
workstations can
then be coupled to the conductor's master workstation for further analysis and
processing.
A workstation for an oboe may have a built in slide boom with a featherweight
microphone to be able to receive sound input from the oboe. Electric
instruments, such as
guitars, keyboards, and other electrical analog signal sources can be fed
directly to a line input
that is appropriately buffered and filtered. Signal input can also be
accommodated through a
MIDI-interface subsystem that permits both utilization of data in workstation
to workstation
communications and utilization of MIDI-output at the station where the data
was input.
For networked virtual performance, and for one aspect of output display
presentation,
the utilization of MIDI input and M)DI output, at each of the individual
workstations and at the
master controller workstation, permits the capture of the user performance and
conversion to
individual performance data which includes time synchronization information
which can be
communicated to the master workstation, which synchronizes and combines the
individual
performance data to generate combined virtual performance data which is then
communicated
back to the individual workstations which utilizing their MIDI output
interfaces provide for
display presentation ( e.g. audio output) of the combined virtual performance
data. Additionally,
even where virtual performance mode is not selected, the provision of MIDI
interface input and
output on the workstations have other multiple beneficial users as discussed
elsewhere herein.
Additionally, other types of user performance to user performance data input
devices and
transducers can be utilized, as are well known commercially available
including variations of
analog digital converter input devices, audio signal capture, etc.
By combining the conductor and performance mode operations, the workstation
can be
enhanced to provide training and comparison of performance to actual music.
Some music is only available in annotated forms where there is not an existing
signal
showing proper synchronization of the signals. Thus, a controller subsystem
(such as (580))
provides for real time conversion and analysis of syntax of the music
notation, in conjunction
with a precision clock metronome, and provides an indicator (such as color or
other highlighting
or bolding or accentuating) of the relative timing of the perforniance
relative to a place in the
sheet music (or other form of musical notation).
Existing forms of music notation can be converted manually, or can be
converted
automatically by scanning in sheet music, recognizing (using optical character
recognition) the


CA 02395863 2002-06-26
WO 01/56013 PCT/USO1/02395
-28-
various elements of the music, and facets and specifics of the syntax in the
form of notation
including its constants and variables and protocols, and integrating via an
artificial intelligence
type expert system that notates, highlights, and accentuates via synchronized
metronoming of
time signature to music. Any of a variety of other means of converting music
can also be used,
such as direct input of musical performance signals processed via software
that converts it into
musical notation. Such software is commercially available, such as from ARS
NOVA, Wildcat
Canyon Software, Mark of the Unicorn, Inc., and Passport Designs, Inc.
Since the music notation is now in computer usable form, it is now an easy
task to
communicate, display, compose, alter, and transpose music (such as in key, for
types of
instruments or voice parts, and harmonies) via well known techniques.
Additionally, where the user input is converted into user performance data for
the
workstation, the users individual performance data is also now in computer
usable form and if
appropriately converted from performance to performance data, includes
appropriate
synchronization data relative to master controller performance synchronization
signal. Thus,
both the music notation is in computer usable form (making it easy to display,
alter and
analyze/compare), and the users performance is in computer usable form
(digital individual
performance data), it is possible to provide intelligent operation and
analysis and utilization of
both the music composition information and the user performance information,
to provide for
various automated modes and features to the users
Implementation can also be in a custom design comprised of a microprocessor,
non-volatile storage memory, read/write memory, and whatever additional
peripheral circuitry is
needed (such as are available in ASICs, or single chip microcomputer chip sets
including CPUs,
DSPs, A/D, and other peripheral support circuitry). These single or multiple
chip solutions can
be utilized to create a dedicated system to perform complete music
workstations performance
criteria to support an extremely low cost, high volume music workstation
solution.
A new form of communication is created in that both the process of
communicating via
standard notation is respected and adhered to, while at the same time
permitting interaction and
communication of music media signals ranging from simple analog, digitized
(analog to digital
converted), individual performance data (representative of the user's
performance), and can
optionally include timing/synchronization data.


CA 02395863 2002-06-26
WO 01/56013 PCT/USO1/02395
-29-
A multi CD RO1VI changer accommodates indexed storage of hundreds of thousands
to
millions of musical compositions to permit complete stand alone operation of
the user music
workstation. Alternatively, an optional built-in or external modem can be
provided to permit
intercommunication with a remote central music database management system that
permits both
S communication and down loading (and disconnect) for stand alone operation.
Thus the
workstation can stay on-line, pulling up music as needed, or can request a
single or multiple
pieces of musical works be provided to it, that are then downloaded from the
central database
manager. The user workstation then disconnects from the music database
management system,
and thereafter operates stand alone where all desired music is stored locally
in storage (preferably
non-volatile). Storage can be semiconductor, magnetic, optical or any other
medium.
The use of virtual reality technology, including motion sensors and body
gloves, permits
monitoring of various other things (as shown in FIG. 9). For example, as shown
in FIG. 10, a
camera in conjunction with analysis logic, such as expert software, can
monitor motion of role
model behavior and compare performer behavior. Hand, finger, arm, leg, eye,
head, body, and
mouth movements can all be monitored and constructive critical feedback can be
accumulated,
analyzed, and fed back to the user or teacher, for performer training, or
performances, or for
conductor communication.
The input of monitored movement data is provided to the user workstation,
permitting
precise mechanics training such as finger position, the angle of striking of
strings relative to the
neck of a violin or guitar, or they can be used to permit the virtual
performance of music by a
performer using a virtual link apparatus such as a virtual reality glove and
head movement
detection apparatus. The user can then perform a piece with their own
personalization without
any musical instrument in fact.
For example, the guitar portion for a piece of music could be displayed in
notation form
and actually performed according to the timing of movements of the user's
fingers (either actual
fret positions, or only timing information). To add further reality, a mock
guitar, keyboard, flute,
or other instrument can be used and combined with virtual effects to provide
for music
performance and personalization. Thus, for entertainment purposes, users could
perform as part
of a symphony orchestra playing a violin portion. If they performed out of
time, they would
3o hear their instrument's performance out of synch with the rest of the
orchestra's performance.


CA 02395863 2002-06-26
WO 01/56013 PCT/USO1/02395
-30-
There are numerous ways to embody the conductor movement interpretation
system.
As illustrated in FIGS. 9 and 10, one is utilizing the body movement detection
apparatus
prevalent in virtual reality, sports medicine, etc., as discussed above, to
identify specific
movement patterns or signal parameters associated with certain movement
patterns, to initiate a
display presentation, audio, video, or audiovisual to provide a presentation
associated with
movement of the conductor. Alternatively, other techniques can be used such as
taking the video
feed from a video camera or other video source (e.g. VCR) and having the
conductor interpret his
movements and assign them unique meanings, to create a lexicon of his
movements and
corresponding meaning.
For example, rapid downward movements of the hand from up to down, in a
certain
manner, indicate "decrease the volume." When he points at a particular section
at the same time
as he is doing that, he is indicating that only that orchestra section is to
reduce volume. In this
manner, either camera input of movements, glove sensing of movements, or other
techniques
(such as audio, ultrasonic, etc.) can be used to track movement to permit
associated meanings to
be attached or indexed to particular signal parameters or parametric signals
of the meaning of the
movement parameters as provided by the conductor input device. For example, in
the case of the
virtual reality glove, that input would be the signal output of the glove as
interpreted by
associated software in a processor (such as a PC or a MAC). Alternatively, for
example, in the
case of video camera input, it could be pattern recognition or analog signal
comparison to
determine the presence of certain signal patterns indicating to the system to
initiate automatic
communication of a conductor presentation. In so doing, the conductor is able
to rapidly convey
his meaning, focus it to a particular group of instruments, and be done with
it. He doesn't have
to focus very long or concentrate to make sure they've gotten his signal.
Instead he can focus on
listening to see if they got his message.
FIG. 8 illustrates an alternate embodiment of the present invention. In this
embodiment,
the workstations are remote units (801-803) used by a member of a marching
band. Each of the
remote units (801-803) are equipped with receivers (810- 812) that receive
musical compositions
transmitted to them. Remote units controllers (820-822) control the operation
of the remote unit
(801-803). The musical composition is displayed on the remote unit's displays
(830-832) which
displays can be an LCD multiple line display providing low cost, low power
usage, and high


CA 02395863 2002-06-26
WO 01/56013 PCT/USO1/02395
-31-
visibility/readability, and with Auto Advance Mode, the display automatically
scrolls as the
music is to be performed.
Each remote unit (801-803) can be mounted on the instrument on or in place of
the lyre.
The remote unit's antenna (840-842) can be separate from or built into the
remote unit or the
lyre.
A transportable main unit (850) is used to transmit musical compositions to
the remote
units (801-803). The transportable main unit (850) is comprised of a
controller (806) for
controlling the transportable main unit (850), a music database storage medium
(805) containing
the data for the musical compositions to be played by the band, and a
transmitter (804) for
transmitting the musical compositions to the remote units (801-803). This main
unit can be in
the form of a suitcase or briefcase size item. The main unit can also be
provided built into a van
that is driven around with the band or as a small self contained portable
unit. In accordance with
this embodiment, the band can play a virtually unlimited number of musical
compositions
without the problem of carrying the music with them in paper form. It also
relieves the band
1 S members of the problems of changing music and changing pages while
marching. As discussed in
the above embodiments, in the performance mode, the musical score is
automatically scrolled
across the screen display (830-832). Additionally, a keyboard and/or
microphone can be
attached to the transportable main unit allowing the conductor to send
messages to the remote
units via displays (830-832) or via a speaker associated with units (801-803).
This allows the
conductor to send instructions to the band (such as to take a certain route,
or play at different
volumes or speeds). With bidirectional communications and user performance
feedback, the
conductor can also monitor for errors.
FIG. 9 illustrates a conductor, stage hand, or other person with a sensor
glove on each
hand (935) and a head and eye movement monitor (930). The figure also
illustrates the conductor
wearing full body sensor equipment (940). Either embodiment or a combined
embodiment can be
used to map body movements. If only the gloves (935) or body sensors (944) are
used, the
movement of the glove or sensors can be captured by a video system, as
illustrated in FIG. 10.
Other methods that capture motion rely on specialized sensors (944) placed on
a
performer's joints, such as via a sensor body suit (940). Once motion has been
filmed or
analyzed, a data set is produced to interpret that movement into Cartesian
coordinates. These


CA 02395863 2002-06-26
WO 01/56013 PCT/USO1/02395
-32-
coordinates provide the spatial location of each of those markers. This
information is then
cleaned up and input to an animation package.
FIG. 10 illustrates a video camera (1005) and a standing conductor (1015) (or
performing
musician to be tracked or virtually linked to perform), with or without a blue
screen (1010)
behind him. The video camera (1005) feeds a video signal to the video
processing system (1020)
that utilizes signal processing to provide signal pattern recognition
capability. The blue in the
screen is filtered out in the signal processing such as by an Ultimatte
process.
In one embodiment, the conductor is wearing a sensor equipped body suit (940)
and
gloves (935) of FIG. 9. In another embodiment, the conductor is wearing only
the sensor
equipped gloves (935) of FIG. 9. In still another embodiment, the conductor's
movements are
picked up by the video camera (1005) and processed without a sensor suit.
Simple things, like looking for the conductor's rapid hand movements, focusing
on
specific hand movement areas, facial and head movement, arm movements, and
body language can
all be programmed into the recognition knowledge base. Some of the technology
for complete
mapping of body movement that exists in making video games of today are
illustrated in Yideo
Systems magazine, page 42, October 1995, Vol. 21, No. 11, and NE.YT Generation
magazine,
pages 49-54, October 1995, both incorporated herein by reference.
In any event, having now obtained knowledge related to recognition of the
movements,
the system can interpret them and utilize them to convey presentation
information to the
ensemble or orchestra or studio members, or to analyze a performer's
movements, or to permit a
virtual performance. One example would be a large screen television or
multiple large screen
televisions for viewing by the members of the viewing group. Alternatively,
each music stand
could provide for a picture in picture display of special movements of the
conductor in areas of
the display where music is not currently being played. Since the stand can
have the intelligence
to compare the performed music to the played music, that embodiment permits
display of the
message in portions of the music display area which have already been
performed or are not
going to be performed for some time (e.g., at least ten seconds in either
direction; other criteria
could alternatively be used, and can be set up for desired characteristics of
the performing
envi ronment).
Voice recognition and response to conductor commentary can supplement the
system.
The system could record the message, interpret to whom the conductor directed
the message and


CA 02395863 2002-06-26
WO 01/56013 PCT/USO1/02395
-33-
convey it audibly or translate it into a text or icon display as a part of the
system's audiovisual
presentation.
Referring to FIG. 11A, an alternative embodiment of the automated mode "A
Mode"
(240) of FIG. 2C is illustrated. The illustrated process for the automated
Mode 240 of FIG. 11A
includes process steps for the Auto Advance A Mode 1, Training A Mode 2,
Performance Mode
A Mode 3 which are equivalent to the illustrated A Modes 1, 2, and 3 of FIG.
2C. However, as
shown in FIG. 11A, at step 1148, the decision is made whether the conductor
automated mode is
selected, and if a "yes" decision, then automated Mode 4 is entered at Step
1149, and if a "no"
decision, then logic goes to the networked virtual performance mode A Mode 5,
as decided at
decision logic step 1150, and responsive to the selection of the networked
virtual performance
mode, A Mode 5 (1151) is executed. If networked mode A Mode 5 is not selected,
then
processing proceeds to decision logic step 1152 to decide whether the
synchronization of the
display to the performance (Mode A 6) has been selected, and if so, then the
processing
proceeds at step 1153 to provide A Mode 6 functions. The automated mode
processing ends at
step 1154. It~is to be noted that the automated modes can be cumulatively
selected, so that the
networked virtual performance can include any or all of the other automated
modes, including A
Modes 1, 2, 3, 4, 5, and 6, or other A Modes which may be provided. It should
also be noted
that the tracking of the performance by the user relative to the presentation
of the musical
composition (step 272 of FIG. 2D) provides the first part of the logic
necessary for the A Mode
6 (synchronization of display to performance), as illustrated in FIG. 13 in
further detail.
Referring to FIG. 11B, there is illustrated an alternative overall operation
of a music
composition communications system, alternative to that illustrated in FIG. 2A,
showing
additional automated modes including the network virtual performance mode A 5.
FIG. 11B
illustrates an alternative control logic structure for the network selection,
where the decision logic
proceeds in an analogous manner to FIG. 2A. The operation starts at step 1100,
and a mode is
selected at step 1110. A composition is selected at 1120, and if the decision
logic 1120
determines the composition has been selected, then processing proceeds at step
1130, which
provides for selection of the mode. If no composition has been selected,
processing proceeds
back to the select composition step 1110. Once the composition has been
selected, then a Mode
is selected as illustrated at step 1130, and the decision logic of select Mode
1140 determines
whether the selected mode is that of (1) a display mode, in which case
processing proceeds to


CA 02395863 2002-06-26
WO 01/56013 PCT/USO1/02395
-34-
step 220 of FIG. 2A, (2) a modified composition mode, in which case processing
proceeds as
from step 215 of FIG. 2A going to the yes branch, or (3) the select mode
determines that the
networked virtual performance mode has been selected, in which case processing
proceeds to the
networked mode automated Mode 5, step 1150, as illustrated in further detail
in FIG. 12.
Referring to FIG. 12, there is illustrated the networked virtual performance
process flow,
step 1150 of FIG. 11B, in greater detail. At step 1150, the automated mode of
networked virtual
performance has been selected. This automated mode S is processed by
proceeding to verify the
selection of the composition. At step 1220, the user's performance is captured
(e.g., by a
microphone or via MIDI) and converted to individual workstation performance
data. This data
is then broadcast by each of the plurality of individual music stands to a
designated master
controller. At step 1230, the controller receives and combines the plurality
user's individual
performance data to generate a combined performance data representative of the
synchronized
and combined plurality of individual performance data. This combined
performance data is then
broadcast to all of the individual music workstations. At step 1240, each of
the plurality of
individual music workstations provides an output (e.g., audio) responsive to
the combined
performance data, which is representative of the combination of the plurality
of users audio
performances of the music composition, synchronized to the display
presentation of the music
composition. Timing synchronization data is provided to synchronize the
plurality of individual
music workstations individual performance data to one another and to the
selected musical
composition's display presentation, to facilitate synchronization for purposes
of combination
and audio playback at the individual workstations, in approximately real time,
so as to provide
apparent real time feedback of the individual user's performance in
combination with all other
individual users, played back at each of the individual workstations. At step
1250, analysis is
done as to whether the composition is done. If so, processing completes at
step 1260 and ends
this automated Mode 5. Otherwise, if processing is not done, that is the
musical composition is
not over, then processing proceeds back to step 1220 as illustrated.
Referring to FIG. 13, there is illustrated automated Mode 6 corresponding to
synchronizing the actual display presentation to the user's performance,
providing
resynchronization of the display of the music to account for the actual
performer's timing, and
any errors or differences. Automated Mode 6 is analogous to A Mode 1 without
override, but
not to A Mode 3, which auto-advances independent of the user's performance. At
step 1153,


CA 02395863 2002-06-26
WO 01/56013 PCT/USO1/02395
-35-
the automated modes 6 is entered. At step 1310, analogous to step 272 in FIG.
2D, the user's
performance is tracked and stored for comparison to the musical composition
display
presentation relative to the timing of where the performance should be. At
step 1320, the
performance that has been tracked is compared to the score and deviation
performance data for
that performer is generated. At step 1330, the errors are utilized to
resynchronize the display
presentation of the musical composition to adjust to the actual user's real
time performance
timing relative to the display presentation and a synchronization of the
commencement of the
user's performance relative to the musical composition's presentation on the
display. At step
1340, an analysis is done as to whether processing is complete (e.g. is the
musical composition
done?). If so, A Mode 6 ends at processing step 1350, and either the automated
modes of
processing can end, or other automated modes can be checked for, and
processing can begin for
another selected automated mode.
Referring to FIG. 14, there is illustrated the communications architecture and
system in
accordance with the present invention, wherein there are a plurality of
individual music
workstations 1410, each responsive to a user's performance of a musical input
(1411) which is
processed by the individual music workstation 1410 to provide a performance
data output 1412
coupled for communication to a control system 1450, which can be a master
controller~or master
workstation, which is coupled for receiving and processing the individual
workstation
performance data for the plurality of individual workstations. A
communications interface 1413,
such as a modem, can provide for coupling and communication between the
individual
workstation 1410 and the master controller 1450. In one embodiment, the modems
1413 are
coupled via a public switched telephone network to a corresponding modem 1455
which couples
to the master workstation to communicate by directionally between the
individual workstations
and the master workstation. Alternatively, any sort of cable, hardwired, or
wireless
communications interface and provided, and would work equally well when in
accordance with
the present invention. The master controller 1450 is responsive to the
individual performance
data outputs from the plurality of individual workstations to provide a
combined and
synchronized virtual performance data output 1451 which is coupled via the
communications
network to the plurality of individual workstations, which each then
respectively provide an
output (e.g. audio) 1415 for presentation to the user, representative of the
combined performance


CA 02395863 2002-06-26
WO 01/56013 PCT/USO1/02395
-36-
data. An audio and/or visual presentation output 1452 can also be provided at
the master
workstation.
Referring to FIG. 15, there is illustrated the data flow and communication
architecture for
one embodiment of the present invention. A music communication system is
provided that has a
S plurality of physically separate remotely located locations, each having one
or more individual
music workstations, wherein each of the individual music workstations provides
for
communication output of individual performance data for a user's performance
of a displayed
musical composition at that individual workstation. As illustrated, a master
controller 1505 is
coupled to the communications infrastructure 1510 at a first location. A
plurality of individual
music workstations 1511, 1512, 1513, and 1514 are coupled to the
communications
infrastructure 1510 at location 1, designated performance group 1. Similarly,
location 2,
performance group 2, provides individual workstations 1521 and 1522 coupled to
the
communications infrastructure 1510, and location 3, performance 3, provides
individual music
workstation 1531, 1532, and 1533 coupled to the communications infrastructure
1510. The
plurality of individual workstations 1511, 1514, 1421-1522 and 1531-1533, each
provide
individual performance data, providing multiple discrete time samples of
performance data (e.g.
time, segments of data), which can include synchronization information
therein, which are
communicated via the communication infrastructure 1510 to the controller or
master workstation
1505 The resultant output (e.g. audio) from the individual workstations is the
resynchronized
combined performance data of the plurality of individual performance data,
resynchronized for
each of the time segments of output.
Referring to FIG. 16, the data word structure for one embodiment of the
present
invention is illustrated. The data structure for the individual user
performance data is illustrated
as comprising a header comprised of control information including a start of
word, cyclic
redundancy code (CRC) word, the performer's ID (a unique address for the
individual
workstation,( which not only can provide an unique ID but can also provide for
indication of an
instrument type), and other control information for other modes of operation
in addition to the
virtual performance), payload data representing the actual performance data,
and timing
synchronization data. Any other data word structure providing for header
information including
control information, and payload information including performance data, and
some timing


CA 02395863 2002-06-26
WO 01/56013 PCT/USO1/02395
-37-
synchronization scheme, whether or not part of the user performance data word
will work
equally well with the present invention.
FIG. 17 illustrates a networked system embodiment in block diagram form,
illustrating
the network interface subsystem and music data processor subsystems for one
embodiment of
the present invention, compatible with the architecture as described in FIGS.
1-15. FIG. 17
illustrates a single individual workstation 1710, although a plurality of
individual workstations
1710 are usually involved in the networked system (analogous to the plurality
of individual
workstations 1410 of FIG. 14). The individual workstation 1710 provides for
communication
with a master workstation 1790, (analogous to the communication architecture
with the master
workstation 1450 of FIG. 14). The musical performance by the user (1712) is
coupled to an
input interface 1715 which provides musical performance data to a musical data
processor 1720,
which can be a MIDI based processor, which provides the music processed
performance data
output to a network communications interface 1730 which outputs the individual
musical
performance data 1731 for coupling via the communications infrastructure to
the master
workstation 1790.
The master workstation 1790 processes the individual musical performance data
1731,
from the plurality of individual workstations 1710, and provides an output
1791 of combined
virtual performance data, wherein both the individual musical performance data
and the combined
virtual performance data are comprised of a plurality of discrete time
segmented data samples,
wherein the combined virtual performance data is synchronized within each
sample time to
provide for synchronized combination of the individual musical performance for
that time
segment.
A network interface subsystem 1735 is responsive to the combined virtual
performance
data to provide synchronized virtual performance data output to the music data
processor 1725
(e.g. MIDI) which provides a sound output of the combined virtual performance
data
corresponding to the synchronized combination of the individual musical
performance data from
a plurality of the individual workstations 1710. Additionally, the individual
workstation 1710
provides data analysis and presentation processing 1740 which provides an
output responsive
to, inter alia, the combined virtual performance data to a presentation means
such as an
audiovisual display, or a video display or an audio output, 1745. Note that in
a preferred
embodiment, the multiple individual network workstations 1710 are synchronized
(e.g.


CA 02395863 2002-06-26
WO 01/56013 PCT/USO1/02395
-38-
responsive to synchronization signal from the master workstation 1790), so
that the plurality of
the individual workstations simultaneously commence display presentation of
the musical
composition for synchronization of individual user performances. In one
embodiment,
the output of the individual performance data (such as via a MIDI music
processor) is comprised
of timing synchronization information that is used by the master workstation
to synchronize all
of the musical performances representative individual musical performance data
to virtually
perform together in a combined and time-synchronized performance. The combined
virtual
performance data representing the synchronized virtual performance is then
sent back (e.g.
broadcast) to the individual workstations, coupled via the network
communication interface 1735
back to the individual workstation's music data processor 1725, to provide
audio and/or visual
output corresponding thereto. Where the master workstation is for a conductor
or teacher, the
conductor mode or teacher mode can also be utilized in addition to the network
virtual
performance mod. In fact, all of the automated modes can be selectively
combined, such as by
providing layering of functions via software.
Refernng to FIG. 18, the timing diagrams for the individual performance data
and
synchronized virtual performance data is illustrated, relative to signals
output from the individual
networked workstations NWS1, NWS2, NWSN and a master workstation MWS. As
illustrated,
the master workstation MWS provides a synch signal to commence synchronization
of all
workstations (NWS) coupled to the system. In a preferred embodiment, the
individual
workstations (NWS) begin the display presentation of the musical composition
(as does the
master workstation) in synchronization with the synch signal from the master
workstation.
Responsive thereto, each of the individual workstations displays its musical
composition, and
the users of the workstations can perform the musical composition. Individual
workstations
(NWS) provide individual performance data responsive to the user's
performance. As
illustrated, workstation NWS1 provides performance data A and B at respective
times, while in
the individual workstation NWS2 provides individual performance data C & D at
respective
times, and independent workstation NWSN provides individual performance data
signals E & F at
respective times. During the first time segment, individual performance data
A, C & E are
output, respectively, from individual workstations 1, 2, and N. However, as
shown in FIG. 18,
the relative timing of output of the individual performance data (and receipt
by the master
workstation thereof) are skewed from one another in timing. The master
workstation


CA 02395863 2002-06-26
WO 01/56013 PCT/USO1/02395
-39-
resynchronizes the individual performance data A, C, and E within each time
segment, and
provides an output of the recombined reconstructed and synchronized A, C, and
E to provide
synchronized combined virtual performance data. It is to be noted that
synchronized virtual
performance data A, C, E occurs within the first time segment T1, which
contains both the
individual performance data and the corresponding responsive synchronized
virtual performance
data. The maximum time delay TD represents the acceptable worst case time that
a user can
tolerate between the user's performance output of corresponding individual
performance data
and the time until the synchronized virtual performance data corresponding to
that individual
performance data is received by the same individual workstation and provided
as audio output.
Similarly, during time slot 2, each of the individual workstations provides
individual performance
data B, D and F, slightly time skewed from each other, and the master
workstation provides
combined synchronized virtual performance data B, D, F, which is communicated
back to the
individual workstations to generate an audio output.
The present invention finds application in many different environments and
embodiments. For example, a live practice can be held from multiple locations,
while one or more
musicians are editing the score and communicating the changes real time, re-
performing them, etc.
An orchestra can be at one location, while a singer can be at another
location. Creating and
editing and synchronizing music to movies scores can also be facilitated with
the present
invention with beneficial gains. For example, in a movie, a lot of elements
are changing
dynamically that need to be resynchronized. For example, a scene can be
lengthened or
shortened, and the soundtrack must be adjusted. A score which was created to
the movie must
be rewritten to accommodate the edited movie. Typically, the composer creates
the score at
home or at a studio. That score is sent to the movie studio. However, the
movie studio may edit
the scene that music is used in, say a reduction of three seconds in the
scene. The edited scene is
sent back to the composer so that he can shorten his music. The process is
slow, inefficient, and
an impediment to the production process. By utilizing the present invention,
this can be
accommodated in real time, and from remote locations, and the virtual
performance mode as well
as the other modes of the music communication of the present system can be
utilized
advantageously for this application.
The present system provides an infrastructure for a music Internet, It can be
applied to
interactive editing of music. It can provide for special one on one mode for
teaching and


CA 02395863 2002-06-26
WO 01/56013 PCT/USO1/02395
performance evaluation. It can facilitate adapting a music display to the
performer's
performance, or drive the display to a metronome and force the user's
performance to be
synched to the metronome timing. Music can be composed, edited, transposed,
etc. easily, from
any of the plurality of individual workstations or on a single standalone
workstation. Multiple
individual music workstations (IIVIW's) can communicate with one another, both
with data and
audio such as voice and/or music, and/or supplemental data such as video,
audio, data files,
control signals, applets, etc. Bands can practice at home without the
disadvantage of either
practicing alone or having to physically get together in a large grouping
Singers can group with
other instruments and other vocalists via respective ones of a plurality of
IMW's, one, two, or
even the whole plurality being remotely located physically from one another
(e.g., LA, IVY.
There can be multiple instruments playing at a single location. There are many
options
regarding how IMW's are allocatable, such as. (1) on IMW (Individual Music
Workstation) per
location, (2) IMW per instrument type, (3) one IMW per performer (e.g.
Instrument, vocal).
There are also many options (1) for networked communications between the IMW's
and/or
between the IIvIW's and the Master Workstation. Modes can be selectively mixed
and matched
and combined, such as (1) all auto-modes enabled mode (2) virtual performance
mode, full
audiovisual, (3) audio link only mode, etc. There are also many options as to
modes of signal
processing which can be applied to the user input to generate the individual
performance data,
ranging from simple analog to digital (A/D), to complex musical sound analysis
algorithms (e.g. to
detect characteristics such as instrument type, pitch tone, attack, decay,
amplitude, voice
signatures, etc.) There are also tremendous numbers/parameters of performance
analysis
algorithms that can be selected and which utilize the selected musical
composition data
(corresponding to that displayed on the IMW which is receiving the performance
input for
analysis) (e.g. the sound characteristics generated by the sound analysis of
the user's
performance, to (3) in between "(1)" and "(2)". Additionally, many kinds of
data can be
communicated between (1) IMW's (2) IMW's and a Master Workstation, and (3)
IMW's and
external communication interfaces, etc. Examples of the kinds of data include
performance data,
video data, processed/analyzed performance data, audio signals, data files,
etc.
Refernng to FIG. 19, the memory work space structure for both the individual
and the
master workstations, in the virtual performance mode, is illustrated. Each of
the individual
workstations provides for music data buffering o the outgoing live performance
data, individual


CA 02395863 2002-06-26
WO 01/56013 PCT/USO1/02395
-41 -
performance data IPDXXX, and further provides for storage of the incoming
combined virtual
performance data CPDXXX. This buffering is done within read-write memory
within the
individual IMW's. Similarly, the data structure for the memory buffer of the
master workstation
is illustrated, showing separate buffer storage locations for each of the
plurality of individual
workstations WS1 to WSN, providing storage of associated respective individual
performance
data IPD A N. In one embodiment, multiple frame buffers are provided in the
IMWs, so that
multiple time segments of IPD and CPD data can be stored in the buffer
structure, and so that
the buffer structure can support both input storage and output retrieval
operations. Other data
structures and buffering operations are also compatible with the present
invention. The structure
of the data word can be changed or adapted within its existing structure to
facilitate the transfer
of supplemental data is transferred from the IMWS or Master Workstation, or
between the
IMW's, or between the Imws and the Master Workstation. By utilizing the
illustrated or other
compatible data buffer structure, timing and synchronized (with the frame
buffered variety)
asynchronous communication are facilitated, not only as between communication
workstations,
but furthermore, as to the operations internally of the IMW. With frame
buffering, the individual
workstation and master workstation can dump the result output to the buffer,
or receive input
individual performance data asynchronously and buffered, relative to the other
operations of the
respective workstation, The IMW can facilitate operation in one mode or in
multiple modes
concurrently.
From the foregoing, it will be observed that numerous variations and
modifications may
be effected without departing from the spirit and scope of the invention. It
is to be understood
that no limitation with respect to the specific apparatus illustrated herein
is intended or should
be inferred. It is, of course, intended to cover by the appended claims all
such modifications as
fall within the scope of the claims.

A single figure which represents the drawing illustrating the invention.

For a clearer understanding of the status of the application/patent presented on this page, the site Disclaimer , as well as the definitions for Patent , Administrative Status , Maintenance Fee  and Payment History  should be consulted.

Admin Status

Title Date
Forecasted Issue Date Unavailable
(86) PCT Filing Date 2001-01-24
(87) PCT Publication Date 2001-08-02
(85) National Entry 2002-06-26
Dead Application 2006-01-24

Payment History

Fee Type Anniversary Year Due Date Amount Paid Paid Date
Filing $150.00 2002-06-26
Maintenance Fee - Application - New Act 2 2003-01-24 $50.00 2003-01-03
Maintenance Fee - Application - New Act 3 2004-01-26 $100.00 2004-01-05
Current owners on record shown in alphabetical order.
Current Owners on Record
SITRICK, DAVID H.
Past owners on record shown in alphabetical order.
Past Owners on Record
None
Past Owners that do not appear in the "Owners on Record" listing will appear in other documentation within the application.

To view selected files, please enter reCAPTCHA code :




Filter Download Selected in PDF format (Zip Archive)
Document
Description
Date
(yyyy-mm-dd)
Number of pages Size of Image (KB)
Description 2002-06-26 41 2,393
Representative Drawing 2002-10-03 1 10
Abstract 2002-06-26 1 49
Claims 2002-06-26 7 296
Drawings 2002-06-26 27 369
Cover Page 2002-10-03 2 45
PCT 2002-06-26 4 162
PCT 2002-06-27 11 616
Fees 2004-01-05 1 49