JPH0428317B2 - - Google Patents

Description

[Detailed description of the invention]

(1) Technical Field of the Invention The present invention relates to an electronic musical instrument whose temperament can be arbitrarily set. (2) Background of the Invention Currently, with the exception of some folk music and modern music, the intervals of the scales used in most music are based on intervals called 12 equal temperament. This means that an octave with a frequency ratio of 1:2 is divided into 12 equal parts so that the frequency ratio is ¹² √2
It is a temperament system that creates ``semitones'' with = 1.059463094... and uses this ``semitone'' as a unit to construct a scale that is an integer multiple of the semitone. Harmony theory based on functional harmony in modern music, modulation, transposition, etc. are all based on this 12 equal temperament. In other words, with 12 equal temperament, a total of 24 types of tonalities, major and minor, with each of the 12 tones as the fundamental tone, have equal relative relationships with each other, so harmonic progression, modulation, Musical techniques such as transposition can now be easily performed as simple mathematical operations. This is a very effective system for creating and tuning instruments, as well as for ensembles involving different types of instruments, vocal music and choirs, and is a system that can be used to create and tune musical instruments.
This is the greatest feature of 12-equal temperament, which allows you to obtain the same sound even when you transpose the key. However, on the other hand, many disadvantages of 12 equal temperament have been pointed out. First, since the "semitone" itself, which is the basic unit of pitch, has an irrational frequency ratio of ¹² √2, the frequency ratio of pitches such as perfect fifths and major thirds, which are the basis of harmony, is is also an irrational number, which contradicts the well-known fact since Greek times that ``the interval whose frequency ratio is a simple integer ratio has a higher sense of harmony.'' In other words, in equal temperament, it is impossible to achieve truly harmonious harmony. Secondly,
In orchestras and choral ensembles,
While performers create a more pure sound by subtly raising and lowering the pitch for each individual harmony based on their own sense of harmony, instruments fixed to equal temperament harm the overall harmony with dissonant pitches. , easy to become isolated. For this reason, it is a well-known fact that even-tempered piano accompaniment is not preferred, especially in the field of choral music. Third, using equal temperament in pitch education for young children and listening training for music majors not only prevents students from gaining a true sense of harmony, but also risks leading to a false sense of harmony. This is demonstrated by the fact that some well-tempered piano tuners come to experience the beats of the originally dissonant pitches as ``natural.'' Fourth, when performing classical music from the era of classical temperaments such as just intonation and diatonic intonation, it is impossible to reflect the ``characteristics of tonality'' intended by the composer. Namely, the Renaissance;
In the classical temperament used in the music of the period leading up to the Batshu period, such as Barotsuk, each tonality had its own unique character, and composers composed music that reflected this effect in their works. If this is played on an equal-tempered instrument, the characteristics of tonality, such as differences in the degree of consonance for each key signature, cannot be realized.
The result is flat music that lacks charm. This corresponds to a recent musical trend in which classical musicians perform using instruments that have been purposely retuned to classical temperament. Due to the above drawbacks, some experts recommend 12
Instead of equal temperament, they have used classical temperaments such as just intonation, Pythagorean temperament, diatonic temperament, and well-tempered temperament (the well-known ``Werckmeister Third Method'' is one type of this temperament). . However, these classical temperaments require retuning each time they are transposed to suit the ensemble with other instruments, and the tuning methods for creating subtle pitch differences are complex, making it difficult to achieve with conventional instruments. It was hot. Also,
There are many different types of temperament systems, and it has not been possible to create an effective means for setting temperaments for research and performance by experts. (3) Prior Art and Problems Based on the above background, many classically tempered electronic musical instruments have been considered in the field of so-called "electronic musical instruments" based on electronic circuit technology. First, in the so-called "independent oscillator method" that uses multiple original oscillators corresponding to keyboards, etc., a method was considered in which each pitch was tuned to the classical temperament, but this method required the same difficult tuning work as with conventional musical instruments. As a result, it had the disadvantage that the pitch between octaves was easily distorted. Next, using a 12-tone independent oscillator corresponding to the highest range, the following octave relationship was considered using a 1/2 frequency divider, the so-called "frequency division method," but this also requires tuning over 12 notes. This had the disadvantage of requiring re-tuning each time the key was transposed. Next, the so-called "top octave method" was considered, which uses a group of frequency dividers that give approximately 12 tones of frequency from the standard main clock oscillator, but the pitch is fixed by hardware. It had drawbacks such as not being able to be changed and having to change a very high main clock frequency when transposing. Next, the so-called "program counter method" was considered, which uses a programmable frequency divider and gives the pitch as its division ratio data, but according to this method, the pitch corresponding to an arbitrary temperament is given as the division ratio data. As a result, a system that is effective as a classical temperament electronic musical instrument has been realized. Furthermore, a so-called "frequency number method" was considered in which pitch frequencies are generated by an accumulator that periodically adds and accumulates incremental value data called "frequency numbers," but this method is By time-division operation, it is possible to simultaneously generate the pitch frequencies of multiple sounding channels, and by digitally processing frequency number data, it has a real-time operation function. It has features not found in other methods. Thanks to improvements in these methods and digital electronic circuit technology, typified by recent LSI technology, a new type of musical instrument called ``electronic musical instruments'' has become established in fields of music that are related to classical temperament. In other words, in terms of timbre, musical sound waveform synthesis circuit technology
In terms of pitch, musical tone frequency setting circuit technology has come to be able to meet musical demands. For example, in terms of pitch, compared to a "semitone" or 100 cents, the limit of human pitch discrimination ability is a few cents, but on the other hand, the pitch setting accuracy of digital electronic musical instruments can easily be fixed at an error of about 1 cent. This ability sufficiently exceeds the pitch setting accuracy and pitch retention stability of conventional musical instruments, and it is easy to achieve accurate pitch settings of a few cents to ten-odd cents, which is the difference between equal temperament and classical temperament. means. Furthermore, by digitally storing and selecting various kinds of temperament data, it is possible to instantly select any kind of temperament prepared in advance. Furthermore, when transposing, by digitally controlling the correspondence between pitch information from the keyboard and the above-mentioned temperament data, it is possible to instantaneously transpose to any tonality and then reset the temperament. This would have been impossible to achieve with conventional musical instruments. In this way, as electronic musical instruments make it easier to realize classical temperaments and to explore new, more effective temperaments, the question becomes how to actually embody the complexity of the temperament system itself. Become. In other words, there are several hundred types of classical temperaments that remain in literature, and based on the structure of the temperament system, it is calculated that there are over several million types of temperaments.
An effective means of setting temperament has become indispensable. However, in conventional classical temperament electronic musical instruments, for example, a plurality of temperament data are stored and the necessary temperament is selected, so there is a drawback that only the temperament given in advance can be selected. Another possible improvement is to input the necessary pitch frequency data or cent data and convert it into data for generating pitch frequencies, but this is also essentially a passive operation, and the tuning There was a drawback that it did not essentially set it. (4) Purpose of the Invention The present invention has been made in view of the above points, and its purpose is to provide an electronic musical instrument that has a desired temperament setting function that corresponds to music theory. sets the temperament using a method that corresponds to the idea of the temperament system known as ``just intonation''. This creates a pure triad with a high degree of harmony by setting the frequency ratio between each two notes using a combination of a pure major third and a pure perfect fifth, which serve as standards for pitch relations. , it is possible to set and verify the ``sense of harmony unique to each chord'' that was destroyed by equal temperament in any configuration, and it is useful for performing and researching original classical music, and experimenting with psychoacoustics and temperament theory. It provides an electronic musical instrument that is useful for research and listening education. (5) Structure of the Invention For the above purpose, the electronic musical instrument according to the present invention includes a frequency data generation circuit that generates frequency data corresponding to musical frequencies according to temperament setting information, and a frequency data generation circuit that generates frequency data corresponding to musical frequencies according to temperament setting information, and a frequency data generation circuit that generates frequency data corresponding to musical frequencies according to temperament setting information. an input device for selecting a pitch during performance, a display device for displaying the status of the set temperament, an auxiliary storage device for storing temperament setting information, and a musical tone signal according to the frequency data from the frequency data generation circuit. The musical tone generating circuit is composed of a musical tone generating circuit that generates a musical tone signal, and a sound system that converts the musical tone signal from the musical tone generating circuit into sound. (6) Embodiments of the invention Hereinafter, embodiments of the invention will be described in detail with reference to the drawings. FIG. 1 is a conceptual diagram for explaining the configuration of an electronic musical instrument according to the present invention, in which 6 is a frequency data generation circuit that generates frequency data corresponding to a musical tone frequency according to temperament setting information, and 3 is a frequency data generation circuit that generates frequency data corresponding to a musical tone frequency according to temperament setting information. An input device for setting a temperament and selecting a pitch during performance; 4 a display device for displaying the status of the set temperament; and 5 an auxiliary storage device for storing temperament setting information and musical tone information. That is, the frequency data generation circuit 6 generates frequency data corresponding to musical tone frequencies according to the temperament information added or changed by the input device 3 based on the temperament setting information displayed on the display device 4. The musical tone signal generation circuit 7
supply to. The temperament setting information in the frequency data generating circuit 6 is stored and reproduced by the auxiliary storage device 5 as needed, and is displayed sequentially by the display device 4. On the other hand, the musical tone signal generation circuit 7 detects musical tone performance information on the keyboard 1 and the tone/effect setting tablet 2, generates a musical tone signal according to the frequency data from the frequency data generation circuit 6, and generates a musical tone signal in the auxiliary memory. The device 5 stores and resets necessary musical tone information. The musical tone signal from the musical tone signal generation circuit 7 is sent to an effect circuit, an amplifier,
The sound is converted into sound by a sound system 8 including a speaker, and is produced by a player of an electronic musical instrument. FIG. 2 is a specific configuration example for explaining the temperament setting processing operation section according to the present invention, which is provided in the frequency data generation circuit 6 shown in FIG.
It is composed of various input/output circuits, storage circuits, and control circuits. In FIG. 2, 15 is a control circuit that controls the entire circuit, 12 is a program memory circuit that stores programs for the control circuit 15, and 13 is a basic data that serves as a reference for temperament setting information and frequency data processing. a fixed data memory circuit for storing; 16 a data processing circuit for performing temperament setting processing and frequency data processing;
14 is a data storage memory circuit used during data processing and output data storage, etc.; 9 is an input device 3;
10 is an interface circuit with the display device 4; 11 is an auxiliary storage device 5;
An interface circuit 17 is an interface circuit for supplying frequency data to the musical tone signal generating circuit 7. In FIG. 2, temperament setting information given from the input device 3 via the interface circuit 9 is converted into corresponding frequency data by the control circuit 15 and data processing circuit 16, and then passed through the interface circuit 17 to frequency data. This becomes the output signal 18. Further, the temperament setting information is supplied to the display device 4 through the interface circuit 10 for display, and is further exchanged with the auxiliary storage device 5 through the interface circuit 11 as necessary. This operation will be explained by taking as an example a case where a temperament as shown in Table 1 is set.

[Table] First, 12 standard tones (for example, "equal temperament") are displayed on the display device 4, and if necessary, the fundamental tone of the key tone is specified as, for example, "C note". Here and now “G
When specifying from the input device 3 to set "G sound", a plurality of frequency ratio data corresponding to "G sound" are displayed as shown below.

[Table] Here, “Q” is a genuine perfect fifth (frequency ratio 2:
3) Rise, "T" is the genuine length 3 degrees (frequency ratio 4:5)
It means an increase, so if (6) is ``a rise of 5 degrees is 5 degrees''.
This is the interval in which the pitch has descended once, descended by a third, and then moved within an octave. In equal temperament, all of these intervals are the same, but from the perspective of just intonation, there are theoretically infinite combinations. Here, the keynote is set as Cdur, and (4) is selected because the "G note" functions most authentically, and the other pitches are similarly set individually. In this way, the temperament setting information appropriately set and selected by the input device 3 according to musical requirements such as tonality and modulation is sequentially displayed on the display device 4, and the data processing circuit 16 generates a music signal. The frequency data of each pitch required by the circuit 7 is converted and stored in the data storage memory circuit 14, and is supplied through the interface circuit 17 in response to the request of the musical tone signal generation circuit 7. The frequency data here corresponds to the program frequency division ratio in the above-mentioned "program counter method" and also corresponds to the increment value data in the above-mentioned "frequency number method", and is applicable to all digital musical instruments. For example, this frequency data can be efficiently transferred by time division, and the control circuit 15
A series of operations centered on can be efficiently realized by the CPU. Figure 3 shows the differences in the degree of consonance between the pitch names for the example of the temperament shown in Table 1, and shows the differences in the degree of consonance between the pitch names, including the major 3rd, perfect 5th, perfect 4th, and minor 3rd. It represents the difference in cents between each pitch and the genuine pitch. As is clear from the graph, the consonance is high in the intervals that are the constituent notes of the three main chords of C major (Cdur, Fdur, Gdur), and the pitches that appear in the tonality with more # and ♭ have a faster response from pure resonance. I can feel the tension increasing. For music that takes into consideration the differences in character of each tonality, temperament information is not only expressed in numbers such as cent data, but also in the display device 4.
It is much more intuitive and easier to understand if it is displayed in a format like this diagram. In order to display the graph showing the temperament characteristics as shown in FIG. 5th: 3/2 = 701.9550 cents, etc.) is prepared in a fixed data memory circuit 13, and a data processing circuit 16 compares and processes the data with temperament setting information, and further performs drawing processing.
A series of actions centered around 5 may be set in advance. In this example, the difference in the degree of consonance of the intervals between each note name is displayed, but the "purity of the chord"
If it is defined in advance by an appropriate method and prepared in the fixed data memory circuit 13, it is easy to imagine an improvement in which the "chord purity" is displayed on the display device 4 for each individual chord. Table 2 shows an example of a different temperament from the one shown in Table 1.

[Table] Based on the premise that "no sound is used", two types of whole tones (great whole tone, minor whole tone), "G#" (augmented fifth), "A♭"
(minor 6th) is intended to be used appropriately. This means that in equal temperament, the same 200 cent "whole tone" is "C".
The same 800 is played again by the two types of keys: #” and “D”.
The cent can be played differently by "F#" and "A♭". This division is originally a matter of the performer's choice based on musical interpretation such as harmonic progression and modulation, but as an application of the conventional automatic accompaniment function, for example, it is possible to detect the left-hand accompaniment chord composition and select more genuine composition notes. Improvements such as shifting to can also be easily inferred. According to the temperament shown in Table 2, for example,
It is possible to make the 3rd note of Edur and the 3rd note of Fmoll (same note in equal temperament) sound pure, and the 5th note of Desdur and the "C note" are fixed.
As the fundamental tone of Asdur can also achieve a sound close to the pure sound, it is impossible to achieve this with an equal-tempered instrument in the expression of music of the era that uses different degrees of consonance for each tonality, or in music that often modulates to relatively closely related keys. This results in pure harmony. Here, similar variations are set for other pitches using the input device 3, and an arbitrary temperament configuration can be achieved by appropriately selecting them during performance, and the auxiliary storage device 5 stores and reproduces them as necessary. Being able to set the settings means that it is possible to actively participate in the musical element of "temperament", which was given unconditionally with conventional instruments. You could say it was the advent of musical instruments. (7) Effects of the Invention As explained above, according to the electronic musical instrument according to the present invention, it is possible to set and modify any temperament using a musical and intuitive method that corresponds to the theory of temperament. It is possible to set up and verify the ``feel of consonance unique to each chord'' that was destroyed by equal temperament in any configuration, and it is useful for original classical music performers and researchers, as well as for experiments in psychoacoustics and temperament theory.・It greatly contributes to high-quality music in terms of researchers, listening training, harmonious sense education, etc.

[Brief explanation of drawings]

FIG. 1 is a conceptual diagram for explaining the configuration of an electronic musical instrument according to the present invention, and FIG. 2 shows a temperament setting processing operation section according to the present invention provided in the frequency data generation circuit 6 shown in FIG. A specific configuration example for explanation, FIG. 3, is a diagram showing the difference in the degree of consonance between pitch names for the example of the temperament shown in Table 1. In the above diagram, 1 is the keyboard, 2 3 is a tablet for setting tone colors, effects, etc., 3 is an input device, 4 is a display device, 5 is an auxiliary storage device, 6 is a frequency data generation circuit, 7 is a musical tone signal generation circuit, 8 is a sound system, and 9 is an input device 3. 10 is an interface circuit with the display device 4, 11 is an interface circuit with the auxiliary storage device 5, 12 is a program memory circuit, 13 is a fixed data memory circuit, 14 is a data storage memory circuit, and 15 is an interface circuit. control circuit, 16 is a data processing circuit, 1
7 is an interface circuit with the musical tone signal generation circuit 7, and 18 is a frequency data output signal.

Claims (1)

[Claims] 1. In an electronic musical instrument in which the frequency ratio data of 12 tones within one octave, which is the standard of the musical scale, can be arbitrarily set, the frequency ratio data of the genuine major third and genuine perfect fifth, which are the standards of pitch relations, An electronic musical instrument characterized by comprising means for setting the frequency ratio between two individual tones by combination, thereby making it possible to configure a desired musical temperament. 2. A display device that displays the pitch name and frequency ratio data of the 12 tones that serve as the standard of the musical temperament, an input device for setting the frequency ratio data, and a device configured by the display device and the input device. The claimed invention is characterized in that it is equipped with an auxiliary storage device for storing temperament setting information, and is capable of inputting the temperament setting information while visually confirming it, and also storing and resetting it as necessary. Electronic musical instruments as described in Scope 1. 3. The display device is equipped with a data processing device for displaying a graph showing the difference in the degree of consonance of the intervals between each note name, so that the difference in the degree of consonance of various chords occurring in each temperament can be visually displayed. The electronic musical instrument according to claim 2, characterized in that the temperament setting can be made in a way that can be understood while checking. 4. In the input device and display device, a plurality of storage devices for presetting plural types of pitch data for the same note name, and data for appropriately selecting pitch data necessary for performance using the input device. 4. The electronic musical instrument according to claim 3, further comprising a selection device, so that temperament settings can be made that accurately correspond to pitches that vary slightly depending on chords.