JPH0830937B2 - Instrumental solo method using video tape for accompaniment - Google Patents
Instrumental solo method using video tape for accompanimentInfo
- Publication number
- JPH0830937B2 JPH0830937B2 JP1260259A JP26025989A JPH0830937B2 JP H0830937 B2 JPH0830937 B2 JP H0830937B2 JP 1260259 A JP1260259 A JP 1260259A JP 26025989 A JP26025989 A JP 26025989A JP H0830937 B2 JPH0830937 B2 JP H0830937B2
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- Prior art keywords
- performance
- sound
- solo
- image
- conductor
- Prior art date
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- Reverberation, Karaoke And Other Acoustics (AREA)
Description
本発明は、独奏楽器と、他の複数の楽器の為に作曲あ
るいは編曲された楽曲に於て、独奏楽器を除く演奏パー
トの演奏音響を再生発音し、その再生演奏音響とともに
独奏楽器を演奏し、独奏楽器及び当該楽曲の練習、学
習、披露演奏を目的として供せられる音響・画像記録媒
体の伴奏用ビデオテープ等を利用した器楽独奏法に関す
る。The present invention reproduces and reproduces the performance sound of a performance part excluding the solo instrument in a music composition composed or arranged for a solo instrument and a plurality of other musical instruments, and plays the solo instrument together with the reproduced performance sound. , An instrumental solo method using an accompaniment video tape of an acoustic / image recording medium provided for the purpose of practicing, learning, and showing performance of the musical piece.
メロディ楽器を学習している者にとっては、その活動
の場である楽団、オーケストラ等の所属の有無に拘ら
ず、本格的な伴奏によって自分の好きな曲(大曲から小
品まで含む)を練習乃至演奏したい欲求は非常に強いも
のである。 所で、巷では現在、歌唱用のカラオケが全盛で、その
需要もその種類も破竹の勢いで伸びているのが現状であ
るが、クラシックを含む器楽独奏用のものは未だ市場に
は普及していない。 このように、器楽用のカラオケが普及しない最大の理
由として、演奏の難しさが挙げられる。即ち、演奏開始
を始めとする種々のタイミングやテンポ、テンポの変
化、音を伸ばす度合い等々、再生演奏音響と同期して演
奏する為の拠り所が得られないので、演奏技術の有る無
しに拘らず、即ち、初心者、上級者に拘らず、どうして
も再生演奏音響と合わせて演奏することが難しい曲が存
在するのである。そればかりか、全く不可能な曲も数多
く存在する。 また、ミュージック・マイナス・ワンとして現在市場
に見られるものは、前記問題点のうち、演奏開始を始め
とする種々のタイミングやテンポを合わせ易くする為、
メトロノームの拍打音に似た音を楽曲の開始の1乃至2
小節程度前から聞こえるように工夫しているものや、無
伴奏のソロ(独奏)のフレーズに於ても、そのテンポを
示す手段として同様に拍打音が聞こえるように工夫して
いるものが殆どである。 更に、一部には無伴奏のソロ(独奏)のフレーズに於
て、該当するメロディーがほんの微かに聞こえるように
工夫しているものも見受けられる。 しかしながら、このような方法では、練習用として割
り切って使用する場合は別にして、演奏音以外の音が聞
こえたり、独奏するメロディーと同じメロディーが微か
に聞こえたりしてしまう為、コンサートのように第三者
に披露出来るような演奏は望めない。 従って、実用範囲が練習のみに限定され、利用者に対
し充分な利用価値としての満足感を提供出来ない。ま
た、そればかりか利用者も、その演奏に於て充分に満足
感や充実感を得ることが出来ない。 拍打音のように、実際の演奏音響以外の音が聞こえた
り、自分が独奏するメロディーがたとえ微かにでも重複
して聞こえてくる限り、これらを解決することは出来な
い。 しかし、これらの存在なしに器楽カラオケ(ミュージ
ック・マイナス・ワン)が充分に、正確且つ容易に実行
出来るとしたら、第三者に披露演奏が出来る満足度の高
い実用価値と利用者が納得出来る質の高い演奏が可能な
利用価値を利用者に対し、提供出来るのではないか。 本件発明は、以上の点に鑑み成されたものである。 従って、本件発明に於ては、機械的拍打音、微かに聞
こえる模範演奏等実際の伴奏演奏音響以外の音声は最初
から存在しないことが大前提である。For those who study melody musical instruments, regardless of whether they belong to a band or orchestra where they are active, they practice or play their favorite songs (including large pieces and small pieces) with full accompaniment. The desire to want is very strong. By the way, karaoke for singing is currently in full swing in the streets, and the demand and type of karaoke are growing at a momentum, but instruments for solo instrumental music including classical music are still popular in the market. Not not. As described above, the most difficult reason why karaoke for instrumental music has not spread is the difficulty of playing. In other words, regardless of whether or not there is a playing technique, there is no basis for playing in synchronization with the playing sound, such as various timings such as the start of playing, tempo, changes in tempo, degree of sound extension, etc. That is, regardless of whether it is a beginner or an advanced player, there are songs that are difficult to play along with the reproduced performance sound. Not only that, there are many songs that are completely impossible. Also, what is currently seen in the market as Music Minus One is one of the above problems, in order to make it easier to match various timings and tempos such as the start of performance,
A sound similar to the beat of a metronome, 1-2 of the beginning of the song
Most of them are designed so that they can be heard before about a bar, and even for unaccompanied solo (solo) phrases, they are also designed so that the beat can be heard as a means of indicating the tempo. is there. Furthermore, some of the unaccompanied solo (solo) phrases are devised so that the corresponding melody can be heard only slightly. However, with this method, you can hear sounds other than the performance sound, or you can hear the same melody as the solo melody, apart from the case where it is used for practicing, so that it sounds like a concert. You can't expect a performance that is exposed to a third party. Therefore, the practical range is limited to practice only, and it is not possible to provide the user with a satisfactory sense of utility value. Moreover, not only that, but also the user cannot get a sufficient feeling of satisfaction and fulfillment in the performance. As long as you hear a sound other than the actual performance sound, such as a beating sound, or you can hear the melody that you play by yourself, even if it is slightly duplicated, you cannot solve these problems. However, if instrumental karaoke (Music Minus One) can be performed sufficiently accurately and easily without these existences, it is possible to perform to a third party with a high degree of satisfaction and practical value. Is it possible to provide users with a utility value that enables high performance? The present invention has been made in view of the above points. Therefore, in the present invention, it is a general premise that no sound other than the actual accompaniment performance sound, such as mechanical beat sound and faintly heard model performance, exists from the beginning.
本件発明が解決すべき課題は、以下の通りである。 従来のミュージック・マイナス・ワンの手法ではどう
しても、初心者が充分独奏出来る、技術的難易度の比較
的低い楽曲でも、再生された伴奏音響とピタリと合った
独奏が出来ない楽曲が多々存在する。これらの楽曲に就
いて、初心者、上級者に拘らず容易に然も確実に再生伴
奏音響と合わせて共演が出来るようにするにはどうした
ら良いか。勿論、初心者には初心者なりの独奏しか出来
ないし、上級者には上級者なりの演奏が出来る。ところ
が、従来のミュージック・マイナス・ワンに於ける問題
点はこのような演奏技術に関することではなく、再生さ
れた伴奏音響とテンポや、タイミングをどうしても合わ
せることが出来ないと言うような問題である。具体的に
は以下のような要素を有する楽曲である。 A.独奏パートと、それ以外のパートが同時に始まる楽
曲。(再生伴奏音響とピタリと同時に独奏開始する為の
タイミングをどのように捉えれば良いのか。) B.全くの無伴奏で独奏から始まる曲。言い替えれば再生
伴奏音響の存在しないフレーズでの独奏参加の場合。
(その後一定時間後に必ず始まる再生伴奏音響とピタリ
とタイミングが合うように演奏する為に、どのタイミン
グにどのテンポで独奏すれば良いのか。) C.フェルマータ(同一音を長く伸ばす)が指定されてい
る音符の、音を伸ばす度合い。(再生伴奏音響と伸ばす
度合いは一致させなければならない。また、再生伴奏音
響が存在しない独奏の時などは、その後再生伴奏音響が
始まる時にピタリとタイミングが合うようにする為には
どの程度伸ばしたら良いのか。) D.極端なテンポの変化(アゴーギク)が指定されている
楽曲。(そのテンポの変化を再生伴奏音響とピタリと一
致させて独奏するにはどうしたら良いか。) E.独奏楽器パートとそれ以外のパートとが交互に演奏さ
れるフレーズを有する楽曲。(独奏参加するフレーズの
終りが、再生伴奏音響の始まりの場合、このタイミング
をピタリと一致させる為にはどのテンポで独奏しなけれ
ばならないか。) F.カデンツァのある楽曲。(独奏参加に於て、カデンツ
ァの終了時にはオーケストラが始まるのは一般的であ
る。そのタイミングをピタリと合わせてカデンツァを演
奏するにはどうしたら良いか。) これらAからFまでの原因を深く追求すると、何れも
時間的流れの中に、その問題点が存在している。更に深
慮熟考すると、何れも独奏する各拍の拍打点の認識が困
難か、不可能であることに気が付いた訳である。しか
し、よくよく考えてみると、単に各拍の拍打点の認識は
同時認識では再生された伴奏音響とピタリとタイミング
を合わせるには、どうしても独奏が一瞬遅れてしまい、
不充分であることを発見した。つまり独奏する各拍打点
の認識は、認識してから演奏音を発音するまでの一瞬の
時間的余裕を持った事前認識でなければならないとの結
論を得たのである。 つまり、解決すべき唯一の課題は、独奏する各拍打点
の事前認識の方法である。 ここにおいて、本発明は、これ等問題点に鑑み、従来
のミュージック・マイナス・ワンの根本的欠陥を排除
し、再生伴奏と同調して演奏し得る伴奏用ビデオテープ
等を利用した器楽演奏法を提供せんとするものである。The problems to be solved by the present invention are as follows. Even with the conventional Music Minus One method, there are many songs that cannot be played by the accompaniment sound played back and perfectly, even if the song is relatively technically difficult for beginners. What should be done about these songs so that regardless of whether they are beginners or advanced players, they can easily and surely perform together with the playback accompaniment sound. Of course, a beginner can only play as a beginner, and an advanced player can play as an advanced player. However, the problem in the conventional Music Minus One is not related to such performance technique, but is a problem that it is impossible to match the tempo and timing of the accompaniment sound reproduced. Specifically, the music has the following elements. A. A song in which a solo part and other parts start at the same time. (How do you know the timing to start a solo at the same time as the playback accompaniment sound and perfect?) B. A song that starts from a solo with no accompaniment. In other words, when playing solo with a phrase that does not have a playback accompaniment sound.
(Which timing and which tempo should be performed in order to play the accompaniment sound that always starts after a certain period of time and the timing is exactly the same.) C. Fermata (extends the same note for a long time) is specified. The degree to which the sound of the existing notes is extended. (The degree of extension must match that of the playback accompaniment sound. In addition, when playing a solo accompaniment without playback accompaniment sound, the amount of extension must be adjusted to match the timing when the playback accompaniment sound starts later. Is it okay?) D. A song with extreme tempo changes (Agogik) specified. (How can I make a solo by matching the tempo change with the playback accompaniment sound and exactly?) E. A musical piece having a phrase in which the solo instrument part and the other parts are played alternately. (When the ending phrase of the solo participation is the beginning of the accompaniment sound to be played, at what tempo must be performed to match this timing exactly.) A song by F. Cadenza. (In the solo performance, it is common for the orchestra to start at the end of the cadenza. What should I do to play the cadenza when the timing is exactly the same?) These factors A to F are deeply pursued. Then, in each case, the problem exists in the temporal flow. Upon further careful consideration, he realized that it was difficult or impossible to recognize the beat points of each beat to be played alone. However, if you think carefully, simply recognizing the beat point of each beat is the simultaneous recognition, and in order to match the timing with the accompaniment sound played back, the solo performance will be delayed for a moment,
I found that it was insufficient. In other words, it was concluded that the recognition of each beat point to be played alone must be pre-recognition with a moment of leeway from the recognition to the production of the performance sound. In other words, the only issue to be solved is the method of prior recognition of each beat point to be played alone. In view of these problems, the present invention eliminates the fundamental defects of the conventional music minus one, and provides a musical instrument playing method using an accompaniment video tape or the like that can be played in synchronization with the playing accompaniment. It is intended to be provided.
前記課題の解決は、次の手法の組み合わせから独特の
作用を導き出す新規な特徴的構成手法を採用することに
よってことごとく達成される。 まず第一に、音響画像記録媒体の音声記録領域に、独
奏楽器の演奏するべきパートを除く、他の複数の楽器に
よる演奏音響を記録する。 第二に、その音響画像記録媒体の映像記録領域には、
当該楽曲の演奏の目安となる指揮者のタクトと手の振り
と指の動きを含む上半身の動きや顔の表情や目配せの連
続総合動作により次の演奏音の拍打点を事前認識自在に
捕えた正面指揮映像の全容を演奏中常時記録する。 第三に、前記音響画像記録媒体を正常に再生させる為
の再生機器と、映像信号を映像として映し出すディスプ
レイ装置と、音響信号を音声として発声するスピーカー
及びこれらを有効に機能させる為の機器類を用意し、こ
れらを利用目的に添って機能させる。 第四に、独奏参加者は、ディスプレイ画面上の前記指
揮者の動像指揮に完全に従い、当該楽曲、即ち、独奏楽
器と他の複数の楽器の為に作曲あるいは編曲された楽曲
の独奏パートを独奏し、スピーカーから発せられるオー
ケストラ等の再生演奏音響と共演し、当該楽曲の演奏を
完成させる。 また、幼児や子供の興味を引くように、前記指揮者の
タクトと手の振りと指の動きを含む上半身の動きや顔の
表情や目配せの連続総合動作により次の演奏音の拍打点
を事前認識自在に捕えた正面指揮映像等をアニメーショ
ン化する。The solution of the above-mentioned problems is achieved by adopting a novel characteristic construction method that derives a unique action from the combination of the following methods. First of all, in the sound recording area of the acoustic image recording medium, the performance sounds of a plurality of other musical instruments except the part to be played of the solo instrument are recorded. Second, in the video recording area of the acoustic image recording medium,
The beat points of the next performance sound were captured in advance by the conductor's tact, the movement of the upper body including hand movements and finger movements, which is a guideline for the performance of the song, and the facial expression and continuous continuous movements. The entire front conducting image is recorded at all times during the performance. Thirdly, a reproducing device for normally reproducing the acoustic image recording medium, a display device for displaying a video signal as an image, a speaker for uttering an acoustic signal as sound, and devices for effectively operating these. Prepare and make them function according to the purpose of use. Fourth, the solo participant completely follows the moving image conductor of the conductor on the display screen, that is, the solo part of the musical composition, that is, the musical composition composed or arranged for the solo musical instrument and other musical instruments. The solo performance is performed, and the performance of the music is completed by performing together with the replay performance sound of the orchestra etc. emitted from the speaker. In addition, in order to attract the interest of infants and children, the beat point of the next performance sound is pre-set by the conductor's tact, upper body movements including hand and finger movements, facial expressions and continuous synthetic movements of the eyes. Animate the front command video, etc., which is recognizable freely.
本発明は、前記のような新規な特徴的構成手法を講じ
たので、本発明の利用者に対し以下のような作用をもた
らす。 1.指揮者の正面指揮映像を見ながら独奏出来るので、独
奏参加者は独奏すべき各拍打点の事前認識を、感情を有
する連続動像の前記指揮映像を通して指揮者正面の全挙
動から可能としどのような独奏箇所に於ても容易に、且
つ的確に把握することが出来る。 2.利用者は、再生された演奏音響の演奏者と同じ指揮動
作を見て独奏することになる。つまり同等の立場で独奏
できる。 3.利用者は、指揮者の指揮映像を見て独奏しなければな
らないので、指揮者の音楽解釈、概念、思想、指揮法に
基づいたテンポ、タイミング、テンポの変化、フェルマ
ータ等の指定がある音符の音を伸ばす度合い等々、時間
的要素を含む指示や伝達に就いて絶対的に影響される。 4.利用者は、指揮者の指揮映像を見て独奏しなければな
らないので、指揮者の音楽解釈、概念、思想、指揮法に
基づいた演奏者の大きさ、演奏者の大きさの変化(デュ
ナーミク)、アーティキュレーション、フレージング等
々、時間的要素を含まない演奏表現法に就いて、ある程
度影響される。 5.従来の指揮映像の無いミュージック・マイナス・ワン
では演奏音響によってのみ、その拍打点の認識をせざる
を得なかったが、連続動作の指揮映像を利用することに
より、再生演奏音響の存在しない独奏個所に於ては指揮
映像から、再生演奏音響の存在する独奏個所に於ては指
揮映像と再生演奏音響からと言うように、視覚と聴覚の
双方から確実に各拍打点の事前認識が極めて容易に可能
になる。従って独奏自体に自然に内面的余裕が生じるこ
とになる。Since the present invention takes the novel characteristic construction method as described above, it brings the following effects to the user of the present invention. 1.Because the conductor can play solo while watching the front video, the solo participant can recognize the beat points to be soloed in advance from all the behaviors in front of the conductor through the continuous motion video with emotion. You can easily and accurately grasp any solo performance. 2. The user will perform the solo by seeing the same conducting action as the performer of the reproduced sound. In other words, they can play solo in the same position. 3.Since the user has to perform solo by watching the conductor's video, there is a designation of tempo, timing, tempo change, fermata, etc. based on the conductor's musical interpretation, concept, thought, and conducting method. It is absolutely influenced by instructions and transmissions including temporal elements such as the degree to which notes are extended. 4. Since the user has to perform solo by watching the conductor's video, the size of the performer based on the conductor's musical interpretation, concept, thought, and conducting method, and the change in the size of the performer ( (Dynamic), articulation, phrasing, etc. are influenced to a certain extent by performance expression methods that do not include time elements. 5. In Music Minus One, which does not have a conventional conductor image, the beat point must be recognized only by the performance sound, but by using the conductor motion image of continuous motion, there is no reproduction performance sound. As in the case of a solo position, from the conducting image, and in the case of a playing position where there is replay sound, from the conducting image and the replay sound, the advance recognition of each beat point is extremely reliable both visually and auditorily. Easily possible. Therefore, the solo performance naturally has an internal margin.
本発明の実施例を第1図によって説明する。 まず、独奏楽器と他の複数の楽器の為に作曲あるいは
編曲された楽曲の独奏パートを除く楽器群の演奏と、そ
の楽曲を指揮する指揮者αのタクトと手の振りと指の動
きを含む上半身の動きや顔の表情や目配せの連続総合動
作により次の演奏者の拍打点を事前認識自在に捕えた正
面指揮映像を演奏中常時録音録画した音響画像記録媒体
即ち伴奏用ビデオテープ等1を予め用意する。 次いで当該伴奏用ビデオテープ等1を音響画像再生装
置2にセットして、その画像再生信号をテレビジョン等
のディスプレイ3の画面3aに映し出せるようにするとと
もに音響再生信号をステレオスピーカー4、5により適
切な音量で発音出来るようにする。 そして器楽独奏者は必要に応じ譜面を横に置き、独奏
楽器の演奏準備を全て調える。勿論、暗符による独奏の
場合は譜面は必要がない。また、この間に、独奏する楽
曲がすぐに再生出来るように準備しておく。つまり、画
像再生のまま、目的の楽曲が始まる直前で一時停止状態
にしておく。 独奏の準備が全て調ってから、音響画像再生装置のス
タートボタンスイッチ6をオンにする。 独奏参加者は、ディスプレイ画面3aに映し出された連
続動画像の指揮者αの指揮棒βを始めとする両腕手の振
りや指の動き等の全ての指揮動作や顔の表情や目配せ,
姿勢,向き等の全挙動を見ながら独奏して、ステレオス
ピーカー4、5から発音されるオーケストラ等の再生さ
れた伴奏演奏と同調共演をする。 演奏開始のタイミングや、再生伴奏音響との種々のタ
イミング、テンポ、テンポの変化、フェルマータ等の音
を長く伸ばす音の、音を伸ばす度合い等、再生伴奏音響
と同期して独奏する為の種々の事前や演奏途中の認識要
素に就いて、その独奏個所が再生伴奏音響の存在しない
全くの無伴奏のフレーズの場合は、独奏参加者は指揮者
αの指揮棒βを始めとする指揮等の全動作のみをその拠
り所とし、忠実に従って演奏する。また、再生伴奏音響
の存在する演奏個所に於ては、その再生伴奏音響と、指
揮者αの指揮棒βを始めとする前記指揮等の全動作との
双方からその拠り所を得て独奏する。 更に、独奏する演奏者の大きさ、その変化、アーティ
キュレーション、フレージング等々の時間的流れの範疇
に属さない様々な表現方法に就いては、指揮者αの前記
指揮等の全容を見取り、大いに参考にして、独奏参加者
はその実力を存分に発揮し、実力通りの独奏を行なう。An embodiment of the present invention will be described with reference to FIG. First, it includes performance of musical instruments excluding solo parts of songs composed or arranged for solo instruments and other musical instruments, tact of conductor α who conducts the musical composition, movement of hands and movements of fingers. A sound image recording medium, that is, an accompaniment video tape, etc., which is always recorded during the performance of the front conductor image in which the beat of the next performer is freely recognized in advance by the continuous comprehensive movements of upper body movements, facial expressions, and eye movements. Prepare in advance. Next, the accompaniment video tape 1 is set in the acoustic image reproduction device 2 so that the image reproduction signal can be displayed on the screen 3a of the display 3 such as a television, and the acoustic reproduction signal can be reproduced by the stereo speakers 4 and 5. Be able to pronounce at an appropriate volume. Then, the instrumental solo player puts the musical score on the side as necessary, and prepares for the performance of the solo instrument. Of course, the score is not necessary for solo performance by memorization. Also, during this period, prepare to play the solo piece immediately. That is, while the image is being reproduced, the pause state is set just before the target music starts. After all preparations for the solo performance are made, the start button switch 6 of the acoustic image reproducing apparatus is turned on. The solo participant is to perform all command actions such as waving of the arms and fingers, movements of the fingers, etc., including the conductor rod β of the conductor α of the continuous moving image displayed on the display screen 3a, facial expressions and eye distribution,
While watching all the behaviors such as posture and orientation, they perform solo and perform in concert with the reproduced accompaniment performance such as the orchestra sounded from the stereo speakers 4 and 5. Various timings for playing solo in synchronization with the playback accompaniment sound, such as the timing of performance start, various timings with the playback accompaniment sound, tempo, change in tempo, sound of a fermata that extends the sound for a long time, degree of sound extension, etc. Regarding the recognition element in advance or during the performance, when the solo part is a completely unaccompanied phrase in which there is no accompaniment sound to be reproduced, the solo participant does not include all conductors such as the conductor rod β of the conductor α. Play only according to the faithful movements. In addition, at the performance location where the reproduction accompaniment sound exists, the reproduction accompaniment sound is used as a base to perform the solo performance based on both the movements of the conductor .alpha. Furthermore, regarding various expression methods that do not belong to the category of the temporal flow such as the size of the player performing the solo, its change, articulation, phrasing, etc. As a reference, the solo participant will exercise his or her ability to the fullest extent and perform the solo performance according to the ability.
かくして、本発明によれば、再生演奏音響と同調共演
するに当たり、必然的に指揮者のタクトと両腕手の振り
と指の動きを含み顔の表情や目配せ,姿勢,向き等の上
半身の全挙動が次の演奏音の拍打点を事前認識自在に捕
えた連続動像の正面指揮映像を見ながら演奏することに
なるので、 1.その楽曲の全ての音符の正確な拍打点を、事前に認識
することが極めて容易になった。その結果、 2.再生演奏音響と演奏参加パートが同時に開始される楽
曲も、スタンバイの時間的態勢を整える余裕も出て再生
演奏音響とピタリとタイミングを合わせて演奏すること
が出来る。 3.演奏参加パートが、再生演奏音響よりも先に開始され
る楽曲も、いつ、どのタイミングで、どういうテンポで
演奏すべきか極めて容易に理解でき、開始時機や演奏自
体を安心して自信と余裕をもって指揮通り適切に実行す
ることが出来る。従って、その後再生演奏音響が始まっ
ても、タイミングの合った自然な演奏をすることが出来
る。 4.再生演奏音響が存在しないフレーズで、独奏参加パー
トのみの単独演奏で開始される楽曲、(例えば曲の始め
が無伴奏の独奏フレーズの場合。)も、いつ、どのタイ
ミングで、どういうテンポで演奏すべきか極めて容易に
理解でき、開始時機や演奏自体を安心して自信と余裕を
もって指揮通り適切に実行することが出来る。従って、
その後再生演奏音響のフレーズが始まっても、タイミン
グの合った自然な演奏をすることが出来る。 5.以上の1から4のパターンを有する楽曲に於て、従来
の方法であれば、メトロノームに似た機械的拍打音や、
微かに聞こえるように工夫した模範演奏などによって、
タイミングやテンポを把握する手段としていたものが、
それらの存在なしに容易に然も確実にそれらタイミング
やテンポを把握することが可能になり、実力を充分に発
揮出来る満足度の高い演奏と、第三者にその演奏を披露
出来る満足度の高い利用価値を得ることが可能になっ
た。 6.ある音符または複数の音符にフェルマータ等が音を伸
ばすように指定されている演奏参加のフレーズに於て、
その各音符の長さを正確に演奏でき、再生演奏音響の存
在する状況では再生演奏音響とピタリと一致させること
が出来、その存在が無い状況では、その後の再生演奏音
響とタイミングを容易に合わせることが出来る。 7.短いカデンツァの存在する楽曲に於ても、連続動像画
像の指揮者の指揮に合わせて演奏することで、その終り
と、再生演奏音響の始まりを自然につながるように演奏
することが可能になった。 8.本格的なカデンツァを有する楽曲も、アシスタントの
協力により「カデンツァ開始→画像再生のまま一時停止
→同早送り→指揮者αの指揮棒βがカデンツァ終了間際
の予備位置の所に構え、指揮の予備運動の開始時点で再
び一時停止→カデンツァ終了の最終拍の拍打点とタイミ
ングを合わせて再びスタートスイッチをオンにする。」
ことで可能になった。 9.このように、本発明によれば、従来のミュージック・
マイナス・ワンではどうしても再生演奏音響とピタリと
タイミングやテンポを一致させて演奏することが出来な
かった楽曲も、そのタイミングやテンポ等も容易に一致
させて演奏することが出来るようになった。従って、再
生演奏音響と合わせて共演出来る、対象楽曲が比較にな
らないほど飛躍的に増大した。これは本発明の特筆すべ
き最大の効果である。 10.再生演奏音響の演奏者と同じ指揮を見て演奏するこ
とになるので、演奏開始のタイミング、テンポ、テンポ
の変化、伸ばすべき拍の伸ばす度合い等の他に、音の強
弱、音の強弱の度合い、アーティキュレーション、演奏
の抑揚の付け方等々様々な演奏法、表現法に就いて、再
生演奏音響と一致した、あるいはバランスの取れた演奏
が可能になり、必然的にその音楽解釈、音楽概念に共通
性が生じ、まとまった高度な演奏が出来る。従って、利
用者は実際のオーケストラと共演するのと同様の満足感
を得ることが出来る。 11.再生演奏音響の演奏者と同じ指揮を見て演奏するこ
とになるので、自ずと、その演奏に一体感が生じ、音楽
的にまとまった概念での演奏が可能になった。即ち、再
生演奏音響と共演すると言う制約の中で、最高の演奏を
行なうことが可能になったのである。 12.感情表現連続動像の正面指揮映像を見て演奏(参
加)すると言うことは、あたかも実際の指揮による実際
のオーケストラの一員として演奏するような感覚を実感
でき、その時と同様の臨場感、緊張感を肌で感じること
が出来る。 13.再生演奏音響と共演すると言う制約の中で、極めて
質の高い演奏が可能になるので、練習ばかりではなく、
第三者に披露することができる。即ち、コンサートが可
能になる。 14.本発明を利用することによって、利用者は、知らず
知らず指揮に従った演奏と言うものに慣れ親しむことが
出来るようになる。これは実際の楽団の一員として演奏
することが出来る機会を得たとき、この上無く、役に立
つものである。何故ならば本発明法は指揮者の一挙手一
投足に迅速かつ敏速に忠実に反応する訓練を知らず知ら
ずにマスターする習性を会得する関係上暗譜を強いられ
熟達が早くなる。 15.本発明を利用することによって、利用者は、知らず
知らず指揮の役割や指揮動作の意味するところ、つまり
伝達内容を理解することになる。同時に、指揮法の多様
性とその具体的メカニズムまで知ることが可能になる。
例えばワルツを一拍子で振ると言う知識とか、その一拍
子に於けるワルツのリズムの捉え方等、実感を伴って理
解及び実践出来る。 16.カラオケで歌唱するのは、多くの人たちにとって気
分が良い。これを器楽で行なうのも然りである。本発明
はこれまでに成し得なかった器楽用のカラオケを、様々
な楽曲を、様々な楽器で、最高の利用環境で、高度な共
演を可能にし、しかも、可搬型の音響画像再生装置と電
源さえあれば、何時でも、何処でも即座に実行出来るよ
うにしたのである。 17.本発明によれば、同一楽曲を様々な独奏楽器で独奏
参加できる。その際調子の異なる楽器に於ては、予め独
奏パートを移調して写譜しておけば良い。そればかりか
その楽曲が、声楽曲を編曲したものであれば、声楽によ
る、いわゆるカラオケとしての独唱及びコンサートも可
能である。 18.本発明によれば、今までにオーケストラ等の本格的
な伴奏によって独奏してみたい欲求がありながらその機
会に恵まれなかった人達に対し、容易にその機会を提供
し、その人達は容易にそれを経験出来るようになった。 19.本発明によれば、再生された伴奏演奏とピタリと合
わせて独奏することが容易に出来るので、その練習効果
は著しいものがある。 20.器楽カラオケを実行する際、メトロノームに似た機
械的拍打音によってテンポを把握しながら演奏するの
は、練習とは言え一種の空しさを覚えてしまうことを禁
じえない。無伴奏のソロ(独奏)のフレーズに於ける演
奏でも、たとえ微かにでも模範演奏が聞こえてしまうこ
ともまた然りである。それを解決すべく、視覚に訴える
手段を開発しても、それが例えば、無感情な静止像の楽
譜,記号,数字,符号,図形等から形成される静止表示
手段やそれを画像上単に流すだけとかテンポ等の一定周
期の単純なる無感情な点滅表示手段による無表情伝達方
法であるならば、その無機的な表示に追従した機械的ロ
ボット様演奏、追従しなければならない無味乾燥の強制
演奏で果たして充分な満足感を得ることが出来るであろ
うか。本件発明は、たとえディスプレイ画面を通してと
は言え、連続動像の指揮者と演奏者、人と人,心と心を
通じて、演奏のタイミング、テンポ、テンポの変化。、
停止拍(フェルマータが指定されている音符の中の拍)
の伸ばし具合、アーティキュレーション等々、演奏する
ために必要な数多くの演奏情報の全てを具体的に把握し
たり、抽象的に感じ取ったりして演奏するものであり、
その手法自体、実際の演奏時の状況そのものである。 とは言え、上達具合により演奏情報の理解度が徐々に
深まり、それに応じた演奏テクニックの習練を引き出す
よう努力させられ、より硬度の演奏へとチャレンジ精神
を駆り立てる。 21.本発明は、楽器を学習、練習、演奏する器楽愛好家
にとって、今までに存在しなかった、そして楽しさに満
ち満ちた、全く新しい活動方法を提供するものであると
言っても過言ではない。 22.本発明は、器楽カラオケとしてのその手法が完璧で
あり、他のどの方法よりも優れているなどから、器楽演
奏人口の増加、アマチュアの技術向上、器楽カラオケの
普及等々に、少なからず貢献し得るものである。 以上のように本発明は、再生演奏音響と共演すると言
う制約の中で、今迄に存在しなかった様々な特筆すべき
効果を存分に発揮する。Thus, according to the present invention, when performing co-starring with the reproduced sound, it is inevitable that the conductor's tact, the waving of both arms and the movements of the fingers are included in the facial expression, eye distribution, posture, orientation, and the entire upper body. Since the behavior will be performed while watching the front conductor image of the continuous moving image that freely captures the beat point of the next performance sound in advance, 1. Pre-determine the exact beat point of all the notes of the song It has become much easier to recognize. As a result, 2. Even if the music to be played and the part to be played at the same time are started at the same time, it is possible to perform the music with the timing to be played and the sound to be played with sufficient time to prepare the standby time structure. 3. It is very easy for the participating parts to understand when, at what timing, and at what tempo even the song that starts before the playback sound can be understood very easily, and with confidence and margin at the start time and the performance itself. You can execute properly as directed. Therefore, even if the reproduction performance sound starts thereafter, it is possible to perform a natural performance in time. 4. Playback performance With a phrase that does not have acoustics, a song that starts with a solo performance of only the solo participation part (for example, when the beginning of the song is an unaccompanied solo phrase), when, at what timing, at what tempo It is extremely easy to understand whether or not to play, and it is possible to execute the start timing and the performance itself with confidence, with confidence, and in accordance with the command. Therefore,
After that, even if the phrase of the replay sound is started, it is possible to perform a natural performance with the right timing. 5. In the music with the above 1 to 4 patterns, the conventional method is a mechanical beat like a metronome,
With a model performance that was devised so that it sounds faint,
What was used as a means to grasp the timing and tempo,
It becomes possible to grasp the timing and tempo easily and surely without them, and it is highly satisfying performance that you can show your full ability and show the performance to a third party. It became possible to obtain utility value. 6. In a musical performance participation phrase in which a fermata or the like is specified to extend a note or a plurality of notes,
The length of each note can be played accurately, and it can match exactly with the playback performance sound in the situation where the playback performance sound exists, and in the absence of it, the timing can be easily matched with the subsequent playback performance sound. You can 7. Even in the case of a short cadenza song, it is possible to naturally play the end and the beginning of the replay sound by playing along with the conductor of the continuous moving image. Became. 8. For songs with a full-scale cadenza, "Cadenza start → Pause while image playback → Fast forward → Conductor α's baton β is placed in a preliminary position just before the end of the cadenza, Pause again at the beginning of the preparatory exercise → Turn on the start switch again in time with the beat of the last beat of the end of the cadenza. "
That made it possible. 9. Thus, according to the present invention, conventional music
With Minus One, it is now possible to easily match the timing, tempo, etc. of a piece of music that could not be played at exactly the same timing and tempo as the playing sound. Therefore, the number of target songs that can be co-starred along with the replay sound has increased dramatically. This is the most remarkable effect of the present invention. 10. Playback performance Since the performance is performed by looking at the same conductor as the sound performer, in addition to the performance start timing, tempo, tempo change, degree of beat extension, etc. Of various playing methods and expressions such as the degree of sound, articulation, and how to inflate the performance, it becomes possible to perform a performance that matches or is balanced with the reproduced sound. There is a commonality in the concept, and you can perform a sophisticated performance. Therefore, the user can have the same satisfaction as playing with an actual orchestra. 11. Reproduction performance Since the performance is performed by looking at the same conductor as the sound performer, the performance naturally creates a sense of unity, and it is possible to perform with a musically organized concept. In other words, it became possible to perform the best performance within the constraint of co-starring with the replay sound. 12. Emotional expression Playing (participating) by looking at the front conducting video of a continuous moving image allows you to feel as if you were playing as a member of an actual orchestra with the actual conducting, and the same sense of presence as at that time. You can feel the tension on your skin. 13. Playback performance With the constraint of co-starring with sound, extremely high quality performance is possible, so not only practice but also
You can show it to a third party. That is, a concert is possible. 14. By using the present invention, the user can become accustomed to what is called performance in which he or she unknowingly follows the command. This is incredibly useful when I have the opportunity to play as a member of a real orchestra. This is because the method of the present invention is forced to learn by mastering the habit of mastering without knowing the training that responds quickly and promptly to each move of the conductor. 15. By using the present invention, the user can unknowingly understand the role of command and the meaning of command action, that is, the content of communication. At the same time, it becomes possible to know the variety of conducting methods and their specific mechanisms.
For example, it is possible to understand and practice the knowledge that the waltz is shaken in one beat, how to grasp the waltz rhythm in that beat, and so on. 16. Singing at karaoke feels good to many people. It is also true that this is done in instrumental music. INDUSTRIAL APPLICABILITY The present invention makes it possible to perform instrumental karaoke that could not be achieved so far, various musical pieces, various musical instruments, and advanced co-starring in the best use environment, and a portable acoustic image reproducing device. With a power supply, it was able to be executed anytime, anywhere. 17. According to the present invention, it is possible to participate in the same song by various solo instruments. At this time, for musical instruments with different tones, it is sufficient to transpose and copy the solo part in advance. Not only that, but if the music is an arrangement of a voice music, it is possible to perform solo and concert as so-called karaoke by vocal music. 18. According to the present invention, it is possible to easily provide an opportunity to those who have had the desire to perform solo with a full-scale accompaniment such as an orchestra but have not been given the opportunity, and those people can easily provide it. I got to experience it. 19. According to the present invention, it is possible to easily perform the solo accompaniment together with the reproduced accompaniment performance and perfect reproduction, so that the practice effect is remarkable. 20. When performing instrumental karaoke, playing while grasping the tempo with a mechanical beat sound similar to a metronome is a practice, but it is inevitable to remember a kind of emptiness. It is also true that even in the performance of an unaccompanied solo (single) phrase, a model performance can be heard even if only slightly. Even if a means to appeal to the eyes is developed in order to solve it, for example, still display means formed from a score of an emotionless still image, symbols, numbers, codes, figures, etc. If the expressionless transmission method is a simple expressionless flashing display means with a constant period such as tempo, a mechanical robot performance that follows the inorganic display, a dry dry forced performance that must follow Is it possible to get enough satisfaction? The present invention, even though the display screen, changes the timing, tempo, and tempo of the performance through the conductor and the performer, the person to person, the mind to the mind of the continuous moving image. ,
Stop beats (beats in notes where fermata is specified)
The performance of the song, articulation, etc., is to grasp concretely all of the numerous performance information necessary for playing, or to feel abstractly.
The method itself is the actual situation at the time of performance. Nonetheless, the level of improvement gradually deepens the level of understanding of the performance information, and the effort is made to bring out the training of the performance technique in accordance with it, which inspires a challenging spirit toward a more firm performance. 21. It is an exaggeration to say that the present invention provides a completely new and fun-filled new way of working for instrumental lovers who learn, practice and play musical instruments. is not. 22. The present invention contributes to the increase in the number of instrumental music players, the improvement of amateur skills, the spread of instrumental music karaoke, etc., because the method for instrumental music karaoke is perfect and superior to any other method. It is possible. As described above, the present invention makes full use of various remarkable effects that have not existed until now, under the constraint of co-starring with reproduced sound.
第1図は本発明法の独奏に使用するシステム装置の斜面
図である。 1…伴奏用ビデオテープ等 2…音響画像再生装置 3…ディスプレイ 3a…画像 4,5…ステレオスピーカー 6…スタートボタンスイッチ α…指揮者、β…指揮棒FIG. 1 is a perspective view of a system device used for solo performance of the method of the present invention. 1 ... Accompaniment video tape 2 ... Acoustic image reproducing device 3 ... Display 3a ... Image 4,5 ... Stereo speaker 6 ... Start button switch α ... Conductor, β ... Command rod
Claims (2)
いは編曲された楽曲に於て、予め、当該楽曲の独奏楽器
演奏パートを除く他の複数の楽器群の演奏音響を録音領
域に記録し、前記収録楽曲の演奏音響と同期して、ディ
スプレイ画面上に指揮者のタクトと手の振りと指の動き
を含む上半身の動きや顔の表情や目配せの連続総合動作
により次の演奏音の拍打点を事前確認自在に捕えた連続
動像の正面指揮映像が演奏中常時映し出されるように録
音・録画・編集されたビデオテープや光学式ビデオディ
スク等の音響画像記録媒体を音響画像再生装置にセット
し、画像再生信号をディスプレイ画面上に映し出し、音
響再生信号をスピーカーで発音しながら、独奏楽器演奏
者は、演奏出だしのタイミングや合奏テンポ、独奏テン
ポ等々、再生演奏音響と共演する為に必要な種々の事前
や演奏途中の認識要素を、再生演奏音響が存在する演奏
個所に於ては前記指揮映像及び当該再生演奏音響の双方
から視聴覚的に認識し、再生演奏音響が存在しない無伴
奏の独奏個所に於ては前記指揮映像のみから認識し、臨
場感を味わいながら独奏してなる、伴奏用ビデオテープ
等を利用した器楽独奏法。1. In a musical composition composed or arranged for a solo musical instrument and a plurality of other musical instruments, the performance sound of a plurality of musical instrument groups other than the solo musical instrument performance part of the musical composition is previously recorded in the recording area. Synchronize with the performance sound of the recorded music and record the next performance sound on the display screen by the conductor's tact, upper body movements including hand and finger movements, and facial expression and eye movements. A sound image recording device such as a video tape or an optical video disk, which is recorded / recorded / edited so that the front conductor image of the continuous moving image that captures the beat points of the player can be displayed in advance during the performance. , The image playback signal is displayed on the display screen, and while playing the sound playback signal through the speaker, the solo instrument player plays back the playback start timing, ensemble tempo, solo tempo, etc. At the performance location where the replay sound exists, the various recognition elements necessary for co-starring with the sound are visually and visually recognized from both the conducting image and the replay sound, and the replay performance is performed. An instrumental solo method using a videotape for accompaniment, etc., in which the unaccompanied solo part where there is no sound is recognized only from the above-mentioned conducting image, and is played by itself while feeling the presence.
像の指揮者の指揮映像等は、アニメーション化してなる
請求項1記載の伴奏用ビデオテープ等を利用した器楽独
奏法。2. A musical instrument solo playing method using an accompaniment video tape or the like according to claim 1, wherein the conductor image of the conductor of the continuous moving image displayed on the display screen is animated.
Priority Applications (1)
| Application Number | Priority Date | Filing Date | Title |
|---|---|---|---|
| JP1260259A JPH0830937B2 (en) | 1989-10-06 | 1989-10-06 | Instrumental solo method using video tape for accompaniment |
Applications Claiming Priority (1)
| Application Number | Priority Date | Filing Date | Title |
|---|---|---|---|
| JP1260259A JPH0830937B2 (en) | 1989-10-06 | 1989-10-06 | Instrumental solo method using video tape for accompaniment |
Publications (2)
| Publication Number | Publication Date |
|---|---|
| JPH03123381A JPH03123381A (en) | 1991-05-27 |
| JPH0830937B2 true JPH0830937B2 (en) | 1996-03-27 |
Family
ID=17345565
Family Applications (1)
| Application Number | Title | Priority Date | Filing Date |
|---|---|---|---|
| JP1260259A Expired - Lifetime JPH0830937B2 (en) | 1989-10-06 | 1989-10-06 | Instrumental solo method using video tape for accompaniment |
Country Status (1)
| Country | Link |
|---|---|
| JP (1) | JPH0830937B2 (en) |
Families Citing this family (2)
| Publication number | Priority date | Publication date | Assignee | Title |
|---|---|---|---|---|
| JP4650800B2 (en) * | 2009-05-29 | 2011-03-16 | 株式会社バンダイナムコゲームス | Computer-readable recording medium |
| JP6037557B2 (en) * | 2012-12-28 | 2016-12-07 | 株式会社第一興商 | Singing action advance notification system in collaboration singing |
Family Cites Families (2)
| Publication number | Priority date | Publication date | Assignee | Title |
|---|---|---|---|---|
| JPS57189185A (en) * | 1981-05-18 | 1982-11-20 | Nippon Musical Instruments Mfg | Performance apparatus |
| JPS5816290A (en) * | 1981-07-23 | 1983-01-29 | ヤマハ株式会社 | Performance recorder/reproducer |
-
1989
- 1989-10-06 JP JP1260259A patent/JPH0830937B2/en not_active Expired - Lifetime
Also Published As
| Publication number | Publication date |
|---|---|
| JPH03123381A (en) | 1991-05-27 |
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