U.S. patent application number 09/796136 was filed with the patent office on 2001-10-25 for audio-acoustic proficiency testing device.
Invention is credited to Chantzis, Constantin B., Rosen, Daniel I..
Application Number | 20010032539 09/796136 |
Document ID | / |
Family ID | 26881196 |
Filed Date | 2001-10-25 |
United States Patent
Application |
20010032539 |
Kind Code |
A1 |
Chantzis, Constantin B. ; et
al. |
October 25, 2001 |
Audio-acoustic proficiency testing device
Abstract
An audio-acoustic proficiency test method transduces, captures,
measures, compares, analyzes, records, and reports on the actual
performance of at least one performer's produced orderly sound
sequence (pitch and rhythm). It also issues proficiency performance
certificates, certified copies of the audio-acoustic performance,
performance growth and statistics, or player rewards in game modes,
lessons or practice scheduling and training through a transport
means selected from the group of the Internet, television, and a
computer network. The apparatus comprises a performer or sound
generation source, transducer, central processing unit, random
access memory, archival storage unit, output printer, user display
and user input devices.
Inventors: |
Chantzis, Constantin B.;
(Glen Rock, NJ) ; Rosen, Daniel I.; (Stateline,
NV) |
Correspondence
Address: |
CONSTANTIN B. CHANTZIS
48 PINELYNN ROAD
GLEN ROCK
NJ
07452
US
|
Family ID: |
26881196 |
Appl. No.: |
09/796136 |
Filed: |
February 28, 2001 |
Related U.S. Patent Documents
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Application
Number |
Filing Date |
Patent Number |
|
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60185509 |
Feb 28, 2000 |
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Current U.S.
Class: |
84/478 |
Current CPC
Class: |
G09B 15/04 20130101 |
Class at
Publication: |
84/478 |
International
Class: |
G09B 015/02 |
Claims
We claim:
1. An audio-acoustic proficiency test method, comprising: (a)
initializing a testing operation, operating the software, (b)
inputting a plurality of registration parameters performing a task
selected from the group consisting of an identification of a
performer and a test administrator, the age of performer, the
experience of performer, the expected proficiency level, and a
payment, (c) inputting a selection of at least one reference
standard, performing a task selected from the group consisting of
an orderly sound sequence, said inputting performing a task
selected from the group consisting of a performer-selected musical
scale, a performer-selected arpeggio, a performer-selected sequence
of musical scales, a performer-selected sequence of arpeggios, a
performer-selected set of at least one pre-programmed musical
etude, and a performer-selected set of at least one pre-programmed
musical exercise, (d) transducing at least one unique property of
at least one segment of at least one performer's orderly sound
sequence, said transducing performing a task selected from the
group consisting of amplification, filtering, and compression,
thereby to provide a transduced unique property, said unique
property performing a task selected from the group consisting of
pitch, rhythm, frequency waveform, amplitude waveform, timbre,
duration, position, velocity, acceleration and time, and said
segment performing a task selected from the group consisting of at
least two notes, four notes, and 1,000,000 notes, (e) capturing
said transduced unique property of said segment of said orderly
sound sequence, said capturing performing a task selected from the
group consisting of amplification, filtering, and compression, (f)
storing at least one unique property of said segment of said
transduced, orderly produced sound sequence, (g) analyzing said
stored unique property of said segment of said performer's orderly
sound sequence, said analyzing comprising measuring said stored
unique property of said segment of said performer's orderly sound
sequence, (h) comparing said unique property of said segment of
said performer's orderly sound sequence with at least one unique
property of at least one segment of at least one stored reference
standard orderly sound sequence, (i) recording at least one
comparison result from said comparing, (j) performing a statistical
analysis of said comparison result for said performer's
audio-acoustic proficiency performance according to at least one
level of proficiency, said audio-acoustic performance comprising at
least one segment of said orderly sound sequence, and (k) storing
at least one unique property of said performer's audio-acoustic
proficiency performance, said storing performing a task selected
from the group consisting of confidentially storing at least one
performer's test performance history records, comprising test
scores and earned performer rewards, points, and confidentially
storing at least one performer's related test performance history
records in database, performing a task selected from the group of
duration of practice, established practice-playing patterns, date,
time, day, solo and group practicing for subsequent detailed
statistical analysis, interpretation, and advice.
2. The audio-acoustic proficiency test method of claim 1, further
comprising managing the output process of said one performer by at
least one proficiency test center, said managing being arranged to
perform a task which is selected from the group consisting of
recorded output, a written output, a visual output display, an
audio output, and a combination of either written or visual or
audio outputs, said recorded output further comprising a device
selected from the group consisting of compact disks, MIDI files,
wav files, mp3 files, hard drives, zipped drives, tape back-ups and
floppy disks.
3. The audio-acoustic proficiency test method of claim 2 wherein
said output operation comprises performing a task selected from the
group consisting of reporting on at least one unique property of at
least one performer's audio-acoustic proficiency performance,
reporting on at least one performer's audio-acoustic growth on at
least one unique property of performance, reporting on at least one
performer's audio-acoustic proficiency history for at least one
unique property of performance, issuing at least one copy for at
least one unique property of said performer's audio-acoustic
proficiency performance, issuing at least one performer certificate
for at least one unique property of said performer's audio-acoustic
proficiency performance, issuing certificate copies to others than
at least one performer for at least one unique property of said
performer's audio-acoustic proficiency performance, providing at
least one performer reward in game mode for at least one unique
property of said performer's audio-acoustic proficiency
performance, providing at least one performer reward in game mode
for at least one unique property of said performer's audio-acoustic
proficiency performance, providing at least one performer reward in
lesson mode for at least one unique property of said performer's
audio-acoustic proficiency performance, providing at least one
performer reward in practice scheduling mode for at least one
unique property of said performer's audio-acoustic proficiency
performance and providing at least one performer reward in training
mode for at least one unique property of said performer's
audio-acoustic proficiency performance, and, wherein an output is
selected from the group consisting of a recorded output, a written
output, a visual output display, an audio output and a combination
of either written or visual or audio outputs, said recorded output
further comprising compact disks (CDs), MIDI files, hard drives,
zipped drives, tape back-ups and floppy disks.
4. The audio-acoustic proficiency test method of claim 1 wherein
said transducing process is selected from the group consisting of
analog to digital converting means, sound card analog to digital
converting means, built-in analog to digital converting means,
sampler, sampling module means further comprising analog to digital
converting means, hard disc recorders which contain
analog-to-digital converters, any other form of audio conversion
which transduces an audio signal to a discrete, digitized form from
its continuous, analog form, and hardware and software means for
accessing and converting previously digitized audio of any
standardized, application-specific, digital audio format into a
program-usable form.
5. The audio-acoustic proficiency test method of claim 1 wherein
step (j) further comprises selecting at least one statistical
parameter that at least one unique property of at least one segment
of at least one orderly sound sequence which is produced by at
least one performer will be statistically analyzed, said
statistical parameter being selected from the group consisting of a
standard deviation, a multiple of standard deviations, a range, a
coefficient of variation, arithmetic mean, median, geometric mean,
quadratic mean, harmonic mean, coefficient of contingency, biserial
coefficient of correlation, mean deviation, coefficient of
correlation, coefficient of rank correlation, multiple correlation
coefficient, partial correlation coefficient, proportion,
percentage, cosine squared weighing function, Kaiser-Bessel
function, Gaussian (Poisson) function, Hanning function,
coefficient of regression, regression equation intercept and
coefficient of multiple regression.
6. The audio-acoustic proficiency test method of claim 1 wherein
step (i) further comprises performing a task selected from the
group consisting of advising said performer to take corrective
action when said recording documents at least one discrepancy of at
least one unique property of at least one segment of said
transduced, orderly sound sequence, advising said performer to take
corrective action when said recording documents that said
performer's performance has fallen below a pre-determined
proficiency level, and providing said performer with at least one
recommended corrective action which is selected from the group
consisting of taking a break for a specific time; repeating an
exercise while listening to the correct way to perform it from the
database; comprehending a certain subject; suggesting possible root
causes for the performer's performed error; and prescribing a
specific practice routine.
7. A method of analyzing a musician's performance, comprising: (a)
providing a musical passage comparator for comparing a test version
of a musical passage in a test storage area with a standard version
of said musical passage in a programmable musical passage storage
area and for providing an analysis of such comparison, (b)
providing a programmable musical passage storage area and a test
storage area, (c) storing a standard version of a predetermined
musical passage in said programmable musical passage storage area,
(d) playing said musical passage to provide a test version of said
predetermined musical passage and storing said test version of said
predetermined musical passage in said test storage area, (e)
causing said comparator to compare said test version with said
standard version of said predetermined musical passage and provide
a qualitative analysis, and (f) providing said analysis in a
sensible format.
8. An audio-acoustic proficiency test method, comprising: (a)
transducing at least one unique property of at least one segment of
at least one orderly sound sequence, said transducing performing a
task selected from the group consisting of amplification,
filtering, and compression, thereby to provide a transduced unique
property, said unique property performing a task selected from the
group consisting of pitch, rhythm, frequency waveform, amplitude
waveform, timbre, duration, position, velocity, acceleration and
time, said segment performing a task selected from the group of two
notes, three notes, and 1,000,000,000 notes, and said orderly sound
sequence performing a task selected from the group consisting of a
performer-selected musical scale, a performer-selected arpeggio, a
performer-selected sequence of musical scales, a performer-selected
sequence of arpeggios, a performer-selected set of at least one
pre-programmed musical etude and a performer-selected set of at
least one pre-programmed musical exercise, (d) capturing said
transduced unique property of said segment of said orderly sound
sequence, said processing performing a task selected from the group
consisting of amplification, filtering, and compression, (e)
storing at least one unique property of said segment of said
transduced, orderly produced sound sequence, (f) analyzing said
stored unique property of said segment of said performer's orderly
sound sequence, said analyzing performing a task selected from the
group consisting of measuring said stored unique property of said
segment of said performer's orderly sound sequence, (g) comparing
said unique property of said segment of said performer's orderly
sound sequence with at least one unique property of at least one
segment of at least one stored reference standard orderly sound
sequence, (h) recording at least one comparison result from said
comparing, (i) performing a statistical analysis of said comparison
result for said performer's audio-acoustic proficiency performance
according to at least one level of proficiency, said audio-acoustic
performance comprising at least one segment of said orderly sound
sequence, and (j) storing at least one unique property of said
performer's audio-acoustic proficiency performance, said storing
performing a task selected from the group consisting of
confidentially storing at least one performer's test performance
history records, comprising test scores and earned performer
rewards, points, and confidentially storing at least one
performer's related test performance history records in database,
comprising duration of practice, typical practice playing patterns,
date, time, day, solo and group practicing for subsequent detailed
statistical analysis, interpretation and advice.
9. An apparatus of analyzing a musician's performance, comprising:
(a) a musical passage comparator for comparing a test version of a
musical passage in a test storage area with a standard version of
said musical passage in a programmable musical passage storage area
and for providing an analysis of such comparisons, (b) a
programmable musical passage storage area and a test storage area,
(c) a storing manager for storing a standard version of a
predetermined musical passage in said programmable musical passage
storage area, (d) a player for playing said musical passage to
provide a test version of said predetermined musical passage and
storing said test version of said predetermined musical passage in
said test storage area, (e) an evaluator causing said comparator to
compare said test version with said standard version of said
predetermined musical passage and provide a qualitative analysis,
and (f) an output for providing said analysis in a sensible
format.
10. An audio-acoustic proficiency test apparatus, comprising: (a)
an input manager for selecting at least one reference standard,
orderly sound sequence, and at least one unique property to be
measured, (c) a transducer for transducing at least one unique
property of at least one segment of at least one orderly sound
sequence, said transducer performing a task selected from the group
consisting of amplification, filtering, and compression, thereby to
provide a transduced unique property, (d) a capturing manager for
capturing said transduced unique property of said segment of said
orderly sound sequence, said capturing device performing a task
selected from the group consisting of amplification, filtering, and
compression, (e) an analyzer for measuring said unique property of
said segment of said segment of said transduced, orderly produced
sound sequence, (f) a comparator for comparing at least one
measured unique property of at least one segment of said
transduced, orderly produced sound sequence of at least one
performer with said unique property of said segment of said stored
reference standard orderly sound sequence, (h) a first storage for
documenting and storing at least one comparison result from said
comparator, (i) a statistical analyzer for analyzing the recorded
results in first storage of at least one performer's audio-acoustic
proficiency performance according to at least one level of
proficiency, said audio-acoustic performance comprising at least
one segment of said orderly sound sequence, and (j) a second
storage for storing at least one unique property of said
performer's audio-acoustic proficiency performance, said second
data storage performing a task selected from the group consisting
of confidentially storing at least one performer's test performance
history records, comprising test scores and earned performer
rewards, points, and confidentially storing at least one
performer's related test performance history records in database,
comprising duration of practice, typical practice playing patterns,
date, time, day, solo and group practicing for subsequent detailed
statistical analysis, interpretation and advice.
Description
CROSS-REFERENCE TO RELATED APPLICATION
[0001] This application claims priority of provisional U.S. patent
application Ser. No. 60/185,509, filed Feb. 28, 2000, entitled
"Music Proficiency Testing Device", by inventors Chantzis and
Rosen, which is hereby incorporated by reference for all
purposes.
COPYRIGHT NOTICE
[0002] A portion of the disclosure of this patent contains material
to which patentees claim copyright. The copyright owner has no
objection to the facsimile reproduction by any person of the patent
document or the patent disclosure, as it appears in the U.S. Patent
and Trademark Office file or records, but reserves all other
rights.
BACKGROUND
[0003] 1. Field of Invention
[0004] This invention relates to audio-acoustic testing devices,
specifically to such devices which are used for transducing,
capturing, measuring, comparing, analyzing, recording and reporting
on the performance proficiency of a human, apparatus, or
combination that are capable of producing an orderly sound
sequence.
[0005] 2. Description of Prior Art
[0006] For many years computers have been used to grade educational
and other knowledge and skilled tests. The computer-based testing
services market has evolved over the past ten years as a result of
a recognized need to provide an easier, more secure way to deliver
large-scale, standardized tests. The conversion of tests from paper
and pencil format to computer-based format and the continued
development of certifications in technology industries are driving
market growth. It is expected that the test conversion rate will
accelerate now that the computer-based testing services industry
has become well established and has demonstrated its capability to
provide large volumes of tests with a consistently high level of
service. It is also expected that the rapid evolution of new
technologies will require the development of more training and
certification programs in technology-based industries. The
technology certification, professional licensing and certification,
academic achievement, and aptitude industries continue to grow at a
fast rate. Therefore, the worldwide demand for products and
services to satisfy the unmet needs of this industry is expected to
continue to be strong at least for the next decade.
[0007] Computer-based testing and assessment programs are often
delivered through a testing center network; these provide the
following advantages: a) They are more convenient, b) they test
competency more accurately, c) they provide immediate scoring and
results, d) they provide higher levels of security, and e) they
reduce test administration costs and personnel demands.
[0008] Until now, there has never been a practical means for
testing audio-acoustic performance--more specifically, music
performance--against fully objective measures of proficiency.
Digital technology has already resulted in other devices that in
some respects anticipate or move in the direction of standardized
audio-acoustic proficiency testing. However, all existing
technology fails to provide any general purpose audio-acoustic
proficiency test device.
[0009] Indeed, proficiency in music has always been evaluated with
reference to the performance of musical sequences of scales,
arpeggios, and other musical configurations and exercises. In the
history of musical pedagogy, in which the need for such evaluations
becomes, paramount, these evaluations have never been accomplished
except by means of subjective or qualitative (as opposed to
objective or quantitative) methods. In every instance, the presence
of a sophisticated and sensitive musical ear is required, which is
found inconveniently only on a small number of living human
beings.
[0010] Mechanical means of measurement and evaluation were
absolutely out of the question prior to the development of digital
electronics. In addition, even the advent of these material
technologies did not have sufficient strength in themselves to
bring about a universal audio-acoustic proficiency test apparatus.
U.S. Pat. No. 5,515,764, issued May 14, 1996 to Rosen, discloses a
harmonic metronome which teaches of a means for structuring the
production of metronomic sequences of musical scales, arpeggios,
and other standard musical configurations, and exercises.
[0011] Rosen's harmonic metronome was the first practical standard
for measurement of musical pitch and rhythm in "real-time"
performance contexts or practice. Therefore, it is a practice
accessory (like the traditional metronome) for real musical
performance and practice. However it was not able to compare and
report on the actual performance of a performer's sound sequence
(pitch and rhythm). Also it could not issue proficiency performance
certificates, certified copies of the audio-acoustic performance,
performance growth and statistics, or player rewards in game modes,
lessons or practice scheduling and training. None of the marketed
products or those taught by prior art which might be related in
this summary (conventional metronomes of all kinds, musical tuners
of all kinds, and the harmonic metronome) have been designed for
generalized evaluations of audio-acoustic performance.
[0012] With this in mind, the following related technologies will
be discussed: computer music software, music tuners, metronomes,
and particularly the harmonic metronome as it is taught by the
above Rosen patent.
[0013] Computer music software has featured the use of specialized
testing procedures in elementary music education. In those the
student is asked to do a specific task, which is then monitored and
evaluated. For example, a student may be asked to play a sequence
of notes on a keyboard. If the student errs, the program highlights
the error and offers a correction. This provides a useful utility
for teachers of elementary musical skills. However, it focuses on
the particular skills required for very particular and individual
musical tasks that are individually designed for a specific
pedagogical purpose at a particular point in a larger course of
study. For example, a student maybe required, in one particular
lesson of a piano study course, to press a particular key on the
piano keyboard. If the wrong key is pressed, the computer alerts
the student to the error. The test is incorporated into the lesson.
It is neither designed as an audio-acoustic proficiency test, per
se, nor is it capable of serving as such due to its extremely
limited capacity.
[0014] Production of an accurate static tone is a good start for a
music student. However music is the dynamic organization of sound
over time. An accomplished musician needs the following additional
skills: the ability to produce a sequence of tones (playing a
melody), to match a sequence of tones (playing a melody in key), to
produce a tone relative to a reference tone (playing an interval),
to produce a sequence of tones relative to a sequence of reference
tones (playing in harmony), to produce tones in a broad range of
pitches (range), quickly varying the pitch and amplitude (vibrato
and tremolo), to produce tones at specific times and durations
(playing in meter), and to produce tones of good timbre (tone
quality).
[0015] A basic ability required of a student of music is to produce
and sustain a musical tone of defined pitch and good timbre. This
task is easy on an instrument like a piano which mechanically
quantizes pitch and constrains timbre. A singer, however, must
dynamically adjust their vocal muscles to control pitch and timbre
based on their aural perceptions. Similarly, a violinist must
adjust their bowing and fingering based on their aural
perceptions.
[0016] In music instruction, a students aural perceptions are
typically developed through collaboration with a music teacher who
points out, by verbal comment and audible example, the pitch,
timbrai, and timing errors of the student. Teaching musical skills
are complicated by the fact that sound, unlike paintings, cannot
directly be seen and only exist when played. Audio tape recorders
allow a student to review their performance, but do not provide any
analysis.
[0017] A system of entertainment that offers learn-by-example
instruction is the Karaoke.TM. system popularized in Japan. A
Karaoke system (literally Japanese for `hollow orchestra`) consists
of a pre-recorded audio source, a microphone, audio mixer,
amplifier, and speaker. The audio source material, typically a
compact or laser disk such as that sold under the trademark
LaserKaraoke by Pioneer LDCA. Inc. 2265 East 22th Street Long
Beach, Calif. 90810, is specially prepared with musical
accompaniment on one channel and a solo vocal reference on the
other. The musical accompaniment can be any musical instruments
that provide tonal support for the singer. The accompaniment is
usually a band or orchestra, but could simply be a piano, other
vocalists, or a guitar. The reference channel is typically the solo
voice of a trained singer, or a solo instrument like a clarinet or
monophonic synthesizer. The Karaoke system allows the singer to
independently adjust the volume of their voice, the accompaniment,
and the reference solo voice. Typically a student would practice
singing with the reference solo voice and accompaniment. After they
have learned the words and are comfortable singing the melody, they
turn off the reference solo voice and sing, unassisted, with the
accompaniment. More elaborate karaoke systems use a laser disk or
CD+G compact disk (a format that encodes graphic images with audio)
that display song lyrics on a video monitor which change color as
each word is sung (analogous to the "bouncing ball" technique).
However, Karaoke systems do not evaluate the singer's performance
and hence the student must rely on their own musical perceptions
for guidance.
[0018] Electronic devices exist which visually indicate the
instantaneous absolute pitch and error of a tone source (e.g.
Sabine ST-1000 Chromatic Auto Tuner, Korg DT-2 Digital Tuner, Arion
HU 8400 Chromatic Tuner). Mercer in U.S. Pat. No. 4,273,023 (Jun.
16, 1981), discloses a device that displays the instantaneous
absolute pitch of a musical instrument with an array of light
emitting displays (LEDs) arranged on a musical staff but can only,
display the pitch of one tone source at a time. Tumblin in U.S.
Pat. No. 4,321,853 (Mar. 30, 1982) discloses a system that measures
the instantaneous pitch of a musical instrument relative to an
electronically generated reference tone and displays the difference
(the pitch error) on a column of lights. Neither of these systems
provides a time history of pitch nor do they provide any
quantitative indication of timbre or amplitude.
[0019] Prior general-purpose audio-acoustic proficiency test
devices were neither user-friendly nor practical in the context of
a continuous performance of a wide-ranging collection of musical
materials. These devices fail to test the ability of a performer to
play the right keys whenever and wherever they are required by any
designated musical purpose. For example, a historically traditional
test required a student to play any musical scale in any one of the
various series of keys and configurations that is possible within
the art of keyboard playing.
[0020] Keyboard playing is only singled out here for illustrative
purposes, and everything said here applies equally to playing on
any instrument. The discussion thus far has focus&d on the
ability to perform, correct pitches in musical sequence. But
testing devices have also failed to address another factor that
enters into a proper evaluation of musical proficiency. The other
factor pertains to the moment in time when a musical key is pressed
or when a musical pitch is played in some other way. Prior
audio-acoustic proficiency test methods failed to integrate both of
these two primary factors that are relevant to an evaluation of
musical proficiency. A musician must play the correct pitches, and
play them at the correct time in order to demonstrate proficiency
in music performance. Music is a combination of the elements of
pitch and rhythm.
[0021] Various devices have addressed the need for precise
measurement of musical pitch and rhythm, leading in the direction
of an audio-acoustic proficiency test method. Such devices have
been produced under the descriptive category of tuners, which
either play pitches tuned to a standard of absolute pitch, or which
measure the accuracy of specific musical pitches played on a
musical instrument. Thus, the traditional pitch pipe or tuning fork
provides a specific pitch as a reference for the musician who wants
to calibrate his own pitch to that of a conventional standard
accepted beforehand by the musical community. For example, 440
cycles per second has been designated for the pitch called "A" as a
universally recognized international convention.
[0022] After the development of electronic technologies, it was
possible not only to provide reference frequencies, but also to
measure electronically the pitch produced by the musician, and even
to compare it with the standard enforced by convention. Thus, many
electronic tuners have been equipped with microphone inputs to
deliver the electronic signal from a microphone that registers the
sound produced by a musical instrument (line inputs are used for
electronic instruments.) The resulting signal is compared to the
designated standard and the result is displayed in some sensible
form.
[0023] It is important to note that tuners do not currently respond
to an input consisting of programmed sequences of pitches from
scales, arpeggios, and other configurations of pitch that make up
the basic material of musical performance, per se. Tuners respond
to single pitches as single events, measured and evaluated as such.
Tuners, moreover, do not measure musical time. Tuners address a
very specific and partial need to test the accuracy of specific
pitches as singular events which is far from being a universal
audio-acoustic proficiency test device. This function is but
preparatory to, musical performance, a mere matter of putting the
instrument in proper tune. It has little bearing on music
performance as such, which is comprised of sequences of many
pitches disposed in varying rhythms of great variety.
[0024] Another related area of technology is the metronome. All
standard, traditional mechanical and electronic metronomes provide
a standard measure of musical time against which the musician
compares own rhythmic performance. The harmonic metronome taught by
Rosen, op. cit., does not have a feedback mechanism to inform a
performer (test subject) about the incidence or degree to which its
audio-acoustic proficiency performance deviated from a stored
reference standard and comparable results from other test subjects
grouped by such profile parameters as age, years of experience and
geographical location.
SUMMARY
[0025] In accordance with the present invention an audio-acoustic
proficiency test method transduces, captures, measures, compares,
analyzes, records, and reports on the actual performance of at
least one performers produced orderly sound sequence (pitch and
rhythm). It also issues proficiency performance certificates,
certified copies of the audio-acoustic performance, performance
growth and statistics, or player rewards in game modes, lessons or
practice scheduling and training. The apparatus comprises a
performer or sound source, transducer, central processing unit,
random access memory, archival storage unit, output printer, user
display and user input devices.
OBJECTS AND ADVANTAGES
[0026] Accordingly one object and advantage of the current
invention is to provide the first objective method for measurement
and evaluation of audio-acoustic performance. It transduces,
captures, measures, compares, analyzes, records, and reports on the
actual performance of the performer's sound sequence (pitch and
rhythm). Also it issues proficiency performance certificates,
certified copies of the audio-acoustic performance, performance
growth and statistics, or player rewards in game modes, lessons or
practice scheduling and training. It tests the ability of a
performer to play the right keys whenever and wherever they are
required by any designated musical purpose by performing correct
pitches in musical sequence. It integrates the elements of rhythm
and pitch so a performer plays the correct pitches and plays them
at the correct time. It responds to an input consisting of
programmed sequences of pitches from scales, arpeggios, and other
configurations of pitch that make the basic material of musical
performance and it measures musical time. It provides a feedback
mechanism to inform a performer about the incidence or degree to
which its audio-acoustic proficiency performance deviated from a
stored reference standard and comparable results from other test
subjects grouped by such profile parameters as age, years of
experience and geographical location. It can be used for diagnosis
and treatment of a number of audio-acoustic-related deficiencies of
at least one living being such has attention deficit disorder, ear
training, and creativity enhancement.
[0027] In addition, it provides a universal application in the
field of music, respecting the dual musical realms of rhythm and
pitch simultaneously in the electronic evaluation of a musician's
(or musician's) performance of anyone or a combination of various
sequences of musical scales, arpeggios, and other standard musical
configurations. It satisfies the need for testing musical
performance on any instrument (including the voice), and in any
context in which evaluation plays a role, for example:
[0028] in self-study or study with a teacher,
[0029] in schools where grades based on subjective measures have
heretofore resulted in much confusion, argument, and
discontent,
[0030] in practical organizational procedures of ordinary
performance ensembles, such as orchestras or bands where positions
within the ensemble are awarded according to perceived merit (or,
rather, the highly contested measurement and evaluation of said
merit); and,
[0031] in professional organizations, such as unions or guilds of
professional musicians, where players are admitted only if they can
demonstrate a certain level of practical proficiency.
DRAWING FIGURES
[0032] FIG. 1 shows a typical configuration of an audio-acoustic
proficiency test apparatus components according to the
invention.
[0033] FIG. 2 shows a flowchart illustrating the operation of an
audio-acoustic proficiency test apparatus.
REFERENCE NUMERALS IN DRAWINGS
[0034] 10 Performer (Sound Source)
[0035] 12 Transducer
[0036] 14 Computer System
[0037] 16 System Unit
[0038] 18 Central Processing Unit or CPU
[0039] 20 Random Access Memory or RAM
[0040] 22 Archival Storage Unit
[0041] 24 User Input
[0042] 26 User Display
[0043] 28 Output Printer
DETAILED DESCRIPTION
FIG. 1--Preferred Embodiment
[0044] The components of the audio-acoustic proficiency test
apparatus accomplish three main objectives. These are: 1) recording
or registering the performance of an audio-acoustic test; 2)
evaluating it; and 3) reporting on it.
[0045] As shown in FIG. 1, a Performer 10 can be any of the
following: at least one living being generating a sound, at least
one natural article such as a musical instrument which is
manipulated by a living being, at least one natural article which
is manipulated by an engaged article such as a robot or musical
instrument, at least one human-made article which is manipulated by
a living or at least one human-made article which is manipulated by
an engaged article.
[0046] A Transducer or transduction system 12 includes a
microphone, a Digital Signal Processor (DSP), a Sound Amplifier,
Sound Compressor and Sound Filter. These are employed to gather and
collect information from the musical performance of the performer
being tested and transduce it to System Unit 16. The wave patterns
of air pressure that are created by Performer 10 are electronically
translated by a microphone into an analog audio signal that feeds
directly into Transducer 12. A transducing process can be either of
an analog-to-digital converter, a sound card analog-to-digital
converter, a built-in analog-to-digital converter, a sampler, a
sampling module further comprising an analog-to-digital converter,
hard disc recorders which contain analog-to-digital converters, any
other form of audio conversion which transduces an audio signal to
a discrete, digitized form from its continuous, analog form, and
hardware and software for accessing and converting previously
digitized, audio of any standardized, application-specific, digital
audio format into a program-usable form. This transduction
comprises amplification, filtering and compression technologies
which are known to one knowledgeable in this art.
[0047] The microphone (not shown) in Transducer 12 does not
represent the only form in which information about the performer's
performance may be taken into the apparatus. In fact, the word
"information" is used here in the broader sense that encompasses an
analog audio signal, from a microphone or the output of an
electronic instrument. Digital forms (and all other mechanical
and/or electronic means of generating the input of information to
the system) may also be used. For example, a typical Musical
Instrument Digital Interface (MIDI)-capable keyboard or other
electronic instrument may transfer the information by means of
MIDI, and without the use of a microphone.
[0048] Computer System 14 is comprised of System Unit 16, User
Input 24, User Display 26, and Output Printer 28. System Unit 16 is
comprised of Central Processing Unit (CPU) 18, a Random Access
Memory (RAM) 20, and an Archival Storage Unit 22. Computer System
14 interfaces with Transducer 12 to transduce, capture, measure,
compare, analyze, record, and report on the actual performance of
at least one performer's produced orderly sound sequence (pitch and
rhythm) by Performer 10. It also can issue proficiency performance
certificates, certified copies of the audio-acoustic performance,
performance growth and statistics, or player rewards in game modes,
lessons or practice scheduling and training.
[0049] As indicated, the sound of the musical performance is
translated into an electrical analog audio signal by means of a
microphone. Transducer 12, functioning as a typical
analog-to-digital converter, converts this analog signal into a
digital signal, creating digital information which is sent to and
stored in RAM 20 via CPU 18. In this, way, Transducer 12 translates
the shape of the electronic signal from a microphone into a form of
digital information that can be read and evaluated by CPU 18, which
performs the second function of the device. The information in RAM
20 reflects the shape of the analog signal received by Transducer
12 after its conversion into a corresponding digital signal. CPU
18, under control of a program on a disc or in a PROM (not shown),
analyzes at least one unique property of at least one segment of at
least one orderly sound sequence which is produced by at least one
performer of that digital signal. This unique property is either
pitch, rhythm, a frequency waveform, an amplitude waveform, timbre,
duration, position, velocity, acceleration or time. For example,
the frequencies correspond to musical pitches played in the
performance, and the amplitude peaks correspond to the point in
time when those pitches were heard. U.S. Pat. No. 4,201,105, issued
May 6, 1980 to Alles, U.S. Pat. No. 4,196,650, issued Apr. 8, 1980
to Fricke et. al., U.S. Pat. No. 4,193,332, issued Mar. 18, 1980 to
Richardson, U.S. Pat. No. 4,178,822, issued Dec. 19, 1979 to
Alonso, and U.S. Pat. No. 4,177,706, issued Dec. 11, 1979 to
Greenberger, all describe alternative methods for analyzing an
audio signal, including frequency and amplitude characteristics
which are technologies known to one versed in this art.
[0050] The specific algorithm to be utilized for the analysis of
the digitized data is dependant on each parameter to be measured.
For example, the pitch of a note can be measured by performing a
Fast Fourier Transform (FFT) analysis for the duration of the note.
The measured frequency components can then be compared to the
universally accepted frequency of the reference note (e.g., "A"=440
Hertz).
[0051] An example of an orderly sound sequence is a music song. An
example of a segment of an orderly sound sequence is two notes. CPU
18 compares the resulting information with standardized information
stored in RAM 20, reflecting the frequencies and amplitudes that
result from a performance that is perfect with respect to pitch and
rhythm. On the basis of this comparison, CPU 18 generates a report
according to its internal programming, which is sent to Output
Printer 28, stored in Archival Storage Unit 22, or transported to
another computer via the Internet or any other suitable data
handling and output device.
[0052] A User is anyone who either inputs registration information,
or interacts with the computer system during the audio-acoustic
test. The user interacts with apparatus through User Input 24,
which can be, for example a keyboard (not shown) or mouse (not
shown) and User Display 26. For example User Display 26 can be a
monitor or television screen. A performer includes a human or
animal being, and an instrument that produce an audio-acoustic
signal. A performer can also be a User. A flowchart for the
internal program in CPU 18 is shown in FIG. 2 and discussed below
in text format.
[0053] 30 Start
[0054] 32 Initialize (hardware, memory variables, etc. as
required)
[0055] 34 Input registration parameters to identify performer and,
if applicable, test administrator, age of performer, expected
proficiency level, etc.
[0056] 36 If not fee-based testing skip to step 40
[0057] 38 Process payment (e.g., debit account)
[0058] 40 Input selection of reference standard orderly sound
sequence (e.g., scale, etude)
[0059] 42 Input selection of unique property(ies) to evaluate
(e.g., pitch; rhythm) or default to selection stored in Archival
Storage Unit
[0060] 44 Begin transducing, capturing and storing performers
digitized sound signal into RAM buffer
[0061] 46 Analyze stored, digitized data of performer to measure
the properties selected in step 42
[0062] 48 Compare analyzed data of performer with data of reference
standard for the measured property(ies) as selected in step 42
[0063] 50 Record comparison results of step 48
[0064] 52 If data can not be correlated to reference standard skip
to step 62
[0065] 54 Notify User and/or performer of inability to correlate
data to reference standard
[0066] 56 Repeat test of same performer? Yes, continue; No, go to
step 34
[0067] 58 Change reference standard? Yes, go to step 40; No,
continue
[0068] 60 Repeat same test? Yes, go to step 44; No, continue
[0069] 62 If not end of reference standard, go to step 46
[0070] 64 Perform statistical analysis of step 50 results
[0071] 66 Record ID of performer, results of step 64, date and time
in Archival Storage Unit
[0072] 68 Display results of step 64
[0073] 70 If no printout, skip to step 74
[0074] 72 Print results of step 64
[0075] 74 Analyze results of step 64 with respect to stored
recommendations and data
[0076] 76 Display results of step 74
[0077] 78 If no printout, return to step 34
[0078] 80 Print results of step 74
[0079] 82 Return to step 34
[0080] The printing of a report fulfills the third and final
function of the device. However, once again, a printer is not the
only means for output of the report from CPU 18. A video monitor is
an example of an equally practical means for display of the report.
Of course, multiple outputs may also be employed, including video,
audio, and printed results.
[0081] The report details the incidence and degree to which the
information from a musician's, performance deviates from the
information stored in memory. Naturally, the report may be extended
to any level of analysis, showing, for example, comparable results
from other test subjects, according to the age of the performer,
years of study, the setting of the performance, etc.
Recommendations for, improvement may be included. Any and all
responses, to the evaluation of the performance may be considered
as within the scope of the report generated by CPU 18.
Operation--FIG. 1
[0082] The audio-acoustic proficiency test apparatus may be used in
a great variety of places and situations, privately or
professionally, in the course of formal study, or in many other
ways as the context requires. The apparatus of FIG. 1 is configured
to a predetermined schedule of musical scales, arpeggios, and other
similar exercises. This configuration is done completely in
accordance with the wishes of the person taking and/or giving the
test, and may be set within a nearly infinite range of
possibilities.
[0083] In order to configure the apparatus for a specific test, the
performer or proficiency test center processes the necessary
information by communicating with User Display 26 and User Input 24
of FIG. 1.
[0084] A person then simply positions themself within the range of
Transducer 12, and plays the predetermined schedule of scales,
and/or arpeggios, and/or other musical exercises or configurations
to which the apparatus has been configured. Alternatively, the
performer or sound source can be in the form of a CD or stored data
file.
[0085] The apparatus does not test absolutely "anything" that the
performer may choose to play. Rather it compares the performer's
performance of a specific sequence of rhythms and pitches (or
combination of sequences) against the objective standard of a
perfectly accurate (i.e., perfectly timed and tuned) performance of
that same sequence. Therefore, the apparatus must be set for the
sequence that is to be played. However, this requirement is not a
limitation, since the apparatus may be configured in any
manner.
[0086] The apparatus depends upon the use of pre established and
standardized sequences of musical rhythms and pitches (i.e. scales,
and/or arpeggios, and/or any other standardized musical exercises
and configurations) to accomplish this objective, and in a manner
similar to that employed by the harmonic metronome.
[0087] The user interface of the apparatus is very similar to that
of the harmonic metronome, and thus of proven simplicity and ease
of use: No MIDI or other technical knowledge is required. Test
sequences are easily configured out of pre programmed collections
of conventional scales, and exercises, and, set according to such
conventional performance parameters as key, meter, and tempo, as
desired.
[0088] The MODE page allows the user to select between two specific
options: Scales and Arpeggios, and Exercises. Only one option is
highlighted on User Display 26 at any time. A data slider like an
arrow key or mouse are used to move highlight between the two
options, and an ENTER, button like the one on a typical keyboard is
used to select one of the options.
[0089] When the Scales and Arpeggios option is highlighted and the
ENTER button is pressed, User Display 26 displays the SCALES AND
ARPEGGIOS page. This page contains a list of all the possible
musical scales and arpeggios that are available for testing by the
system. Preferably the following options are listed:
[0090] Major Scale, Major Arpeggio
[0091] Lydian Scale, Lydian Arpeggio
[0092] Lydian Augmented Scale, Lydian Augmented Arpeggio
[0093] Augmented Scale, Augmented Arpeggio
[0094] Harmonic Major Scale, Harmonic Major Arpeggio
[0095] Major Pentatonic Scale, Major Pentatonic Arpeggio
[0096] Diminished Scale, Diminished Arpeggio
[0097] Dorian Scale, Dorian Arpeggio
[0098] Natural Minor Scale, Natural Minor Arpeggio
[0099] Harmonic Minor Scale, Harmonic Minor Arpeggio
[0100] When the SCALES AND ARPEGGIOS page first appears, the first
item on the list is highlighted. A DATA ENTRY slider--like a mouse
or arrow keys--is used for scrolling the highlight through the list
of options, and the SELECT button--like the Enter key in a typical
keyboard--is used to select the desired option from the list.
SELECT may be pressed for any number of options. When more than one
option is selected, the various scales and/or arpeggios are
combined into a continuous sequence.
[0101] Upon pressing the ENTER button, the OCTAVE page appears on
User Display 26. This page displays the following list of
options:
[0102] I octave
[0103] 2 octaves
[0104] 3 octaves
[0105] 4 octaves
[0106] When the OCTAVE page appears, the first item in the list is
highlighted. Again, using SELECT Button and/or DATA ENTRY slider,
the user selects the desired option from the list.
[0107] After pressing the ENTER button once again, the KEY page
appears on User Display 26. Using the above-described method, the
user may select a different tonal center or key from the KEY page,
which displays the following list of options:
[0108] C
[0109] C-sharp
[0110] D
[0111] D-sharp
[0112] E, etc. through B.
[0113] When the ENTER button is pressed, the following TEMPO page
appears on User Display 26.
[0114] 20 bpm (beats per minute)
[0115] 25 bpm
[0116] 30 bpm
[0117] 35 bpm
[0118] 40 bpm
[0119] 45 bpm
[0120] 50 bpm, etc. through 240 bpm
[0121] In the above-described manner, pressing the SELECT Button
and/or the DATA ENTRY slider, the User makes a selection from the
TEMPO page. After pressing ENTER button, the following METER page
appears on the LCD screen.
[0122] 2/2, 2/4, 2/8
[0123] 3/2, 3/4, 3/8
[0124] 4/2, 4/4, 4/8
[0125] 6/4, 6/8, 9/8
[0126] Finally, after selecting an option on the METER page, the
User presses ENTER button again, and the following LOOP page
appears on User Display 26:
[0127] Repeat once
[0128] repeat two times
[0129] repeat three times, etc. through repeat ten times
[0130] A LOOP page allows the user to program a schedule of
repetitions for the previously selected exercise. Specifically,
after the user selects, for example, the Lydian scale, in four
octaves, in the key of B-flat, at a tempo of 70 beats per minute,
the User may then also choose the repeat two times option on the
LOOP page. In this way, the audio-acoustic proficiency test
apparatus is configured for a test in which the Lydian scale is to
be played twice, in four octaves, in B-flat, at 70 bpm.
[0131] The audio-acoustic proficiency test apparatus is ready for
use after pressing the TEST button. A performer is stationed in
front of Transducer 12, and is asked to play the same sequence of
scales and/or arpeggios that have just been selected for the test
in the manner described above. If desired, the Metronome Switch is
turned ON, so that the performer may have a reference beat to play
along with. If composite rhythms or meters are included in the
test, and the metronome is used, then the performer must play in
even closer syncronism with the metronome. Therefore, the performer
is directed to begin playing after a number of preparatory beats
(for example 1, 2, 4, 8, etc.) These preparatory beats are provided
by the metronome at the beginning of the test when the Metronome
Switch is moved from OFF to ON.
[0132] Alternatively, and in a manner analogous to that described
above, a great variety of standard musical exercises may be
selected for testing by selecting the Exercises option MODE
page.
[0133] The operation of the audio-acoustic proficiency test
apparatus is correspondingly simple and direct. Having configured
it for the test, and after pressing the Test button, the
musician(s) may begin playing at any time, or as deemed appropriate
by the person giving the test. A typical test result will include
the following information:
[0134] 1. Identification data of the person that took the test.
[0135] 2. Identification data of the instrument that was tested, if
any.
[0136] 3. Identification data of the test center and/or individual
where the test took place.
[0137] 4. The incidence or degree to which the persons
audio-acoustic proficiency performance deviated from a stored
reference standard according to such specific but relative
parameters as a person's age, proficiency level, years of study,
comparable results from other test subjects, the setting of the
performance.
[0138] 5. Recommendations for improvements.
[0139] 6. Rewards.
Conclusion, Ramifications, and Scope
[0140] Accordingly, the reader will see that the audio-acoustic
proficiency apparatus satisfies an unmet need of the audio-acoustic
user, school, trainer, employer of said users for a quantitative
and user-friendly, proficiency test. It provides a unique and
unprecedented solution for use in the testing and evaluation of
audio-acoustic performance proficiency. It fulfills a need for
objective evaluation in a field where subjective evaluations have
heretofore been the norm. It greatly simplifies the task of clearly
defining the standards of musical proficiency, as its use will
accrue a history of usage that will demonstrate the capabilities of
the human physical control of musical instrumentalities in
detailed, quantitative and qualitative terms. In this way, it
provides an accessory and tool in educational, professional, and
amateur contexts everywhere that music is played and practiced. If
is also suitable for the diagnosis and treatment of a number of
audio-acoustic-related deficiencies of at least one living being,
such as attention deficit disorder, ear training, and creativity
enhancement.
[0141] While the descriptions above contain many specifics, these
should not be construed as limitations on the scope of the
invention, but rather as an exemplification of one preferred
embodiment thereof. Accordingly, the scope of the invention should
be determined not by the embodiment illustrated, but by the
appended claims and their legal equivalents.
* * * * *