• 検索結果がありません。

パーピープン: ジャズ和音を生成する創作支援ツール

N/A
N/A
Protected

Academic year: 2021

シェア "パーピープン: ジャズ和音を生成する創作支援ツール"

Copied!
9
0
0

読み込み中.... (全文を見る)

全文

(1)sÞ 2Q

(2) £X. Vol. 42 No. 3. Mar. 2001. 147S CƒÖR÷íKlùB¤$K :. ª Ù ® f. 3 Ÿ  . y. yy. %s'/4

(3) ê$Þ?.lùB¤$K6147S7.Èè¬4ÖS'xJ

(4) ±ê4#ù524 ‰’+$4&÷9K5147S/4 8*ƒÖ«

(5) Ä8ILK(4'S +'ƒû¿£U Rz*

(6) IF.4¿RrR÷íKlùB¤$K'2K5lùB¤$K/ºÒ* 2ÔRF+Ä8K(

(7) ãKö'2J4.A+4ÖS'xR¦ý 67(AM'9 +H#&J

(8) 4_F9ŁR65F.4¿RJ

(9) KA+Ò³.S]—2R¤Ö4 ˜+ܯ©Rýև˿C`îRª%4ÖS¿*u¨+”0KƒÖ«.C`ð2R‰

(10)  5F4¿RJ

(11) K.+'S

(12) ²I'2J4‰è+ºÒ'Kª]k.S]RI ¿+ ÷í' K(RGx5 Pa-Pi-Pun: Creativity-Support Tool for Generating Jazz Harmony. Keiji Hiratay and Tatsuya Aoyagiyy This paper presents the design principle, musical knowledge representation method, system organization, and implementation of a musical system called \Pa-Pi-Pun". Pa-Pi-Pun is a creativity-support tool that takes a simple chord progression as an input and then generates a new progression that re ects the user's intention and takes into account the harmonic context on a cadence basis. The primary goal of a creativity-support tool is to give diverse stimulation to a user. In order to do so, Pa-Pi-Pun employs a deductive object-oriented database technique for musical knowledge representation and case-based reasoning. Moreover, it invokes an existing music analysis theory to represent the user's intention, introduces a relative similarity using the subsumption relation, and uses a new case retrieval method based on the relative similarity which provides a high anity for musical introspection and intuition. It has been con

(13) rmed that a new data structure, called the cadence tree, is e ective in representing a user's intention and various, yet consistently avored, pieces are created eciently.. 1.. ºÒ*2Ô*ÖDS]+RF+ª4K('2 K 5F/ÂA÷í4S]+ËKgG*4 ¿Rf$(

(14) ÓÏL&4K.'49P¿+ÖS¿+ 4 KRf$(+*K5>41/147 S. 2

(15) ߎ*JÙ¡¿+*KH6È5L /4G B'KD2);#*2KJ@RÙÖK (4147S.#ù§

(16) ¯d+*J4F.4 ¿ƒJ+è5' **#&>6 I'2K5 F.4¿RÁ+• K(46¨Õ I/4S 57L9KDUB'K.L9K

(17) ðøå(* J4F.4¿RÒ*2ÔRª4K(4 6¨Õ I/S].÷íèw

(18) ðøå(*K5 4S57L9K F.4¿ƒJ+$KR è5Kè4šL9K*4S57*I/F+Ru F+ªoK 4C`Ø&L9K. I/F RF +úK (46GíQ

(19) 2K5 I/F L9KRL¿š¡$K'/4F +ª4K7J?&36.î/ä 4F.4¿. /A+. 1),6). ®4>>4S-#(

(20) n>K!A'32 ðö

(21) ©t+*K+$L4®­

(22) •R'4SùWR lùK8/£Ø¿4ÁÜ¿+HJêÜ+*K'2M 651/4F.lŸìRAKB¤$K(& È$Ö/).H6+2K9 +PJ

(23) 2J4ÖS.l ù(46„ÉFR¯Jh4‰è+lùB¤$KRj 4K('.‹å+¯eS'4K5 6147S7/4F

(24) 8*ƒÖ«RÄ8 K(4L+ËK<4S*ƒûb+R÷íK ÖSlùB¤$K'2K5 147S.Üà/4 â÷LF.4¿RÁ+• 4LRî„ y. NTT. :. ?E+GSåQÇ`õ. NTT Communication Science Laboratories. yy. |ÙóâQ sÞÕ2åQå Department of. Mathematics and Computer. Science,. Tsuda College. 633.

(25) sÞ 2Q

(26) £X. 634. R&@+Ö8Kù[/7MI?S+t45r¸ î

(27) 4(46ýÕRf$

(28) 4$KR2KFDÖ è+6ØK±­

(29) â 45Kè4 I/F L9KRL¿ ¡$K/4AM'34ƒû4J@. h.ÖS.RF+ª4K5¡Ãì4r#Ø.ß Žì4I .,44¿Öü.ýÕ

(30) 2K5 4 L9K* I/F Rª4K(/$K+2I A6 ¡.ÖS'xR-A«@(+4L

(31) F. r¸*Þx+èšR K4÷íKS]+F.4 ¿*4»JRbÞK4F.è5þ.R¡K (462¸'R>*4(46ùB2K 5 I/F L9K

(32) š4&@+/41#!; MAX DS֔í&@ Csound 

(33) 2K5 I/F L9K

(34) 4&@+/4 Cypher 4 UPIC .ù] &@4 Band-in-a-Box .r#¦r5(*)

(35) 2K5 147S/4 I/F +¯&¡Ãì(4r¸î .!

(36) RƒA5$>J4C42.ƒû+¯KÒ 1.ÖS'xRe«@('4L¿4 I/F L9 KR‰

(37) 4I+4F.4¿Råc+J

(38) K A.'jŸ*'S+R˜+&qK5 S].÷íèw S]R÷íKèw/_F9( KK9+â·' K5 _F9+ K_F/®

(39) ‰è+¦rS] *. ½+'2J44.¦rDS].¢.ÙRÈf Ò1 +'2K5.H6*'+³ê&4KS]. ½R6>Ñe”K('4.¢.ÙRÈf ˜*S]RÑjíK(

(40) ' K 5 Kè4KK9+ KKK'J

(41) L&4K ÖS'x/4£U¿sÞ.ºR•`ªdØB. '2K*F80֎ƒûê+5.KKR£êá¢2 K4/ (>(S(ú*&˜*S]R÷íK5 E5¿*4K

(42) G

(43) LÖSCSK.S]+. 4&4L>'ÞJLS]÷í&@.º/ KK9+Ç%4&4 5 £ô 14) /4KK 9'rêD]kRŽü`¢.Ù.S]R÷í KA+/4ôá£êHJJ

(44) 2.4£ê

(45) 9Ü+* K(4G È¿*ÜdR¯JqLK9Ü

(46) 2K( RA»&4K Kû+4KK9.ØÕ/4'xF34go¿â ÷4Łè5.¯d+2K(OL&4K5F804 ֎ƒû+èšL*4ƒÖ«.á¢4S]+ K £UD].L(4#h.ÖS¿sÞD./4g ­4®4o+H#&ºÒ+¼ØK5.H6+ ®¨¿4$‚¿ $

(47) /'2J4£U,³ì

(48) 4Ë` +¯K'xR+Žã I¤ ¯J4KK(&go 22). 25). 4). 21). 26). :. 17). 3). Mar. 2001. ¿+ ×./⼯d'2K5I+ RÈ$K ü¯Rè5K+/4_‰D'x/.>>'4A KKDGRKK*preference+R&qK.

(49) Kû ¿

(50) 4'BM÷.KKâ÷.¯dì.‹å

(51) Þ ÷K5 L+Ë4_F.ÄÝ(.—/L¿Ë6'2 J4_FRHJjŸØJŽØK('4Łè 5+‡ K}ù

(52) ‰

(53) ' K5 )h.ùHJ41/4lùB¤$K.÷íèw /_F9.è

(54) R>4(ì 5 147S+ K_F Á*L9K._F( &/Ò*DÏ

(55) z8ILK

(56) 4‰è.ÖSã

(57) ƒÖV +<4SRbÞKg/4ƒÖD'SY R_ F(& ¨K(

(58) º45ƒÖR_F(ú*(4 ¦r+ K<4J'3S*<ƒÖ.?j íÖ­.®¯©++¯KsÞ

(59) OL&>6(z 84147S'/'SR_F(5 %£.jí/)×.ƒJ'2K5®ã 2 R'/ 147S

(60) ÙÖ&4KÖS'xJ

(61) +$4&4ã 3 R'/147S.&@jí H3#ù52+ $4&4ã 4 R'/¯cõ+$4&÷94ã 5 R'% £R°AK5 :. 2.. ÖS¿.D¯©.J

(62). F.4¿RÖüâ÷Kè.êÜ*ðøå /4).H6*ÖS¿.D¯©R).H6+J

(63) K '2K5 147S

(64) 6ÖS¿.D¯©/4 1 $.Ö4 ƒÖe4'S4'S IíKjŸ4<4 S4<4J'3S'2K 5L>'Ò *ÖS'xJ

(65) ±ê

(66) ª%L&4K

(67) 41  +HJ4¦ /L>'.Kc.'õ ý 67(AM'9*Deductive ObjectOriented Database, DOOD+ (ÖS'x.§ ƒì.RGx&4K5 DOOD .‰eRÖ4K (4LIC`î.:*KÖS¿*.D¯©Q&R. 67((ܯ©+rP+Ë»bK(

(68) ' 4ÖS¿*.D¯©RK¿+go¿+J

(69) 4}ù ' KYY5LHJ4ÖS¿*u¨+”0UB' KRjí' K5 (ܯ© DOOD '/4Ë`R 67((.«ì.Ý 23). 7),10),24). 8),9),11) 13). 15),27). 2.1. DOOD. 5ÏHD#óRÄ8KH6*6¡.ƒÖ«1 S5CD=#7.o”4ƒr4Õ.ƒÖV Ií K23) 5 YY dìjŸ16) RÖ4&B$Ò.‰eRj4' K M65 Y. cadence.

(70) Vol. 42 No. 3. 635. ” IíK 67((&J

(71) K5%s'/ o(1 1 1, l = v, 1 1 1) (46JâêRÖ4K5' o / Ç% 67(4 l = v /«ì4 l /«ìI9K4 v /«ì&RJO5 ܯ©*v+(/6sÞ/

(72) º4 67( v sÞ/

(73) 2*4 67(7(464J'2K52 K4/6„É¿* 67( v C`¿* 67 (7466³ v Kû7R4JK5 67(

(74) Jݔ.4JRz8&4ݔ.ܵRJâ“*+ (M R²8KA+hâ.H6*âêRÙÖ&4 K5. 67(­.ܯ©/)×.¦ýᢠ+H#&¡öLK5® = (1 1 1 m = 1 1 1)4 = (1 1 1 n = 1 1 1) (K(4 4 ­.Ü ¯©/4 o1. o2. q. o1. ;l. v. p. w;. o2. p. ;l. o1. v;. o2. v ^8 9n ( m = n^ v q. m l. l. l. v. w. ). (¡öLK5$>J .Ç%* +(Q&.«ì * m++$4&4LI

(75) Q&„É¿*I04 .è

(76) „É¿*2K4/ .è

(77) C`¿+(464J'2 K5 B 4

(78) 67(RÜd+f$ݔ.o ”4 4 ­.ܯ©(&Ò*¡ö

(79) z8IL K5)×+àJ¿* 2 $R¦ýá¢(&â÷K5 o1. p. l. o1. o2. o1. o1. o2. o2. vH 1 vS. o1 o. o2 o2. 8 i 2 19 j 2 8 j 2 29 i 2 s. t. o. o. t. s. i v tj si v tj. o2 s o1. vH /4OFKݔ. Hoare

(80) +4 vS / Smyth

(81) +45F804 fb,dg vH fa,b,c,dg4 fa,b,c,dg vS fb,dg .H6+*K5 Hoare

(82) /ݔÜd­+ G.4J

(83) 2Ko”+4 Smyth

(84) /c.4J

(85) 2Ko”+Ö4ILK5 $.Ö.J

(86) 1 $.Ö+/Ò*¶C

(87) 2K5F804 C5 (6 (4L/6¡.֏RA5 C5 +ֈD¦rKS Æ.sÞ/µ>L&4*45 C (6(4 6 R\T C .Ö.Ý>JD6(pk.K/ G A B C 1 1 1 IíK7(#g. C *)RA5 'Ö.pDÖ.#Ë¿**řÕ+*).sÞ /µ>L&4*45I+4 *K 1 Ö(6(4 C D F *).4OFKÖQÉRŠQK.RA5 LIR4)×.H6* 67('J

(88) K5. *K 1 Ö note 2.2. 1. C C5. note(pitch=C) note(pitch=C, octave=5). '4 note

(89) Ç% 67(4 pitch = C

(90) « ì4 pitch

(91) «ìI9K4 C

(92) «ì&'2K5 .g4 note(pitch = C, octave = 5) ( note(pitch = C) RLK(4 note(pitch=C, octave = 5) . è

(93) octave = 5 .— â÷

(94) „É¿*.'4 note(pitch = C,octave = 5) v note(pitch = C) note(pitch = C) v note. (46ܯ©

(95) íJ

(96) $5 ƒÖe.J

(97) ƒÖe(/4Ö.ݔ*ƒÖ++ËKx·â“'2 J4F80 C D D M *)(5Kû+C.ƒ Öe/4·Ö4ƒÖ.°4bÞLK&SGSÖ(4 6Üd IjíLK.'4 root4 type4 tension ( 46 3 $.«ìI9KRK5F804 E [ (9,11) (46ƒÖe/ chord(root = E , type = 7 5, tension = f9,11g) (4 V / chord(root = V, type = 7) ( J

(98) LK5'4 E /Öe4 V /%e'2K5 F(&4 G (9) ( G (9,13) .­.ܯ©Rz 8K5?.&SGSÖ/ f9g4 f9,13g (46Ý ”'J

(99) L4&SGSÖ)6.­+/c.4 J

(100) 2K.'4 Smyth

(101) RÖ4&LK5H# &4 chord(root = G, name = 7, tension =f9,13g) v chord(root = G, name = 7, tension =f9g) (* K5 'S.J

(102) 147 S'/4 67 ( (&J

(103)  L ' SR _F ( K5F8 0 C k. Dm 0G 0CM (46'SRJ

(104) K( Rz8K5.'SQÉR 1 $.>(>J(ú *4 CM (46ƒÖ'LQÉRàJ&4K( ¨K5K(4 Dm 0G 0CM v CM (46Ü ¯©

(105) íJ

(106) $9 '2K5H#&4'SRJ

(107) K 67(

(108) f$«ìI9K(&4jŸ6^ *prom+4'SV*seq+4k*key+. 3 $R K5KFRo5 2.3. [. 7. 7. [7 5. [. [. 7. [. 7. 7. 2.4. 7. 7. 7. 7. 7. 7. 7. 7. cdc(prom = CM 7 , seq = [cdc(prom = Dm7 ), cdc(prom = G7 ) cdc(prom = CM 7 )], key = C). '4 cdc /'SRJ

(109) KA.Ç% 6 7('2K5«ì seq /4'SRjíK ‰è.ƒÖ«RJ5147S'/'SR Ç% +(4LHJ×.ÖS¿*jŸ+/>ƒ*.

(110) sÞ 2Q

(111) £X. 636. 4.'4 seq .«ì&/ƒÖeRÜd(K 8*J (jŸ(&4K5.J(.Üd

(112) 4 chord 6 7('* cdc 67((*#&4K2¸/ 2.5 '÷9K5 prom (46«ì/4.ƒÖ«+µ >LKƒÖ.?'ÒBêÜ*jŸ6^¿4 prominent+ *ƒÖRJ5 seq «ì.&

(113) JƒÖ«/4.j Ÿ6^¿*ƒÖ'àJLK5 key «ì/.'S .kRJ5 'S IíKjŸ.J

(114) Q&.ƒÖ/94L .'S+«4S ]/ŽÕ.'S.c*J IjíLK5 4'S/ +Kh4¿+­S'4K.'/* 4'S­+B­/4ã«*).¯©

(115) 2K5F 804$ƒÖ«'B]?.õ

(116) o

(117) :*K(4 .4J

(118) ¼OK51/4.'S­.¯©RJ

(119) KA+'S(46jŸR&qK5 'S(/'SR DÚ(KjŸ'2J4 ]QÉ.LD£URJ

(120) K5147S/4 'S+Ç%4&M4.£URz+qLÑe” R6('4ÖS¿+Kªì.2K Rõ2' K5 seq .«ì&?+

(121) LKƒÖ

(122) cdc .²+*#&4K. /4'SRjíKA'2K5 M ' F (  & (   ƒ Ö «  + Ë 4 (Dm 0G )0CM (46 ¨Bz8ILK5'4 Dm 0G (46—'S*C k+.jŸ6^¿ ƒÖR G (z8K5K(4.'SQÉ/4 2.5. 7. 7. 7. 7. 7. 7. cdc(prom = CM 7 , seq = [cdc(prom = G7 , seq = [cdc(prom = Dm7 ), cdc(prom = G7 )], key = C), cdc(prom = CM 7 )] key = C). (46'S'J

(123) LK5 'SRÖ4K(4'SQÉ.)+ ).H6*—'S

(124) õ

(125) &4K. RJ

(126)  K(

(127) ' K5'.F+¯&/ Dm7 0G7 0CM 7 v CM 7 (Dm7 0G7 )0CM 7 v G7 0CM 7. v CM 7. (46ܯ©

(128) íJ

(129) $5 'ª%'S/4 Generative Theory of Tonal Music *GTTM+ . Time-Span Reduction *TSR+RƒÖ«+»ÖB.(z8K(

(130) ' K5 TSR +HKS]—/h.H6+OL 19). Mar. 2001. K5>S]+µ>LK9&.ÖDƒÖR 2-3 $ .K7+>(AK5?K7?.jŸ6^¿*Ö DƒÖ'.K7RàJ4 1 #h+L9K'B $Ò+ 2-3 $.K7+>(AK5ÒÏ¿+S] QÉ

(131) 1 $.K7(*K>'.K4SRœ JÁ5 1/4 TSR +HKK4S'ùILK%uj Ÿ*$>J'S+

(132) ]. ¨+‡ 4]. LDƒû+¯K£U*ƒû£U+RJ

(133) &4K(ú *5$ƒÖ«'B:*K'SRjíK (

(134) ߎ'2J4L/:*K ¨RJ

(135) &4K (+‡ K5 <4S.J

(136) <4S(/42KƒÖVD'S4B!5 D&>

(137) Ä8ILg4L+Ë&‰è+¦r9 ƒÖRùJõ('2K5ÖSã/42KƒÖD 'SRúK(ߎ*<4SRcx4Õº .<4SDÏ.? IÒBÁ&4K(@8KB. RGíK5 147S'/4.x·+ƒTR<*4« ì4£!"²«ìRÖ4&.cx֎R‰

(138) K5 '˜+ `/' (46jí;RÖ4&4 o(1 1 1, l = v, 1 1 1)/(1 1 1, m = w, 1 1 1) .H6* 67(R&q K5 `/' .cÀ+

(139) OLK m = w

(140) "²«ì'2 K*m /«ìI9K4 w /«ì&+5®­/Kû+4 2KƒÖV+ËŽÕƒJ.<4SRcxJ4 :*K'S+Ë&$<4SRcxK5 ã#&4<4S.sÞ I4.ƒÖ«RK4+x ·' 4<4S/"²«ì(&â÷K5 <4S/ cdc(prom = 1 1 1, seq = 1 1 1, key = 1 1 1) /(play=fvoicing(11 1), voicing(11 1)g) .H6*. 67('J

(141) K5"²«ì play .«ì& /4‰è+¦rLÒ*<4S*voicing 6 7(+.ݔ(*K5 `/' .ÃÀ/ cdc(1 1 1) (4 6ƒÖ«RJ 67('2J4x·;( &֎K5 voicing 67(.«ì+/‰è+ ¦rLƒÖ.V*¿ 3 (2) K+

(142)

(143) OLK

(144) 4 voicing 67(/ð2Ë`+/*I*4.'4 .ƒÖ.V.J

(145) /Á *èê'jO*45 <4J'3S.J

(146) <4J'3S(/4<ƒÖ.?jíÖ­ .®¯©.('2K5?jíÖ­

(147) ֏4íÖ Ä4QÖÄ.4L .g+4jíÖ­+/®

(148) 2 K(z8K5F804 2 $.ƒÖ C *f57,60,65g+4 2.6. 2.7. 1.

(149) Vol. 42 No. 3. 637. C2 *f55,60,64g+Rz8KY 5.g4 C1 ! C2 ( 46ƒÖ«+/4 57 ! 55, 60 ! 60, 65 ! 64 (4. 6<4J'3S

(150) ú4õK5L)).e?” O/4֏4íÖÄ4QÖÄ(46uà+”0* 45'4ݔ(˜*jí; # RÖ4&hF.<4 J'3SQÉR f57 # 55, 60 # 60, 65 # 64g ( J

(151) K5 i # j /4֏ i I֏ j 8..<4 J'3SRJ5 147S'/4 i 0 j .#Ë&

(152) 14;)œc *<4J'3S(¡öK5.¡ö/)× 6 $ .¦ýá¢+HJJ

(153) LK5 i#ivi#i+1 i#i+1vi#i+2 i#i01vi#i+2. KF.4¿D ¨Râ÷K5Ł8SS /4ƒû£U8'3'ùí‹”OR¼&_ F9ŁYY R44.ÜçRE5 MIDI 514 K*SMF+(&õ2K5Ł8SS/­ 2°; KL1 '‰’5ƒû£U8'3 I MIDI Plug-in Rä#4. SMF RWgK(

(154) ' K5 ƒû£U8'3.63S)6R¿ 2 +o5¿?¸ 18). i#ivi#i01 i#i+1vi#i02 i#i01vi#i02. LHJ4ÒBœc*<4J'3SRG6A+ /4ܯ©+¯&Ò1*^1+.<4J'3S RG90,45 3.. &@jí(#ù. %R'/4 DOOD +Ç%ÖS'xJ

(155) R).H6 +Ö4&_F9ŁR‰

(156) &4K +$4&÷9 K5 QÉjí ¿ 1 +147S.&@jíRo5 ¿?4 3.1. ƒû£U8'3 Web. 6I6.  9 X. . XX z. 8* ƒÖ« SMF. 4S-#( 77 44 7 4_F Ł 66 ¦rF 9 8SS 8 6 5 6. ?.   . ¿ 1 147S.&@jí. ƒû£U8'3*Context Editor+/4147 SR4SI&36+4¿ƒJ+}ùKA. GUI '2J4 Web 6I6 Iä#K Java 27L#( (&‰’5F/ƒû£U8'3RÖ4& ƒÖ«R'S(&q2K5.' S.q2¿Ý+H#&4ƒû£UD].L+¯ Y. % '/ß<ì.A4ƒÖR jíÖ.ݔ(&J

(157) K5. MIDI. .(*S0'J

(158) L. ¿ 2 ƒû£U8'3.63S)6. .Ã4—+/4'S

(159) .—.+Ë »#×((B+JoLK5F.Ao' —.JoRyS JÍ$J' K563S)6 á+/4'S.}ù>S)*add child4 undo *)+(e«?.‹”ORM)K<S *load al4 load sbs *)+

(160) 2J4F/.} ù>S)RÖ4&‹”O.'SRr¸+ ¿ÝK563S)6c¡+/4_F9.Gí< S*al, sbs *)+4ƒû£U.A¡*context extent4 3.6 +4 harmonize <S4 play <S

(161) 2K5

(162) ê.7M(47&@'/4 4 ®.42 +(.pk 3 ]4k 1 ].¦r IÙu 5 ¶ C._F9

(163) ª4L&4K5 147S.â> *}ù±

(164) /h.H6'2K5 >Ò+_F9Rùí*3.2 +4F/ 147S(˄*

(165) I4Ä8ILƒÖ«+ Ë&F.4¿Rî„4S].LD<4 J'3SRz+qL&¦rRjí&4*3.3 +5)×4

(166) +!gK5 YY. 147S'/4Kû._F9Ł+µ>LK_F9 f˜/#&4*45.

(167) sÞ 2Q

(168) £X. 638. (1). Cm7. Mar. 2001. (3). F7. 4 4. (2). 4 4. (1). ?. (2). 3 3. ? 3 3 3. _F9.ùí )×.H6*&#7'_F9R®±+HJùí K5147S+ K 1 $._F(/4"²« ì play Rf$ cdc 67(*2.6 +'2K5 &#7 ®­.‰è.¦rRÙuK*¿ 3 (1)+5 &#7 ‰è+¦rLÖDƒÖ.ÞÖ4? S.t4B.)6RK4SK*¿ 3 (2)+5 &#7 ¦rL].ƒÖ«R'S + >'—K*¿ 4+5 &#7 h. '—?'S+4 ' ùíË»KƒÖVR play «ì(&bÄ 4Q'SR_F9+CK5 'S.è?.)+Ë»K'SB_F (&_F9+CK5 &#7 2 + KK4S.FR¿ 3 +o5 ‰è.¦r (1) + 4&4ÖS¿+êÜ*ÖRœ=. H6+K4S& (2) .H6*ƒÖ.VR3K5 .ƒÖ

(169) voicing 67(*2.6 +(&J

(170) LK5 &#7 3 .FRo5 ((Cm 0F 0B[M )0E[M )0 (Am 0D 0G ) .H6+ ¨LƒÖ«/4¿ 4 .H6*'S(&J

(171) LK5 4 *Kk .]+BË»' KH64'SDjŸ6^ƒÖ+ µ>LKÖe/9&k+Ë&‡ËØ%e'J5 &4‰è.'S'/ key «ì.àOJ+ d «ìR&4uh.'S(. key .ÄR‡ Ë¿+J5¿?4 1 $.á²

(172) 1 $.'SR J& J4Òh#»c

(173) prom «ì*jŸ6^¿*ƒ Öe+R4?# d = N

(174) d «ìR4Ò×#

(175) seq « ìRJ5ƒÖ«('S.Ë»RhM .— T'o5 (2) ?. d = 3 /4 (3) . key G +Ë K (2) . key B[ .Ö¯Ä

(176) íÖ 3 —*î+' 1.. 2.. 3.. 4.. 3.. 2.. 7. 7. 7. 7. 7. 7. 7. M7C C. 0. I. 3 3. (4). C C. M7. C C. C. C C d=3 d=0 63 C 3 C I 0IVM 7 C 3 IIm7 0V7 0IM 7 CC M7 C 3 C d=0 6 6 IIm7 0V7 0IM 7 C I 3. C. 3.2. d=0 I. 3. C C. M7. 3. 6. ¿ 3 ‰è.¦r.K4S. 3. 3 3. I. 3 3 3. I. IIm7 V7 Cm7 F7 key B[. M7. 8. M7. 8 8 I. M7. IM 7 IVM 7 IIm7 V7 B[M 7 E[M 7 Am7 D7 key G. I. M7. IM 7 GM 7. 8. ¿ 4 ƒÖ«.—. 2K(RJO&4K5 d = 0 /4uh.'S ($ key Rf#&4K(RJO&4K5 F(.4SIGS Y ® 4)×.H6*&#7'ƒû£U8'3 +HK‹”Oùí(_F9ŁR65 &#7 F/ƒû£U8'3RÖ4&q2 *K'+].ƒÖ«R'S'J

(177) K5 &#7 ƒû£U8'3'ùí'S +Ë4<4SRbÞ4—RA¡4 ‹”ORùíK5 &#7 ‹”O.'S+ÒBC` 'SR_F9? Ið2K5 &#7 ð2Üç.'S*Kû+/ŽÕ+ I4‹”O'A¡L—Rã õ4 . play «ìR¯Jõ4ÒBcI *<4J '3SRf$<4SRGS'

(178) h$*& 5 &#7 54 6 /F.4¿RJ

(179) K7M' 2J4&#7 74 8 /&@

(180) F.4¿Rî„  R÷íK7M'2K5‰è+147S R1ÖKg/4.f$.7MRA.+œJÁ ('F(147S.4SIGS

(181) ‰

(182) LK5 ‹”.ùí &#7 5 'F

(183) ùíK‹”.'S /4¿ 4 .'S(Q$jŸR&4K5 &#7 6 '/4F80¿ 5 .H6*'S( L+ËK<4SAoRùíK5 ¿?4 'SR.@ 2 ê=

(184) 6'SQÉ.?'.— 3.3. 5.. 6.. 7.. 8.. 3.4.

(185) Vol. 42 No. 3. Q1. 33 33 33 33 33. 639 I M7. CC CC. C. I. 3 3 3 3 3. 3 3. I. d=3 IM7 0IVM 7. ¿5. 0. M7C. 2. C. 33 33 33. C. 33. C C. 33. 3.6. C C. M7. d=0. 3. Q2. 20). CC d=0 C IIm7 0V7 0IM 7 CC. 3 3. 1.C`î+Ë&4 lub .L '‡Ë¿*C `îRÈ$Kèw

(186) ª%L&4K5‰è.1 47S. 2'/4 lub $7/&B glb $7

(187) :*Ko”

(188) 2K.'4 20) .èw'/aâ—'2K5 C`_F.ð2 &#7 7 R‰

(189) KA+4147S/'+ ¡ö‡Ë¿C`î RS(A,B,C) RÖ4&ÒC`_F Rð2K5®4_F9?+ n ._F*C , 1 1 1 Cn +

(190) ³ê4F

(191) ‹”O Q (46 67 (Rªo(K5'4ú6.A+h.â êR&qK: A 6 B  : (A v B _ A w B _ A = B)5K(4 Q +ÒBC`_F.ݔ. C. I. C. M7. C. CC CC. CC d=0 C IIm7 0V7 0IM 7 CC. ¶C.‹”OF. C. +<4SRbÄH7(46AoRJ5 ‡Ë¿*C`î &#7 7 .A4'‡Ë¿*C`î(46. Rª%K5. 67( A4 B4 C

(192) 2Kg4 A4 B + > ƒ&6A, B /C`&4K 7(46‹4/\4J '2J46A Iú&4 A, B ( A, C .)!I

(193) HJ C`&4K 7(46‹4+/4J

(194) 2K5>4 .‹4+Ë&4 A, B *2K4/ A, C+.è

(195) HJ C`&4K4$ C`&4K4ì¡' *44 . 3 ƒJ.8Rõ.

(196) rP'2K5F804 p ( p(l = a)4 p ( p(m = b) R9K(4)!I

(197) HJ C`&4K /ì¡' *45 147S'/4ܯ©

(198) í

(199) '2K(Rý Ö&4‡Ë¿*C`îRh.H6+¡öK5>ì ¡.A.2w RS R¡öK5 3.5. RS(A,B,C)  lub(A,B) 6= > ^ glb(A,B) 6= ? ^ (lub(A,B) v lub(A,C) ^ glb(A,C) v glb(A,B)). ' lub / least upper bound *Ò1h+4 glb / greatest lower bound *Òâ×+.4J'2K *lub ( glb Bܯ©RÖ4&E5¿*èê'¡ öL&4K+5 67( A, B, C +¯& RS(A,B,C)

(200) íJ

(201) $g4 A, B ­.è

(202) A, C ­H JC`&4K(¡öK5¡öHJgI *H6+4 $K. 67(

(203) r+ÒC`'2K5‡Ë¿*C` î/h.H6+u¿+2 ' K5 67(R .«ì IíKݔ(ú*g4ݔ A, B

(204) HJC `&4K(46(/4 A ( B .ݔ

(205) HJâ *J $ A ( B .ƒÝ”

(206) HJ1*K(46 (+Ë»K5. 1.  fCi j 8Cj RS(Q,Ci ,Cj ) _ (lub(Q,Ci ) 6 lub(Q,Cj ) ^ glb(Q,Ci ) 6 glb(Q,Cj )) _ (lub(Q,Ci ) = lub(Q,Cj ) = > ^ glb(Q,Ci ) = glb(Q,Cj ) = ?)g. L/4í

(207) .%u+ 4&h.ݔRÈ$K (+45hw IgI *H6+4 Q +ÒC`. _F/Kû+ŽÕ³êK5 F(&4¿ 5 . Q /¿ 4 . (1) ( (4) +K” 4 Q / (4) .?+K”K5Å..ƒû£UBµA ð2R6(

(208) wJ>LK(

(209) — K5 ‰è+ƒû£U8'3h'e?

(210) &ILK‹”O /4ß<ìRz&4<4SRÈ$4— ( 0 )h.ïÕ N .:2(46²R&4K*¿ 2 ? . context extent (46ø+5L/4<4S 4—'SR?•+z8&4LHJ N #h+=#'SRƒû£U(H(464J '2K5 <4S.Gí &#7 8 '4ÒÏ¿+ 1 $.<4S+wJ« @5<4S.DÏ

(211) ŽÕ+*K./4ÒBC` _F

(212) ŽÕð2Lo”(4ð2L_F+ 4 & play «ì.&'2K voicing 67(.Ý”Ü d

(213) ŽÕ.o”'2K5®4<'KS]—. <4S/'+Ù¡Ü?(4.Ò4.ƒÖR T (K5 T +Ë&4®K<4SV.DÏ

(214) n 2K(4LI<4SV.Ò.ƒÖR Bi *i = 1, 1 1 1, n+(K5147S/ T ( Bi .<4 J'3S*2.7 ++Ë&4ܯ©+¯KÒ 1.<4J'3SRõ4LR (K5 1. 2. 3.7.

(215) sÞ 2Q

(216) £X. 640 4.. ¯cõ. ¹._F9Ł&@(.L /3  /147S.M©(*#ƒÖ.¢ .ÙRŽüK_F9&@'2K5/3  + K_F*Ñjí.Ò1 ++(£U/4LL ƒÖ('S'2K5/3 '/4'S ­+6+¯©Rb* #A4'S­.<4 J'3S+arP*—

(217) º2-#&4K5>4 147S'/'SRF

(218) ¿ÝK( 'F.4¿R&@+Ö8K(

(219) ߎ(*#

(220) 4/3 /.H6*.e?Rª4&4* # 5LHJ4147S'/4/3 +9& S]QÉRƒ&Kªì.2K¦r

(221) 3ILK5 EMI /44.ºûS].¢.ÙRŽü&˜4 ºûS]Rr#÷íK&@'2K5 EMI +  K_F*signature (0LK+/ 1 1 '2K5£ U/4 Cope

(222) ª%ƒû—2*SPEACY++ Ç%4&xxLK5C`_F.ð2/4? signature +bÄL6^/9(K)6.2);#*L '‰

(223) K5 R÷íKg/4 SPEAC +HK— Üç(A\H;}RÖ4& signature RÑe”K5 EMI '/4F(.4SIGSRO+ â*Õ.S]R÷í4F/‰è+LIRWg &HR+”#S]RGíK.'4I

(224) "r+

(225) 45147S'/4F.4¿R4SI&3 6+$K+Ö8& R÷íK.'4I ,Ì7 K

(226) 3ILK5 #GS&@(.L Kû+4#GS&@+ K 2/‡±.¦ rR'I42 4»R÷íK(46 3 #% I íJ 4».÷íR‰g­'6

(227) (46‡BÕ R!04147S(9ƒÕ

(228) º45 º.#GS&@+ 4&4'I7M/ ‡±.¦r.Í$ .6^*Ö.â 4Ö..þ .4ƒÖ++>ƒ4LIR¡/Ø46^/9( K+¼K('2J42 /6^/ˆ­+ 4&Á *,8£îRÖ4&6¡.1S*‡±.4¿+R xxK('2J4÷í/2 '3IL6¡.1 SR4+Á*¦rRù]¿]K('2K5 #GS&@'/44.q2'RKî6^ /9(K+¼& IxxK

(229) 4147S' /4.q2'*ƒÖ«++Ëu¿+xx*C 4.1. 8). 5). 4.2. 2). Y. SPEAC. (/4 4. Antecedent. 4 4 .£c'2K5. Statement. Consequent. Preparation. 4. Extension. Mar. 2001. `ð2+R656^/9(K I/4.q2'

(230) ‰4' *4(46( I— KH6+46^/9 (K+¼K(46(/sÞ.•`R4JK5 LHJ4ÖS.KÜÇ5/ 7S*A•`s Þ

(231) 0í9Ü+*K(

(232) 2J4åc* 2.1+* K46^/ˆ­+ KÚI .4¿Rf$ 2

(233) 4. q2'+ 4&$4¿Rf$È]

(234) *4(46Ø Õ+$*

(235) K5 F804 3.5 'ª%‡Ë¿C`îR,&« ì+¯Kê?bR6o”Rz8K5'ÙÖ  DOOD D'S+HKJ

(236) /4‰4' K (464J'q2'.sÞR‡Q+ȳ&4K. '4ÖS'x.J

(237) èwRK¼fK9Ü/*4 F.4¿+¥#ê?bRq2'+uÁÖ K(

(238) ' 4hâ.ØÕR!' K5 5.. OJ+. ‰è+147SRWÖ&4F4¿RJ

(239)  K.+'S

(240) ²I'2K(4ºÒ'Kª ]k.S]RI ,÷í' K(RGx5 'S+HKK4S

(241) GTTM . TSR (9ƒÕRf$(46(/4‡Ë¿*C`îRµ@ 147S. 2

(242) ÖSã.u¨+”0&4K(4 6(RoÁ&4K5 4 GTTM /ºJ¿* S]—ÉÀ'2J4 TSR )).—±êBµS'4 K5‰è4<'S­.¯©.?'/49 &.go¿4$‚¿*èš

(243) â÷' KO'/*45 DOOD +Ç%ÖS'xJ

(244) /q2'.sÞR ‡Q+ȳ&4K.'4%J

(245) ê.h' GTTM R /A(KÖS2.¤ÖRI+«AK./L¿ Ë6'2K(z8K5&4I+I ¿*4S 57Rª4}ùR¡Ã+K((F.4¿ RHJ4r¸îRB#&J

(246) K(.!

(247) 43 2Ë`RƒÖ« Iºû.: *CM42.+ +ZK(RƒA45.  z £ ô. 1) Ames, C.: Protocol: Motivation, Design, and Production of a Composition for Solo Piano, Machine Models of Music (Schwanauer, S. M. and Levitt, D. A.(eds.)), The MIT Press, pp. 357{382 (1993). 2) 3•º3: C@#GS&@, S4E (ÖS.ã (pýÓK, I%Å3, ª7|, ªÙ ®f (¿)), 9

(248) õö, pp. 283{305 (1998). 3) Balaban, M., Ebcioglu, K. and Laske, O.(eds.): Understanding Music with AI , The.

(249) Vol. 42 No. 3. MIT Press (1992). 4) Boulanger, R.(ed.): The Csound Book , The MIT Press (2000). 5) Cope, D.: Experiments in Musical Intelligence , A-R Editions, Inc. (1996). 6) Cope, D.: The Composer's Underscoring Environment: CUE, Computer Music J., Vol. 21, No. 3, pp. 20{37 (1997). 7) Dannenberg, R. B.: Music Representation Issues, Techniques, and Systems, Computer Music J., Vol. 17, No. 3, pp. 20{30 (1993). 8) 4 T, ªÙ®f: /3 : ¦ý 67. (AM+Ç%4&CI4)+J/B* 4K&@, sÞ 2Q

(250) õޝ, Vol. 96,. No. 75, pp. 33{38 (1996). 96-MUS-16. 9) Hirata, K.: Representation of Jazz Piano Knowledge Using a Deductive Object-Oriented Approach, Proc. of Int'l Computer Music Conf., ICMA, pp. 244{247 (1996). 10) ªÙ®f: S4Eh'.ÖS'x.J

(251) ,  S4E(ÖS.ã (pýÓK, I%Å3, ª7 |, ªÙ®f (¿)), 9

(252) õö, pp. 163{181 (1998). 11) Hirata, K. and Aoyagi, T.: Musically Intelligent Agent for Composition and Interactive Performance, Proc. of Int'l Computer Music Conf., ICMA, pp. 167{170 (1999). 12) ªÙ®f, 3Ÿ: 147S: 8'B)'. B4SI&36+18K'¿CƒÖ÷í &@, sÞ 2Q

(253) õޝ, Vol. 99, No. 68, pp. 7{12 (1999). 99-MUS-31. 13) ªÙ®f, ª7?-: ¦ý 67(AM' 9RÖ4¦r÷í27JGS S (M, ®V'ŽQ

(254) X, Vol. 14, No. 6, pp.. 1033{1040 (1999). 14) Johnson-Laird, P. N.: Jazz Improvization: A Theory at the Computational Level, Representing Musical Structure (Howell, P. et al.(eds.)), Academic Press, pp. 291{325 (1991). 15) Kifer, M.: Deductive and Object Data Languages: A Quest for Integration, Proc. of 4th Int'l Conf. on Deductive and Object-Oriented Databases (1995). Also in LNCS 1013. 16) 1ÖÚ: dìjŸ (1) 3 (2), ®V'ŽQ

(255) X, Vol. 8, No. 2&3, pp. 184{191&305{311 (1993). 17) Kolodner, J.: Case-Based Reasoning , Morgan Kaufmann (1993). 18) KLIC ;

(256) ;@:: http://www.klic.org/ index.ja.html (1998). 19) Lerdahl, F. and Jackendo , R.: A Generative. 641. Theory of Tonal Music , The MIT Press (1983). 20) Plaza, E.: Cases as Terms: A Feature Term Approach to the Structured Representation of Cases, Lecture Notes in Arti

(257) cial Intelligence Vol. 1010 , Springer-Verlag, pp.265{276 (1995). Proc. of ICCBR-95. 21) Rowe, R.: Interactive Music System , The MIT Press (1993). 22) Rowe, R. and Garton, B.: Editor's Note: Putting Max in Perspective, Computer Music J., Vol. 17, No. 2, pp. 3{11 (1993). 23) Sadie, S.(ed.): The New Grove Dictionary of Music and Musicians , Macmillan Publishers Limited (1980). 24) Wiggins, G., Miranda, E., Smaill, A. and Harris, M.: A Framework for the Evaluation of Music Representation Systems, Computer Music J., Vol. 17, No. 3, pp. 31{42 (1993). 25) Winkler, T.: Composing Interactive Music , The MIT Press (1998). 26) Xenakis, I.: Formalized Music , Pendragon Press, pp. 329{334 (1992). Appendix III: The New UPIC System. 27) ¾ÙKô: ¦ý 67(AM'9+ $4&, S4E5(672, Vol. 9, No. 4, pp. 3{18 (1992).. (ªí12€4ß 3 o¼b) (ªí13€1ß11oـ). ªÙ ®f*ô

(258) V+ ?ƒ 33 €÷5 1987 € 13âQs ÞVQ+Žø¯¿7ø¯É5VQ¿ 75$€ NTT Ç`õ5 1990 € I 1993 €*í+˜ãàS4E ðö$ÞÖj*ICOT+5 1999 € HJ

(259) ‡5ÖSsÞ 23­2°7MI?S .õ+ã_5o%5(672åQ

(260)

(261) V4 Int'l Computer Music Assoc. 2_4 KLIC ;

(262) 2_5 3Ÿ *ô

(263) V+ ?ƒ 35 €÷5 1988 € 13âQ sÞVQ+Žø¯¿7ø¯É5$ €ÚكâQ5ÖSsÞ 23 CAI .õ+ã_5 1998 €HJ

(264) ‡5.

(265)

参照

関連したドキュメント

The idea is that this series can now be used to define the exponential of large classes of mathematical objects: complex numbers, matrices, power series, operators?. For the

2 Similarity between number theory and knot theory 4 3 Iwasawa invariants of cyclic covers of link exteriors 4.. 4 Profinite

We show that a discrete fixed point theorem of Eilenberg is equivalent to the restriction of the contraction principle to the class of non-Archimedean bounded metric spaces.. We

In the second computation, we use a fine equidistant grid within the isotropic borehole region and an optimal grid coarsening in the x direction in the outer, anisotropic,

Theorem 4.8 shows that the addition of the nonlocal term to local diffusion pro- duces similar early pattern results when compared to the pure local case considered in [33].. Lemma

The dimension d will allow us in the next sections to consider two different solutions of an ordinary differential equation as a function on R 2 with a combined expansion.. The

Theorem 1. Tarnanen uses the conjugacy scheme of the group S n in order to obtain new upper bounds for the size of a permutation code. A distance that is both left- and right-

Applying the representation theory of the supergroupGL(m | n) and the supergroup analogue of Schur-Weyl Duality it becomes straightforward to calculate the combinatorial effect