Music – Accessories – Teaching devices
Reexamination Certificate
2001-02-28
2002-07-09
Fletcher, Marlon T. (Department: 2837)
Music
Accessories
Teaching devices
C084S600000, C084S603000, C084S609000, C084S723000
Reexamination Certificate
active
06417435
ABSTRACT:
BACKGROUND
1. Field of the Invention
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.
2. Description of Prior Art
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.
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.
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 tests device.
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.
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.
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.
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.
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 may be 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.
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).
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.
In music instruction, a student's 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.
A system of entertainment that offers learn—by—example instruction is the Karaoke™ 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 vocalist, or a guitar. The r
Chantzis Constantin B.
Rosen Daniel I
Fletcher Marlon T.
Workman, Jr. Thomas E.
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