G10H1/00	7	Details of electrophonic musical instruments	G10H1/00	G10H1/00		1045
G10H1/0008	8	{Associated control or indicating means}	G10H1/00	G10H1/00		2978
G10H1/0016	9	{Means for indicating which keys, frets or strings are to be actuated, e.g. using lights or leds}	G10H1/00	G10H1/00		478
G10H1/0025	9	{Automatic or semi-automatic music composition, e.g. producing random music, applying rules from music theory or modifying a musical piece (automatically producing a series of tones G10H1/26)}	G10H1/00	G10H1/00		1541
G10H1/0033	8	{Recording/reproducing or transmission of music for electrophonic musical instruments}	G10H1/00	G10H1/00		740
G10H1/0041	9	{in coded form}	G10H1/00	G10H1/00		547
G10H1/005	10	{on magnetic tape}	G10H1/00	G10H1/00		60
G10H1/0058	10	{Transmission between separate instruments or between individual components of a musical system (G10H1/0083 takes precedence)}	G10H1/00	G10H1/00		655
G10H1/0066	11	{using a MIDI interface}	G10H1/00	G10H1/00		1282
G10H1/0075	12	{with translation or conversion means for unvailable commands, e.g. special tone colors}	G10H1/00	G10H1/00		69
G10H1/0083	9	{using wireless transmission, e.g. radio, light, infrared}	G10H1/00	G10H1/00		417
G10H1/0091	8	{Means for obtaining special acoustic effects (combined with modulation G10H1/043)}	G10H1/00	G10H1/00		1008
G10H1/02	8	Means for controlling the tone frequencies, e.g. attack or decay; Means for producing special musical effects, e.g. vibratos or glissandos	G10H1/02	G10H1/02		630
G10H1/04	9	by additional modulation	G10H1/04	G10H1/04		128
G10H1/043	10	Continuous modulation	G10H1/043	G10H1/043		244
G10H1/045	11	by electromechanical means	G10H1/045	G10H1/045		105
G10H1/047	11	by acousto-mechanical means, e.g. rotating speakers or sound deflectors	G10H1/047	G10H1/047		152
G10H1/053	10	during execution only {(voice controlled instruments G10H5/005)}	G10H1/053	G10H1/053		261
G10H1/0535	11	{by switches incorporating a mechanical vibrator, the envelope of the mechanical vibration being used as modulating signal}	G10H1/053	G10H1/053		106
G10H1/055	11	by switches with variable impedance elements	G10H1/055	G10H1/055		157
G10H1/0551	12	{using variable capacitors}	G10H1/055	G10H1/055		129
G10H1/0553	12	{using optical or light-responsive means}	G10H1/055	G10H1/055		166
G10H1/0555	12	{using magnetic or electromagnetic means}	G10H1/055	G10H1/055		198
G10H1/0556	12	{using piezoelectric means}	G10H1/055	G10H1/055		75
G10H1/0558	12	{using variable resistors}	G10H1/055	G10H1/055		188
G10H1/057	11	by envelope-forming circuits	G10H1/057	G10H1/057		428
G10H1/0575	12	{using a data store from which the envelope is synthesized (tones synthesized from a data store G10H7/00)}	G10H1/057	G10H1/057		133
G10H1/06	9	Circuits for establishing the harmonic content of tones {, or other arrangements for changing the tone colour}	G10H1/06	G10H1/06		374
G10H1/08	10	by combining tones (G10H1/14, G10H1/16 take precedence; chord G10H1/38)	G10H1/08	G10H1/08		372
G10H1/10	11	for obtaining chorus, celeste or ensemble effects (continuous modulation G10H1/043)	G10H1/10	G10H1/10		145
G10H1/12	10	by filtering complex waveforms (G10H1/14, G10H1/16 take precedence)	G10H1/12	G10H1/12		206
G10H1/125	11	{using a digital filter}	G10H1/12	G10H1/12		293
G10H1/14	10	during execution {(voice controlled instruments G10H5/005)}	G10H1/14	G10H1/14		192
G10H1/16	10	by non-linear elements (G10H1/14 takes precedence)	G10H1/16	G10H1/16		141
G10H1/18	8	Selecting circuits	G10H1/18	G10H1/18		449
G10H1/181	9	{Suppression of switching-noise}	G10H1/18	G10H1/18		37
G10H1/182	9	{Key multiplexing (G10H1/185 takes precedence)}	G10H1/18	G10H1/18		127
G10H1/183	9	{Channel-assigning means for polyphonic instruments}	G10H1/18	G10H1/18		88
G10H1/185	10	{associated with key multiplexing}	G10H1/18	G10H1/18		34
G10H1/186	11	{Microprocessor-controlled keyboard and assigning means}	G10H1/18	G10H1/18		101
G10H1/187	10	{using multiplexed channel processors (G10H1/186 takes precedence)}	G10H1/18	G10H1/18		44
G10H1/188	10	{with means to assign more than one channel to any single key}	G10H1/18	G10H1/18		18
G10H1/20	9	for transposition	G10H1/20	G10H1/20		268
G10H1/22	9	for suppressing tones; Preference networks	G10H1/22	G10H1/22		153
G10H1/24	9	for selecting plural preset register stops	G10H1/24	G10H1/24		242
G10H1/26	9	for automatically producing a series of tones	G10H1/26	G10H1/26		413
G10H1/28	10	to produce arpeggios	G10H1/28	G10H1/28		81
G10H1/30	10	to reiteratively sound two tones	G10H1/30	G10H1/30		22
G10H1/32	8	Constructional details	G10H1/32	G10H1/32		1710
G10H1/34	9	Switch arrangements, e.g. keyboards or mechanical switches specially adapted for electrophonic musical instruments	G10H1/34	G10H1/34		1518
G10H1/342	10	{for guitar-like instruments with or without strings and with a neck on which switches or string-fret contacts are used to detect the notes being played (electric guitars in which the tones are generated by the vibration of strings G10H3/18)}	G10H1/34	G10H1/34		361
G10H1/344	10	{Structural association with individual keys (electrically operated wind-actuated organs G10B3/22)}	G10H1/34	G10H1/34		737
G10H1/346	11	{Keys with an arrangement for simulating the feeling of a piano key, e.g. using counterweights, springs, cams}	G10H1/34	G10H1/34		635
G10H1/348	11	{Switches actuated by parts of the body other than fingers}	G10H1/34	G10H1/34		525
G10H1/36	8	Accompaniment arrangements	G10H1/36	G10H1/36		601
G10H1/361	9	{Recording/reproducing of accompaniment for use with an external source, e.g. karaoke systems}	G10H1/36	G10H1/36		1669
G10H1/363	10	{using optical disks, e.g. CD, CD-ROM, to store accompaniment information in digital form}	G10H1/36	G10H1/36		294
G10H1/365	10	{the accompaniment information being stored on a host computer and transmitted to a reproducing terminal by means of a network, e.g. public telephone lines}	G10H1/36	G10H1/36		459
G10H1/366	10	{with means for modifying or correcting the external signal, e.g. pitch correction, reverberation, changing a singer&apos;s voice}	G10H1/36	G10H1/36		540
G10H1/368	10	{displaying animated or moving pictures synchronized with the music or audio part}	G10H1/36	G10H1/36		710
G10H1/38	9	Chord	G10H1/38	G10H1/38		570
G10H1/383	10	{Chord detection and/or recognition, e.g. for correction, or automatic bass generation}	G10H1/38	G10H1/38		275
G10H1/386	10	{One-finger or one-key chord systems}	G10H1/38	G10H1/38		107
G10H1/40	9	Rhythm	G10H1/40	G10H1/40		1085
G10H1/42	10	comprising tone forming circuits	G10H1/42	G10H1/42		338
G10H1/44	8	Tuning means	G10H1/44	G10H1/44		328
G10H1/46	8	Volume control	G10H1/46	G10H1/46		762
G10H3/00	7	Instruments in which the tones are generated by electromechanical means	G10H3/00	G10H3/00		146
G10H3/02	8	using mechanical interrupters	G10H3/02	G10H3/02		33
G10H3/03	8	using pick-up means for reading recorded waves, e.g. on rotating discs {drums, tapes or wires}	G10H3/03	G10H3/03		67
G10H3/06	9	using photoelectric pick-up means	G10H3/06	G10H3/06		299
G10H3/08	9	using inductive pick-up means	G10H3/08	G10H3/08		89
G10H3/09	10	using tapes or wires	G10H3/09	G10H3/09		56
G10H3/10	9	using capacitive pick-up means	G10H3/10	G10H3/10		76
G10H3/12	8	using mechanical resonant generators, e.g. strings or percussive instruments, the tones of which are picked up by electromechanical transducers, the electrical signals being further manipulated or amplified and subsequently converted to sound by a loudspeaker or equivalent instrument	G10H3/12	G10H3/12		201
G10H3/125	9	{Extracting or recognising the pitch or fundamental frequency of the picked up signal}	G10H3/12	G10H3/12		260
G10H3/14	9	using mechanically actuated vibrators with pick-up means (G10H3/24 takes precedence)	G10H3/14	G10H3/14		141
G10H3/143	10	{characterised by the use of a piezoelectric or magneto-strictive transducer}	G10H3/14	G10H3/14		342
G10H3/146	10	{using a membrane, e.g. a drum; Pick-up means for vibrating surfaces, e.g. housing of an instrument}	G10H3/14	G10H3/14		742
G10H3/16	10	using a reed	G10H3/16	G10H3/16		128
G10H3/18	10	using a string, e.g. electric guitar {(mechanical features G10D1/085)}	G10H3/18	G10H3/18		957
G10H3/181	11	{Details of pick-up assemblies}	G10H3/18	G10H3/18		601
G10H3/182	11	{using two or more pick-up means for each string}	G10H3/18	G10H3/18		211
G10H3/183	11	{in which the position of the pick-up means is adjustable}	G10H3/18	G10H3/18		160
G10H3/185	11	{in which the tones are picked up through the bridge structure}	G10H3/18	G10H3/18		344
G10H3/186	11	{Means for processing the signal picked up from the strings (filtering G10H1/12)}	G10H3/18	G10H3/18		561
G10H3/187	12	{for distorting the signal, e.g. to simulate tube amplifiers (changing the tone color by non-linear elements G10H1/16)}	G10H3/18	G10H3/18		159
G10H3/188	12	{for converting the signal to digital format (transmission using a MIDI interface G10H1/0066)}	G10H3/18	G10H3/18		153
G10H3/20	10	using a tuning fork, rod or tube	G10H3/20	G10H3/20		235
G10H3/22	9	using electromechanically actuated vibrators with pick-up means (G10H3/24 takes precedence)	G10H3/22	G10H3/22		185
G10H3/24	9	incorporating feedback means, e.g. acoustic	G10H3/24	G10H3/24		52
G10H3/26	10	using electric feedback	G10H3/26	G10H3/26		128
G10H5/00	7	Instruments in which the tones are generated by means of electronic generators (G10H7/00 takes precedence)	G10H5/00	G10H5/00		189
G10H5/002	8	{Instruments using voltage controlled oscillators and amplifiers or voltage controlled oscillators and filters, e.g. Synthesisers}	G10H5/00	G10H5/00		204
G10H5/005	8	{Voice controlled instruments}	G10H5/00	G10H5/00		129
G10H5/007	8	{Real-time simulation of&#160;G10B, G10C, G10D-type instruments using recursive or non-linear techniques, e.g. waveguide networks, recursive algorithms}	G10H5/00	G10H5/00		199
G10H5/02	8	using generation of basic tones	G10H5/02	G10H5/02		240
G10H5/04	9	with semiconductor devices as active elements (G10H3/10, G10H3/12 take precedence)	G10H5/04	G10H5/04		46
G10H5/06	9	tones generated by frequency multiplication or division of a basic tone	G10H5/06	G10H5/06		167
G10H5/07	10	resulting in complex waveforms	G10H5/07	G10H5/07		47
G10H5/08	9	tones generated by heterodyning	G10H5/08	G10H5/08		73
G10H5/10	8	using generation of non-sinusoidal basic tones, e.g. saw-tooth {(G10H5/06 takes precedence)}	G10H5/10	G10H5/10		126
G10H5/12	9	using semiconductor devices as active elements	G10H5/12	G10H5/12		24
G10H5/14	8	using electromechanical resonators, e.g. quartz crystals, as frequency determining element {(G10H5/02, G10H5/08 take precedence)}	G10H5/14	G10H5/14		4
G10H5/16	8	using cathode ray tubes	G10H5/16	G10H5/16		31
G10H7/00	7	Instruments in which the tones are synthesised from a data store, e.g. computer organs	G10H7/00	G10H7/00		617
G10H7/002	8	{using a common processing for different operations or calculations, and a set of microinstructions, e.g. programs, to control the sequence thereof}	G10H7/00	G10H7/00		373
G10H7/004	9	{with one or more auxiliary processor in addition to the main processing unit}	G10H7/00	G10H7/00		122
G10H7/006	9	{using two or more algorithms of different types to generate tones, e.g. according to tone color or to processor workload}	G10H7/00	G10H7/00		86
G10H7/008	8	{Means for controlling the transition from one tone waveform to another}	G10H7/00	G10H7/00		213
G10H7/02	8	in which amplitudes at successive sample points of a tone waveform are stored in one or more memories	G10H7/02	G10H7/02		445
G10H7/04	9	in which amplitudes are read at varying rates, e.g. according to pitch	G10H7/04	G10H7/04		145
G10H7/045	10	{using an auxiliary register or set of registers, e.g. a shift-register, in which the amplitudes are transferred before being read}	G10H7/04	G10H7/04		29
G10H7/06	9	in which amplitudes are read at a fixed rate, the read-out address varying stepwise by a given value, e.g. according to pitch	G10H7/06	G10H7/06		116
G10H7/08	8	by calculating functions or polynomial approximations to evaluate amplitudes at successive sample points of a tone waveform	G10H7/08	G10H7/08		118
G10H7/10	9	using coefficients or parameters stored in a memory, e.g. Fourier coefficients (G10H7/12 takes precedence)	G10H7/10	G10H7/10		77
G10H7/105	10	{using Fourier coefficients}	G10H7/10	G10H7/10		122
G10H7/12	9	by means of a recursive algorithm using one or more sets of parameters stored in a memory and the calculated amplitudes of one or more preceding sample points	G10H7/12	G10H7/12		85
G10H2210/00	7	Aspects or methods of musical processing having intrinsic musical character, i.e. involving musical theory or musical parameters or relying on musical knowledge, as applied in electrophonic musical tools or instruments	CPCONLY	G10H2210/00		18
G10H2210/005	8	Musical accompaniment, i.e. complete instrumental rhythm synthesis added to a performed melody, e.g. as output by drum machines	CPCONLY	G10H2210/005		306
G10H2210/011	9	Fill-in added to normal accompaniment pattern	CPCONLY	G10H2210/011		35
G10H2210/015	9	Accompaniment break, i.e. interrupting then restarting	CPCONLY	G10H2210/015		7
G10H2210/021	8	Background music, e.g. for video sequences or elevator music	CPCONLY	G10H2210/021		121
G10H2210/026	9	for games, e.g. videogames	CPCONLY	G10H2210/026		106
G10H2210/031	8	Musical analysis, i.e. isolation, extraction or identification of musical elements or musical parameters from a raw acoustic signal or from an encoded audio signal	CPCONLY	G10H2210/031		524
G10H2210/036	9	of musical genre, i.e. analysing the style of musical pieces, usually for selection, filtering or classification	CPCONLY	G10H2210/036		164
G10H2210/041	9	based on mfcc [mel -frequency spectral coefficients]	CPCONLY	G10H2210/041		142
G10H2210/046	9	for differentiation between music and non-music signals, based on the identification of musical parameters, e.g. based on tempo detection	CPCONLY	G10H2210/046		140
G10H2210/051	9	for extraction or detection of onsets of musical sounds or notes, i.e. note attack timings	CPCONLY	G10H2210/051		154
G10H2210/056	9	for extraction or identification of individual instrumental parts, e.g. melody, chords, bass; Identification or separation of instrumental parts by their characteristic voices or timbres	CPCONLY	G10H2210/056		350
G10H2210/061	9	for extraction of musical phrases, isolation of musically relevant segments, e.g. musical thumbnail generation, or for temporal structure analysis of a musical piece, e.g. determination of the movement sequence of a musical work	CPCONLY	G10H2210/061		289
G10H2210/066	9	for pitch analysis as part of wider processing for musical purposes, e.g. transcription, musical performance evaluation; Pitch recognition, e.g. in polyphonic sounds; Estimation or use of missing fundamental	CPCONLY	G10H2210/066		766
G10H2210/071	9	for rhythm pattern analysis or rhythm style recognition	CPCONLY	G10H2210/071		227
G10H2210/076	9	for extraction of timing, tempo; Beat detection	CPCONLY	G10H2210/076		640
G10H2210/081	9	for automatic key or tonality recognition, e.g. using musical rules or a knowledge base	CPCONLY	G10H2210/081		227
G10H2210/086	9	for transcription of raw audio or music data to a displayed or printed staff representation or to displayable MIDI-like note-oriented data, e.g. in pianoroll format	CPCONLY	G10H2210/086		185
G10H2210/091	9	for performance evaluation, i.e. judging, grading or scoring the musical qualities or faithfulness of a performance, e.g. with respect to pitch, tempo or other timings of a reference performance	CPCONLY	G10H2210/091		722
G10H2210/095	8	Inter-note articulation aspects, e.g. legato or staccato	CPCONLY	G10H2210/095		54
G10H2210/101	8	Music Composition or musical creation; Tools or processes therefor	CPCONLY	G10H2210/101		290
G10H2210/105	9	Composing aid, e.g. for supporting creation, edition or modification of a piece of music	CPCONLY	G10H2210/105		238
G10H2210/111	9	Automatic composing, i.e. using predefined musical rules	CPCONLY	G10H2210/111		468
G10H2210/115	10	using a random process to generate a musical note, phrase, sequence or structure	CPCONLY	G10H2210/115		68
G10H2210/121	11	using a knowledge base	CPCONLY	G10H2210/121		49
G10H2210/125	9	Medley, i.e. linking parts of different musical pieces in one single piece, e.g. sound collage, DJ mix	CPCONLY	G10H2210/125		344
G10H2210/131	9	Morphing, i.e. transformation of a musical piece into a new different one, e.g. remix	CPCONLY	G10H2210/131		88
G10H2210/136	10	Morphing interpolation, i.e. interpolating in pitch, harmony or time, tempo or rhythm, between two different musical pieces, e.g. to produce a new musical work	CPCONLY	G10H2210/136		20
G10H2210/141	9	Riff, i.e. improvisation, e.g. repeated motif or phrase, automatically added to a piece, e.g. in real time	CPCONLY	G10H2210/141		37
G10H2210/145	9	Composing rules, e.g. harmonic or musical rules, for use in automatic composition; Rule generation algorithms therefor	CPCONLY	G10H2210/145		174
G10H2210/151	9	using templates, i.e. incomplete musical sections, as a basis for composing	CPCONLY	G10H2210/151		114
G10H2210/155	8	Musical effects	CPCONLY	G10H2210/155		255
G10H2210/161	9	Note sequence effects, i.e. sensing, altering, controlling, processing or synthesising a note trigger selection or sequence, e.g. by altering trigger timing, triggered note values, adding improvisation or ornaments or also rapid repetition of the same note onset	CPCONLY	G10H2210/161		22
G10H2210/165	10	Humanizing effects, i.e. causing a performance to sound less machine-like, e.g. by slightly randomising pitch or tempo	CPCONLY	G10H2210/165		22
G10H2210/171	10	Ad-lib effects, i.e. adding a musical phrase or improvisation automatically or on player&apos;s request, e.g. one-finger triggering of a note sequence	CPCONLY	G10H2210/171		18
G10H2210/175	10	Fillnote, i.e. adding isolated notes or passing notes to the melody	CPCONLY	G10H2210/175		18
G10H2210/181	10	Gracenote, i.e. adding a different and very short ornamental note at the beginning or at the end of a melody note, e.g. appoggiatura, acciaccatura, sparsh-swar	CPCONLY	G10H2210/181		8
G10H2210/185	10	Arpeggio, i.e. notes played or sung in rapid sequence, one after the other, rather than ringing out simultaneously, e.g. as a chord; Generators therefor, i.e. arpeggiators; Discrete glissando effects on instruments not permitting continuous glissando, e.g. xylophone or piano, with stepwise pitch variation and on which distinct onsets due to successive note triggerings can be heard	CPCONLY	G10H2210/185		38
G10H2210/191	10	Tremolo, tremulando, trill or mordent effects, i.e. repeatedly alternating stepwise in pitch between two note pitches or chords, without any portamento between the two notes	CPCONLY	G10H2210/191		25
G10H2210/195	9	Modulation effects, i.e. smooth non-discontinuous variations over a time interval, e.g. within a note, melody or musical transition, of any sound parameter, e.g. amplitude, pitch, spectral response or playback speed	CPCONLY	G10H2210/195		45
G10H2210/201	10	Vibrato, i.e. rapid, repetitive and smooth variation of amplitude, pitch or timbre within a note or chord	CPCONLY	G10H2210/201		103
G10H2210/205	11	Amplitude vibrato, i.e. repetitive smooth loudness variation without pitch change or rapid repetition of the same note, bisbigliando, amplitude tremolo or tremulants	CPCONLY	G10H2210/205		16
G10H2210/211	11	Pitch vibrato, i.e. repetitive and smooth variation in pitch, e.g. as obtainable with a whammy bar or tremolo arm on a guitar	CPCONLY	G10H2210/211		104
G10H2210/215	11	Rotating vibrato, i.e. simulating rotating speakers, e.g. Leslie effect	CPCONLY	G10H2210/215		30
G10H2210/221	10	Glissando, i.e. pitch smoothly sliding from one note to another, e.g. gliss, glide, slide, bend, smear or sweep	CPCONLY	G10H2210/221		56
G10H2210/225	11	Portamento, i.e. smooth continuously variable pitch-bend, without emphasis of each chromatic pitch during the pitch change, which only stops at the end of the pitch shift, as obtained, e.g. by a MIDI pitch wheel or trombone	CPCONLY	G10H2210/225		106
G10H2210/231	10	Wah-wah spectral modulation, i.e. tone color spectral glide obtained by sweeping the peak of a bandpass filter up or down in frequency, e.g. according to the position of a pedal, by automatic modulation or by voice formant detection; control devices therefor, e.g. wah pedals for electric guitars	CPCONLY	G10H2210/231		35
G10H2210/235	10	Flanging or phasing effects, i.e. creating time and frequency dependent constructive and destructive interferences, obtained, e.g. by using swept comb filters or a feedback loop around all-pass filters with gradually changing non-linear phase response or delays	CPCONLY	G10H2210/235		44
G10H2210/241	10	Scratch effects, i.e. emulating playback velocity or pitch manipulation effects normally obtained by a disc-jockey manually rotating a LP record forward and backward	CPCONLY	G10H2210/241		179
G10H2210/245	9	Ensemble, i.e. adding one or more voices, also instrumental voices	CPCONLY	G10H2210/245		25
G10H2210/251	10	Chorus, i.e. automatic generation of two or more extra voices added to the melody, e.g. by a chorus effect processor or multiple voice harmonizer, to produce a chorus or unison effect, wherein individual sounds from multiple sources with roughly the same timbre converge and are perceived as one	CPCONLY	G10H2210/251		109
G10H2210/255	11	Unison, i.e. two or more voices or instruments sounding substantially the same pitch, e.g. at the same time	CPCONLY	G10H2210/255		6
G10H2210/261	10	Duet, i.e. automatic generation of a second voice, descant or counter melody, e.g. of a second harmonically interdependent voice by a single voice harmonizer or automatic composition algorithm, e.g. for fugue, canon or round composition, which may be substantially independent in contour and rhythm	CPCONLY	G10H2210/261		39
G10H2210/265	9	Acoustic effect simulation, i.e. volume, spatial, resonance or reverberation effects added to a musical sound, usually by appropriate filtering or delays	CPCONLY	G10H2210/265		56
G10H2210/271	10	Sympathetic resonance, i.e. adding harmonics simulating sympathetic resonance from other strings	CPCONLY	G10H2210/271		65
G10H2210/275	11	Helmholtz resonance effect, i.e. using, exciting or emulating air resonance in a cavity	CPCONLY	G10H2210/275		25
G10H2210/281	10	Reverberation or echo	CPCONLY	G10H2210/281		289
G10H2210/285	11	Electromechanical effectors therefor, i.e. using springs or similar electromechanical audio delay units	CPCONLY	G10H2210/285		21
G10H2210/291	11	Reverberator using both direct, i.e. dry, and indirect, i.e. wet, signals or waveforms, indirect signals having sustained one or more virtual reflections	CPCONLY	G10H2210/291		29
G10H2210/295	10	Spatial effects, musical uses of multiple audio channels, e.g. stereo	CPCONLY	G10H2210/295		116
G10H2210/301	11	Soundscape or sound field simulation, reproduction or control for musical purposes, e.g. surround or 3D sound; Granular synthesis	CPCONLY	G10H2210/301		114
G10H2210/305	11	Source positioning in a soundscape, e.g. instrument positioning on a virtual soundstage, stereo panning or related delay or reverberation changes; Changing the stereo width of a musical source	CPCONLY	G10H2210/305		114
G10H2210/311	9	Distortion, i.e. desired non-linear audio processing to change the tone colour, e.g. by adding harmonics or deliberately distorting the amplitude of an audio waveform	CPCONLY	G10H2210/311		144
G10H2210/315	9	Dynamic effects for musical purposes, i.e. musical sound effects controlled by the amplitude of the time domain audio envelope, e.g. loudness-dependent tone colour or musically desired dynamic range compression or expansion	CPCONLY	G10H2210/315		46
G10H2210/321	9	Missing fundamental, i.e. creating the psychoacoustic impression of a missing fundamental tone through synthesis of higher harmonics, e.g. to play bass notes pitched below the frequency range of reproducing speakers	CPCONLY	G10H2210/321		43
G10H2210/325	8	Musical pitch modification	CPCONLY	G10H2210/325		116
G10H2210/331	9	Note pitch correction, i.e. modifying a note pitch or replacing it by the closest one in a given scale	CPCONLY	G10H2210/331		125
G10H2210/335	10	Chord correction, i.e. modifying one or several notes within a chord, e.g. to correct wrong fingering or to improve harmony	CPCONLY	G10H2210/335		42
G10H2210/341	8	Rhythm pattern selection, synthesis or composition	CPCONLY	G10H2210/341		118
G10H2210/346	9	Pattern variations, break or fill-in	CPCONLY	G10H2210/346		29
G10H2210/351	9	Inserting a drum roll, e.g. as pattern break	CPCONLY	G10H2210/351		4
G10H2210/356	9	Random process used to build a rhythm pattern	CPCONLY	G10H2210/356		17
G10H2210/361	9	Selection among a set of pre-established rhythm patterns	CPCONLY	G10H2210/361		74
G10H2210/366	9	Random process affecting a selection among a set of pre-established patterns	CPCONLY	G10H2210/366		14
G10H2210/371	9	Rhythm syncopation, i.e. timing offset of rhythmic stresses or accents, e.g. note extended from weak to strong beat or started before strong beat	CPCONLY	G10H2210/371		21
G10H2210/375	8	Tempo or beat alterations; Music timing control	CPCONLY	G10H2210/375		94
G10H2210/381	9	Manual tempo setting or adjustment	CPCONLY	G10H2210/381		112
G10H2210/385	9	Speed change, i.e. variations from preestablished tempo, tempo change, e.g. faster or slower, accelerando or ritardando, without change in pitch	CPCONLY	G10H2210/385		114
G10H2210/391	9	Automatic tempo adjustment, correction or control	CPCONLY	G10H2210/391		167
G10H2210/395	8	Special musical scales, i.e. other than the 12-interval equally tempered scale; Special input devices therefor	CPCONLY	G10H2210/395		56
G10H2210/401	9	Microtonal scale; i.e. continuous scale of pitches, also interval-free input devices, e.g. continuous keyboards for violin, singing voice or trombone synthesis	CPCONLY	G10H2210/401		22
G10H2210/405	9	Honkytonk scale, for producing, e.g. a honky-tonk piano effect, i.e. with deliberately detuned notes within each octave	CPCONLY	G10H2210/405		1
G10H2210/411	9	Railsback scale, i.e. stretched scale for piano tuning with bass keys having lower pitches and treble keys having higher pitches than foreseen by the equally tempered scale	CPCONLY	G10H2210/411		8
G10H2210/415	9	Equally tempered scale, i.e. note tuning scale in which every pair of adjacent notes has an identical frequency ratio equal to 2 to the power 1/n if the scale has n notes per octave	CPCONLY	G10H2210/415		7
G10H2210/421	10	10 equal intervals per octave	CPCONLY	G10H2210/421		2
G10H2210/425	10	19 equal intervals per octave, offering better major thirds, far better minor thirds and overall far greater consonance than normal 12-semitone equal temperament, at the cost of a flatter fifth	CPCONLY	G10H2210/425		5
G10H2210/431	10	Quarter tone scale, i.e. 24 equal intervals per octave, e.g. for Arabic music	CPCONLY	G10H2210/431		1
G10H2210/435	10	Huygens scale, i.e. 31 equal intervals per octave, provides near-just major thirds, and provides decent matches for harmonics up to at least 13, despite a slightly less accurate fifth than the standard 12 interval equally tempered scale	CPCONLY	G10H2210/435		8
G10H2210/441	10	Janko scale, i.e. 41 equal intervals per octave, e.g. as used in the "tonal plexus" keyboard with 211 keys per octave arranged in 12 staggered columns, i.e. in 41 regions of 5 keys each plus 6 duplicate enharmonic keys	CPCONLY	G10H2210/441		3
G10H2210/445	10	45 equal intervals per octave	CPCONLY	G10H2210/445		1
G10H2210/451	10	Holder scale or Holdrian comma, i.e. 53 equal intervals per octave, with 31 intervals equal to an almost just perfect fifth; Keyboards therefor, e.g. "generalized keyboard" of Robert Holford Macdowall Bosanquet	CPCONLY	G10H2210/451		1
G10H2210/455	10	70 equal intervals per octave	CPCONLY	G10H2210/455		1
G10H2210/461	10	Jankovski scale or twelfth tone scale, i.e. octave divided in 72 equal intervals, e.g. moria in Byzantine music theory	CPCONLY	G10H2210/461		3
G10H2210/465	10	84 equal intervals per octave	CPCONLY	G10H2210/465		1
G10H2210/471	9	Natural or just intonation scales, i.e. based on harmonics consonance such that most adjacent pitches are related by harmonically pure ratios of small integers	CPCONLY	G10H2210/471		45
G10H2210/476	10	Zarlino scales, e.g. octave subdivision based on the pitch ratios 9/8 + 10/9 + 16/15 + 9/8 + 10/9 + 9/8 + 16/15	CPCONLY	G10H2210/476		4
G10H2210/481	10	Pythagorean scale, i.e. in which the frequency relationships of all intervals should be based on the perfect fifth, with ratio 3:2	CPCONLY	G10H2210/481		16
G10H2210/486	10	Werckmeister scales, i.e. family of scales with 12 mostly rational intervals, e.g. for organs	CPCONLY	G10H2210/486		2
G10H2210/491	10	Meantone scales, i.e. in which all non-octave intervals are generated from a stack of tempered perfect fifths; and wherein, by choosing an appropriate size for major and minor thirds, the syntonic comma is tempered to unison, e.g. quarter comma meantone, syntonic comma, d&apos;Alembert modified meantone	CPCONLY	G10H2210/491		9
G10H2210/496	10	Redfield scales, i.e. 12 intervals per octave, based on note ratios equal to (2**p)*(3**q)*(5**r) with p, q, r positive or negative integers	CPCONLY	G10H2210/496		1
G10H2210/501	10	Altered natural scale, i.e. 12 unequal intervals not foreseen in the above	CPCONLY	G10H2210/501		8
G10H2210/506	10	Danielou 53 interval scale, with note ratios equal to (2**p)(3**q)(5**r), with p, q, r positive or negative integers	CPCONLY	G10H2210/506		1
G10H2210/511	9	Arabic scales, i.e. either double harmonic scale or major locrian scale; Vosta or zaid modes	CPCONLY	G10H2210/511		6
G10H2210/515	9	Balinese scales, e.g. for gamelan, with instruments played in pairs and tuned slightly apart to produce interference beating ideally at a consistent speed for all pairs of notes in all registers; Balinese pentatonic scales, e.g. Balinese slendro scale, or five-tone modes of the heptatonic pelog scale, itself substantially a 7-note subset of 9-tone equal temperament	CPCONLY	G10H2210/515		2
G10H2210/521	9	Polynesian scales	CPCONLY	G10H2210/521		1
G10H2210/525	9	Diatonic scales, e.g. aeolian, ionian or major, dorian, locrian, lydian, mixolydian, phrygian, i.e. seven note, octave-repeating musical scales comprising five whole steps and two half steps for each octave, in which the two half steps are separated from each other by either two or three whole steps	CPCONLY	G10H2210/525		46
G10H2210/531	9	Bluenote scale, i.e. 7-tone scale of 2+1+2+1+3+1+2 semitones	CPCONLY	G10H2210/531		7
G10H2210/535	9	Hexatonal or hexatonic scales, i.e. six pitches or notes per octave, e.g. whole tone scale, augmented scale, Prometheus scale, blues scale	CPCONLY	G10H2210/535		18
G10H2210/541	9	Pentatonal or pentatonic scale, i.e. five pitches or notes per octave, e.g. basic Chinese musical scale, black piano keys, Javanese gamelan slendro scale or Japanese shakuhachi flute	CPCONLY	G10H2210/541		29
G10H2210/545	10	Yona Nuki, i.e. a family of pentatonic scales without fourth or seventh, e.g. Hirajoshi, Iwato, Kumoi, Sino-indian [Raga Amritavarsini] used, e.g. for japanese traditional music, koto or shamisen tunings	CPCONLY	G10H2210/545		5
G10H2210/551	10	Okinawa pentatonic scale, i.e. Okinawan min&apos;yo, e.g. including the half-steps omitted in the min&apos;yo pentatonic scale used in the main japanese islands	CPCONLY	G10H2210/551		2
G10H2210/555	8	Tonality processing, involving the key in which a musical piece or melody is played	CPCONLY	G10H2210/555		37
G10H2210/561	9	Changing the tonality within a musical piece	CPCONLY	G10H2210/561		27
G10H2210/565	9	Manual designation or selection of a tonality	CPCONLY	G10H2210/565		31
G10H2210/571	8	Chords; Chord sequences	CPCONLY	G10H2210/571		129
G10H2210/576	9	Chord progression	CPCONLY	G10H2210/576		184
G10H2210/581	9	Chord inversion	CPCONLY	G10H2210/581		35
G10H2210/586	9	Natural chords, i.e. adjustment of individual note pitches in order to generate just intonation chords	CPCONLY	G10H2210/586		19
G10H2210/591	9	Chord with a suspended note, e.g. 2nd or 4th	CPCONLY	G10H2210/591		45
G10H2210/596	9	Chord augmented	CPCONLY	G10H2210/596		69
G10H2210/601	9	Chord diminished	CPCONLY	G10H2210/601		78
G10H2210/606	9	Chord ninth, i.e. including ninth or above, e.g. 11th or 13th	CPCONLY	G10H2210/606		22
G10H2210/611	9	Chord ninth or above, to which is added a tension note	CPCONLY	G10H2210/611		19
G10H2210/616	9	Chord seventh, major or minor	CPCONLY	G10H2210/616		144
G10H2210/621	9	Chord seventh dominant	CPCONLY	G10H2210/621		32
G10H2210/626	9	Chord sixth	CPCONLY	G10H2210/626		55
G10H2220/00	7	Input/output interfacing specifically adapted for electrophonic musical tools or instruments	CPCONLY	G10H2220/00		19
G10H2220/005	8	Non-interactive screen display of musical or status data	CPCONLY	G10H2220/005		297
G10H2220/011	9	Lyrics displays, e.g. for karaoke applications	CPCONLY	G10H2220/011		630
G10H2220/015	9	Musical staff, tablature or score displays, e.g. for score reading during a performance	CPCONLY	G10H2220/015		394
G10H2220/021	8	Indicator, i.e. non-screen output user interfacing, e.g. visual or tactile instrument status or guidance information using lights, LEDs or seven segments displays	CPCONLY	G10H2220/021		61
G10H2220/026	9	associated with a key or other user input device, e.g. key indicator lights	CPCONLY	G10H2220/026		65
G10H2220/031	10	Blinking or flashing indicator lights	CPCONLY	G10H2220/031		58
G10H2220/036	10	Chord indicators, e.g. displaying note fingering when several notes are to be played simultaneously as a chord	CPCONLY	G10H2220/036		35
G10H2220/041	10	Remote key fingering indicator, i.e. fingering shown on a display separate from the instrument itself or substantially disjoint from the keys	CPCONLY	G10H2220/041		45
G10H2220/046	10	Drumpad indicator, e.g. drumbeat strike indicator light on a drumpad or rim	CPCONLY	G10H2220/046		29
G10H2220/051	10	Fret indicator, e.g. for playing guidance on a string instrument or string instrument emulator	CPCONLY	G10H2220/051		39
G10H2220/056	10	Hand or finger indicator, e.g. for indicating which hand or which specific finger should be used	CPCONLY	G10H2220/056		35
G10H2220/061	10	LED, i.e. using a light-emitting diode as indicator	CPCONLY	G10H2220/061		152
G10H2220/066	11	Colour, i.e. indications with two or more different colours	CPCONLY	G10H2220/066		101
G10H2220/071	10	Pedal indicator, e.g. guitar pedal status lights	CPCONLY	G10H2220/071		19
G10H2220/076	10	String indicator, e.g. on a stringed musical instrument for indicating which string is to be played, plucked or bowed	CPCONLY	G10H2220/076		11
G10H2220/081	9	Beat indicator, e.g. marks or flashing LEDs to indicate tempo or beat positions	CPCONLY	G10H2220/081		100
G10H2220/086	9	Beats per minute [BPM] indicator, i.e. displaying a tempo value, e.g. in words or as numerical value in beats per minute	CPCONLY	G10H2220/086		72
G10H2220/091	8	Graphical user interface [GUI] specifically adapted for electrophonic musical instruments, e.g. interactive musical displays, musical instrument icons or menus; Details of user interactions therewith	CPCONLY	G10H2220/091		141
G10H2220/096	9	using a touch screen	CPCONLY	G10H2220/096		388
G10H2220/101	9	for graphical creation, edition or control of musical data or parameters	CPCONLY	G10H2220/101		150
G10H2220/106	10	using icons, e.g. selecting, moving or linking icons, on-screen symbols, screen regions or segments representing musical elements or parameters	CPCONLY	G10H2220/106		301
G10H2220/111	11	for graphical orchestra or soundstage control, e.g. on-screen selection or positioning of instruments in a virtual orchestra, using movable or selectable musical instrument icons	CPCONLY	G10H2220/111		37
G10H2220/116	10	for graphical editing of sound parameters or waveforms, e.g. by graphical interactive control of timbre, partials or envelope	CPCONLY	G10H2220/116		167
G10H2220/121	10	for graphical editing of a musical score, staff or tablature	CPCONLY	G10H2220/121		114
G10H2220/126	10	for graphical editing of individual notes, parts or phrases represented as variable length segments on a 2D or 3D representation, e.g. graphical edition of musical collage, remix files or pianoroll representations of MIDI-like files	CPCONLY	G10H2220/126		144
G10H2220/131	10	for abstract geometric visualisation of music, e.g. for interactive editing of musical parameters linked to abstract geometric figures	CPCONLY	G10H2220/131		81
G10H2220/135	8	Musical aspects of games or videogames; Musical instrument-shaped game input interfaces	CPCONLY	G10H2220/135		176
G10H2220/141	9	Games on or about music, i.e. based on musical knowledge, e.g. musical multimedia quizzes	CPCONLY	G10H2220/141		88
G10H2220/145	9	Multiplayer musical games, e.g. karaoke-like multiplayer videogames	CPCONLY	G10H2220/145		77
G10H2220/151	9	Musical difficulty level setting or selection	CPCONLY	G10H2220/151		59
G10H2220/155	8	User input interfaces for electrophonic musical instruments	CPCONLY	G10H2220/155		82
G10H2220/161	9	with 2D or x/y surface coordinates sensing	CPCONLY	G10H2220/161		145
G10H2220/165	9	for string input, i.e. special characteristics in string composition or use for sensing purposes, e.g. causing the string to become its own sensor	CPCONLY	G10H2220/165		107
G10H2220/171	10	using electrified strings, e.g. strings carrying coded or AC signals for transducing, sustain, fret length or fingering detection	CPCONLY	G10H2220/171		16
G10H2220/175	10	using nonmagnetic string materials, e.g. nylon; Sensors specially adapted therefor	CPCONLY	G10H2220/175		9
G10H2220/181	10	by nonresonant wave interaction, i.e. string sensing using wavelengths unrelated to string resonant wavelengths, e.g. ultrasonic waves, microwave or light waves, propagated along a musical instrument string to measure its fret length, e.g. for MIDI transcription	CPCONLY	G10H2220/181		14
G10H2220/185	9	Stick input, e.g. drumsticks with position or contact sensors	CPCONLY	G10H2220/185		103
G10H2220/191	9	Plectrum or pick sensing, e.g. for detection of string striking or plucking	CPCONLY	G10H2220/191		40
G10H2220/195	9	Particle energy or molecular configuration used as musical control data	CPCONLY	G10H2220/195		6
G10H2220/201	9	for movement interpretation, i.e. capturing and recognizing a gesture or a specific kind of movement, e.g. to control a musical instrument	CPCONLY	G10H2220/201		268
G10H2220/206	10	Conductor baton movement detection used to adjust rhythm, tempo or expressivity of, e.g. the playback of musical pieces	CPCONLY	G10H2220/206		52
G10H2220/211	9	for microphones, i.e. control of musical parameters either directly from microphone signals or by physically associated peripherals, e.g. karaoke control switches or rhythm sensing accelerometer within the microphone casing	CPCONLY	G10H2220/211		167
G10H2220/215	9	using a magnetic strip on a card or sheet	CPCONLY	G10H2220/215		8
G10H2220/221	9	Keyboards, i.e. configuration of several keys or key-like input devices relative to one another	CPCONLY	G10H2220/221		371
G10H2220/226	10	Whole-tone keyboards, i.e. having as many keys on the upper row as on the lower row	CPCONLY	G10H2220/226		26
G10H2220/231	10	Alphanumeric, used for musical purposes or with additional musical features, e.g. typewriter or pc-type keyboard reconfigured such that letters or symbols are assigned to musical notes	CPCONLY	G10H2220/231		52
G10H2220/236	10	representing an active musical staff or tablature, i.e. with key-like position sensing at the expected note positions on the staff	CPCONLY	G10H2220/236		30
G10H2220/241	10	on touchscreens, i.e. keys, frets, strings, tablature or staff displayed on a touchscreen display for note input purposes	CPCONLY	G10H2220/241		123
G10H2220/246	10	with reduced number of keys per octave, some notes missing	CPCONLY	G10H2220/246		18
G10H2220/251	10	arranged as 2D or 3D arrays; Keyboards ergonomically organised for playing chords or for transposing, e.g. Janko keyboard	CPCONLY	G10H2220/251		58
G10H2220/256	10	foldable or rollable, e.g. for transport	CPCONLY	G10H2220/256		71
G10H2220/261	10	Numeric keypad used for musical purposes, e.g. musical input via a telephone or calculator-like keyboard	CPCONLY	G10H2220/261		41
G10H2220/265	9	Key design details; Special characteristics of individual keys of a keyboard; Key-like musical input devices, e.g. finger sensors, pedals, potentiometers, selectors	CPCONLY	G10H2220/265		141
G10H2220/271	10	Velocity sensing for individual keys, e.g. by placing sensors at different points along the kinematic path for individual key velocity estimation by delay measurement between adjacent sensor signals	CPCONLY	G10H2220/271		70
G10H2220/275	10	Switching mechanism or sensor details of individual keys, e.g. details of key contacts, hall effect or piezoelectric sensors used for key position or movement sensing purposes; Mounting thereof	CPCONLY	G10H2220/275		115
G10H2220/281	11	with two contacts, switches or sensor triggering levels along the key kinematic path	CPCONLY	G10H2220/281		33
G10H2220/285	11	with three contacts, switches or sensor triggering levels along the key kinematic path	CPCONLY	G10H2220/285		46
G10H2220/291	11	with four or more contacts, switches or sensor triggering levels along the key kinematic path	CPCONLY	G10H2220/291		19
G10H2220/295	11	Switch matrix, e.g. contact array common to several keys, the actuated keys being identified by the rows and columns in contact	CPCONLY	G10H2220/295		40
G10H2220/301	12	Fret-like switch array arrangements for guitar necks	CPCONLY	G10H2220/301		82
G10H2220/305	10	using a light beam to detect key, pedal or note actuation	CPCONLY	G10H2220/305		123
G10H2220/311	10	with controlled tactile or haptic feedback effect; output interfaces therefor	CPCONLY	G10H2220/311		120
G10H2220/315	9	for joystick-like proportional control of musical input; Videogame input devices used for musical input or control, e.g. gamepad, joysticks	CPCONLY	G10H2220/315		73
G10H2220/321	9	Garment sensors, i.e. musical control means with trigger surfaces or joint angle sensors, worn as a garment by the player, e.g. bracelet, intelligent clothing	CPCONLY	G10H2220/321		122
G10H2220/326	10	Control glove or other hand or palm-attached control device	CPCONLY	G10H2220/326		93
G10H2220/331	10	Ring or other finger-attached control device	CPCONLY	G10H2220/331		16
G10H2220/336	10	Control shoe or boot, i.e. sensor-equipped lower part of lower limb, e.g. shoe, toe ring, sock, ankle bracelet or leg control attachment	CPCONLY	G10H2220/336		38
G10H2220/341	9	Floor sensors, e.g. platform or groundsheet with sensors to detect foot position, balance or pressure, steps, stepping rhythm, dancing movements or jumping	CPCONLY	G10H2220/341		57
G10H2220/346	10	Hopscotch sensing mats, i.e. including several step sensing zones, e.g. for detection of rhythmic dancing in time to background music according to stepping indications	CPCONLY	G10H2220/346		17
G10H2220/351	9	Environmental parameters, e.g. temperature, ambient light, atmospheric pressure, humidity, used as input for musical purposes	CPCONLY	G10H2220/351		188
G10H2220/355	10	Geolocation input, i.e. control of musical parameters based on location or geographic position, e.g. provided by GPS, Wi-Fi&#174; network location databases or mobile phone base station position databases	CPCONLY	G10H2220/355		81
G10H2220/361	9	Mouth control in general, i.e. breath, mouth, teeth, tongue or lip-controlled input devices or sensors detecting, e.g. lip position, lip vibration, air pressure, air velocity, air flow or air jet angle	CPCONLY	G10H2220/361		141
G10H2220/365	9	Bow control in general, i.e. sensors or transducers on a bow; Input interface or controlling process for emulating a bow, bowing action or generating bowing parameters, e.g. for appropriately controlling a specialised sound synthesiser	CPCONLY	G10H2220/365		18
G10H2220/371	9	Vital parameter control, i.e. musical instrument control based on body signals, e.g. brainwaves, pulsation, temperature or perspiration; Biometric information	CPCONLY	G10H2220/371		181
G10H2220/376	10	using brain waves, e.g. EEG	CPCONLY	G10H2220/376		54
G10H2220/381	10	using glottal signals from an electroglottograph [EGG] or from a neck-worn glottis pick-up device	CPCONLY	G10H2220/381		2
G10H2220/386	10	using genetic information [DNA] or unique characterizing features of individuals, e.g. fingerprints, iris, facial or vocal features	CPCONLY	G10H2220/386		3
G10H2220/391	9	Angle sensing for musical purposes, using data from a gyroscope, gyrometer or other angular velocity or angular movement sensing device	CPCONLY	G10H2220/391		141
G10H2220/395	9	Acceleration sensing or accelerometer use, e.g. 3D movement computation by integration of accelerometer data, angle sensing with respect to the vertical, i.e. gravity sensing	CPCONLY	G10H2220/395		380
G10H2220/401	9	3D sensing, i.e. three-dimensional (x, y, z) position or movement sensing	CPCONLY	G10H2220/401		154
G10H2220/405	9	Beam sensing or control, i.e. input interfaces involving substantially immaterial beams, radiation, or fields of any nature, used, e.g. as a switch as in a light barrier, or as a control device, e.g. using the theremin electric field sensing principle	CPCONLY	G10H2220/405		23
G10H2220/411	10	Light beams	CPCONLY	G10H2220/411		153
G10H2220/415	11	Infrared beams	CPCONLY	G10H2220/415		81
G10H2220/421	11	Laser beams	CPCONLY	G10H2220/421		44
G10H2220/425	10	Radio control, i.e. input or control device involving a radio frequency signal	CPCONLY	G10H2220/425		33
G10H2220/431	11	Use of microwaves	CPCONLY	G10H2220/431		9
G10H2220/435	10	Ultrasound, i.e. input or control device involving inaudible pressure waves, e.g. focused as a beam	CPCONLY	G10H2220/435		24
G10H2220/441	9	Image sensing, i.e. capturing images or optical patterns for musical purposes or musical control purposes	CPCONLY	G10H2220/441		71
G10H2220/445	10	Bar codes or similar machine readable optical code patterns, e.g. two dimensional mesh pattern, for musical input or control purposes	CPCONLY	G10H2220/445		29
G10H2220/451	10	Scanner input, e.g. scanning a paper document such as a musical score for automated conversion into a musical file format	CPCONLY	G10H2220/451		32
G10H2220/455	10	Camera input, e.g. analyzing pictures from a video camera and using the analysis results as control data	CPCONLY	G10H2220/455		296
G10H2220/461	8	Transducers, i.e. details, positioning or use of assemblies to detect and convert mechanical vibrations or mechanical strains into an electrical signal, e.g. audio, trigger or control signal	CPCONLY	G10H2220/461		224
G10H2220/465	9	Bridge-positioned, i.e. assembled to or attached with the bridge of a stringed musical instrument	CPCONLY	G10H2220/465		26
G10H2220/471	10	at bottom, i.e. transducer positioned at the bottom of the bridge, between the bridge and the body of the instrument	CPCONLY	G10H2220/471		139
G10H2220/475	10	on the side, i.e. picking up vibrations from a side of the bridge	CPCONLY	G10H2220/475		61
G10H2220/481	10	on top, i.e. transducer positioned between the strings and the bridge structure itself	CPCONLY	G10H2220/481		33
G10H2220/485	10	One transducer per string, e.g. 6 transducers for a 6 string guitar	CPCONLY	G10H2220/485		77
G10H2220/491	10	Two or more transducers per string, e.g. 8 transducers on a 4-string violin bridge	CPCONLY	G10H2220/491		15
G10H2220/495	10	Single bridge transducer, common to all strings	CPCONLY	G10H2220/495		103
G10H2220/501	10	Two or more bridge transducers, at least one transducer common to several strings	CPCONLY	G10H2220/501		51
G10H2220/505	9	Dual coil electrodynamic string transducer, e.g. for humbucking, to cancel out parasitic magnetic fields	CPCONLY	G10H2220/505		94
G10H2220/511	10	Stacked, i.e. one coil on top of the other	CPCONLY	G10H2220/511		41
G10H2220/515	10	Staggered, i.e. two coils side by side	CPCONLY	G10H2220/515		90
G10H2220/521	9	Hall effect transducers or similar magnetic field sensing semiconductor devices, e.g. for string vibration sensing or key movement sensing	CPCONLY	G10H2220/521		71
G10H2220/525	9	Piezoelectric transducers for vibration sensing or vibration excitation in the audio range; Piezoelectric strain sensing, e.g. as key velocity sensor; Piezoelectric actuators, e.g. key actuation in response to a control voltage	CPCONLY	G10H2220/525		365
G10H2220/531	10	made of piezoelectric film	CPCONLY	G10H2220/531		48
G10H2220/535	11	Piezoelectric polymer transducers, e.g. made of stretched and poled polyvinylidene difluoride [PVDF] sheets in which the molecular chains of vinylidene fluoride CH2-CF2 have been oriented in a preferential direction	CPCONLY	G10H2220/535		48
G10H2220/541	10	using piezoceramics, e.g. lead titanate [PbTiO3], zinc oxide [Zn2 O3], lithium niobate [LiNbO3], sodium tungstate [NaWO3], bismuth ferrite [BiFeO3]	CPCONLY	G10H2220/541		44
G10H2220/545	11	Barium titanate piezoceramics [BaTiO3]	CPCONLY	G10H2220/545		11
G10H2220/551	11	using LZT or PZT [lead-zirconate-titanate] piezoceramics [Pb[ZrxTi1-x]O3, 0=x=1]	CPCONLY	G10H2220/551		16
G10H2220/555	10	Bimorph transducers, i.e. piezoelectric bending multilayer structures with one or more piezoelectric layers, e.g. piezo on metal, serial bimorph or parallel bimorph	CPCONLY	G10H2220/555		17
G10H2220/561	9	Piezoresistive transducers, i.e. exhibiting vibration, pressure, force or movement -dependent resistance, e.g. strain gauges, carbon-doped elastomers or polymers for piezoresistive drumpads, carbon microphones	CPCONLY	G10H2220/561		75
G10H2220/565	9	Shielding, electromagnetic or magnetic, e.g. for transducers, i.e. for controlling, orienting or suppressing magnetic fields or for preventing unintentional generation, propagation and reception of electromagnetic energy in electrophonic musical instruments, their vicinity or their interconnections	CPCONLY	G10H2220/565		58
G10H2230/00	7	General physical, ergonomic or hardware implementation of electrophonic musical tools or instruments, e.g. shape or architecture	CPCONLY	G10H2230/00		6
G10H2230/005	8	Device type or category	CPCONLY	G10H2230/005		6
G10H2230/011	9	Hybrid piano, e.g. combined acoustic and electronic piano with complete hammer mechanism as well as key-action sensors coupled to an electronic sound generator	CPCONLY	G10H2230/011		69
G10H2230/015	9	PDA [personal digital assistant] or palmtop computing devices used for musical purposes, e.g. portable music players, tablet computers, e-readers or smart phones in which mobile telephony functions need not be used	CPCONLY	G10H2230/015		490
G10H2230/021	9	Mobile ringtone, i.e. generation, transmission, conversion or downloading of ringing tones or other sounds for mobile telephony; Special musical data formats or protocols therefor	CPCONLY	G10H2230/021		168
G10H2230/025	8	Computing or signal processing architecture features	CPCONLY	G10H2230/025		8
G10H2230/031	9	Use of cache memory for electrophonic musical instrument processes, e.g. for improving processing capabilities or solving interfacing problems	CPCONLY	G10H2230/031		64
G10H2230/035	9	Power management, i.e. specific power supply solutions for electrophonic musical instruments, e.g. auto power shut-off, energy saving designs, power conditioning, connector design, avoiding inconvenient wiring	CPCONLY	G10H2230/035		109
G10H2230/041	9	Processor load management, i.e. adaptation or optimization of computational load or data throughput in computationally intensive musical processes to avoid overload artifacts, e.g. by deliberately suppressing less audible or less relevant tones or decreasing their complexity	CPCONLY	G10H2230/041		73
G10H2230/045	8	Special instrument [spint], i.e. mimicking the ergonomy, shape, sound or other characteristic of a specific acoustic musical instrument category	CPCONLY	G10H2230/045		24
G10H2230/051	9	Spint theremin, i.e. mimicking electrophonic musical instruments in which tones are controlled or triggered in a touch-free manner by interaction with beams, jets or fields, e.g. theremin, air guitar, water jet controlled musical instrument, i.e. hydrolauphone	CPCONLY	G10H2230/051		16
G10H2230/055	9	Spint toy, i.e. specifically designed for children, e.g. adapted for smaller fingers or simplified in some way; Musical instrument-shaped game input interfaces with simplified control features	CPCONLY	G10H2230/055		57
G10H2230/061	9	Spint organ, i.e. mimicking acoustic musical instruments with pipe organ or harmonium features; Electrophonic aspects of acoustic pipe organs or harmoniums; MIDI-like control therefor	CPCONLY	G10H2230/061		13
G10H2230/065	9	Spint piano, i.e. mimicking acoustic musical instruments with piano, cembalo or spinet features, e.g. with piano-like keyboard; Electrophonic aspects of piano-like acoustic keyboard instruments; MIDI-like control therefor	CPCONLY	G10H2230/065		45
G10H2230/071	10	Spint harpsichord, i.e. mimicking plucked keyboard instruments, e.g. harpsichord, virginal, muselar, spinet, clavicytherium, ottavino, archicembalo	CPCONLY	G10H2230/071		16
G10H2230/075	9	Spint stringed, i.e. mimicking stringed instrument features, electrophonic aspects of acoustic stringed musical instruments without keyboard; MIDI-like control therefor	CPCONLY	G10H2230/075		50
G10H2230/081	10	Spint viola	CPCONLY	G10H2230/081		13
G10H2230/085	10	Spint cello	CPCONLY	G10H2230/085		21
G10H2230/091	10	Spint hurdygurdy, i.e. mimicking characteristics of acoustic instruments with rosined wheel rubbing against strings	CPCONLY	G10H2230/091		5
G10H2230/095	10	Spint zither, i.e. mimicking any neckless stringed instrument in which the strings do not extend beyond the sounding board	CPCONLY	G10H2230/095		20
G10H2230/101	11	Spint koto, i.e. mimicking any traditional asian-style plucked zither with movable bridges	CPCONLY	G10H2230/101		13
G10H2230/105	11	Spint dulcimer, i.e. mimicking any zither-like instrument with small hand-played mallet hammers	CPCONLY	G10H2230/105		7
G10H2230/111	10	Spint ukulele, i.e. mimicking any smaller guitar-like flat bridge string instruments	CPCONLY	G10H2230/111		15
G10H2230/115	10	Spint sitar, i.e. mimicking any long-necked plucked string instrument with a large number of additional non-playable sympathetic resonating strings or an additional gourd-like resonating chamber	CPCONLY	G10H2230/115		14
G10H2230/121	10	Spint mandolin, i.e. mimicking instruments of the lute family with hard sounding board, e.g. with strings arranged and tuned in pairs for tremolo playing	CPCONLY	G10H2230/121		12
G10H2230/125	10	Spint harp, i.e. mimicking harp-like instruments, e.g. large size concert harp, with pedal	CPCONLY	G10H2230/125		27
G10H2230/131	11	Spint harp celtic, i.e. mimicking smaller sized harps without pedal, eg. celtic harp, lever harp, folk harp, Irish harp	CPCONLY	G10H2230/131		2
G10H2230/135	10	Spint guitar, i.e. guitar-like instruments in which the sound is not generated by vibrating strings, e.g. guitar-shaped game interfaces	CPCONLY	G10H2230/135		70
G10H2230/141	11	Spint guitar drum, i.e. mimicking a guitar used at least partly as a percussion instrument	CPCONLY	G10H2230/141		15
G10H2230/145	11	Spint guitar keyboard, i.e. mimicking a combination of a guitar-like instrument, with or without strings, and a piano-like keyboard, e.g. with white and black keys arranged like on a piano	CPCONLY	G10H2230/145		25
G10H2230/151	10	Spint banjo, i.e. mimicking a stringed instrument with a piece of plastic or animal skin stretched over a circular frame or gourd, e.g. shamisen or other skin-covered lutes	CPCONLY	G10H2230/151		29
G10H2230/155	9	Spint wind instrument, i.e. mimicking musical wind instrument features; Electrophonic aspects of acoustic wind instruments; MIDI-like control therefor	CPCONLY	G10H2230/155		32
G10H2230/161	10	Spint whistle, i.e. mimicking wind instruments in which the air is split against an edge, e.g. musical whistles, three tone samba whistle, penny whistle, pea whistle; whistle-emulating mouth interfaces; MIDI control therefor, e.g. for calliope	CPCONLY	G10H2230/161		6
G10H2230/165	11	Spint recorder, i.e. mimicking any end-blown whistle flute with several finger holes, e.g. recorders, xiao, kaval, shakuhachi and hocchiku flutes	CPCONLY	G10H2230/165		21
G10H2230/171	10	Spint brass mouthpiece, i.e. mimicking brass-like instruments equipped with a cupped mouthpiece, e.g. allowing it to be played like a brass instrument, with lip controlled sound generation as in an acoustic brass instrument; Embouchure sensor or MIDI interfaces therefor	CPCONLY	G10H2230/171		5
G10H2230/175	11	Spint trumpet, i.e. mimicking cylindrical bore brass instruments, e.g. bugle	CPCONLY	G10H2230/175		43
G10H2230/181	11	Spint trombone, i.e. mimicking trombones or other slide musical instruments permitting a continuous musical scale	CPCONLY	G10H2230/181		16
G10H2230/185	11	Spint horn, i.e. mimicking conical bore brass instruments	CPCONLY	G10H2230/185		9
G10H2230/191	12	Spint French horn, i.e. mimicking an orchestral horn with valves for switching pipe lengths	CPCONLY	G10H2230/191		9
G10H2230/195	10	Spint flute, i.e. mimicking or emulating a transverse flute or air jet sensor arrangement therefor, e.g. sensing angle or lip position to trigger octave change	CPCONLY	G10H2230/195		47
G10H2230/201	11	Spint piccolo, i.e. half-size transverse flute, e.g. ottavino	CPCONLY	G10H2230/201		20
G10H2230/205	10	Spint reed, i.e. mimicking or emulating reed instruments, sensors or interfaces therefor	CPCONLY	G10H2230/205		19
G10H2230/211	11	Spint harmonica, i.e. mimicking mouth operated wind instruments with multiple tuned free reeds, a.k.a. harmonica, blues harp, mouth organ, pitch pipe or ChengGong	CPCONLY	G10H2230/211		47
G10H2230/215	11	Spint bagpipe, i.e. mimicking instruments with enclosed reeds fed from a constant reservoir; Bagpipe-like electrophonic instrument; Midi-like interfaces therefor	CPCONLY	G10H2230/215		10
G10H2230/221	11	Spint saxophone, i.e. mimicking conical bore musical instruments with single reed mouthpiece, e.g. saxophones, electrophonic emulation or interfacing aspects therefor	CPCONLY	G10H2230/221		67
G10H2230/225	11	Spint oboe, i.e. mimicking double reed woodwind with conical bore, e.g. oboe	CPCONLY	G10H2230/225		21
G10H2230/231	12	Spint english horn	CPCONLY	G10H2230/231		6
G10H2230/235	11	Spint bassoon, i.e. mimicking double reed low range woodwind with doubled back conical bore, e.g. bassoon	CPCONLY	G10H2230/235		12
G10H2230/241	11	Spint clarinet, i.e. mimicking any member of the single reed cylindrical bore woodwind instrument family, e.g. piccolo clarinet, octocontrabass, chalumeau, hornpipes, zhaleika	CPCONLY	G10H2230/241		39
G10H2230/245	9	Spint accordion, i.e. mimicking accordions; Electrophonic instruments with one or more typical accordion features, e.g. special accordion keyboards or bellows, electrophonic aspects of mechanical accordions, Midi-like control therefor	CPCONLY	G10H2230/245		118
G10H2230/251	9	Spint percussion, i.e. mimicking percussion instruments; Electrophonic musical instruments with percussion instrument features; Electrophonic aspects of acoustic percussion instruments or MIDI-like control therefor	CPCONLY	G10H2230/251		25
G10H2230/255	10	Spint xylophone, i.e. mimicking any multi-toned percussion instrument with a multiplicity of tuned resonating bodies, regardless of their material or shape, e.g. xylophone, vibraphone, lithophone, metallophone, marimba, balafon, ranat, gamban, anklong	CPCONLY	G10H2230/255		50
G10H2230/261	10	Spint triangle	CPCONLY	G10H2230/261		3
G10H2230/265	10	Spint maracas, i.e. mimicking shells or gourds filled with seeds or dried beans, fitted with a handle, e.g. maracas, rumba shakers, shac-shacs	CPCONLY	G10H2230/265		23
G10H2230/271	10	Spint gong, i.e. mimicking circular flat, nippled or bowl-shaped metallic percussion instruments (G10H2230/321 takes precedence)	CPCONLY	G10H2230/271		14
G10H2230/275	10	Spint drum	CPCONLY	G10H2230/275		196
G10H2230/281	11	Spint drum assembly, i.e. mimicking two or more drums or drumpads assembled on a common structure, e.g. drum kit	CPCONLY	G10H2230/281		144
G10H2230/285	11	Spint drum tomtom, i.e. mimicking side-mounted drums without snares, e.g. in a drumkit	CPCONLY	G10H2230/285		48
G10H2230/291	11	Spint drum bass, i.e. mimicking bass drums; Pedals or interfaces therefor	CPCONLY	G10H2230/291		56
G10H2230/295	11	Spint drum brush, i.e. mimicking use of a brush to generate or trigger a percussive sound	CPCONLY	G10H2230/295		5
G10H2230/301	11	Spint drum rim, i.e. mimicking using or striking the rim of a drum or percussion instrument, rimshot; Interfacing aspects of the generation of different drumsound harmonic contents when a drum sensor is struck closer to the rim	CPCONLY	G10H2230/301		53
G10H2230/305	11	Spint drum snare, i.e. mimicking using strands of snares made of curled metal wire, metal cable, plastic cable, or gut cords stretched across the drumhead, e.g. snare drum, side drum, military drum, field drum	CPCONLY	G10H2230/305		43
G10H2230/311	11	Spint bongo	CPCONLY	G10H2230/311		18
G10H2230/315	11	Spint conga	CPCONLY	G10H2230/315		21
G10H2230/321	10	Spint cymbal, i.e. mimicking thin center-held gong-like instruments made of copper-based alloys, e.g. ride cymbal, china cymbal, sizzle cymbal, swish cymbal, zill, i.e. finger cymbals	CPCONLY	G10H2230/321		85
G10H2230/325	11	Spint cymbal crash, i.e. mimicking thin-edged cymbals designed to produce a loud, sharp "crash", either mounted on a stand and played with a drum stick, e.g. crash cymbal, or played in pairs by hand, e.g. clash cymbals	CPCONLY	G10H2230/325		18
G10H2230/331	11	Spint cymbal hihat, e.g. mimicking high-hat cymbal; Details of the pedal interface, of the pedal action emulation or of the generation of the different sounds resulting from this pedal action	CPCONLY	G10H2230/331		69
G10H2230/335	10	Spint cyldrum [cylindrical body hit or struck on the curved surface for musical purposes, e.g. drinking glass, oil drum]	CPCONLY	G10H2230/335		8
G10H2230/341	10	Spint claves, i.e. mimicking a pair of thick dowels producing a bright clicking sound when struck against each other	CPCONLY	G10H2230/341		12
G10H2230/345	10	Spint castanets, i.e. mimicking a joined pair of concave shells held in the hand to produce clicks for rhythmic accents or a ripping or rattling sound consisting of a rapid series of clicks, e.g. castanets, ch&#225;caras, krakebs, qraqib, garagab	CPCONLY	G10H2230/345		5
G10H2230/351	10	Spint bell, i.e. mimicking bells, e.g. cow-bells	CPCONLY	G10H2230/351		66
G10H2230/355	9	Spint spint, i.e. electrophonic musical instruments with features of acoustic instruments covered by G10D17/00, electrophonic aspects of acoustic instruments covered by G10D17/00, e.g. aeolian harps, MIDI-like control therefor	CPCONLY	G10H2230/355		1
G10H2230/361	9	Spint mechautomatic, i.e. electrophonic musical instruments with features of traditional mechanical automatic acoustic instruments, e.g. electrophonic emulation of historic mechanical pianoroll pianos, electrophonic aspects of partly mechanical automatic acoustic instruments covered by G10F, e.g. hybrid pianos, MIDI-like control therefor	CPCONLY	G10H2230/361		9
G10H2230/365	8	Ergonomy of electrophonic musical instruments	CPCONLY	G10H2230/365		42
G10H2230/371	9	Using hook and loop-type fastener or similar attachment to fasten detachable elements	CPCONLY	G10H2230/371		23
G10H2240/00	7	Data organisation or data communication aspects, specifically adapted for electrophonic musical tools or instruments	CPCONLY	G10H2240/00		8
G10H2240/005	8	Data structures for use in electrophonic musical devices; Data structures including musical parameters derived from musical analysis	CPCONLY	G10H2240/005		44
G10H2240/011	8	Files or data streams containing coded musical information, e.g. for transmission	CPCONLY	G10H2240/011		47
G10H2240/016	9	File editing, i.e. modifying musical data files or streams as such	CPCONLY	G10H2240/016		43
G10H2240/021	10	for MIDI-like files or data streams	CPCONLY	G10H2240/021		71
G10H2240/026	9	File encryption of specific electrophonic music instrument file or stream formats, e.g. MIDI, note oriented formats, sound banks, wavetables	CPCONLY	G10H2240/026		53
G10H2240/031	9	File merging MIDI, i.e. merging or mixing a MIDI-like file or stream with a non-MIDI file or stream, e.g. audio or video	CPCONLY	G10H2240/031		86
G10H2240/036	9	File multilingual, e.g. multilingual lyrics for karaoke	CPCONLY	G10H2240/036		22
G10H2240/041	9	File watermark, i.e. embedding a hidden code in an electrophonic musical instrument file or stream for identification or authentification purposes	CPCONLY	G10H2240/041		39
G10H2240/046	9	File format, i.e. specific or non-standard musical file format used in or adapted for electrophonic musical instruments, e.g. in wavetables	CPCONLY	G10H2240/046		19
G10H2240/051	10	AC3, i.e. Audio Codec 3, Dolby Digital	CPCONLY	G10H2240/051		15
G10H2240/056	10	MIDI or other note-oriented file format	CPCONLY	G10H2240/056		412
G10H2240/061	10	MP3, i.e. MPEG-1 or MPEG-2 Audio Layer III, lossy audio compression	CPCONLY	G10H2240/061		219
G10H2240/066	10	MPEG audio-visual compression file formats, e.g. MPEG-4 for coding of audio-visual objects	CPCONLY	G10H2240/066		59
G10H2240/071	10	Wave, i.e. Waveform Audio File Format, coding, e.g. uncompressed PCM audio according to the RIFF bitstream format method	CPCONLY	G10H2240/071		51
G10H2240/075	8	Musical metadata derived from musical analysis or for use in electrophonic musical instruments	CPCONLY	G10H2240/075		102
G10H2240/081	9	Genre classification, i.e. descriptive metadata for classification or selection of musical pieces according to style	CPCONLY	G10H2240/081		242
G10H2240/085	9	Mood, i.e. generation, detection or selection of a particular emotional content or atmosphere in a musical piece	CPCONLY	G10H2240/085		369
G10H2240/091	8	Info, i.e. juxtaposition of unrelated auxiliary information or commercial messages with or between music files	CPCONLY	G10H2240/091		114
G10H2240/095	8	Identification code, e.g. ISWC for musical works; Identification dataset	CPCONLY	G10H2240/095		15
G10H2240/101	9	User identification	CPCONLY	G10H2240/101		22
G10H2240/105	10	User profile, i.e. data about the user, e.g. for user settings or user preferences	CPCONLY	G10H2240/105		84
G10H2240/111	10	User Password, i.e. security arrangements to prevent third party unauthorised use, e.g. password, id number, code, pin	CPCONLY	G10H2240/111		26
G10H2240/115	9	Instrument identification, i.e. recognizing an electrophonic musical instrument, e.g. on a network, by means of a code, e.g. IMEI, serial number, or a profile describing its capabilities	CPCONLY	G10H2240/115		60
G10H2240/121	8	Musical libraries, i.e. musical databases indexed by musical parameters, wavetables, indexing schemes using musical parameters, musical rule bases or knowledge bases, e.g. for automatic composing methods	CPCONLY	G10H2240/121		69
G10H2240/125	9	Library distribution, i.e. distributing musical pieces from a central or master library	CPCONLY	G10H2240/125		89
G10H2240/131	9	Library retrieval, i.e. searching a database or selecting a specific musical piece, segment, pattern, rule or parameter set	CPCONLY	G10H2240/131		534
G10H2240/135	10	Library retrieval index, i.e. using an indexing scheme to efficiently retrieve a music piece	CPCONLY	G10H2240/135		119
G10H2240/141	10	Library retrieval matching, i.e. any of the steps of matching an inputted segment or phrase with musical database contents, e.g. query by humming, singing or playing; the steps may include, e.g. musical analysis of the input, musical feature extraction, query formulation, or details of the retrieval process	CPCONLY	G10H2240/141		292
G10H2240/145	9	Sound library, i.e. involving the specific use of a musical database as a sound bank or wavetable; indexing, interfacing, protocols or processing therefor	CPCONLY	G10H2240/145		139
G10H2240/151	9	Thumbnail, i.e. retrieving, playing or managing a short and musically relevant song preview from a library, e.g. the chorus	CPCONLY	G10H2240/151		16
G10H2240/155	9	Library update, i.e. making or modifying a musical database using musical parameters as indices	CPCONLY	G10H2240/155		58
G10H2240/161	8	Memory and use thereof, in electrophonic musical instruments, e.g. memory map	CPCONLY	G10H2240/161		36
G10H2240/165	9	Memory card, i.e. removable module or card for storing music data for an electrophonic musical instrument	CPCONLY	G10H2240/165		49
G10H2240/171	8	Transmission of musical instrument data, control or status information; Transmission, remote access or control of music data for electrophonic musical instruments	CPCONLY	G10H2240/171		85
G10H2240/175	9	for jam sessions or musical collaboration through a network, e.g. for composition, ensemble playing or repeating; Compensation of network or internet delays therefor	CPCONLY	G10H2240/175		264
G10H2240/181	9	Billing, i.e. purchasing of data contents for use with electrophonic musical instruments; Protocols therefor; Management of transmission or connection time therefor	CPCONLY	G10H2240/181		90
G10H2240/185	9	Error prevention, detection or correction in files or streams for electrophonic musical instruments	CPCONLY	G10H2240/185		19
G10H2240/191	10	CRC, i.e. error detection using a cyclic redundancy check	CPCONLY	G10H2240/191		8
G10H2240/195	10	Reed-solomon error detection or correction, i.e. by considering the message symbols as polynomial coefficients	CPCONLY	G10H2240/195		9
G10H2240/201	9	Physical layer or hardware aspects of transmission to or from an electrophonic musical instrument, e.g. voltage levels, bit streams, code words or symbols over a physical link connecting network nodes or instruments	CPCONLY	G10H2240/201		16
G10H2240/205	10	Synchronous transmission of an analog or digital signal, e.g. according to a specific intrinsic timing, or according to a separate clock	CPCONLY	G10H2240/205		16
G10H2240/211	10	Wireless transmission, e.g. of music parameters or control data by radio, infrared or ultrasound	CPCONLY	G10H2240/211		397
G10H2240/215	10	Spread spectrum, i.e. transmission on a bandwidth considerably larger than the frequency content of the original information	CPCONLY	G10H2240/215		2
G10H2240/221	10	Time division multiplexing, with different channels in different time slots, the data in the time slots may be in digital or analog form	CPCONLY	G10H2240/221		7
G10H2240/225	10	Frequency division multiplexing	CPCONLY	G10H2240/225		7
G10H2240/231	10	Quadrature modulation, e.g. QAM	CPCONLY	G10H2240/231		2
G10H2240/235	10	Pulse amplitude modulation, e.g. quantized or analog	CPCONLY	G10H2240/235		2
G10H2240/241	10	Telephone transmission, i.e. using twisted pair telephone lines or any type of telephone network	CPCONLY	G10H2240/241		86
G10H2240/245	11	ISDN [Integrated Services Digital Network]	CPCONLY	G10H2240/245		58
G10H2240/251	11	Mobile telephone transmission, i.e. transmitting, accessing or controlling music data wirelessly via a wireless or mobile telephone receiver, analogue or digital, e.g. DECT, GSM, UMTS	CPCONLY	G10H2240/251		270
G10H2240/255	10	Optical fibre transmission for electrophonic musical instrument purposes, e.g. hum mitigation	CPCONLY	G10H2240/255		19
G10H2240/261	10	Satellite transmission for musical instrument purposes, e.g. processing for mitigation of satellite transmission delays	CPCONLY	G10H2240/261		20
G10H2240/265	10	CATV transmission, i.e. electrophonic musical instruments connected to community antennas or cable television networks	CPCONLY	G10H2240/265		26
G10H2240/271	10	Serial transmission according to any one of RS-232 standards for serial binary single-ended data and control signals between a DTE and a DCE	CPCONLY	G10H2240/271		43
G10H2240/275	10	Musical interface to a personal computer PCI bus, "peripheral component interconnect bus"	CPCONLY	G10H2240/275		33
G10H2240/281	9	Protocol or standard connector for transmission of analog or digital data to or from an electrophonic musical instrument	CPCONLY	G10H2240/281		16
G10H2240/285	10	USB, i.e. either using a USB plug as power supply or using the USB protocol to exchange data	CPCONLY	G10H2240/285		204
G10H2240/291	10	SCSI, i.e. Small Computer System Interface	CPCONLY	G10H2240/291		20
G10H2240/295	10	Packet switched network, e.g. token ring	CPCONLY	G10H2240/295		38
G10H2240/301	11	Ethernet, e.g. according to IEEE 802.3	CPCONLY	G10H2240/301		32
G10H2240/305	11	Internet or TCP/IP protocol use for any electrophonic musical instrument data or musical parameter transmission purposes	CPCONLY	G10H2240/305		370
G10H2240/311	10	MIDI transmission (G10H2240/056 takes precedence)	CPCONLY	G10H2240/311		442
G10H2240/315	10	Firewire, i.e. transmission according to IEEE1394	CPCONLY	G10H2240/315		53
G10H2240/321	10	Bluetooth&#174;	CPCONLY	G10H2240/321		152
G10H2240/325	8	Synchronizing two or more audio tracks or files according to musical features or musical timings	CPCONLY	G10H2240/325		440
G10H2250/00	7	Aspects of algorithms or signal processing methods without intrinsic musical character, yet specifically adapted for or used in electrophonic musical processing	CPCONLY	G10H2250/00		7
G10H2250/005	8	Algorithms for electrophonic musical instruments or musical processing, e.g. for automatic composition or resource allocation	CPCONLY	G10H2250/005		68
G10H2250/011	9	Genetic algorithms, i.e. using computational steps analogous to biological selection, recombination and mutation on an initial population of, e.g. sounds, pieces, melodies or loops to compose or otherwise generate, e.g. evolutionary music or sound synthesis	CPCONLY	G10H2250/011		10
G10H2250/015	9	Markov chains, e.g. hidden Markov models [HMM], for musical processing, e.g. musical analysis or musical composition	CPCONLY	G10H2250/015		88
G10H2250/021	10	Dynamic programming, e.g. Viterbi, for finding the most likely or most desirable sequence in music analysis, processing or composition	CPCONLY	G10H2250/021		15
G10H2250/025	8	Envelope processing of music signals in, e.g. time domain, transform domain or cepstrum domain	CPCONLY	G10H2250/025		59
G10H2250/031	9	Spectrum envelope processing	CPCONLY	G10H2250/031		121
G10H2250/035	9	Crossfade, i.e. time domain amplitude envelope control of the transition between musical sounds or melodies, obtained for musical purposes, e.g. for ADSR tone generation, articulations, medley, remix	CPCONLY	G10H2250/035		148
G10H2250/041	8	Delay lines applied to musical processing	CPCONLY	G10H2250/041		58
G10H2250/046	9	with intermediate taps	CPCONLY	G10H2250/046		19
G10H2250/051	9	with variable time delay or variable length	CPCONLY	G10H2250/051		18
G10H2250/055	8	Filters for musical processing or musical effects; Filter responses, filter architecture, filter coefficients or control parameters therefor	CPCONLY	G10H2250/055		51
G10H2250/061	9	Allpass filters	CPCONLY	G10H2250/061		31
G10H2250/065	10	Lattice filter, Zobel network, constant resistance filter or X-section filter, i.e. balanced symmetric all-pass bridge network filter exhibiting constant impedance over frequency	CPCONLY	G10H2250/065		8
G10H2250/071	9	All pole filter, i.e. autoregressive [AR] filter	CPCONLY	G10H2250/071		7
G10H2250/075	9	All zero filter, i.e. moving average [MA] filter or finite impulse response [FIR] filter	CPCONLY	G10H2250/075		5
G10H2250/081	9	Autoregressive moving average [ARMA] filter	CPCONLY	G10H2250/081		6
G10H2250/085	9	Butterworth filters	CPCONLY	G10H2250/085		6
G10H2250/091	9	Chebyshev filters	CPCONLY	G10H2250/091		4
G10H2250/095	9	Filter coefficient interpolation	CPCONLY	G10H2250/095		20
G10H2250/101	9	Filter coefficient update; Adaptive filters, i.e. with filter coefficient calculation in real time	CPCONLY	G10H2250/101		19
G10H2250/105	9	Comb filters	CPCONLY	G10H2250/105		39
G10H2250/111	9	Impulse response, i.e. filters defined or specified by their temporal impulse response features, e.g. for echo or reverberation applications	CPCONLY	G10H2250/111		26
G10H2250/115	10	FIR impulse, e.g. for echoes or room acoustics, the shape of the impulse response is specified in particular according to delay times	CPCONLY	G10H2250/115		67
G10H2250/121	10	IIR impulse	CPCONLY	G10H2250/121		36
G10H2250/125	9	Notch filters	CPCONLY	G10H2250/125		30
G10H2250/131	8	Mathematical functions for musical analysis, processing, synthesis or composition	CPCONLY	G10H2250/131		42
G10H2250/135	9	Autocorrelation	CPCONLY	G10H2250/135		64
G10H2250/141	9	Bessel functions, e.g. for smoothing or modulating, for FM audio synthesis or for expressing the vibration modes of a circular drum membrane	CPCONLY	G10H2250/141		11
G10H2250/145	9	Convolution, e.g. of a music input signal with a desired impulse response to compute an output	CPCONLY	G10H2250/145		42
G10H2250/151	9	Fuzzy logic	CPCONLY	G10H2250/151		16
G10H2250/155	9	Graham function, i.e. mathematical description of the fluid dynamics of air flowing through a gap, where there is a given pressure differential on either side of the gap, e.g. to model air velocity in wind instruments for physical modeling sound synthesis	CPCONLY	G10H2250/155		4
G10H2250/161	9	Logarithmic functions, scaling or conversion, e.g. to reflect human auditory perception of loudness or frequency	CPCONLY	G10H2250/161		47
G10H2250/165	9	Polynomials, i.e. musical processing based on the use of polynomials, e.g. distortion function for tube amplifier emulation, filter coefficient calculation, polynomial approximations of waveforms, physical modeling equation solutions	CPCONLY	G10H2250/165		3
G10H2250/171	10	Hermite polynomials	CPCONLY	G10H2250/171		1
G10H2250/175	10	Jacobi polynomials of several variables, e.g. Heckman-Opdam polynomials, or of one variable only, e.g. hypergeometric polynomials	CPCONLY	G10H2250/175		1
G10H2250/181	11	Gegenbauer or ultraspherical polynomials, e.g. for harmonic analysis	CPCONLY	G10H2250/181		1
G10H2250/185	12	Legendre polynomials, e.g. for the modeling of air flow dynamics in wind instruments	CPCONLY	G10H2250/185		1
G10H2250/191	12	Chebyshev polynomials, e.g. to provide filter coefficients for sharp rolloff filters	CPCONLY	G10H2250/191		22
G10H2250/195	10	Lagrange polynomials, e.g. for polynomial interpolation or cryptography	CPCONLY	G10H2250/195		2
G10H2250/201	10	Parabolic or second order polynomials, occurring, e.g. in vacuum tube distortion modeling or for modeling the gate voltage to drain current relationship of a JFET	CPCONLY	G10H2250/201		7
G10H2250/205	10	Third order polynomials, occurring, e.g. in vacuum tube distortion modeling	CPCONLY	G10H2250/205		9
G10H2250/211	9	Random number generators, pseudorandom generators, classes of functions therefor	CPCONLY	G10H2250/211		84
G10H2250/215	9	Transforms, i.e. mathematical transforms into domains appropriate for musical signal processing, coding or compression	CPCONLY	G10H2250/215		25
G10H2250/221	10	Cosine transform; DCT [discrete cosine transform], e.g. for use in lossy audio compression such as MP3	CPCONLY	G10H2250/221		14
G10H2250/225	11	MDCT [Modified discrete cosine transform], i.e. based on a DCT of overlapping data	CPCONLY	G10H2250/225		23
G10H2250/231	10	Fermat transform	CPCONLY	G10H2250/231		1
G10H2250/235	10	Fourier transform; Discrete Fourier Transform [DFT]; Fast Fourier Transform [FFT]	CPCONLY	G10H2250/235		353
G10H2250/241	10	Hadamard transform, Walsh-Hadamard transform, Hadamard-Rademacher-Walsh transform, Walsh transform, or Walsh-Fourier transform	CPCONLY	G10H2250/241		2
G10H2250/245	10	Hartley transform,; Discrete Hartley transform [DHT]; Fast Hartley transform [FHT]	CPCONLY	G10H2250/245		3
G10H2250/251	10	Wavelet transform, i.e. transform with both frequency and temporal resolution, e.g. for compression of percussion sounds; Discrete Wavelet Transform [DWT]	CPCONLY	G10H2250/251		26
G10H2250/255	10	Z-transform, e.g. for dealing with sampled signals, delays or digital filters	CPCONLY	G10H2250/255		6
G10H2250/261	9	Window, i.e. apodization function or tapering function amounting to the selection and appropriate weighting of a group of samples in a digital signal within some chosen time interval, outside of which it is zero valued	CPCONLY	G10H2250/261		31
G10H2250/265	10	Blackman Harris window	CPCONLY	G10H2250/265		7
G10H2250/271	10	Chebyshev window	CPCONLY	G10H2250/271		1
G10H2250/275	10	Gaussian window	CPCONLY	G10H2250/275		3
G10H2250/281	10	Hamming window	CPCONLY	G10H2250/281		22
G10H2250/285	10	Hann or Hanning window	CPCONLY	G10H2250/285		25
G10H2250/291	10	Kaiser windows; Kaiser-Bessel Derived [KBD] windows, e.g. for MDCT	CPCONLY	G10H2250/291		5
G10H2250/295	8	Noise generation, its use, control or rejection for music processing	CPCONLY	G10H2250/295		21
G10H2250/301	9	Pink 1/f noise or flicker noise	CPCONLY	G10H2250/301		10
G10H2250/305	9	Noise or artifact control in electrophonic musical instruments	CPCONLY	G10H2250/305		16
G10H2250/311	8	Neural networks for electrophonic musical instruments or musical processing, e.g. for musical recognition or control, automatic composition or improvisation	CPCONLY	G10H2250/311		692
G10H2250/315	8	Sound category-dependent sound synthesis processes [Gensound] for musical use; Sound category-specific synthesis-controlling parameters or control means therefor	CPCONLY	G10H2250/315		36
G10H2250/321	9	Gensound animals, i.e. generating animal voices or sounds	CPCONLY	G10H2250/321		15
G10H2250/325	10	Birds	CPCONLY	G10H2250/325		11
G10H2250/331	11	Ducks	CPCONLY	G10H2250/331		3
G10H2250/335	11	Sea birds, e.g. seagulls	CPCONLY	G10H2250/335		7
G10H2250/341	10	Cats	CPCONLY	G10H2250/341		3
G10H2250/345	10	Cattle, e.g. cows	CPCONLY	G10H2250/345		2
G10H2250/351	10	Dogs	CPCONLY	G10H2250/351		8
G10H2250/355	10	Elk or other animals in the Cervidae family, e.g. moose, wapiti, reindeer	CPCONLY	G10H2250/355		2
G10H2250/361	10	Insects, e.g. cricket	CPCONLY	G10H2250/361		5
G10H2250/365	9	Gensound applause, e.g. handclapping; Cheering; Booing	CPCONLY	G10H2250/365		20
G10H2250/371	9	Gensound equipment, i.e. synthesizing sounds produced by man-made devices, e.g. machines	CPCONLY	G10H2250/371		21
G10H2250/375	10	Harbour, i.e. sounds which are part of a harbour soundscape, e.g. ships, fog horn, buoy, bells, cranes	CPCONLY	G10H2250/375		4
G10H2250/381	10	Road, i.e. sounds which are part of a road, street or urban traffic soundscape, e.g. automobiles, bikes, trucks, traffic, vehicle horns, collisions	CPCONLY	G10H2250/381		51
G10H2250/385	10	Train, i.e. sounds which are part of a railroad soundscape, e.g. steam engines, diesel, electric, train whistles, rail wheels, railway crossing	CPCONLY	G10H2250/385		2
G10H2250/391	9	Gensound footsteps, i.e. footsteps, kicks or tap-dancing sounds	CPCONLY	G10H2250/391		3
G10H2250/395	9	Gensound nature	CPCONLY	G10H2250/395		17
G10H2250/401	10	Crowds, e.g. restaurant, waiting hall, demonstration or subway corridor at rush hour	CPCONLY	G10H2250/401		4
G10H2250/405	10	Fire, e.g. cracks and pops of burning wood	CPCONLY	G10H2250/405		7
G10H2250/411	10	Water, e.g. seashore, waves, brook, waterfall, dripping faucet	CPCONLY	G10H2250/411		19
G10H2250/415	10	Weather	CPCONLY	G10H2250/415		3
G10H2250/421	11	Rain	CPCONLY	G10H2250/421		7
G10H2250/425	11	Thunder	CPCONLY	G10H2250/425		4
G10H2250/431	11	Natural aerodynamic noises, e.g. wind gust sounds, rustling leaves or beating sails	CPCONLY	G10H2250/431		7
G10H2250/435	9	Gensound percussion, i.e. generating or synthesising the sound of a percussion instrument; Control of specific aspects of percussion sounds, e.g. harmonics, under the influence of hitting force, hitting position, settings or striking instruments such as mallet, drumstick, brush or hand	CPCONLY	G10H2250/435		133
G10H2250/441	9	Gensound string, i.e. generating the sound of a string instrument, controlling specific features of said sound	CPCONLY	G10H2250/441		26
G10H2250/445	10	Bowed string instrument sound generation, controlling specific features of said sound, e.g. use of fret or bow control parameters for violin effects synthesis	CPCONLY	G10H2250/445		38
G10H2250/451	10	Plucked or struck string instrument sound synthesis, controlling specific features of said sound	CPCONLY	G10H2250/451		46
G10H2250/455	9	Gensound singing voices, i.e. generation of human voices for musical applications, vocal singing sounds or intelligible words at a desired pitch or with desired vocal effects, e.g. by phoneme synthesis	CPCONLY	G10H2250/455		215
G10H2250/461	9	Gensound wind instruments, i.e. generating or synthesising the sound of a wind instrument, controlling specific features of said sound	CPCONLY	G10H2250/461		61
G10H2250/465	10	Reed instrument sound synthesis, controlling specific features of said sound	CPCONLY	G10H2250/465		31
G10H2250/471	8	General musical sound synthesis principles, i.e. sound category-independent synthesis methods	CPCONLY	G10H2250/471		76
G10H2250/475	9	FM synthesis, i.e. altering the timbre of simple waveforms by frequency modulating them with frequencies also in the audio range, resulting in different-sounding tones exhibiting more complex waveforms	CPCONLY	G10H2250/475		35
G10H2250/481	9	Formant synthesis, i.e. simulating the human speech production mechanism by exciting formant resonators, e.g. mimicking vocal tract filtering as in LPC synthesis vocoders, wherein musical instruments may be used as excitation signal to the time-varying filter estimated from a singer&apos;s speech	CPCONLY	G10H2250/481		100
G10H2250/485	10	Formant correction therefor	CPCONLY	G10H2250/485		10
G10H2250/491	10	Formant interpolation therefor	CPCONLY	G10H2250/491		13
G10H2250/495	10	Use of noise in formant synthesis	CPCONLY	G10H2250/495		13
G10H2250/501	10	Formant frequency shifting, sliding formants	CPCONLY	G10H2250/501		29
G10H2250/505	9	Parcor synthesis, i.e. music synthesis using partial autocorrelation techniques, e.g. in which the impulse response of the digital filter in a parcor speech synthesizer is used as a musical signal	CPCONLY	G10H2250/505		9
G10H2250/511	9	Physical modelling or real-time simulation of the acoustomechanical behaviour of acoustic musical instruments using, e.g. waveguides or looped delay lines	CPCONLY	G10H2250/511		16
G10H2250/515	10	Excitation circuits or excitation algorithms therefor	CPCONLY	G10H2250/515		60
G10H2250/521	10	Closed loop models therefor, e.g. with filter and delay line	CPCONLY	G10H2250/521		95
G10H2250/525	10	Pluridimensional array-based models therefor	CPCONLY	G10H2250/525		5
G10H2250/531	10	Room models, i.e. acoustic physical modelling of a room, e.g. concert hall	CPCONLY	G10H2250/531		21
G10H2250/535	10	Waveguide or transmission line-based models	CPCONLY	G10H2250/535		48
G10H2250/541	8	Details of musical waveform synthesis, i.e. audio waveshape processing from individual wavetable samples, independently of their origin or of the sound they represent	CPCONLY	G10H2250/541		55
G10H2250/545	9	Aliasing, i.e. preventing, eliminating or deliberately using aliasing noise, distortions or artifacts in sampled or synthesised waveforms, e.g. by band limiting, oversampling or undersampling, respectively	CPCONLY	G10H2250/545		65
G10H2250/551	9	Waveform approximation, e.g. piecewise approximation of sinusoidal or complex waveforms	CPCONLY	G10H2250/551		6
G10H2250/555	10	Piecewise linear waveform approximation	CPCONLY	G10H2250/555		5
G10H2250/561	10	Parabolic waveform approximation, e.g. using second order polynomials or parabolic responses	CPCONLY	G10H2250/561		2
G10H2250/565	10	Polynomial waveform approximation, i.e. using polynomials of third order or higher	CPCONLY	G10H2250/565		2
G10H2250/571	9	Waveform compression, adapted for music synthesisers, sound banks or wavetables	CPCONLY	G10H2250/571		59
G10H2250/575	10	Adaptive MDCT-based compression, e.g. using a hybrid subband-MDCT, as in ATRAC	CPCONLY	G10H2250/575		21
G10H2250/581	10	Codebook-based waveform compression	CPCONLY	G10H2250/581		16
G10H2250/585	11	CELP [code excited linear prediction]	CPCONLY	G10H2250/585		11
G10H2250/591	10	DPCM [delta pulse code modulation]	CPCONLY	G10H2250/591		17
G10H2250/595	11	ADPCM [adaptive differential pulse code modulation]	CPCONLY	G10H2250/595		74
G10H2250/601	10	Compressed representations of spectral envelopes, e.g. LPC [linear predictive coding], LAR [log area ratios], LSP [line spectral pairs], reflection coefficients	CPCONLY	G10H2250/601		37
G10H2250/605	10	Dynamic range companding algorithms, e.g. "mu"-law, primarily used in the digital telephone systems of North America and Japan, or A-law as used in European digital telephone systems	CPCONLY	G10H2250/605		12
G10H2250/611	9	Waveform decimation, i.e. integer division of the sampling rate for reducing the number of samples in a discrete-time signal, e.g. by low-pass anti-alias filtering followed by the actual downsampling	CPCONLY	G10H2250/611		22
G10H2250/615	9	Waveform editing, i.e. setting or modifying parameters for waveform synthesis	CPCONLY	G10H2250/615		50
G10H2250/621	9	Waveform interpolation	CPCONLY	G10H2250/621		107
G10H2250/625	10	Interwave interpolation, i.e. interpolating between two different waveforms, e.g. timbre or pitch or giving one waveform the shape of another while preserving its frequency or vice versa	CPCONLY	G10H2250/625		30
G10H2250/631	9	Waveform resampling, i.e. sample rate conversion or sample depth conversion	CPCONLY	G10H2250/631		68
G10H2250/635	9	Waveform resolution or sound quality selection, e.g. selection of high or low sampling rates, lossless, lossy or lossier compression algorithms	CPCONLY	G10H2250/635		12
G10H2250/641	9	Waveform sampler, i.e. music samplers; Sampled music loop processing, wherein a loop is a sample of a performance that has been edited to repeat seamlessly without clicks or artifacts	CPCONLY	G10H2250/641		193
G10H2250/645	9	Waveform scaling, i.e. amplitude value normalisation	CPCONLY	G10H2250/645		18
