审阅范围 · Review scope
限定范围独立审阅。请保留正文中的出处与限制；不代表全库最终验收、实际演奏或学习效果验证。
Independent review within the stated scope. Keep the evidence and limitations stated in the text in view. This is not final corpus acceptance or validation of performance or learning outcomes.
看起来重复，不等于可以照搬：比较、简化与还原
本包通过限定独立文字／静态来源、双语含义、初学者说明与符号审阅，未发现实质问题。T2是指定静帧支持的作者归属，G是本例限定术语，O是本库原创纸面任务与练习规划。来源逐项布尔值保留作者冻结时快照，publication_review记录当前通过范围；不表示来源听校、连续动作、完整来源谱例、演奏或学习效果验收。
第二处节奏看起来像第一处，就整段照搬，可能漏看内音和落点。先把相同处与不同处分栏，再决定可共用哪项练习。删音版也须标成临时练习材料；完成它，不等于完成全音版。
新读NC-047／050全部246段既有ASR，检查17个静帧；102段非教学、重复、占位或不确定候选不用于归属，不是听校确认的102处错误。继承账本总长744.598秒；同哈希MP4容器元数据为744.554秒，差异原因未查明。二者均不是观看／听校时长。
完全纸面完成，不需要钢琴、唱歌或录音。E4/F4/G4/A4是在中央C4右侧的相邻白键；数字4是八度而非指法。88键从最左A0=1起，黑白键一起数，本例E4/F4/G4/A4对应44/45/47/49。这里没有指定实际配手或身体动作。
G：动机motif是可辨认的小音乐想法；节奏相同只是比较线索，不证明同一音高、同一指法或同一创作来源。本例“级进”指相邻音名的移动，可能跨一个或两个半音；和声外音则相对于当时采用的和弦分析。
G：本题指定两小节都按C大三和弦C–E–G分析；只是分析标签，没有配套发声的伴奏事件。因此F、A在这个指定模型中是和声外音，不等于错音、较不重要或一定不好听。若实际和声不同，须重新分析，不能直接搬用标签。
有边界的来源归属
B37-S01 · T2
Wiwi把小片段的重复与变形作为旋律发展的入口，画面分别展示复制、方向变化与节奏变化。本文将它转成读谱比较的问题，不宣称只靠形状就能证明作品生成过程，也不复制来源完整旋律。
NC-047静帧100、119、178、231秒的标题、标签和选定结构；ASR第27–50、52–60、62–64段只作定位。151秒仍是复制页、207秒仍是方向变化页，不按邻近ASR误认其主题。
B37-S02 · T2
Wiwi把和声外音放回前后音与和弦语境，图示区分邻音的返回与经过音的同向连接。这里取比较方法，不把作者的顺耳／冲突感形容当成普遍听觉规律。
NC-050静帧70、90、127、134秒；仅核标题与被标示的局部关系，完整来源旋律未验。ASR第15–31、39–45段用于定位。
把重复材料变成可追踪的练习单元
O：每个出现位置各保留一行，逐项核音高／八度、起音、时长、声部、和声与表情要求。先写“节奏相同但三处音高不同”，不要只写“这里重复”。相同处可以帮助组织练习，但不能因此假定变化处也已掌握。
O：若用删音简化稿，写明删哪些事件、原来占的时间如何处理、哪些音完全不变，以及如何还原。它不是原谱授权修改，也不是把所有和声外音都删掉的规则；可能改变旋律和表达。
O：完成简化核对后，回到全音版的同一位置，补回原来的起音与完整时长，再接前后段。若只在简化版成功，记录“简化完成／全音版待验”，不能将它当整曲完成。复测应包含至少一个实际变化处，而不只重复熟悉片段。
O：反馈先定位到事件：漏音、错音、起音偏移、时长改变还是忘了切回全音版。没有实际声音或连续动作证据，就不猜手指原因。下面的纸面任务只能验证比较和还原记录，不能证明简化法提高学习效率。
同节奏的两小节：先查差异，再还原
只做纸面。以下是本库原创例，FULL指本例全音版，不是来源课程原谱。两小节都是4/4，四分音符=60 BPM，共8拍=8秒。offset从0计，第二小节从4开始。每格0.5拍=0.5秒；E/F/G/A表示E4/F4/G4/A4，·表示没有保持的旋律音。无伴奏事件，也不声称无保持音时声学上绝对安静。
先只看FULL的事件表，遮住后面的比较答案和REDUCED说明。预测两小节哪些时间位置相同、哪些音不同，以及F4/A4在指定C和弦中的角色。所有答案均公开；这只是引导练习，不是盲听或未见材料迁移测试。
用原创事件表和逐格时间条呈现：位置不变时，仍可能换音；删音后留下的格子要显式记录。条中重复字母表示持续保持，不是每格重新起音。小节线只分拍数，不要求额外断开。
FULL
| ID | 音高／键号 | 起点 | 释放 |
|---|---|---|---|
| M1 | G4 / 47 | 0 | 0.5 |
| M2 | F4 / 45 | 0.5 | 1 |
| M3 | E4 / 44 | 1 | 2 |
| M4 | G4 / 47 | 2 | 3 |
| M5 | G4 / 47 | 4 | 4.5 |
| M6 | A4 / 49 | 4.5 | 5 |
| M7 | G4 / 47 | 5 | 6 |
| M8 | E4 / 44 | 6 | 7 |
G F E E G G · · | G A G G E E · ·
无保持旋律音的拍区间：[[3, 4], [7, 8]]
REDUCED
两小节相对起点都是0、0.5、1、2，时长都是0.5、0.5、1、1，最后一拍休止。但音列分别为G4–F4–E4–G4与G4–A4–G4–E4，只有首音相同。按本题C三和弦分析，F4连接G4到E4的下行级进，是此例经过音；A4从G4上行后回G4，是此例上邻音。不能因此把两个小节视为同一套音。
O：为了练习还原记录，本题的REDUCED只删除M2和M6，保留其他事件的ID、起点和释放点。空出的0.5–1与4.5–5保持空档，不延长前音，也不让后音提前。这样故意改变了旋律，只是有边界的练习改编，不是更正确的版本。
| ID | 音高／键号 | 起点 | 释放 |
|---|---|---|---|
| M1 | G4 / 47 | 0 | 0.5 |
| M3 | E4 / 44 | 1 | 2 |
| M4 | G4 / 47 | 2 | 3 |
| M5 | G4 / 47 | 4 | 4.5 |
| M7 | G4 / 47 | 5 | 6 |
| M8 | E4 / 44 | 6 | 7 |
G · E E G G · · | G · G G E E · ·
无保持旋律音的拍区间：[[0.5, 1], [3, 4], [4.5, 5], [7, 8]]
还原时把M2=F4放回0.5–1，把M6=A4放回4.5–5；其余六个事件完全不动，得到FULL原来的8个事件。两版共列14次事件记录，但只有8个稳定ID；不是14个不同来源音符。两版各自仍长8秒。
先核差异表，再核删音后的全部空档，最后遮住FULL重建并逐事件对照。若还原时把M3的E4抄成第二小节的G4，说明相似节奏掩盖了音高差异；应回到该位置核谱，而不是把错误重复练熟。
休息后及次日可用同例重建，记录是否还记得M2／M6两个删去的内音及各自落点。这是已公开例子的保持检查；新材料迁移未测。应用到自己的曲谱时，另核真实声部、和声、力度与奏法；纸面成功不证明已能演奏或正确分句。
范围与相关阅读
来源复杂谱例、贝多芬片段、原声和连续动作都未完整验收。NC-050的174秒画面引用字典，但原条目未另行读取；本包不采用“只看强拍就统一命名倚音”的通用规则。原始媒体、转录与静帧留本地；术语范围可参照既有和声笔记，不把来源引用的存在当作原著阅读。
NC-047第65–107段含大量重复的无关候选；285／342秒画面只显示谱面，不能据此确认原声内容。共79段与NC-050的23段被排除出归属，不把其余文字认证为无误。
151／207秒画面与附近ASR主题不直接对应，主张以下列实际帧为准。字典引用、来源完整作品与链接没有新增原著阅读；历史总账／转写快照未修改。
本包来源范围
比较与还原的符号检查
Apparently repeated does not mean interchangeable: compare, reduce and restore
This package passed bounded independent written/static-source, bilingual-meaning, beginner-instruction and symbolic review with no material findings. T2 marks attribution supported by specified stills, G scoped terms, and O original paper tasks and practice planning. Per-source booleans retain their author-time snapshot; publication_review records the current passed scope, not source audition, continuous motion, complete source scores, performance or learning-efficacy acceptance.
Copying an entire passage because its rhythm resembles an earlier one can overlook internal notes and arrivals. Separate similarities from differences before deciding what practice can be shared. A reduced version must also be labeled temporary practice material; completing it does not complete the full version.
All 246 existing ASR segments of NC-047/050 were newly read and 17 stills inspected. 102 noninstructional, repeated, placeholder or uncertain candidates are excluded from attributions, not 102 audition-confirmed errors. Inherited inventory duration totals 744.598 seconds; same-hash MP4-container metadata totals 744.554 seconds, with the cause of the difference unestablished. Neither is viewing/audition time.
Complete the task entirely on paper without piano, singing or recording. E4/F4/G4/A4 are adjacent white keys to the right of middle C4; 4 denotes the octave, not fingering. Counting all black and white keys from leftmost A0=1 gives E4/F4/G4/A4 indices 44/45/47/49. No actual hand allocation or bodily motion is prescribed.
G: a motif is a recognizable small musical idea. Matching rhythm is only a comparison cue, not proof of identical pitches, fingering or compositional origin. Here stepwise motion means adjacent note names, which can span one or two semitones; a non-chord tone is relative to the chord analysis adopted at that moment.
G: both bars are assigned the C-major triad C–E–G for this task. This is an analytical label without sounding accompaniment events. F and A are therefore non-chord tones in the assigned model, not automatically wrong, less important or unpleasant. Reanalyze if the actual harmony differs rather than transferring labels unchanged.
Bounded source attributions
B37-S01 · T2
Wiwi introduces melodic development through repeating and varying small fragments; slides separately show copying, directional change and rhythmic change. We turn this into a score-comparison question without claiming that shapes prove a work’s generation process or reproducing the complete source melody.
NC-047 stills at 100,119,178,231 seconds: titles, captions and selected structure; ASR segments 27–50,52–60,62–64 locate context only. 151 seconds still shows copying and 207 seconds directional change; their topics are not inferred from nearby ASR.
B37-S02 · T2
Wiwi places non-chord tones within surrounding pitches and harmony, illustrating a neighbor’s return and a passing tone’s same-direction connection. We retain the comparison method without treating the author’s smoothness/conflict descriptions as universal perceptual laws.
NC-050 stills at 70,90,127,134 seconds; only headings and marked local relationships were checked, not the complete source melodies. ASR segments 15–31,39–45 locate context.
Turn recurring material into traceable practice units
O: keep one row for each occurrence and compare pitch/register, attacks, durations, voice, harmony and expression. Prefer “same rhythm, three pitch differences” over simply “repeat.” Similarities can organize practice without establishing mastery of differences.
O: when using a reduced practice version, specify omitted event IDs, what happens to their time slots, which notes remain unchanged and how to restore the full version. This is neither authorization to alter an original score nor a rule to delete every non-chord tone; melody and expression may change.
O: after checking a reduction, return to the same location in the full version, restore original attacks and complete durations, then connect the surrounding material. Record reduction complete/full version pending if only the reduction succeeds; it does not complete the piece. Retesting should include an actual changed location rather than only a familiar fragment.
O: locate feedback at an event: omission, wrong pitch, shifted attack, changed duration or failure to return to the full version. Without sound or continuous-motion evidence, do not guess a finger cause. The paper task below checks comparison/restoration records, not the learning efficiency of reduction.
Two bars with the same rhythm: compare, then restore
Paper only. This is our original example: FULL means its full-note version, not a source-course score. Both bars use 4/4 at quarter note=60 BPM, totaling 8 beats=8 seconds. Offsets start at 0; bar 2 starts at 4. Each cell is 0.5 beat=0.5 second; E/F/G/A mean E4/F4/G4/A4 and · means no melody note held. No accompaniment events are supplied, and no-held-note intervals do not assert absolute acoustic silence.
First inspect only FULL’s event table, covering the comparison answers and REDUCED explanation below. Predict matching time positions, differing pitches, and F4/A4’s roles over the assigned C chord. All answers are disclosed guided practice, not blind listening or an unseen-transfer test.
Original event tables and cell timelines show that unchanged positions can contain different pitches and that omitted slots must be explicit. Repeated letters in the timeline indicate sustained holding, not new attacks at every cell. The bar separator organizes beats without requiring an additional break.
FULL
| ID | Pitch / key | Start | Release |
|---|---|---|---|
| M1 | G4 / 47 | 0 | 0.5 |
| M2 | F4 / 45 | 0.5 | 1 |
| M3 | E4 / 44 | 1 | 2 |
| M4 | G4 / 47 | 2 | 3 |
| M5 | G4 / 47 | 4 | 4.5 |
| M6 | A4 / 49 | 4.5 | 5 |
| M7 | G4 / 47 | 5 | 6 |
| M8 | E4 / 44 | 6 | 7 |
G F E E G G · · | G A G G E E · ·
No-held-melody intervals: [[3, 4], [7, 8]]
REDUCED
Both bars have relative starts 0,0.5,1,2 and durations 0.5,0.5,1,1, with the last beat resting. Their pitches are G4–F4–E4–G4 and G4–A4–G4–E4; only their first pitches match. Under the assigned C triad, F4 passes downward by step from G4 to E4; A4 rises from G4 and returns, making it this example’s upper neighbor. The bars are not interchangeable pitch sequences.
O: to practise restoration records, REDUCED omits only M2 and M6 while preserving every other event’s ID, start and release. The vacated 0.5–1 and 4.5–5 intervals remain gaps: do not lengthen preceding notes or advance following ones. This deliberately changes the melody and is a bounded practice adaptation, not a more correct version.
| ID | Pitch / key | Start | Release |
|---|---|---|---|
| M1 | G4 / 47 | 0 | 0.5 |
| M3 | E4 / 44 | 1 | 2 |
| M4 | G4 / 47 | 2 | 3 |
| M5 | G4 / 47 | 4 | 4.5 |
| M7 | G4 / 47 | 5 | 6 |
| M8 | E4 / 44 | 6 | 7 |
G · E E G G · · | G · G G E E · ·
No-held-melody intervals: [[0.5, 1], [3, 4], [4.5, 5], [7, 8]]
Restore M2=F4 at 0.5–1 and M6=A4 at 4.5–5, leaving the other six events unchanged, to recover FULL’s original 8 events. The two versions contain 14 event instances but only 8 stable IDs, not 14 distinct source notes. Each version still lasts 8 seconds.
Check the comparison, then every gap in the reduction; finally hide FULL, reconstruct it and compare event by event. Copying bar 2’s G4 onto M3’s E4 during restoration means the shared rhythm hid a pitch difference. Recheck that location rather than repeatedly practising the mismatch.
After a break or the next day, reconstruct the same example and record whether the two omitted inner notes M2/M6 and their arrivals are remembered. This is retention of a disclosed example; unseen transfer is untested. For your own score, separately check actual voices, harmony, dynamics and articulation. Paper success establishes neither playing nor correct phrasing.
Scope and related reading
Complex source scores, the Beethoven excerpt, original sound and continuous motion remain unaccepted in full. NC-050’s 174-second frame quotes a dictionary, but the original entry was not separately read; this package does not adopt a universal rule assigning appoggiatura from strong-beat placement alone. Raw media, transcripts and stills remain local. See existing harmony notes for terminology scope; a source quotation’s existence does not establish reading of the original work.
NC-047 segments 65–107 contain extensive repeated unrelated candidates; 285/342-second stills show notation only and cannot establish original audio content. 79 exclusions there plus 23 in NC-050 are not a certification that all remaining text is correct.
Frames 151/207 do not directly match nearby ASR topics; attributions follow the inspected frames listed here. No new original-work reading is claimed for the dictionary quotation, complete source works or links; historical global/transcription snapshots are unchanged.
Harmony and non-chord-tone scope
Short joins and complete reintegration
This package’s source scope
Symbolic comparison/restoration checks