音樂多樣性可以幫助人們了解不同的文化以及增加創造力，所以維持音樂多樣性就顯得重要。而每個人有他自己偏好以及不偏好的音樂類型。

節奏遊戲屬於與音樂互動的一種方式，有助於人們融入與熟悉不同的音樂類型。但現行的節奏遊戲中，每次遊玩時，譜面皆為固定，當人們想要嘗試新的譜面時，必須親自去編寫譜面，就會顯得不方便。

為了解決此一問題並增加節奏遊戲的新鮮感，本研究中我們提出了一個能夠在節奏遊戲中自動為歌曲產生節奏的系統。系統中從眾多歌曲中先找出共同的pattern，再將其套用到遊玩的歌曲中，另外我們也設計了一個可以判斷節奏的難易程度的演算法來協助遊戲中不同難易度的設計。

實驗結果顯示不管是在較喜歡或是較不喜歡的音樂類型中，相較於單純聽歌曲的時間，使用者遊玩我們的節奏遊戲的時間皆有顯著的成長，表示藉由遊玩我們的節奏遊戲，有助於人們熟悉不同種類的音樂，進而幫助音樂多樣性的發展。

Musical diversity can enrich the understanding of culture
and fuel creativity. Maintaining musical diversity
is thus essential. Rhythm games are a form of music interaction and are good for maintaining such diversity. However, current rhythm games can not generate new rhythms automatically when players want to play new ones. To address this issue, this paper proposes a system that can automatically generate rhythms for songs in a rhythm game. Our results reveal that in either a preferred or non-preferred music genre, compared to the duration of only listening to the song, the duration of playing the game we propose is significantly longer. In conclusion, the proposed system can be helpful in engaging people in different types of music, as well as further promoting musical diversity.

摘要i
Abstract ii
Acknowledgement iii
List of Tables vi
List of Figures vii
1 Introduction 1
2 Related Work 3
3 Methodology 5
3.1 Data Collection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
3.2 Data Preprocessing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
3.3 Pattern Extraction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
3.4 Difficulty Score Calculation . . . . . . . . . . . . . . . . . . . . . . . . . 12
3.5 Pattern Replacement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
iv
4 Experiment 21
4.1 Evaluation of Setting of Difficulty Score Weights . . . . . . . . . . . . . . 21
4.2 User Study . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
4.2.1 Experimental Setup . . . . . . . . . . . . . . . . . . . . . . . . . . 24
4.2.2 Experiment Result . . . . . . . . . . . . . . . . . . . . . . . . . . 26
5 Conclusion and Future Work 33
References 34

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