DETAILED ACTION Notice of Pre-AIA or AIA Status The present application, filed on or after March 16, 2013, is being examined under the first inventor to file provisions of the AIA. Claim Interpretation MPEP § 2111.04 (II) states that examiners do not need to present evidence of the obviousness of method steps of a claim that are not required to be performed under a broadest reasonable interpretation of the claim . In the instant application, method claim 1, and claims 2-14 by incorporation, recite “ segmenting, by a computer-based musical composition system, a movie or song into a sequence of time intervals .” C laims 3-10 and 13 further limit the method to steps which are required to be performed only for a movie. Because the broadest reasonable interpretation of the claims includes movies or songs, certain movie- contingent limitations in claims 3-10 and 13 are not required to be performed, and thus need not be presented with evidence of obviousness. Examples of such contingencies in these claims include: Claims 3-6, “ wherein segmenting the movie or song into a sequence of time intervals includes, for a movie …” Claims 7-10: “ wherein assigning, by the computer-based musical composition system, a respective mood label to each time interval includes, for a movie …” Claim 13: “ further comprising, for a movie …” Notwithstanding, in the interest of compact prosecution (MPEP § § 706.03 and 2103(I)), this examiner has presented evidence of prima facie obviousness for each movie- contingent limitation as laid out in the rejections on the merits below. Claim Objections Claim 18 is objected to because of the following informality: In line 9, “time label” should read, “time interval.” Appropriate correction is required. Claim Rejections - 35 USC § 112 The following is a quotation of 35 U.S.C. 112(b): (b ) CONCLUSION.—The specification shall conclude with one or more claims particularly pointing out and distinctly claiming the subject matter which the inventor or a joint inventor regards as the invention. The following is a quotation of 35 U.S.C. 112 (pre-AIA), second paragraph: The specification shall conclude with one or more claims particularly pointing out and distinctly claiming the subject matter which the appl icant regards as his invention. Claims 17 is rejected under 35 U.S.C. 112(b) or 35 U.S.C. 112 (pre-AIA), second paragraph, as being indefinite for failing to particularly point out and distinctly claim the subject matter which the inventor or a joint inventor (or for applications subject to pre-AIA 35 U.S.C. 112, the applicant), regards as the invention. Regarding claim 17 , it is unknown what is meant by the phrase, “ cause the computer-based musical composition system to assign a respective mood label to each time interval segment the movie or song into a sequence of time intervals, cause the computer-based musical composition system to ” in lines 3-5. Appropriate correction is required. Claim Rejections - 35 USC § 103 In the event the determination of the status of the application as subject to AIA 35 U.S.C. 102 and 103 (or as subject to pre-AIA 35 U.S.C. 102 and 103) is incorrect, any correction of the statutory basis (i.e., changing from AIA to pre-AIA) for the rejection will not be considered a new ground of rejection if the prior art relied upon, and the rationale supporting the rejection, would be the same under either status. The following is a quotation of 35 U.S.C. 103 which forms the basis for all obviousness rejections set forth in this Office action: A patent for a claimed invention may not be obtained, notwithstanding that the claimed invention is not identically disclosed as set forth in section 102, if the differences between the claimed invention and the prior art are such that the claimed invention as a whole would have been obvious before the effective filing date of the claimed invention to a person having ordinary skill in the art to which the claimed invention pertains. Patentability shall not be negated by the manner in which the invention was made. The factual inquiries for establishing a background for determining obviousness under 35 U.S.C. 103 are summarized as follows: 1. Determining the scope and contents of the prior art. 2. Ascertaining the differences between the prior art and the claims at issue. 3. Resolving the level of ordinary skill in the pertinent art. 4. Considering objective evidence present in the application indicating obviousness or nonobviousness. Claims 1-2, 8, 10-12, 15, and 18 are rejected under 35 U.S.C. 103 as unpatentable over Pobloth et al. (US 20190034428 A1, January 31, 2019), hereinafter Pobloth, in view of Silverstein (US 20170263227 A1, September 14, 2017), hereinafter Silverstein. Regarding claim 1 , Pobloth teaches a computer-implemented method of generating a musical composition to convey a sequence of moods, the method comprising: segmenting, by a computer-based musical composition system, a movie or song into a sequence of time intervals each delimited by a respective start time and a respective stop time (Pobloth ¶¶0076-0077: "S104: The mood detector 200 determines the length of the segment 150 a , 150 b , 150 c in accordance with which type (e.g., text based, audio based, or video based) of mood indicator 140 a , 140 b , 140 c , 140 d has been detected. According to the illustrative example of FIG. 1 the segment 150 a has a length corresponding to a duration in time of τ 1 +τ 2 and occurs between t=T A −τ 1 and t=T A +τ 2 , the segment 150 b has a length corresponding to a duration in time of τ 3 +τ 4 and occurs between t=T B −τ 3 and t=T B +τ 4 , and the segment 150 c has a length corresponding to a duration in time of τ 5 +τ 6 and occurs between t=(T C +T D )/2−τ 5 and t=(T C +T D )/2+τ 6 .") , wherein the computer-based musical composition system stores a set of mood labels (Pobloth ¶0002: "One category of metadata is “mood” which can describe a scene of audio-visual media content (such as a movie scene) and/or the persons in that scene with mood attributes such as 'happy', 'sad', 'humorous', 'feel good', 'sentimental', 'controversial', 'cynical', etc.") ; and assigning, by the computer-based musical composition system, a respective mood label to each time interval (Pobloth ¶0052: "According to an embodiment the metadata y comprises the mood descriptive value and information of a time segment 150 a, 150 b, 150 c in the multimedia file 100, x over which time segment 150 a, 150 b, 150 c the mood descriptive value holds. The output from the mood classification module 220 can thus be a sequence of mood-classifications, where each mood-classification contains a mood descriptive value and the time segment 150 a, 150 b, 150 c over which it holds.") . Pobloth does not explicitly disclose that the computer-based musical composition system stores a set of mappings between mood labels and musical characteristics; and for each time interval, assigning, by the computer-based musical composition system, at least one respective musical characteristic to the time interval based at least in part on the mood label assigned to the time interval and a stored mapping between mood labels and musical characteristics; and generating, by the computer-based musical composition system, a musical composition that includes the sequence of time intervals and each assigned musical characteristic corresponding to each time interval. However, Silverstein teaches that the computer-based musical composition system stores a set of mappings between mood labels and musical characteristics (Silverstein ¶0930: "The above principles and considerations will be used by the system designer(s) when defining or creating transformational mappings between (i) certain allowable combinations of emotion, style and timing/spatial parameters supplied by the system user(s) to the input output subsystem B0 of the system, and (ii) certain music-theoretic parameters stored in system operating parameter tables that are loaded into subsystem B39 and used during the automated music composition and generation system of the present invention.") ; and for each time interval, assigning, by the computer-based musical composition system, at least one respective musical characteristic to the time interval based at least in part on the mood label assigned to the time interval and a stored mapping between mood labels and musical characteristics (Silverstein ¶¶0501-0502: "As shown in FIG. 28D, for each emotion-type musical experience descriptor supported by the system and selected by the system user, a probability measure is provided for each key supported by the system, and this probability-based parameter table is used during the automated music composition and generation process of the present invention. The primary function of the key generation table is to provide a framework to determine the key(s) of a musical piece, section, phrase, or other structure.") ; and generating, by the computer-based musical composition system, a musical composition that includes the sequence of time intervals and each assigned musical characteristic corresponding to each time interval (Silverstein ¶0038: "Another object of the present invention is to provide an Automated Music Composition and Generation Process supporting automated virtual-instrument music synthesis driven by linguistic and/or graphical icon based musical experience descriptors supplied by the system user, wherein linguistic-based musical experience descriptors, and a video, audio-recording, image, or event marker, supplied as input through the system user interface, and are used by the Automated Music Composition and Generation Engine of the present invention to generate musically-scored media (e.g. video, podcast, image, slideshow etc.) or event marker using virtual-instrument music synthesis, which is then supplied back to the system user via the system user interface.") . It would have been prima facie obvious to one of ordinary skill in the art prior to the effective filing date of the claimed invention to have modified the mood labels and time intervals of Pobloth by adding the corresponding musical characteristics and music generation of Silverstein to enable composing and generating music pieces for use in scoring diverse kinds of media products without requiring musical knowledge, theory, or expertise (Silverstein ¶0028). Regarding claim 2 , Pobloth (in view of Silverstein) teaches a method comprising the features of claim 1 as discussed above. Pobloth further teaches that segmenting the movie or song into a sequence of time intervals includes identifying sequences of times of the movie or song that each delimit a respective mood (Pobloth ¶0052: "The output from the mood classification module 220 can thus be a sequence of mood-classifications, where each mood-classification contains a mood descriptive value and the time segment 150 a, 150 b, 150 c over which it holds.") . Regarding claim 8 , Pobloth (in view of Silverstein) teaches a method comprising the features of claim 1 as discussed above. Pobloth further teaches that assigning, by the computer-based musical composition system, a respective mood label to each time interval includes, for a movie, assigning a respective mood label to each scene based on audio characteristics of each scene (Pobloth ¶¶0089-0090: "S106 c: The mood detector 200 detects at least one audio feature in the segment 150 a, 15013, 150 c of the multimedia file 100, x by the mood classification module 220 performing audio analysis of the audio part 120 of the segment 150 a, 15013, 150 c of the multimedia file 100, x. S106 d: The mood detector 200 associates the segment 150 a, 15013, 150 c with the at least one audio feature.") . Regarding claim 10 , Pobloth (in view of Silverstein) teaches a method comprising the features of claim 8 as discussed above. Pobloth further teaches that assigning, by the computer-based musical composition system, a respective mood label to each time interval includes, for a movie, assigning a respective mood label to each scene based on semantic properties of each scene (Pobloth ¶¶0085-0087: "S106 aa: The mood detector 200 performs speech to text recognition on the audio part 120 of the segment 150 a, 150 b, 150 c of the multimedia file 100, x to generate the text transcript. S106 ab: The mood detector 200 performs natural language processing of the text transcript to identify a combination of keywords. S106 ac: The mood detector 200 determines the mood descriptive value according to the combination of keywords.") . Regarding claim 11 , Pobloth (in view of Silverstein) teaches a method comprising the features of claim 1 as discussed above. Silverstein further teaches that for each time interval, assigning, by the computer-based musical composition system, at least one respective musical characteristic to the time interval based at least in part on the mood label assigned to the time interval and a stored mapping between mood labels and musical characteristics (Silverstein ¶0869: "The above principles and considerations will be used by the system designer(s) when defining or creating “transformational mappings” (i.e. statistical or theoretical relationships) between (i) certain allowable combinations of emotion, style and timing/spatial parameters supplied by the system user(s) to the input output subsystem B0 of the system, and (ii) certain music-theoretic parameters (i.e. values) stored in system operating parameter (SOP) tables that are loaded into subsystem B5 and used during the automated music composition and generation system of the present invention.") includes assigning at least one respective chord progression to the time interval (Silverstein ¶0673: "FIGS. 27V1, 27V2 and 27V3 show the Sub-Phrase Chord Progression Generation Subsystem (B19) used in the Automated Music Composition and Generation Engine of the present invention. Chord, or the sounding of two or more notes (usually at least three) simultaneously, is a fundamental building block of any musical piece. The Sub-Phrase Chord Progression Generation Subsystem B19 determines what the chord progression will be for each sub-phrase of the musical piece. This information is based on either user inputs (if given), computationally-determined value(s), or a combination of both."), the at least one chord progression selected from a set of chord progressions that correspond to the mood label assigned to the time label per the mapping between mood labels and musical characteristics (Silverstein ¶0675: "The Parameter Transformation Engine Subsystem B51 generates the probability-weighted set of sub-phrase chord progression parameter tables for the various musical experience descriptors selected by the system user and supplied to the input subsystem B0. The probability-based parameter tables (i.e. chord root table, chord function root modifier table, and beat root modifier table) employed in the subsystem is set up for the exemplary “emotion-type” musical experience descriptor—HAPPY—and used during the automated music composition and generation process of the present invention.") . Regarding claim 12 , Pobloth (in view of Silverstein) teaches a method comprising the features of claim 11 as discussed above. Silverstein further teaches aligning chord progressions (Silverstein ¶0685: "During operation, Phrase Chord Progression Generation Subsystem B18 receives the output from Initial Chord Generation Subsystem B17 and modifies, changes, adds, and deletes chords from each sub-phrase to generate the chords of each phrase. For example, if a phrase consists of two sub-phrases that each contain an identical chord progression, there might be a one half probability that the first chord in the second sub-phrase is altered to create a more musical chord progression (following a data set or parameter table created and loaded by subsystem B51) for the phrase and a one half probability that the sub-phrase chord progressions remain unchanged.") in abutting segments of the movie or song (Silverstein ¶0904: "Additionally, an upcoming chord's position in the piece of music, phrase, sub-phrase, and measure affects the default landscape of what chord roots might be selected in the future. For example a chord previous to a downbeat at the end of a phrase might ensure that the subsequent chord be a I chord or other chord that accurately resolves the chord progression.") . Regarding claim 15 , Pobloth teaches a computer program product comprising a non-transitory processor- readable storage medium storing data and/or processor-executable instructions (Pobloth ¶0001: "Embodiments presented herein relate to a method, a mood detector, a computer program, and a computer program product") that, when executed by at least one processor of a computer-based musical composition system, cause the computer-based musical composition system to: segment a movie or song into a sequence of time intervals each delimited by a respective start time and a respective stop time (Pobloth ¶¶0076-0077: "S104: The mood detector 200 determines the length of the segment 150 a , 150 b , 150 c in accordance with which type (e.g., text based, audio based, or video based) of mood indicator 140 a , 140 b , 140 c , 140 d has been detected. According to the illustrative example of FIG. 1 the segment 150 a has a length corresponding to a duration in time of τ 1 +τ 2 and occurs between t=T A −τ 1 and t=T A +τ 2 , the segment 150 b has a length corresponding to a duration in time of τ 3 +τ 4 and occurs between t=T B −τ 3 and t=T B +τ 4 , and the segment 150 c has a length corresponding to a duration in time of τ 5 +τ 6 and occurs between t=(T C +T D )/2−τ 5 and t=(T C +T D )/2+τ 6 .") , wherein the computer-based musical composition system stores a set of mood labels (Pobloth ¶0002: "One category of metadata is “mood” which can describe a scene of audio-visual media content (such as a movie scene) and/or the persons in that scene with mood attributes such as 'happy', 'sad', 'humorous', 'feel good', 'sentimental', 'controversial', 'cynical', etc.") ; assign a respective mood label to each time interval; for each time interval (Pobloth ¶0052: "According to an embodiment the metadata y comprises the mood descriptive value and information of a time segment 150 a, 150 b, 150 c in the multimedia file 100, x over which time segment 150 a, 150 b, 150 c the mood descriptive value holds. The output from the mood classification module 220 can thus be a sequence of mood-classifications, where each mood-classification contains a mood descriptive value and the time segment 150 a, 150 b, 150 c over which it holds.") . Pobloth does not explicitly disclose that the computer-based musical composition system stores a set of mappings between mood labels and musical characteristics; assign at least one respective musical characteristic to the time interval based at least in part on the mood label assigned to the time interval and a stored mapping between mood labels and musical characteristics; and generate a musical composition that includes the sequence of time intervals and each assigned musical characteristic corresponding to each time interval. However, Silverstein teaches that the computer-based musical composition system stores a set of mappings between mood labels and musical characteristics (Silverstein ¶0930: "The above principles and considerations will be used by the system designer(s) when defining or creating transformational mappings between (i) certain allowable combinations of emotion, style and timing/spatial parameters supplied by the system user(s) to the input output subsystem B0 of the system, and (ii) certain music-theoretic parameters stored in system operating parameter tables that are loaded into subsystem B39 and used during the automated music composition and generation system of the present invention.") ; assign at least one respective musical characteristic to the time interval based at least in part on the mood label assigned to the time interval and a stored mapping between mood labels and musical characteristics (Silverstein ¶¶0501-0502: "As shown in FIG. 28D, for each emotion-type musical experience descriptor supported by the system and selected by the system user, a probability measure is provided for each key supported by the system, and this probability-based parameter table is used during the automated music composition and generation process of the present invention. The primary function of the key generation table is to provide a framework to determine the key(s) of a musical piece, section, phrase, or other structure.") ; and generate a musical composition that includes the sequence of time intervals and each assigned musical characteristic corresponding to each time interval (Silverstein ¶0038: "Another object of the present invention is to provide an Automated Music Composition and Generation Process supporting automated virtual-instrument music synthesis driven by linguistic and/or graphical icon based musical experience descriptors supplied by the system user, wherein linguistic-based musical experience descriptors, and a video, audio-recording, image, or event marker, supplied as input through the system user interface, and are used by the Automated Music Composition and Generation Engine of the present invention to generate musically-scored media (e.g. video, podcast, image, slideshow etc.) or event marker using virtual-instrument music synthesis, which is then supplied back to the system user via the system user interface.") . It would have been prima facie obvious to one of ordinary skill in the art prior to the effective filing date of the claimed invention to have modified the mood labels and time intervals of Pobloth by adding the corresponding musical characteristics and music generation of Silverstein to enable composing and generating music pieces for use in scoring diverse kinds of media products without requiring musical knowledge, theory, or expertise (Silverstein ¶0028). Regarding claim 18 , Pobloth (in view of Silverstein) teaches a computer program product comprising the features of claim 15 as discussed above. Silverstein further teaches the data and/or processor-executable instructions that, when executed by at least one processor of the computer-based musical composition system, cause the computer-based musical composition system to, for each time interval, assign at least one respective musical characteristic to the time interval based at least in part on the mood label assigned to the time interval and a stored mapping between mood labels and musical characteristics (Silverstein ¶0869: "The above principles and considerations will be used by the system designer(s) when defining or creating “transformational mappings” (i.e. statistical or theoretical relationships) between (i) certain allowable combinations of emotion, style and timing/spatial parameters supplied by the system user(s) to the input output subsystem B0 of the system, and (ii) certain music-theoretic parameters (i.e. values) stored in system operating parameter (SOP) tables that are loaded into subsystem B5 and used during the automated music composition and generation system of the present invention.") , cause the computer-based musical composition system to, for each time interval, assign at least one respective chord progression to the time interval (Silverstein ¶0673: "FIGS. 27V1, 27V2 and 27V3 show the Sub-Phrase Chord Progression Generation Subsystem (B19) used in the Automated Music Composition and Generation Engine of the present invention. Chord, or the sounding of two or more notes (usually at least three) simultaneously, is a fundamental building block of any musical piece. The Sub-Phrase Chord Progression Generation Subsystem B19 determines what the chord progression will be for each sub-phrase of the musical piece. This information is based on either user inputs (if given), computationally-determined value(s), or a combination of both.") , the at least one chord progression selected from a set of chord progressions that correspond to the mood label assigned to the time label per the mapping between mood labels and musical characteristic s (Silverstein ¶0675: "The Parameter Transformation Engine Subsystem B51 generates the probability-weighted set of sub-phrase chord progression parameter tables for the various musical experience descriptors selected by the system user and supplied to the input subsystem B0. The probability-based parameter tables (i.e. chord root table, chord function root modifier table, and beat root modifier table) employed in the subsystem is set up for the exemplary “emotion-type” musical experience descriptor—HAPPY—and used during the automated music composition and generation process of the present invention.") . Claims 3, 5-7, 9, and 16-17 are rejected under 35 U.S.C. 103 as unpatentable over Pobloth in view of Silverstein, and further in view of Li (US 20210020149 A1, January 21, 2021), hereinafter Li. Regarding claim 3 , Pobloth (in view of Silverstein) teaches a method comprising the features of claim 1 as discussed above. Pobloth (in view of Silverstein) does not explicitly disclose that segmenting the movie or song into a sequence of time intervals includes, for a movie, segmenting the movie into scenes based on visual characteristics of each frame. However, Li teaches that segmenting the movie or song into a sequence of time intervals includes, for a movie, segmenting the movie into scenes based on visual characteristics of each frame (Li ¶0012: "The video analysis module 10 makes an analysis according to color tone, storyboard pace, video dialogue (such as a plot, a word of turn in speech and the like), length and category, director's special requirement and characteristic, actors expression, movement, weather, scene, buildings, spatial and temporal factors, things, creature, character, character personality; video content analysis of the video analysis module 10 includes: a color analysis, a content analysis and a character expression analysis.") . It would have been prima facie obvious to one of ordinary skill in the art prior to the effective filing date of the claimed invention to have modified the method of generating a musical composition to convey a sequence of moods of Pobloth (as modified by Silverstein) by adding the segmentation based on scenes based on visual characters of each frame of Li to perform adequate matching between video and musical characteristics (Li ¶0004). Regarding claim 5 , Pobloth (in view of Silverstein) teaches a method comprising the features of claim 1 as discussed above. Pobloth (in view of Silverstein) does not explicitly disclose that segmenting the movie or song into a sequence of time intervals includes, for a movie, segmenting the movie into scenes based on dynamic characteristics of each scene. However, Li teaches that segmenting the movie or song into a sequence of time intervals includes, for a movie, segmenting the movie into scenes based on dynamic characteristics of each scene (Li ¶0012: "The video analysis module 10 makes an analysis according to color tone, storyboard pace, video dialogue (such as a plot, a word of turn in speech and the like), length and category, director's special requirement and characteristic, actors expression, movement, weather, scene, buildings, spatial and temporal factors, things, creature, character, character personality; video content analysis of the video analysis module 10 includes: a color analysis, a content analysis and a character expression analysis.") . It would have been prima facie obvious to one of ordinary skill in the art prior to the effective filing date of the claimed invention to have modified the method of generating a musical composition to convey a sequence of moods of Pobloth (as modified by Silverstein) by adding the segmenting the movie into scenes based on dynamic characteristics of each scene of Li to perform adequate matching between video and musical characteristics (Li ¶0004). Regarding claim 6 , Pobloth (in view of Silverstein) teaches a method comprising the features of claim 1 as discussed above. Pobloth (in view of Silverstein) does not explicitly disclose that segmenting the movie or song into a sequence of time intervals includes, for a movie, segmenting the movie into scenes based on semantic interpretation of dialog within each scene. However, Li teaches that segmenting the movie or song into a sequence of time intervals includes, for a movie, segmenting the movie into scenes based on semantic interpretation of dialog within each scene (Li ¶0012: "the video dialogue is processed to look for a storyline or delete a word of turn in speech, so as to clearly present keywords and arrange the same according to dependency (or influence), and proportionally locate a corresponding emotional parameter") . It would have been prima facie obvious to one of ordinary skill in the art prior to the effective filing date of the claimed invention to have modified the method of generating a musical composition to convey a sequence of moods of Pobloth (as modified by Silverstein) by adding the segmenting the movie into scenes based on semantic interpretation of dialog within each scene of Li to perform adequate matching between video and musical characteristics (Li ¶0004). Regarding claim 7 , Pobloth (in view of Silverstein) teaches a method comprising the features of claim 1 as discussed above. Pobloth (in view of Silverstein) does not explicitly disclose that assigning, by the computer-based musical composition system, a respective mood label to each time interval includes, for a movie, assigning a respective mood label to each scene based on a distribution of colors within each scene. However, Li teaches that assigning, by the computer-based musical composition system, a respective mood label to each time interval includes, for a movie, assigning a respective mood label to each scene based on a distribution of colors within each scene (Li ¶0012: "The video analysis module 10 makes an analysis according to color tone, storyboard pace, video dialogue (such as a plot, a word of turn in speech and the like), length and category, director's special requirement and characteristic, actors expression, movement, weather, scene, buildings, spatial and temporal factors, things, creature, character, character personality; video content analysis of the video analysis module 10 includes: a color analysis, a content analysis and a character expression analysis. Referring to FIG. 2, which shows a structure of color analysis categories for analyses of color function, color value; a content analysis distinguishes who, how, when, where and what (such as a year, a location, a time, a plot and the like) based on a scene, a person, an item and lighting in a video; a character expression analysis determines an emotion of a person, a plot, a likely conversation and the like in a video according to an expression; by combining the described video content analysis, vector values of various videos can be obtained respectively.") . It would have been prima facie obvious to one of ordinary skill in the art prior to the effective filing date of the claimed invention to have modified the method of generating a musical composition to convey a sequence of moods of Pobloth (as modified by Silverstein) by adding the assigning a respective mood label to each scene based on a distribution of colors within each scene of Li to perform adequate matching between video and musical characteristics (Li ¶0004). Regarding claim 9 , Pobloth (in view of Silverstein) teaches a method comprising the features of claim 8 as discussed above. Pobloth (in view of Silverstein) does not explicitly disclose that assigning, by the computer-based musical composition system, a respective mood label to each time interval includes, for a movie, assigning a respective mood label to each scene based on dynamic characteristics of each scene. However, Li teaches that assigning, by the computer-based musical composition system, a respective mood label to each time interval includes, for a movie, assigning a respective mood label to each scene based on dynamic characteristics of each scene (Li ¶0014: "the present invention classifies and induces a final result between a video and music according to a classification function commonly used in audio matching, wherein a related video type is determined and set according to a story property, and is mainly decided according to a part to be emphasized in audio matching; for example, a character (including a character personality and inner feelings), a plot, a scene (including a location or a city), a time, a point of action and the like") . It would have been prima facie obvious to one of ordinary skill in the art prior to the effective filing date of the claimed invention to have modified the method of generating a musical composition to convey a sequence of moods of Pobloth (as modified by Silverstein) by adding the assigning a respective mood label to each scene based on dynamic characteristics of each scene of Li to perform adequate matching between video and musical characteristics (Li ¶0004). Regarding claim 16 , Pobloth (in view of Silverstein) teaches a computer program product comprising the features of claim 15 as discussed above. Pobloth (in view of Silverstein) does not explicitly disclose the data and/or processor-executable instructions that, when executed by at least one processor of the computer-based musical composition system, cause the computer-based musical composition system to segment the movie or song into a sequence of time intervals, cause the computer- based musical composition system to, for a movie, segment the movie into scenes based on visual characteristics of each frame. However, Li teaches the data and/or processor-executable instructions that, when executed by at least one processor of the computer-based musical composition system, cause the computer-based musical composition system to segment the movie or song into a sequence of time intervals, cause the computer- based musical composition system to, for a movie, segment the movie into scenes based on visual characteristics of each frame (Li ¶0012: "The video analysis module 10 makes an analysis according to color tone, storyboard pace, video dialogue (such as a plot, a word of turn in speech and the like), length and category, director's special requirement and characteristic, actors expression, movement, weather, scene, buildings, spatial and temporal factors, things, creature, character, character personality; video content analysis of the video analysis module 10 includes: a color analysis, a content analysis and a character expression analysis."). It would have been prima facie obvious to one of ordinary skill in the art prior to the effective filing date of the claimed invention to have modified the computer program product of Pobloth (as modified by Silverstein) by adding the segmentation based on scenes based on visual characters of each frame of Li to perform adequate matching between video and musical characteristics (Li ¶0004). Regarding claim 17 , Pobloth (in view of Silverstein) teaches a computer program product comprising the features of claim 15 as discussed above. Pobloth (in view of Silverstein) does not explicitly disclose the data and/or processor-executable instructions that, when executed by at least one processor of the computer-based musical composition system, cause the computer-based musical composition system to assign a respective mood label to each time interval segment the movie or song into a sequence of time intervals, cause the computer- based musical composition system to, for a movie, assign a respective mood label to each scene based on a distribution of colors within each scene. However, Li teaches the data and/or processor-executable instructions that, when executed by at least one processor of the computer-based musical composition system, cause the computer-based musical composition system to assign a respective mood label to each time interval segment the movie or song into a sequence of time intervals, cause the computer-based musical composition system to, for a movie, assign a respective mood label to each scene based on a distribution of colors within each scene (Li ¶0012: "The video analysis module 10 makes an analysis according to color tone, storyboard pace, video dialogue (such as a plot, a word of turn in speech and the like), length and category, director's special requirement and characteristic, actors expression, movement, weather, scene, buildings, spatial and temporal factors, things, creature, character, character personality; video content analysis of the video analysis module 10 includes: a color analysis, a content analysis and a character expression analysis. Referring to FIG. 2, which shows a structure of color analysis categories for analyses of color function, color value; a content analysis distinguishes who, how, when, where and what (such as a year, a location, a time, a plot and the like) based on a scene, a person, an item and lighting in a video; a character expression analysis determines an emotion of a person, a plot, a likely conversation and the like in a video according to an expression; by combining the described video content analysis, vector values of various videos can be obtained respectively.") . It would have been prima facie obvious to one of ordinary skill in the art prior to the effective filing date of the claimed invention to have modified the computer program product of Pobloth (as modified by Silverstein) by adding the segmentation based on scenes based on visual characters of each frame of Li to perform adequate matching between video and musical characteristics (Li ¶0004). Claim 4 is rejected under 35 U.S.C. 103 as unpatentable over Pobloth in view of Silverstein, and further in view of Divakaran et al. (US 20040008789 A1, January 15, 2004), hereinafter Divakaran. Regarding claim 4 , Pobloth (in view of Silverstein) teaches a method comprising the features of claim 1 as discussed above. Pobloth (in view of Silverstein) does not explicitly disclose that segmenting the movie or song into a sequence of time intervals includes, for a movie, segmenting the movie into scenes based on audio characteristics of each frame. However, Divakaran teaches that segmenting the movie or song into a sequence of time intervals includes, for a movie, segmenting the movie into scenes (Divakaran ¶0003: "The fundamental unit of the visual track is a shot or scene... Scene change detection, also called temporal segmentation, indicates when a shot starts and ends.") based on audio characteristics of each frame (Divakaran ¶0019: "The audio features are classified, and the video is segmented according to different classes of audio features.") . It would have been prima facie obvious to one of ordinary skill in the art prior to the effective filing date of the claimed invention to have modified the method of generating a musical composition to convey a sequence of moods of Pobloth (as modified by Silverstein) by adding the segmentation based on scenes based on audio characteristics of each frame of Divakaran to perform adequate matching between video and musical characteristics (Li ¶0004). Claims 13 and 19 are rejected under 35 U.S.C. 103 as unpatentable over Pobloth in view of Silverstein, and further in view of Chen (US 20150110294 A1, April 23, 2015), hereinafter Chen. Regarding claim 13 , Pobloth (in view of Silverstein) teaches a method comprising the features of claim 11 as discussed above. Pobloth (in view of Silverstein) does not explicitly disclose for a movie, varying a volume of the musical composition over the time intervals to anti-correlate with a volume of the movie over the time intervals. However, Chen suggests for a movie, varying a volume of the musical composition over the time intervals to anti-correlate with a volume of the movie over the time intervals (Chen ¶¶0005-0006: "The method attenuates the volume of the slave tracks in order to provide at least the minimum loudness separation between the slave tracks and the master tracks. The amount of attenuation for a slave is determined based on the loudness levels of the slave and of a master. Some embodiments perform ducking on a window-by-window basis.") . It would have been prima facie obvious to one of ordinary skill in the art prior to the effective filing date of the claimed invention to have modified the method of generating a musical composition to convey a sequence of moods of Pobloth (as modified by Silverstein) to provide content-aware loudness separation between a slave track and a master track (Chen abstract). Regarding claim 19 , Pobloth (in view of Silverstein) teaches a computer program product comprising the features of claim 15 as discussed above. Pobloth (in view of Silverstein) does not explicitly disclose data and/or processor-executable instructions that, when executed by at least one processor of the computer-based musical composition system, cause the computer-based musical composition system to, for a movie, vary a volume of the musical composition over the time intervals to anti-correlate with a volume of the movie over the time intervals. However, Chen suggests data and/or processor-executable instructions that, when executed by at least one processor of the computer-based musical composition system, cause the computer-based musical composition system to, for a movie, vary a volume of the musical composition over the time intervals to anti-correlate with a volume of the movie over the time intervals (Chen ¶¶0005-0006: "The method attenuates the volume of the slave tracks in order to provide at least the minimum loudness separation between the slave tracks and the master tracks. The amount of attenuation for a slave is determined based on the loudness levels of the slave and of a master. Some embodiments perform ducking on a window-by-window basis.") . It would have been prima facie obvious to one of ordinary skill in the art prior to the effective filing date of the claimed invention to have modified the computer program product of Pobloth (as modified by Silverstein) to provide content-aware loudness separation between a slave track and a master track (Chen abstract). Claims 14 and 20 are rejected under 35 U.S.C. 103 as unpatentable over Pobloth in view of Silverstein, and further in view of Chen, Becherer et al. (US 20190138262 A1, May 9, 2019), hereinafter Becherer, and Groeschel et al. (US 20130170672 A1, July 4, 2013), hereinafter Groeschel. Regarding claim 14 , Pobloth (in view of Silverstein and further in view of Chen) teaches a method comprising the features of claim 13 as discussed above. Chen further suggests that varying the volume of the musical composition over the time intervals to anti-correlate with a volume of the movie over the time intervals (Chen ¶¶0005-0006: "The method attenuates the volume of the slave tracks in order to provide at least the minimum loudness separation between the slave tracks and the master tracks. The amount of attenuation for a slave is determined based on the loudness levels of the slave and of a master. Some embodiments perform ducking on a window-by-window basis.") comprises: determining an anti-sound volume for each time window based on the mean sound volume of each time window (Chen ¶0064: "The worst case differential of each window is the smallest difference (or the most negative difference) between the master's loudness and the slave's loudness of each window. It occurs at a point in the window in which the slave is the loudest relative to the master. In some embodiments, the worst case differential of a window is indicative of the amount of attenuation that is needed for the slave in that window.") ; adjusting a volume of the musical composition over the time windows based on the anti-sound volume of each time window (Chen ¶0066: "The ducking operation, however, does attenuate slave audio for windows 3, 4, and 6. In each of these windows, the ducking operation attenuates the entire window by an amount that is based on the worst case differential between the slave's loudness and the master's loudness for that window.") ; and combining the volume-adjusted musical composition with audio for the movie (Chen ¶0140: "The audio mixer 1560 performs attenuation or amplification on individual tracks of the audio content before mixing the attenuated or amplified audio signals for output to the audio module 1585.") . Pobloth (in view of Silverstein and further in view of Chen) does not explicitly disclose partitioning the movie into a sequence of consecutive time windows; determining a mean sound volume for each time window; and scaling the mean sound volume of each time window to fit in a range. However, Becherer suggests partitioning the movie into a sequence of consecutive time windows (Becherer ¶0075: "In the illustrative examples of FIGS. 2-6, the observation window is a time window that is fifty milliseconds longs and, thus, contains five audio slices. It starts at time 'tn' and ends at time 'tn+50 ms,' where 'tn' corresponds to the start time of the audio slice.") ; and determining a mean sound volume for each time window (Becherer ¶0022: "Thereafter, a fifty milliseconds observation window is used to compute an average RMS level across five audio slices. The average RMS level is computed from the summed-area table instead of the five individual RMS levels of the five audio slices.") . Furthermore, Groeschel suggests scaling the mean sound volume of each time window to fit in a range (Groeschel ¶0069: "Then, in the optional step 305, a scale factor for the non-dominant signal 207 may be determined directly from the mixing metadata 202 a and the mixing balance input 203. In step 306, the non-dominant signal 207 is scaled. In the case where a scale factor for the non-dominant signal 207 was determined in step 305 based on the mixing metadata 202 a and the mixing balance input 203, step 306 includes the scaling of the non-dominant signal 207 according to the scale factor determined in step 305. Finally, in step 307 the scaled non-dominant signal 207 s is combined with the dominant signal 206 as the mixed signal 208 of the end step 308.") . It would have been prima facie obvious to one of ordinary skill in the art prior to the effective filing date of the claimed invention to have modified the method of generating a musical composition to convey a sequence of moods of Pobloth (as modified by Silverstein and Chen) by adding the mean sound volume of Becherer and the scaling Groeschel to provide content-aware loudness separation between a slave track and a master track (Chen abstract). Regarding claim 20 , Pobloth (in view of Silverstein and further in view of Chen) teaches a computer program product comprising the features of claim 1 9 as discussed above. Chen further suggests the data and/or processor-executable instructions that, when executed by at least one processor of the computer-based musical composition system, cause the computer-based musical composition system to, for a movie, vary a volume of the musical composition over the time intervals to anti-correlate with a volume of the movie over the time intervals (Chen ¶¶0005-0006: "The method attenuates the volume of the slave tracks in order to provide at least the minimum loudness separation between the slave tracks and the master tracks. The amount of attenuation for a slave is determined based on the loudness levels of the slave and of a master. Some embodiments perform ducking on a window-by-window basis.") , cause the computer-based musical composition system to: determine an anti-sound volume for each time window based on the mean sound volume of each time window (Chen ¶0064: "The worst case differential of each window is the smallest difference (or the most negative difference) between the master's loudness and the slave's loudness of each window. It occurs at a point in the window in which the slave is the loudest relative to the master. In some embodiments, the worst case differential of a window is indicative of the amount of attenuation that is needed for the slave in that window.") ; adjust a volume of the musical composition over the time windows based on the anti-sound volume of each time window (Chen ¶0066: "The ducking operation, however, does attenuate slave audio for windows 3, 4, and 6. In each of these windows, the ducking operation attenuates the entire window by an amount that is based on the worst case differential between the slave's loudness and the master's loudness for that window."); and combine the volume-adjusted musical composition with audio for the movie (Chen ¶0140: "The audio mixer 1560 performs attenuation or amplification on individual tracks of the audio content before mixing the attenuated or amplified audio signals for output to the audio module 1585.") . Pobloth (in view of Silverstein and further in view of Chen) does not explicitly disclose partition the movie into a sequence of consecutive time windows; determine a mean sound volume for each time window; and scale the mean sound volume of each time window to fit in a range. However, Becherer suggests partition the movie into a sequence of consecutive time windows (Becherer ¶0075: "In the illustrative examples of FIGS. 2-6, the observation window is a time window that is fifty milliseconds longs and, thus, contains five audio slices. It starts at time 'tn' and ends at time 'tn+50 ms,' where 'tn' corresponds to the start time of the audio slice.") ; and determine a mean sound volume for each time window (Becherer ¶0022: "Thereafter, a fifty milliseconds observation window is used to compute an average RMS level across five audio slices. The average RMS level is computed