Music ControlNet: Multiple Time-varying Controls for Music Generation

Text-to-music generation models are now capable of generating high-quality music audio in broad styles. However, text control is primarily suitable for the manipulation of global musical attributes like genre, mood, and tempo, and is less suitable for precise control over time-varying attributes such as the positions of beats in time or the changing dynamics of the music. We propose Music ControlNet, a diffusion-based music generation model that offers multiple precise, time-varying controls over generated audio. To imbue text-to-music models with time-varying control, we propose an approach analogous to pixel-wise control of the image-domain ControlNet method. Specifically, we extract controls from training audio yielding paired data, and fine-tune a diffusion-based conditional generative model over audio spectrograms given melody, dynamics, and rhythm controls. While the image-domain Uni-ControlNet method already allows generation with any subset of controls, we devise a new strategy to allow creators to input controls that are only partially specified in time. We evaluate both on controls extracted from audio and controls we expect creators to provide, demonstrating that we can generate realistic music that corresponds to control inputs in both settings. While few comparable music generation models exist, we benchmark against MusicGen, a recent model that accepts text and melody input, and show that our model generates music that is 49% more faithful to input melodies despite having 35x fewer parameters, training on 11x less data, and enabling two additional forms of time-varying control. Sound examples can be found at https://MusicControlNet.github.io/web/.

Anticipatory Music Transformer

We introduce anticipation: a method for constructing a controllable generative model of a temporal point process (the event process) conditioned asynchronously on realizations of a second, correlated process (the control process). We achieve this by interleaving sequences of events and controls, such that controls appear following stopping times in the event sequence. This work is motivated by problems arising in the control of symbolic music generation. We focus on infilling control tasks, whereby the controls are a subset of the events themselves, and conditional generation completes a sequence of events given the fixed control events. We train anticipatory infilling models using the large and diverse Lakh MIDI music dataset. These models match the performance of autoregressive models for prompted music generation, with the additional capability to perform infilling control tasks, including accompaniment. Human evaluators report that an anticipatory model produces accompaniments with similar musicality to even music composed by humans over a 20-second clip.

V2Meow: Meowing to the Visual Beat via Music Generation

Generating high quality music that complements the visual content of a video is a challenging task. Most existing visual conditioned music generation systems generate symbolic music data, such as MIDI files, instead of raw audio waveform. Given the limited availability of symbolic music data, such methods can only generate music for a few instruments or for specific types of visual input. In this paper, we propose a novel approach called V2Meow that can generate high-quality music audio that aligns well with the visual semantics of a diverse range of video input types. Specifically, the proposed music generation system is a multi-stage autoregressive model which is trained with a number of O(100K) music audio clips paired with video frames, which are mined from in-the-wild music videos, and no parallel symbolic music data is involved. V2Meow is able to synthesize high-fidelity music audio waveform solely conditioned on pre-trained visual features extracted from an arbitrary silent video clip, and it also allows high-level control over the music style of generation examples via supporting text prompts in addition to the video frames conditioning. Through both qualitative and quantitative evaluations, we demonstrate that our model outperforms several existing music generation systems in terms of both visual-audio correspondence and audio quality.

SingSong: Generating musical accompaniments from singing

We present SingSong, a system that generates instrumental music to accompany input vocals, potentially offering musicians and non-musicians alike an intuitive new way to create music featuring their own voice. To accomplish this, we build on recent developments in musical source separation and audio generation. Specifically, we apply a state-of-the-art source separation algorithm to a large corpus of music audio to produce aligned pairs of vocals and instrumental sources. Then, we adapt AudioLM (Borsos et al., 2022) -- a state-of-the-art approach for unconditional audio generation -- to be suitable for conditional "audio-to-audio" generation tasks, and train it on the source-separated (vocal, instrumental) pairs. In a pairwise comparison with the same vocal inputs, listeners expressed a significant preference for instrumentals generated by SingSong compared to those from a strong retrieval baseline. Sound examples at https://g.co/magenta/singsong

Melody transcription via generative pre-training

Despite the central role that melody plays in music perception, it remains an open challenge in music information retrieval to reliably detect the notes of the melody present in an arbitrary music recording. A key challenge in melody transcription is building methods which can handle broad audio containing any number of instrument ensembles and musical styles - existing strategies work well for some melody instruments or styles but not all. To confront this challenge, we leverage representations from Jukebox (Dhariwal et al. 2020), a generative model of broad music audio, thereby improving performance on melody transcription by $20$% relative to conventional spectrogram features. Another obstacle in melody transcription is a lack of training data - we derive a new dataset containing $50$ hours of melody transcriptions from crowdsourced annotations of broad music. The combination of generative pre-training and a new dataset for this task results in $77$% stronger performance on melody transcription relative to the strongest available baseline. By pairing our new melody transcription approach with solutions for beat detection, key estimation, and chord recognition, we build Sheet Sage, a system capable of transcribing human-readable lead sheets directly from music audio. Audio examples can be found at https://chrisdonahue.com/sheetsage and code at https://github.com/chrisdonahue/sheetsage .

It's Raw! Audio Generation with State-Space Models

Developing architectures suitable for modeling raw audio is a challenging problem due to the high sampling rates of audio waveforms. Standard sequence modeling approaches like RNNs and CNNs have previously been tailored to fit the demands of audio, but the resultant architectures make undesirable computational tradeoffs and struggle to model waveforms effectively. We propose SaShiMi, a new multi-scale architecture for waveform modeling built around the recently introduced S4 model for long sequence modeling. We identify that S4 can be unstable during autoregressive generation, and provide a simple improvement to its parameterization by drawing connections to Hurwitz matrices. SaShiMi yields state-of-the-art performance for unconditional waveform generation in the autoregressive setting. Additionally, SaShiMi improves non-autoregressive generation performance when used as the backbone architecture for a diffusion model. Compared to prior architectures in the autoregressive generation setting, SaShiMi generates piano and speech waveforms which humans find more musical and coherent respectively, e.g. 2x better mean opinion scores than WaveNet on an unconditional speech generation task. On a music generation task, SaShiMi outperforms WaveNet on density estimation and speed at both training and inference even when using 3x fewer parameters. Code can be found at https://github.com/HazyResearch/state-spaces and samples at https://hazyresearch.stanford.edu/sashimi-examples.

On the Opportunities and Risks of Foundation Models

AI is undergoing a paradigm shift with the rise of models (e.g., BERT, DALL-E, GPT-3) that are trained on broad data at scale and are adaptable to a wide range of downstream tasks. We call these models foundation models to underscore their critically central yet incomplete character. This report provides a thorough account of the opportunities and risks of foundation models, ranging from their capabilities (e.g., language, vision, robotics, reasoning, human interaction) and technical principles(e.g., model architectures, training procedures, data, systems, security, evaluation, theory) to their applications (e.g., law, healthcare, education) and societal impact (e.g., inequity, misuse, economic and environmental impact, legal and ethical considerations). Though foundation models are based on standard deep learning and transfer learning, their scale results in new emergent capabilities,and their effectiveness across so many tasks incentivizes homogenization. Homogenization provides powerful leverage but demands caution, as the defects of the foundation model are inherited by all the adapted models downstream. Despite the impending widespread deployment of foundation models, we currently lack a clear understanding of how they work, when they fail, and what they are even capable of due to their emergent properties. To tackle these questions, we believe much of the critical research on foundation models will require deep interdisciplinary collaboration commensurate with their fundamentally sociotechnical nature.

Towards Automatic Instrumentation by Learning to Separate Parts in Symbolic Multitrack Music

Modern keyboards allow a musician to play multiple instruments at the same time by assigning zones -- fixed pitch ranges of the keyboard -- to different instruments. In this paper, we aim to further extend this idea and examine the feasibility of automatic instrumentation -- dynamically assigning instruments to notes in solo music during performance. In addition to the online, real-time-capable setting for performative use cases, automatic instrumentation can also find applications in assistive composing tools in an offline setting. Due to the lack of paired data of original solo music and their full arrangements, we approach automatic instrumentation by learning to separate parts (e.g., voices, instruments and tracks) from their mixture in symbolic multitrack music, assuming that the mixture is to be played on a keyboard. We frame the task of part separation as a sequential multi-class classification problem and adopt machine learning to map sequences of notes into sequences of part labels. To examine the effectiveness of our proposed models, we conduct a comprehensive empirical evaluation over four diverse datasets of different genres and ensembles -- Bach chorales, string quartets, game music and pop music. Our experiments show that the proposed models outperform various baselines. We also demonstrate the potential for our proposed models to produce alternative convincing instrumentations for an existing arrangement by separating its mixture into parts. All source code and audio samples can be found at https://salu133445.github.io/arranger/ .

Codified audio language modeling learns useful representations for music information retrieval

We demonstrate that language models pre-trained on codified (discretely-encoded) music audio learn representations that are useful for downstream MIR tasks. Specifically, we explore representations from Jukebox (Dhariwal et al. 2020): a music generation system containing a language model trained on codified audio from 1M songs. To determine if Jukebox's representations contain useful information for MIR, we use them as input features to train shallow models on several MIR tasks. Relative to representations from conventional MIR models which are pre-trained on tagging, we find that using representations from Jukebox as input features yields 30% stronger performance on average across four MIR tasks: tagging, genre classification, emotion recognition, and key detection. For key detection, we observe that representations from Jukebox are considerably stronger than those from models pre-trained on tagging, suggesting that pre-training via codified audio language modeling may address blind spots in conventional approaches. We interpret the strength of Jukebox's representations as evidence that modeling audio instead of tags provides richer representations for MIR.