Polyffusion: A Diffusion Model for Polyphonic Score Generation with Internal and External Controls

We propose Polyffusion, a diffusion model that generates polyphonic music scores by regarding music as image-like piano roll representations. The model is capable of controllable music generation with two paradigms: internal control and external control. Internal control refers to the process in which users pre-define a part of the music and then let the model infill the rest, similar to the task of masked music generation (or music inpainting). External control conditions the model with external yet related information, such as chord, texture, or other features, via the cross-attention mechanism. We show that by using internal and external controls, Polyffusion unifies a wide range of music creation tasks, including melody generation given accompaniment, accompaniment generation given melody, arbitrary music segment inpainting, and music arrangement given chords or textures. Experimental results show that our model significantly outperforms existing Transformer and sampling-based baselines, and using pre-trained disentangled representations as external conditions yields more effective controls.

Discrete Diffusion Probabilistic Models for Symbolic Music Generation

Denoising Diffusion Probabilistic Models (DDPMs) have made great strides in generating high-quality samples in both discrete and continuous domains. However, Discrete DDPMs (D3PMs) have yet to be applied to the domain of Symbolic Music. This work presents the direct generation of Polyphonic Symbolic Music using D3PMs. Our model exhibits state-of-the-art sample quality, according to current quantitative evaluation metrics, and allows for flexible infilling at the note level. We further show, that our models are accessible to post-hoc classifier guidance, widening the scope of possible applications. However, we also cast a critical view on quantitative evaluation of music sample quality via statistical metrics, and present a simple algorithm that can confound our metrics with completely spurious, non-musical samples.

Emotion-Guided Music Accompaniment Generation Based on Variational Autoencoder

Music accompaniment generation is a crucial aspect in the composition process. Deep neural networks have made significant strides in this field, but it remains a challenge for AI to effectively incorporate human emotions to create beautiful accompaniments. Existing models struggle to effectively characterize human emotions within neural network models while composing music. To address this issue, we propose the use of an easy-to-represent emotion flow model, the Valence/Arousal Curve, which allows for the compatibility of emotional information within the model through data transformation and enhances interpretability of emotional factors by utilizing a Variational Autoencoder as the model structure. Further, we used relative self-attention to maintain the structure of the music at music phrase level and to generate a richer accompaniment when combined with the rules of music theory.

Museformer: Transformer with Fine- and Coarse-Grained Attention for Music Generation

Symbolic music generation aims to generate music scores automatically. A recent trend is to use Transformer or its variants in music generation, which is, however, suboptimal, because the full attention cannot efficiently model the typically long music sequences (e.g., over 10,000 tokens), and the existing models have shortcomings in generating musical repetition structures. In this paper, we propose Museformer, a Transformer with a novel fine- and coarse-grained attention for music generation. Specifically, with the fine-grained attention, a token of a specific bar directly attends to all the tokens of the bars that are most relevant to music structures (e.g., the previous 1st, 2nd, 4th and 8th bars, selected via similarity statistics); with the coarse-grained attention, a token only attends to the summarization of the other bars rather than each token of them so as to reduce the computational cost. The advantages are two-fold. First, it can capture both music structure-related correlations via the fine-grained attention, and other contextual information via the coarse-grained attention. Second, it is efficient and can model over 3X longer music sequences compared to its full-attention counterpart. Both objective and subjective experimental results demonstrate its ability to generate long music sequences with high quality and better structures.

MusicAgent: An AI Agent for Music Understanding and Generation with Large Language Models

AI-empowered music processing is a diverse field that encompasses dozens of tasks, ranging from generation tasks (e.g., timbre synthesis) to comprehension tasks (e.g., music classification). For developers and amateurs, it is very difficult to grasp all of these task to satisfy their requirements in music processing, especially considering the huge differences in the representations of music data and the model applicability across platforms among various tasks. Consequently, it is necessary to build a system to organize and integrate these tasks, and thus help practitioners to automatically analyze their demand and call suitable tools as solutions to fulfill their requirements. Inspired by the recent success of large language models (LLMs) in task automation, we develop a system, named MusicAgent, which integrates numerous music-related tools and an autonomous workflow to address user requirements. More specifically, we build 1) toolset that collects tools from diverse sources, including Hugging Face, GitHub, and Web API, etc. 2) an autonomous workflow empowered by LLMs (e.g., ChatGPT) to organize these tools and automatically decompose user requests into multiple sub-tasks and invoke corresponding music tools. The primary goal of this system is to free users from the intricacies of AI-music tools, enabling them to concentrate on the creative aspect. By granting users the freedom to effortlessly combine tools, the system offers a seamless and enriching music experience.

HumTrans: A Novel Open-Source Dataset for Humming Melody Transcription and Beyond

This paper introduces the HumTrans dataset, which is publicly available and primarily designed for humming melody transcription. The dataset can also serve as a foundation for downstream tasks such as humming melody based music generation. It consists of 500 musical compositions of different genres and languages, with each composition divided into multiple segments. In total, the dataset comprises 1000 music segments. To collect this humming dataset, we employed 10 college students, all of whom are either music majors or proficient in playing at least one musical instrument. Each of them hummed every segment twice using the web recording interface provided by our designed website. The humming recordings were sampled at a frequency of 44,100 Hz. During the humming session, the main interface provides a musical score for students to reference, with the melody audio playing simultaneously to aid in capturing both melody and rhythm. The dataset encompasses approximately 56.22 hours of audio, making it the largest known humming dataset to date. The dataset will be released on Hugging Face, and we will provide a GitHub repository containing baseline results and evaluation codes.

Music Representing Corpus Virtual: An Open Sourced Library for Explorative Music Generation, Sound Design, and Instrument Creation with Artificial Intelligence and Machine Learning

Music Representing Corpus Virtual (MRCV) is an open source software suite designed to explore the capabilities of Artificial Intelligence (AI) and Machine Learning (ML) in Music Generation, Sound Design, and Virtual Instrument Creation (MGSDIC). The software is accessible to users of varying levels of experience, with an emphasis on providing an explorative approach to MGSDIC. The main aim of MRCV is to facilitate creativity, allowing users to customize input datasets for training the neural networks, and offering a range of options for each neural network (thoroughly documented in the Github Wiki). The software suite is designed to be accessible to musicians, audio professionals, sound designers, and composers, regardless of their prior experience in AI or ML. The documentation is prepared in such a way as to abstract technical details, thereby making it easy to understand. The software is open source, meaning users can contribute to its development, and the community can collectively benefit from the insights and experience of other users.

ERNIE-Music: Text-to-Waveform Music Generation with Diffusion Models

In recent years, there has been an increased popularity in image and speech generation using diffusion models. However, directly generating music waveforms from free-form text prompts is still under-explored. In this paper, we propose the first text-to-waveform music generation model that can receive arbitrary texts using diffusion models. We incorporate the free-form textual prompt as the condition to guide the waveform generation process of diffusion models. To solve the problem of lacking such text-music parallel data, we collect a dataset of text-music pairs from the Internet with weak supervision. Besides, we compare the effect of two prompt formats of conditioning texts (music tags and free-form texts) and prove the superior performance of our method in terms of text-music relevance. We further demonstrate that our generated music in the waveform domain outperforms previous works by a large margin in terms of diversity, quality, and text-music relevance.

A Unified Framework for Multimodal, Multi-Part Human Motion Synthesis

The field has made significant progress in synthesizing realistic human motion driven by various modalities. Yet, the need for different methods to animate various body parts according to different control signals limits the scalability of these techniques in practical scenarios. In this paper, we introduce a cohesive and scalable approach that consolidates multimodal (text, music, speech) and multi-part (hand, torso) human motion generation. Our methodology unfolds in several steps: We begin by quantizing the motions of diverse body parts into separate codebooks tailored to their respective domains. Next, we harness the robust capabilities of pre-trained models to transcode multimodal signals into a shared latent space. We then translate these signals into discrete motion tokens by iteratively predicting subsequent tokens to form a complete sequence. Finally, we reconstruct the continuous actual motion from this tokenized sequence. Our method frames the multimodal motion generation challenge as a token prediction task, drawing from specialized codebooks based on the modality of the control signal. This approach is inherently scalable, allowing for the easy integration of new modalities. Extensive experiments demonstrated the effectiveness of our design, emphasizing its potential for broad application.

MusicLDM: Enhancing Novelty in Text-to-Music Generation Using Beat-Synchronous Mixup Strategies

Diffusion models have shown promising results in cross-modal generation tasks, including text-to-image and text-to-audio generation. However, generating music, as a special type of audio, presents unique challenges due to limited availability of music data and sensitive issues related to copyright and plagiarism. In this paper, to tackle these challenges, we first construct a state-of-the-art text-to-music model, MusicLDM, that adapts Stable Diffusion and AudioLDM architectures to the music domain. We achieve this by retraining the contrastive language-audio pretraining model (CLAP) and the Hifi-GAN vocoder, as components of MusicLDM, on a collection of music data samples. Then, to address the limitations of training data and to avoid plagiarism, we leverage a beat tracking model and propose two different mixup strategies for data augmentation: beat-synchronous audio mixup and beat-synchronous latent mixup, which recombine training audio directly or via a latent embeddings space, respectively. Such mixup strategies encourage the model to interpolate between musical training samples and generate new music within the convex hull of the training data, making the generated music more diverse while still staying faithful to the corresponding style. In addition to popular evaluation metrics, we design several new evaluation metrics based on CLAP score to demonstrate that our proposed MusicLDM and beat-synchronous mixup strategies improve both the quality and novelty of generated music, as well as the correspondence between input text and generated music.