Symbolic music generation aims to create musical notes, which can help users compose music, such as generating target instrumental tracks from scratch, or based on user-provided source tracks. Considering the diverse and flexible combination between source and target tracks, a unified model capable of generating any arbitrary tracks is of crucial necessity. Previous works fail to address this need due to inherent constraints in music representations and model architectures. To address this need, we propose a unified representation and diffusion framework named GETMusic (`GET' stands for GEnerate music Tracks), which includes a novel music representation named GETScore, and a diffusion model named GETDiff. GETScore represents notes as tokens and organizes them in a 2D structure, with tracks stacked vertically and progressing horizontally over time. During training, tracks are randomly selected as either the target or source. In the forward process, target tracks are corrupted by masking their tokens, while source tracks remain as ground truth. In the denoising process, GETDiff learns to predict the masked target tokens, conditioning on the source tracks. With separate tracks in GETScore and the non-autoregressive behavior of the model, GETMusic can explicitly control the generation of any target tracks from scratch or conditioning on source tracks. We conduct experiments on music generation involving six instrumental tracks, resulting in a total of 665 combinations. GETMusic provides high-quality results across diverse combinations and surpasses prior works proposed for some specific combinations.
We propose MDSC(Music-Dance-Style Consistency), the first evaluation metric which assesses to what degree the dance moves and music match. Existing metrics can only evaluate the fidelity and diversity of motion and the degree of rhythmic matching between music and motion. MDSC measures how stylistically correlated the generated dance motion sequences and the conditioning music sequences are. We found that directly measuring the embedding distance between motion and music is not an optimal solution. We instead tackle this through modelling it as a clustering problem. Specifically, 1) we pre-train a music encoder and a motion encoder, then 2) we learn to map and align the motion and music embedding in joint space by jointly minimizing the intra-cluster distance and maximizing the inter-cluster distance, and 3) for evaluation purpose, we encode the dance moves into embedding and measure the intra-cluster and inter-cluster distances, as well as the ratio between them. We evaluate our metric on the results of several music-conditioned motion generation methods, combined with user study, we found that our proposed metric is a robust evaluation metric in measuring the music-dance style correlation. The code is available at: https://github.com/zixiangzhou916/MDSC.
Despite advances in deep algorithmic music generation, evaluation of generated samples often relies on human evaluation, which is subjective and costly. We focus on designing a homogeneous, objective framework for evaluating samples of algorithmically generated music. Any engineered measures to evaluate generated music typically attempt to define the samples' musicality, but do not capture qualities of music such as theme or mood. We do not seek to assess the musical merit of generated music, but instead explore whether generated samples contain meaningful information pertaining to emotion or mood/theme. We achieve this by measuring the change in predictive performance of a music mood/theme classifier after augmenting its training data with generated samples. We analyse music samples generated by three models -- SampleRNN, Jukebox, and DDSP -- and employ a homogeneous framework across all methods to allow for objective comparison. This is the first attempt at augmenting a music genre classification dataset with conditionally generated music. We investigate the classification performance improvement using deep music generation and the ability of the generators to make emotional music by using an additional, emotion annotation of the dataset. Finally, we use a classifier trained on real data to evaluate the label validity of class-conditionally generated samples.
Realistic music generation has always remained as a challenging problem as it may lack structure or rationality. In this work, we propose a deep learning based music generation method in order to produce old style music particularly JAZZ with rehashed melodic structures utilizing a Bi-directional Long Short Term Memory (Bi-LSTM) Neural Network with Attention. Owing to the success in modelling long-term temporal dependencies in sequential data and its success in case of videos, Bi-LSTMs with attention serve as the natural choice and early utilization in music generation. We validate in our experiments that Bi-LSTMs with attention are able to preserve the richness and technical nuances of the music performed.
The variational auto-encoder has become a leading framework for symbolic music generation, and a popular research direction is to study how to effectively control the generation process. A straightforward way is to control a model using different conditions during inference. However, in music practice, conditions are usually sequential (rather than simple categorical labels), involving rich information that overlaps with the learned representation. Consequently, the decoder gets confused about whether to "listen to" the latent representation or the condition, and sometimes just ignores the condition. To solve this problem, we leverage domain adversarial training to disentangle the representation from condition cues for better control. Specifically, we propose a condition corruption objective that uses the representation to denoise a corrupted condition. Minimized by a discriminator and maximized by the VAE encoder, this objective adversarially induces a condition-invariant representation. In this paper, we focus on the task of melody harmonization to illustrate our idea, while our methodology can be generalized to other controllable generative tasks. Demos and experiments show that our methodology facilitates not only condition-invariant representation learning but also higher-quality controllability compared to baselines.
Lyrics-to-melody generation is an interesting and challenging topic in AI music research field. Due to the difficulty of learning the correlations between lyrics and melody, previous methods suffer from low generation quality and lack of controllability. Controllability of generative models enables human interaction with models to generate desired contents, which is especially important in music generation tasks towards human-centered AI that can facilitate musicians in creative activities. To address these issues, we propose a controllable lyrics-to-melody generation network, ConL2M, which is able to generate realistic melodies from lyrics in user-desired musical style. Our work contains three main novelties: 1) To model the dependencies of music attributes cross multiple sequences, inter-branch memory fusion (Memofu) is proposed to enable information flow between multi-branch stacked LSTM architecture; 2) Reference style embedding (RSE) is proposed to improve the quality of generation as well as control the musical style of generated melodies; 3) Sequence-level statistical loss (SeqLoss) is proposed to help the model learn sequence-level features of melodies given lyrics. Verified by evaluation metrics for music quality and controllability, initial study of controllable lyrics-to-melody generation shows better generation quality and the feasibility of interacting with users to generate the melodies in desired musical styles when given lyrics.
This paper presents a new approach for controlling emotion in symbolic music generation with Monte Carlo Tree Search. We use Monte Carlo Tree Search as a decoding mechanism to steer the probability distribution learned by a language model towards a given emotion. At every step of the decoding process, we use Predictor Upper Confidence for Trees (PUCT) to search for sequences that maximize the average values of emotion and quality as given by an emotion classifier and a discriminator, respectively. We use a language model as PUCT's policy and a combination of the emotion classifier and the discriminator as its value function. To decode the next token in a piece of music, we sample from the distribution of node visits created during the search. We evaluate the quality of the generated samples with respect to human-composed pieces using a set of objective metrics computed directly from the generated samples. We also perform a user study to evaluate how human subjects perceive the generated samples' quality and emotion. We compare PUCT against Stochastic Bi-Objective Beam Search (SBBS) and Conditional Sampling (CS). Results suggest that PUCT outperforms SBBS and CS in almost all metrics of music quality and emotion.
Music rearrangement is a common music practice of reconstructing and reconceptualizing a piece using new composition or instrumentation styles, which is also an important task of automatic music generation. Existing studies typically model the mapping from a source piece to a target piece via supervised learning. In this paper, we tackle rearrangement problems via self-supervised learning, in which the mapping styles can be regarded as conditions and controlled in a flexible way. Specifically, we are inspired by the representation disentanglement idea and propose Q&A, a query-based algorithm for multi-track music rearrangement under an encoder-decoder framework. Q&A learns both a content representation from the mixture and function (style) representations from each individual track, while the latter queries the former in order to rearrange a new piece. Our current model focuses on popular music and provides a controllable pathway to four scenarios: 1) re-instrumentation, 2) piano cover generation, 3) orchestration, and 4) voice separation. Experiments show that our query system achieves high-quality rearrangement results with delicate multi-track structures, significantly outperforming the baselines.
Generating the motion of orchestral conductors from a given piece of symphony music is a challenging task since it requires a model to learn semantic music features and capture the underlying distribution of real conducting motion. Prior works have applied Generative Adversarial Networks (GAN) to this task, but the promising diffusion model, which recently showed its advantages in terms of both training stability and output quality, has not been exploited in this context. This paper presents Diffusion-Conductor, a novel DDIM-based approach for music-driven conducting motion generation, which integrates the diffusion model to a two-stage learning framework. We further propose a random masking strategy to improve the feature robustness, and use a pair of geometric loss functions to impose additional regularizations and increase motion diversity. We also design several novel metrics, including Frechet Gesture Distance (FGD) and Beat Consistency Score (BC) for a more comprehensive evaluation of the generated motion. Experimental results demonstrate the advantages of our model.