WikiMT++ is an expanded and refined version of WikiMusicText (WikiMT), featuring 1010 curated lead sheets in ABC notation. To expand application scenarios of WikiMT, we add both objective (album, lyrics, video) and subjective emotion (12 emotion adjectives) and emo\_4q (Russell 4Q) attributes, enhancing its usability for music information retrieval, conditional music generation, automatic composition, and emotion classification, etc. Additionally, CLaMP is implemented to correct the attributes inherited from WikiMT to reduce errors introduced during original data collection and enhance the accuracy and completeness of our dataset.
Lead sheets have become commonplace in generative music research, being used as an initial compressed representation for downstream tasks like multitrack music generation and automatic arrangement. Despite this, researchers have often fallen back on deterministic reduction methods (such as the skyline algorithm) to generate lead sheets when seeking paired lead sheets and full scores, with little attention being paid toward the quality of the lead sheets themselves and how they accurately reflect their orchestrated counterparts. To address these issues, we propose the problem of conditional lead sheet generation (i.e. generating a lead sheet given its full score version), and show that this task can be formulated as an unsupervised music compression task, where the lead sheet represents a compressed latent version of the score. We introduce a novel model, called Lead-AE, that models the lead sheets as a discrete subselection of the original sequence, using a differentiable top-k operator to allow for controllable local sparsity constraints. Across both automatic proxy tasks and direct human evaluations, we find that our method improves upon the established deterministic baseline and produces coherent reductions of large multitrack scores.
Subword tokenization has been widely successful in text-based natural language processing (NLP) tasks with Transformer-based models. As Transformer models become increasingly popular in symbolic music-related studies, it is imperative to investigate the efficacy of subword tokenization in the symbolic music domain. In this paper, we explore subword tokenization techniques, such as byte-pair encoding (BPE), in symbolic music generation and its impact on the overall structure of generated songs. Our experiments are based on three types of MIDI datasets: single track-melody only, multi-track with a single instrument, and multi-track and multi-instrument. We apply subword tokenization on post-musical tokenization schemes and find that it enables the generation of longer songs at the same time and improves the overall structure of the generated music in terms of objective metrics like structure indicator (SI), Pitch Class Entropy, etc. We also compare two subword tokenization methods, BPE and Unigram, and observe that both methods lead to consistent improvements. Our study suggests that subword tokenization is a promising technique for symbolic music generation and may have broader implications for music composition, particularly in cases involving complex data such as multi-track songs.
Recently, multi-instrument music generation has become a hot topic. Different from single-instrument generation, multi-instrument generation needs to consider inter-track harmony besides intra-track coherence. This is usually achieved by composing note segments from different instruments into a signal sequence. This composition could be on different scales, such as note, bar, or track. Most existing work focuses on a particular scale, leading to a shortage in modeling music with diverse temporal and track dependencies. This paper proposes a multi-scale attentive Transformer model to improve the quality of multi-instrument generation. We first employ multiple Transformer decoders to learn multi-instrument representations of different scales and then design an attentive mechanism to fuse the multi-scale information. Experiments conducted on SOD and LMD datasets show that our model improves both quantitative and qualitative performance compared to models based on single-scale information. The source code and some generated samples can be found at https://github.com/HaRry-qaq/MSAT.
Autoregressive models based on Transformers have become the prevailing approach for generating music compositions that exhibit comprehensive musical structure. These models are typically trained by minimizing the negative log-likelihood (NLL) of the observed sequence in an autoregressive manner. However, when generating long sequences, the quality of samples from these models tends to significantly deteriorate due to exposure bias. To address this issue, we leverage classifiers trained to differentiate between real and sampled sequences to identify these failures. This observation motivates our exploration of adversarial losses as a complement to the NLL objective. We employ a pre-trained Span-BERT model as the discriminator in the Generative Adversarial Network (GAN) framework, which enhances training stability in our experiments. To optimize discrete sequences within the GAN framework, we utilize the Gumbel-Softmax trick to obtain a differentiable approximation of the sampling process. Additionally, we partition the sequences into smaller chunks to ensure that memory constraints are met. Through human evaluations and the introduction of a novel discriminative metric, we demonstrate that our approach outperforms a baseline model trained solely on likelihood maximization.
Commercial adoption of automatic music composition requires the capability of generating diverse and high-quality music suitable for the desired context (e.g., music for romantic movies, action games, restaurants, etc.). In this paper, we introduce combinatorial music generation, a new task to create varying background music based on given conditions. Combinatorial music generation creates short samples of music with rich musical metadata, and combines them to produce a complete music. In addition, we introduce ComMU, the first symbolic music dataset consisting of short music samples and their corresponding 12 musical metadata for combinatorial music generation. Notable properties of ComMU are that (1) dataset is manually constructed by professional composers with an objective guideline that induces regularity, and (2) it has 12 musical metadata that embraces composers' intentions. Our results show that we can generate diverse high-quality music only with metadata, and that our unique metadata such as track-role and extended chord quality improves the capacity of the automatic composition. We highly recommend watching our video before reading the paper (https://pozalabs.github.io/ComMU).
Recently, symbolic music generation with deep learning techniques has witnessed steady improvements. Most works on this topic focus on MIDI representations, but less attention has been paid to symbolic music generation using guitar tablatures (tabs) which can be used to encode multiple instruments. Tabs include information on expressive techniques and fingerings for fretted string instruments in addition to rhythm and pitch. In this work, we use the DadaGP dataset for guitar tab music generation, a corpus of over 26k songs in GuitarPro and token formats. We introduce methods to condition a Transformer-XL deep learning model to generate guitar tabs (GTR-CTRL) based on desired instrumentation (inst-CTRL) and genre (genre-CTRL). Special control tokens are appended at the beginning of each song in the training corpus. We assess the performance of the model with and without conditioning. We propose instrument presence metrics to assess the inst-CTRL model's response to a given instrumentation prompt. We trained a BERT model for downstream genre classification and used it to assess the results obtained with the genre-CTRL model. Statistical analyses evidence significant differences between the conditioned and unconditioned models. Overall, results indicate that the GTR-CTRL methods provide more flexibility and control for guitar-focused symbolic music generation than an unconditioned model.
The recent surge in popularity of diffusion models for image generation has brought new attention to the potential of these models in other areas of media synthesis. One area that has yet to be fully explored is the application of diffusion models to music generation. Music generation requires to handle multiple aspects, including the temporal dimension, long-term structure, multiple layers of overlapping sounds, and nuances that only trained listeners can detect. In our work, we investigate the potential of diffusion models for text-conditional music generation. We develop a cascading latent diffusion approach that can generate multiple minutes of high-quality stereo music at 48kHz from textual descriptions. For each model, we make an effort to maintain reasonable inference speed, targeting real-time on a single consumer GPU. In addition to trained models, we provide a collection of open-source libraries with the hope of facilitating future work in the field. We open-source the following: Music samples for this paper: https://bit.ly/anonymous-mousai; all music samples for all models: https://bit.ly/audio-diffusion; and codes: https://github.com/archinetai/audio-diffusion-pytorch
Intelligent music generation, one of the most popular subfields of computer creativity, can lower the creative threshold for non-specialists and increase the efficiency of music creation. In the last five years, the quality of algorithm-based automatic music generation has increased significantly, motivated by the use of modern generative algorithms to learn the patterns implicit within a piece of music based on rule constraints or a musical corpus, thus generating music samples in various styles. Some of the available literature reviews lack a systematic benchmark of generative models and are traditional and conservative in their perspective, resulting in a vision of the future development of the field that is not deeply integrated with the current rapid scientific progress. In this paper, we conduct a comprehensive survey and analysis of recent intelligent music generation techniques,provide a critical discussion, explicitly identify their respective characteristics, and present them in a general table. We first introduce how music as a stream of information is encoded and the relevant datasets, then compare different types of generation algorithms, summarize their strengths and weaknesses, and discuss existing methods for evaluation. Finally, the development of artificial intelligence in composition is studied, especially by comparing the different characteristics of music generation techniques in the East and West and analyzing the development prospects in this field.