Recent progress in deep learning for audio synthesis opens the way to models that directly produce the waveform, shifting away from the traditional paradigm of relying on vocoders or MIDI synthesizers for speech or music generation. Despite their successes, current state-of-the-art neural audio synthesizers such as WaveNet and SampleRNN suffer from prohibitive training and inference times because they are based on autoregressive models that generate audio samples one at a time at a rate of 16kHz. In this work, we study the more computationally efficient alternative of generating the waveform frame-by-frame with large strides. We present SING, a lightweight neural audio synthesizer for the original task of generating musical notes given desired instrument, pitch and velocity. Our model is trained end-to-end to generate notes from nearly 1000 instruments with a single decoder, thanks to a new loss function that minimizes the distances between the log spectrograms of the generated and target waveforms. On the generalization task of synthesizing notes for pairs of pitch and instrument not seen during training, SING produces audio with significantly improved perceptual quality compared to a state-of-the-art autoencoder based on WaveNet as measured by a Mean Opinion Score (MOS), and is about 32 times faster for training and 2, 500 times faster for inference.
Research on style transfer and domain translation has clearly demonstrated the ability of deep learning-based algorithms to manipulate images in terms of artistic style. More recently, several attempts have been made to extend such approaches to music (both symbolic and audio) in order to enable transforming musical style in a similar manner. In this study, we focus on symbolic music with the goal of altering the 'style' of a piece while keeping its original 'content'. As opposed to the current methods, which are inherently restricted to be unsupervised due to the lack of 'aligned' data (i.e. the same musical piece played in multiple styles), we develop the first fully supervised algorithm for this task. At the core of our approach lies a synthetic data generation scheme which allows us to produce virtually unlimited amounts of aligned data, and hence avoid the above issue. In view of this data generation scheme, we propose an encoder-decoder model for translating symbolic music accompaniments between a number of different styles. Our experiments show that our models, although trained entirely on synthetic data, are capable of producing musically meaningful accompaniments even for real (non-synthetic) MIDI recordings.
Analogy is a key solution to automated music generation, featured by its ability to generate both natural and creative pieces based on only a few examples. In general, an analogy is made by partially transferring the music abstractions, i.e., high-level representations and their relationships, from one piece to another; however, this procedure requires disentangling music representations, which takes little effort for musicians but is non-trivial for computers. Three sub-problems arise: extracting latent representations from the observation, disentangling the representations so that each part has a unique semantic interpretation, and mapping the latent representations back to actual music. An explicitly-constrained conditional variational auto-encoder (EC2-VAE) is proposed as a unified solution to all three sub-problems. In this study, we focus on disentangling the pitch and rhythm representations of 8-beat music clips conditioned on chords. In producing music analogies, this model helps us to realize the imaginary situation of "what if" a piece is composed using a different pitch contour, rhythm pattern, chord progression etc., by borrowing the representations from other pieces. Finally, we validate the proposed disentanglement method using objective measurements and evaluate the analogy examples by a subjective study.
As human-robot collaboration opportunities continue to expand, trust becomes ever more important for full engagement and utilization of robots. Affective trust, built on emotional relationship and interpersonal bonds is particularly critical as it is more resilient to mistakes and increases the willingness to collaborate. In this paper we present a novel model built on music-driven emotional prosody and gestures that encourages the perception of a robotic identity, designed to avoid uncanny valley. Symbolic musical phrases were generated and tagged with emotional information by human musicians. These phrases controlled a synthesis engine playing back pre-rendered audio samples generated through interpolation of phonemes and electronic instruments. Gestures were also driven by the symbolic phrases, encoding the emotion from the musical phrase to low degree-of-freedom movements. Through a user study we showed that our system was able to accurately portray a range of emotions to the user. We also showed with a significant result that our non-linguistic audio generation achieved an 8% higher mean of average trust than using a state-of-the-art text-to-speech system.
Generating music with emotion similar to that of an input video is a very relevant issue nowadays. Video content creators and automatic movie directors benefit from maintaining their viewers engaged, which can be facilitated by producing novel material eliciting stronger emotions in them. Moreover, there's currently a demand for more empathetic computers to aid humans in applications such as augmenting the perception ability of visually and/or hearing impaired people. Current approaches overlook the video's emotional characteristics in the music generation step, only consider static images instead of videos, are unable to generate novel music, and require a high level of human effort and skills. In this study, we propose a novel hybrid deep neural network that uses an Adaptive Neuro-Fuzzy Inference System to predict a video's emotion from its visual features and a deep Long Short-Term Memory Recurrent Neural Network to generate its corresponding audio signals with similar emotional inkling. The former is able to appropriately model emotions due to its fuzzy properties, and the latter is able to model data with dynamic time properties well due to the availability of the previous hidden state information. The novelty of our proposed method lies in the extraction of visual emotional features in order to transform them into audio signals with corresponding emotional aspects for users. Quantitative experiments show low mean absolute errors of 0.217 and 0.255 in the Lindsey and DEAP datasets respectively, and similar global features in the spectrograms. This indicates that our model is able to appropriately perform domain transformation between visual and audio features. Based on experimental results, our model can effectively generate audio that matches the scene eliciting a similar emotion from the viewer in both datasets, and music generated by our model is also chosen more often.
This paper presents a generative AI model for automated music composition with LSTM networks that takes a novel approach at encoding musical information which is based on movement in music rather than absolute pitch. Melodies are encoded as a series of intervals rather than a series of pitches, and chords are encoded as the set of intervals that each chord note makes with the melody at each timestep. Experimental results show promise as they sound musical and tonal. There are also weaknesses to this method, mainly excessive modulations in the compositions, but that is expected from the nature of the encoding. This issue is discussed later in the paper and is a potential topic for future work.
To apply neural sequence models such as the Transformers to music generation tasks, one has to represent a piece of music by a sequence of tokens drawn from a finite set of pre-defined vocabulary. Such a vocabulary usually involves tokens of various types. For example, to describe a musical note, one needs separate tokens to indicate the note's pitch, duration, velocity (dynamics), and placement (onset time) along the time grid. While different types of tokens may possess different properties, existing models usually treat them equally, in the same way as modeling words in natural languages. In this paper, we present a conceptually different approach that explicitly takes into account the type of the tokens, such as note types and metric types. And, we propose a new Transformer decoder architecture that uses different feed-forward heads to model tokens of different types. With an expansion-compression trick, we convert a piece of music to a sequence of compound words by grouping neighboring tokens, greatly reducing the length of the token sequences. We show that the resulting model can be viewed as a learner over dynamic directed hypergraphs. And, we employ it to learn to compose expressive Pop piano music of full-song length (involving up to 10K individual tokens per song), both conditionally and unconditionally. Our experiment shows that, compared to state-of-the-art models, the proposed model converges 5--10 times faster at training (i.e., within a day on a single GPU with 11 GB memory), and with comparable quality in the generated music.
This paper explores the idea of utilising Long Short-Term Memory neural networks (LSTMNN) for the generation of musical sequences in ABC notation. The proposed approach takes ABC notations from the Nottingham dataset and encodes it to beefed as input for the neural networks. The primary objective is to input the neural networks with an arbitrary note, let the network process and augment a sequence based on the note until a good piece of music is produced. Multiple tunings have been done to amend the parameters of the network for optimal generation. The output is assessed on the basis of rhythm, harmony, and grammar accuracy.
In this paper, we propose a cross-modal variational auto-encoder (CMVAE) for content-based micro-video background music recommendation. CMVAE is a hierarchical Bayesian generative model that matches relevant background music to a micro-video by projecting these two multimodal inputs into a shared low-dimensional latent space, where the alignment of two corresponding embeddings of a matched video-music pair is achieved by cross-generation. Moreover, the multimodal information is fused by the product-of-experts (PoE) principle, where the semantic information in visual and textual modalities of the micro-video are weighted according to their variance estimations such that the modality with a lower noise level is given more weights. Therefore, the micro-video latent variables contain less irrelevant information that results in a more robust model generalization. Furthermore, we establish a large-scale content-based micro-video background music recommendation dataset, TT-150k, composed of approximately 3,000 different background music clips associated to 150,000 micro-videos from different users. Extensive experiments on the established TT-150k dataset demonstrate the effectiveness of the proposed method. A qualitative assessment of CMVAE by visualizing some recommendation results is also included.
We describe a system based on deep learning that generates drum patterns in the electronic dance music domain. Experimental results reveal that generated patterns can be employed to produce musically sound and creative transitions between different genres, and that the process of generation is of interest to practitioners in the field.
Add to Chrome
Add to Firefox