In jazz, a contrafact is a new melody composed over an existing, but often reharmonized chord progression. Because reharmonization can introduce a wide range of variations, detecting contrafacts is a challenging task. This paper develops a novel vector-space model to represent chord progressions, and uses it for contrafact detection. The process applies principles from music theory to reduce the dimensionality of chord space, determine a common key signature representation, and compute a chordal co-occurrence matrix. The rows of the matrix form a basis for the vector space in which chord progressions are represented as piecewise linear functions, and harmonic similarity is evaluated by computing the membrane area, a novel distance metric. To illustrate our method's effectiveness, we apply it to the Impro-Visor corpus of 2,612 chord progressions, and present examples demonstrating its ability to account for reharmonizations and find contrafacts.
Recent, extremely successful methods in deep learning, such as convolutional neural networks (CNNs) have originated in machine learning for images. When applied to music signals and related music information retrieval (MIR) problems, researchers often apply standard FFT-based signal processing methods in order to create an image from the raw audio data. The impact of this basic signal processing step on the final outcome of the MIR task has not been widely studied and is not well understood. In this contribution, we study Gabor Scattering and a new representation, namely Mel Scattering. Furthermore, we suggest an alternative enhancement of the loss function that uses transformed representations of the output data to incorporate additional available information. We show how applying various different signal analysis methods can lead to useful invariances and improve the overall performance in MIR problems by reducing the amount of necessary training data or the necessity of augmentation.
Most machine learning models for audio tasks are dealing with a handcrafted feature, the spectrogram. However, it is still unknown whether the spectrogram could be replaced with deep learning based features. In this paper, we answer this question by comparing the different learnable neural networks extracting features with a successful spectrogram model and proposed a General Audio Feature eXtractor (GAFX) based on a dual U-Net (GAFX-U), ResNet (GAFX-R), and Attention (GAFX-A) modules. We design experiments to evaluate this model on the music genre classification task on the GTZAN dataset and perform a detailed ablation study of different configurations of our framework and our model GAFX-U, following the Audio Spectrogram Transformer (AST) classifier achieves competitive performance.
"Art is the lie that enables us to realize the truth." - Pablo Picasso. For centuries, humans have dedicated themselves to producing arts to convey their imagination. The advancement in technology and deep learning in particular, has caught the attention of many researchers trying to investigate whether art generation is possible by computers and algorithms. Using generative adversarial networks (GANs), applications such as synthesizing photorealistic human faces and creating captions automatically from images were realized. This survey takes a comprehensive look at the recent works using GANs for generating visual arts, music, and literary text. A performance comparison and description of the various GAN architecture are also presented. Finally, some of the key challenges in art generation using GANs are highlighted along with recommendations for future work.
We explore the potential of a popular distributional semantics vector space model, word2vec, for capturing meaningful relationships in ecological (complex polyphonic) music. More precisely, the skip-gram version of word2vec is used to model slices of music from a large corpus spanning eight musical genres. In this newly learned vector space, a metric based on cosine distance is able to distinguish between functional chord relationships, as well as harmonic associations in the music. Evidence, based on cosine distance between chord-pair vectors, suggests that an implicit circle-of-fifths exists in the vector space. In addition, a comparison between pieces in different keys reveals that key relationships are represented in word2vec space. These results suggest that the newly learned embedded vector representation does in fact capture tonal and harmonic characteristics of music, without receiving explicit information about the musical content of the constituent slices. In order to investigate whether proximity in the discovered space of embeddings is indicative of `semantically-related' slices, we explore a music generation task, by automatically replacing existing slices from a given piece of music with new slices. We propose an algorithm to find substitute slices based on spatial proximity and the pitch class distribution inferred in the chosen subspace. The results indicate that the size of the subspace used has a significant effect on whether slices belonging to the same key are selected. In sum, the proposed word2vec model is able to learn music-vector embeddings that capture meaningful tonal and harmonic relationships in music, thereby providing a useful tool for exploring musical properties and comparisons across pieces, as a potential input representation for deep learning models, and as a music generation device.
Most work on models for music transcription has focused on describing local sequential dependence of notes in musical scores and failed to capture their global repetitive structure, which can be a useful guide for transcribing music. Focusing on the rhythm, we formulate several classes of Bayesian Markov models of musical scores that describe repetitions indirectly by sparse transition probabilities of notes or note patterns. This enables us to construct piece-specific models for unseen scores with unfixed repetitive structure and to derive tractable inference algorithms. Moreover, to describe approximate repetitions, we explicitly incorporate a process of modifying the repeated notes/note patterns. We apply these models as a prior music language model for rhythm transcription, where piece-specific score models are inferred from performed MIDI data by unsupervised learning, in contrast to the conventional supervised construction of score models. Evaluations using vocal melodies of popular music showed that the Bayesian models improved the transcription accuracy for most of the tested model types, indicating the universal efficacy of the proposed approach.
This demo paper introduces partitura, a Python package for handling symbolic musical information. The principal aim of this package is to handle richly structured musical information as conveyed by modern staff music notation. It provides a much wider range of possibilities to deal with music than the more reductive (but very common) piano roll-oriented approach inspired by the MIDI standard. The package is an open source project and is available on GitHub.
Dementia, and specially Alzheimer s disease (AD) and Mild Cognitive Impairment (MCI) are one of the most important diseases suffered by elderly population. Music therapy is one of the most widely used non-pharmacological treatment in the field of cognitive impairments, given that music influences their mood, behavior, the decrease of anxiety, as well as facilitating reminiscence, emotional expressions and movement. In this work we present HAIDA, a multi-platform support system for Musical Therapy oriented to cognitive impairment, which includes not only therapy tools but also non-invasive biometric analysis, speech, activity and hand activity. At this moment the system is on use and recording the first sets of data.
In this paper, we present a transfer learning approach for music classification and regression tasks. We propose to use a pre-trained convnet feature, a concatenated feature vector using the activations of feature maps of multiple layers in a trained convolutional network. We show how this convnet feature can serve as general-purpose music representation. In the experiments, a convnet is trained for music tagging and then transferred to other music-related classification and regression tasks. The convnet feature outperforms the baseline MFCC feature in all the considered tasks and several previous approaches that are aggregating MFCCs as well as low- and high-level music features.