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.
In the domain of music and sound processing, pitch extraction plays a pivotal role. This research introduces "PitchNet", a convolutional neural network tailored for pitch extraction from the human singing voice, including acapella performances. Integrating autocorrelation with deep learning techniques, PitchNet aims to optimize the accuracy of pitch detection. Evaluation across datasets comprising synthetic sounds, opera recordings, and time-stretched vowels demonstrates its efficacy. This work paves the way for enhanced pitch extraction in both music and voice settings.
In this work, we investigate an approach that relies on contrastive learning and music metadata as a weak source of supervision to train music representation models. Recent studies show that contrastive learning can be used with editorial metadata (e.g., artist or album name) to learn audio representations that are useful for different classification tasks. In this paper, we extend this idea to using playlist data as a source of music similarity information and investigate three approaches to generate anchor and positive track pairs. We evaluate these approaches by fine-tuning the pre-trained models for music multi-label classification tasks (genre, mood, and instrument tagging) and music similarity. We find that creating anchor and positive track pairs by relying on co-occurrences in playlists provides better music similarity and competitive classification results compared to choosing tracks from the same artist as in previous works. Additionally, our best pre-training approach based on playlists provides superior classification performance for most datasets.
The Collaborative Song Dataset (CoSoD) is a corpus of 331 multi-artist collaborations from the 2010-2019 Billboard "Hot 100" year-end charts. The corpus is annotated with formal sections, aspects of vocal production (including reverberation, layering, panning, and gender of the performers), and relevant metadata. CoSoD complements other popular music datasets by focusing exclusively on musical collaborations between independent acts. In addition to facilitating the study of song form and vocal production, CoSoD allows for the in-depth study of gender as it relates to various timbral, pitch, and formal parameters in musical collaborations. In this paper, we detail the contents of the dataset and outline the annotation process. We also present an experiment using CoSoD that examines how the use of reverberation, layering, and panning are related to the gender of the artist. In this experiment, we find that men's voices are on average treated with less reverberation and occupy a more narrow position in the stereo mix than women's voices.
Beat and downbeat tracking models have improved significantly in recent years with the introduction of deep learning methods. However, despite these improvements, several challenges remain. Particularly, the adaptation of available models to underrepresented music traditions in MIR is usually synonymous with collecting and annotating large amounts of data, which is impractical and time-consuming. Transfer learning, data augmentation, and fine-tuning techniques have been used quite successfully in related tasks and are known to alleviate this bottleneck. Furthermore, when studying these music traditions, models are not required to generalize to multiple mainstream music genres but to perform well in more constrained, homogeneous conditions. In this work, we investigate simple yet effective strategies to adapt beat and downbeat tracking models to two different Latin American music traditions and analyze the feasibility of these adaptations in real-world applications concerning the data and computational requirements. Contrary to common belief, our findings show it is possible to achieve good performance by spending just a few minutes annotating a portion of the data and training a model in a standard CPU machine, with the precise amount of resources needed depending on the task and the complexity of the dataset.
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.
Effective music mixing requires technical and creative finesse, but clear communication with the client is crucial. The mixing engineer must grasp the client's expectations, and preferences, and collaborate to achieve the desired sound. The tacit agreement for the desired sound of the mix is often established using guides like reference songs and demo mixes exchanged between the artist and the engineer and sometimes verbalised using semantic terms. This paper presents the findings of a two-phased exploratory study aimed at understanding how professional mixing engineers interact with clients and use their feedback to guide the mixing process. For phase one, semi-structured interviews were conducted with five mixing engineers with the aim of gathering insights about their communication strategies, creative processes, and decision-making criteria. Based on the inferences from these interviews, an online questionnaire was designed and administered to a larger group of 22 mixing engineers during the second phase. The results of this study shed light on the importance of collaboration, empathy, and intention in the mixing process, and can inform the development of smart multi-track mixing systems that better support these practices. By highlighting the significance of these findings, this paper contributes to the growing body of research on the collaborative nature of music production and provides actionable recommendations for the design and implementation of innovative mixing tools.
We propose a content-based system for matching video and background music. The system aims to address the challenges in music recommendation for new users or new music give short-form videos. To this end, we propose a cross-modal framework VMCML that finds a shared embedding space between video and music representations. To ensure the embedding space can be effectively shared by both representations, we leverage CosFace loss based on margin-based cosine similarity loss. Furthermore, we establish a large-scale dataset called MSVD, in which we provide 390 individual music and the corresponding matched 150,000 videos. We conduct extensive experiments on Youtube-8M and our MSVD datasets. Our quantitative and qualitative results demonstrate the effectiveness of our proposed framework and achieve state-of-the-art video and music matching performance.
We introduce a framework that recommends music based on the emotions of speech. In content creation and daily life, speech contains information about human emotions, which can be enhanced by music. Our framework focuses on a cross-domain retrieval system to bridge the gap between speech and music via emotion labels. We explore different speech representations and report their impact on different speech types, including acting voice and wake-up words. We also propose an emotion similarity regularization term in cross-domain retrieval tasks. By incorporating the regularization term into training, similar speech-and-music pairs in the emotion space are closer in the joint embedding space. Our comprehensive experimental results show that the proposed model is effective in textless speech-to-music retrieval.
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.