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Register a new userMelody Classifier with Stacked-LSTM
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You Li
Publication date
2020
fields
Informatics Engineering
and research's language is
English
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Attempts to use generative models for music generation have been common in recent years, and some of them have achieved good results. Pieces generated by some of these models are almost indistinguishable from those being composed by human composers. However, the research on the evaluation system for machine-generated music is still at a relatively early stage, and there is no uniform standard for such tasks. This paper proposes a stacked-LSTM binary classifier based on a language model, which can be used to distinguish the human composers work from the machine-generated melody by learning the MIDI files pitch, position, and duration.
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The surprisingness of a song is an essential and seemingly subjective factor in determining whether the listener likes it. With the help of information theory, it can be described as the transition probability of a music sequence modeled as a Markov chain. In this study, we introduce the concept of deriving entropy variations over time, so that the surprise contour of each chord sequence can be extracted. Based on this, we propose a user-controllable framework that uses a conditional variational autoencoder (CVAE) to harmonize the melody based on the given chord surprise indication. Through explicit conditions, the model can randomly generate various and harmonic chord progressions for a melody, and the Spearmans correlation and p-value significance show that the resulting chord progressions match the given surprise contour quite well. The vanilla CVAE model was evaluated in a basic melody harmonization task (no surprise control) in terms of six objective metrics. The results of experiments on the Hooktheory Lead Sheet Dataset show that our model achieves performance comparable to the state-of-the-art melody harmonization model.
Automatic melody generation for pop music has been a long-time aspiration for both AI researchers and musicians. However, learning to generate euphonious melody has turned out to be highly challenging due to a number of factors. Representation of multivariate property of notes has been one of the primary challenges. It is also difficult to remain in the permissible spectrum of musical variety, outside of which would be perceived as a plain random play without auditory pleasantness. Observing the conventional structure of pop music poses further challenges. In this paper, we propose to represent each note and its properties as a unique `word, thus lessening the prospect of misalignments between the properties, as well as reducing the complexity of learning. We also enforce regularization policies on the range of notes, thus encouraging the generated melody to stay close to what humans would find easy to follow. Furthermore, we generate melody conditioned on song part information, thus replicating the overall structure of a full song. Experimental results demonstrate that our model can generate auditorily pleasant songs that are more indistinguishable from human-written ones than previous models.
The rise of deep learning technologies has quickly advanced many fields, including that of generative music systems. There exist a number of systems that allow for the generation of good sounding short snippets, yet, these generated snippets often lack an overarching, longer-term structure. In this work, we propose CM-HRNN: a conditional melody generation model based on a hierarchical recurrent neural network. This model allows us to generate melodies with long-term structures based on given chord accompaniments. We also propose a novel, concise event-based representation to encode musical lead sheets while retaining the notes relative position within the bar with respect to the musical meter. With this new data representation, the proposed architecture can simultaneously model the rhythmic, as well as the pitch structures in an effective way. Melodies generated by the proposed model were extensively evaluated in quantitative experiments as well as a user study to ensure the musical quality of the output as well as to evaluate if they contain repeating patterns. We also compared the system with the state-of-the-art AttentionRNN. This comparison shows that melodies generated by CM-HRNN contain more repeated patterns (i.e., higher compression ratio) and a lower tonal tension (i.e., more tonally concise). Results from our listening test indicate that CM-HRNN outperforms AttentionRNN in terms of long-term structure and overall rating.
Recent advances in deep learning have expanded possibilities to generate music, but generating a customizable full piece of music with consistent long-term structure remains a challenge. This paper introduces MusicFrameworks, a hierarchical music structure representation and a multi-step generative process to create a full-length melody guided by long-term repetitive structure, chord, melodic contour, and rhythm constraints. We first organize the full melody with section and phrase-level structure. To generate melody in each phrase, we generate rhythm and basic melody using two separate transformer-based networks, and then generate the melody conditioned on the basic melody, rhythm and chords in an auto-regressive manner. By factoring music generation into sub-problems, our approach allows simpler models and requires less data. To customize or add variety, one can alter chords, basic melody, and rhythm structure in the music frameworks, letting our networks generate the melody accordingly. Additionally, we introduce new features to encode musical positional information, rhythm patterns, and melodic contours based on musical domain knowledge. A listening test reveals that melodies generated by our method are rated as good as or better than human-composed music in the POP909 dataset about half the time.
In this paper, we propose a lightweight music-generating model based on variational autoencoder (VAE) with structured attention. Generating music is different from generating text because the melodies with chords give listeners distinguished polyphonic feelings. In a piece of music, a chord consisting of multiple notes comes from either the mixture of multiple instruments or the combination of multiple keys of a single instrument. We focus our study on the latter. Our model captures not only the temporal relations along time but the structure relations between keys. Experimental results show that our model has a better performance than baseline MusicVAE in capturing notes in a chord. Besides, our method accords with music theory since it maintains the configuration of the circle of fifths, distinguishes major and minor keys from interval vectors, and manifests meaningful structures between music phrases.
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