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Register a new userDance2Music: Automatic Dance-driven Music Generation
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Added by
Gunjan Aggarwal
Publication date
2021
fields
Informatics Engineering
and research's language is
English
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Dance and music typically go hand in hand. The complexities in dance, music, and their synchronisation make them fascinating to study from a computational creativity perspective. While several works have looked at generating dance for a given music, automatically generating music for a given dance remains under-explored. This capability could have several creative expression and entertainment applications. We present some early explorations in this direction. We present a search-based offline approach that generates music after processing the entire dance video and an online approach that uses a deep neural network to generate music on-the-fly as the video proceeds. We compare these approaches to a strong heuristic baseline via human studies and present our findings. We have integrated our online approach in a live demo! A video of the demo can be found here: https://sites.google.com/view/dance2music/live-demo.
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Synthesize human motions from music, i.e., music to dance, is appealing and attracts lots of research interests in recent years. It is challenging due to not only the requirement of realistic and complex human motions for dance, but more importantly, the synthesized motions should be consistent with the style, rhythm and melody of the music. In this paper, we propose a novel autoregressive generative model, DanceNet, to take the style, rhythm and melody of music as the control signals to generate 3D dance motions with high realism and diversity. To boost the performance of our proposed model, we capture several synchronized music-dance pairs by professional dancers, and build a high-quality music-dance pair dataset. Experiments have demonstrated that the proposed method can achieve the state-of-the-art results.
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.
Music creation is typically composed of two parts: composing the musical score, and then performing the score with instruments to make sounds. While recent work has made much progress in automatic music generation in the symbolic domain, few attempts have been made to build an AI model that can render realistic music audio from musical scores. Directly synthesizing audio with sound sample libraries often leads to mechanical and deadpan results, since musical scores do not contain performance-level information, such as subtle changes in timing and dynamics. Moreover, while the task may sound like a text-to-speech synthesis problem, there are fundamental differences since music audio has rich polyphonic sounds. To build such an AI performer, we propose in this paper a deep convolutional model that learns in an end-to-end manner the score-to-audio mapping between a symbolic representation of music called the piano rolls and an audio representation of music called the spectrograms. The model consists of two subnets: the ContourNet, which uses a U-Net structure to learn the correspondence between piano rolls and spectrograms and to give an initial result; and the TextureNet, which further uses a multi-band residual network to refine the result by adding the spectral texture of overtones and timbre. We train the model to generate music clips of the violin, cello, and flute, with a dataset of moderate size. We also present the result of a user study that shows our model achieves higher mean opinion score (MOS) in naturalness and emotional expressivity than a WaveNet-based model and two commercial sound libraries. We open our source code at https://github.com/bwang514/PerformanceNet
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.
Objective evaluation (OE) is essential to artificial music, but its often very hard to determine the quality of OEs. Hitherto, subjective evaluation (SE) remains reliable and prevailing but suffers inevitable disadvantages that OEs may overcome. Therefore, a meta-evaluation system is necessary for designers to test the effectiveness of OEs. In this paper, we present Armor, a complex and cross-domain benchmark dataset that serves for this purpose. Since OEs should correlate with human judgment, we provide music as test cases for OEs and human judgment scores as touchstones. We also provide two meta-evaluation scenarios and their corresponding testing methods to assess the effectiveness of OEs. To the best of our knowledge, Armor is the first comprehensive and rigorous framework that future works could follow, take example by, and improve upon for the task of evaluating computer-generated music and the field of computational music as a whole. By analyzing different OE methods on our dataset, we observe that there is still a huge gap between SE and OE, meaning that hard-coded algorithms are far from catching humans judgment to the music.
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