Spurred by the potential of deep learning, computational music generation has gained renewed academic interest. A crucial issue in music generation is that of user control, especially in scenarios where the music generation process is conditioned on existing musical material. Here we propose a model for conditional kick drum track generation that takes existing musical material as input, in addition to a low-dimensional code that encodes the desired relation between the existing material and the new material to be generated. These relational codes are learned in an unsupervised manner from a music dataset. We show that codes can be sampled to create a variety of musically plausible kick drum tracks and that the model can be used to transfer kick drum patterns from one song to another. Lastly, we demonstrate that the learned codes are largely invariant to tempo and time-shift.
In addition to the VAE-based methods for control over music generation processes mentioned above, a number of other studies have applied deep learning methods to address the problem of music generation in general, as reviewed in @cite_19 . Drum track generation has been tackled using recurrent architectures @cite_4 @cite_15 , Restricted Boltzmann Machines @cite_5 , and Generative Adversarial Networks (GANs) @cite_3 . Approaches to the generation process may rely on sampling from some latent representation of the material to be generated @cite_20 @cite_11 , possibly in an incremental fashion @cite_6 , or conditioning on user-provided information (such as a style label @cite_13 , unary @cite_1 , or structural @cite_12 constraints). @cite_16 demonstrates style transfer for audio. GANs are used in @cite_3 @cite_2 , where the output of the generation process is determined by providing some (time-varying) noise, in combination with conditioning on existing material. Similar to our study, @cite_18 uses a GAE to model between musical material in an autoregressive prediction task. To our knowledge this is the first use of GAEs for conditional music generation.
@cite_18 @cite_4 @cite_1 @cite_3 @cite_6 @cite_19 @cite_2 @cite_5 @cite_15 @cite_16 @cite_13 @cite_12 @cite_20 @cite_11
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Deep generative models have achieved impressive success in recent years. Generative Adversarial Networks (GANs) and Variational Autoencoders (VAEs), as emerging families for generative model learning, have largely been considered as two distinct paradigms and received extensive independent studies respectively. This paper aims to establish formal connections between GANs and VAEs through a new formulation of them. We interpret sample generation in GANs as performing posterior inference, and show that GANs and VAEs involve minimizing KL divergences of respective posterior and inference distributions with opposite directions, extending the two learning phases of classic wake-sleep algorithm, respectively. The unified view provides a powerful tool to analyze a diverse set of existing model variants, and enables to transfer techniques across research lines in a principled way. For example, we apply the importance weighting method in VAE literatures for improved GAN learning, and enhance VAEs with an adversarial mechanism that leverages generated samples. Experiments show generality and effectiveness of the transferred techniques. We introduce a method for imposing higher-level structure on generated, polyphonic music. A Convolutional Restricted Boltzmann Machine (C-RBM) as a generative model is combined with gradient des- cent constraint optimisation to provide further control over the genera- tion process. Among other things, this allows for the use of a “template” piece, from which some structural properties can be extracted, and trans- ferred as constraints to the newly generated material. The sampling pro- cess is guided with Simulated Annealing to avoid local optima, and to find solutions that both satisfy the constraints, and are relatively stable with respect to the C-RBM. Results show that with this approach it is possible to control the higher-level self-similarity structure, the meter, and the tonal properties of the resulting musical piece, while preserving its local musical coherence. Generating videos from text has proven to be a significant challenge for existing generative models. We tackle this problem by training a conditional generative model to extract both static and dynamic information from text. This is manifested in a hybrid framework, employing a Variational Autoencoder (VAE) and a Generative Adversarial Network (GAN). The static features, called "gist," are used to sketch text-conditioned background color and object layout structure. Dynamic features are considered by transforming input text into an image filter. To obtain a large amount of data for training the deep-learning model, we develop a method to automatically create a matched text-video corpus from publicly available online videos. Experimental results show that the proposed framework generates plausible and diverse videos, while accurately reflecting the input text information. It significantly outperforms baseline models that directly adapt text-to-image generation procedures to produce videos. Performance is evaluated both visually and by adapting the inception score used to evaluate image generation in GANs. We present a VAE architecture for encoding and generating high dimensional sequential data, such as video or audio. Our deep generative model learns a latent representation of the data which is split into a static and dynamic part, allowing us to approximately disentangle latent time-dependent features (dynamics) from features which are preserved over time (content). This architecture gives us partial control over generating content and dynamics by conditioning on either one of these sets of features. In our experiments on artificially generated cartoon video clips and voice recordings, we show that we can convert the content of a given sequence into another one by such content swapping. For audio, this allows us to convert a male speaker into a female speaker and vice versa, while for video we can separately manipulate shapes and dynamics. Furthermore, we give empirical evidence for the hypothesis that stochastic RNNs as latent state models are more efficient at compressing and generating long sequences than deterministic ones, which may be relevant for applications in video compression. This paper is a survey and an analysis of different ways of using deep learning (deep artificial neural networks) to generate musical content. We propose a methodology based on five dimensions for our analysis: Objective - What musical content is to be generated? Examples are: melody, polyphony, accompaniment or counterpoint. - For what destination and for what use? To be performed by a human(s) (in the case of a musical score), or by a machine (in the case of an audio file). Representation - What are the concepts to be manipulated? Examples are: waveform, spectrogram, note, chord, meter and beat. - What format is to be used? Examples are: MIDI, piano roll or text. - How will the representation be encoded? Examples are: scalar, one-hot or many-hot. Architecture - What type(s) of deep neural network is (are) to be used? Examples are: feedforward network, recurrent network, autoencoder or generative adversarial networks. Challenge - What are the limitations and open challenges? Examples are: variability, interactivity and creativity. Strategy - How do we model and control the process of generation? Examples are: single-step feedforward, iterative feedforward, sampling or input manipulation. For each dimension, we conduct a comparative analysis of various models and techniques and we propose some tentative multidimensional typology. This typology is bottom-up, based on the analysis of many existing deep-learning based systems for music generation selected from the relevant literature. These systems are described and are used to exemplify the various choices of objective, representation, architecture, challenge and strategy. The last section includes some discussion and some prospects. Most existing neural network models for music generation use recurrent neural networks. However, the recent WaveNet model proposed by DeepMind shows that convolutional neural networks (CNNs) can also generate realistic musical waveforms in the audio domain. Following this light, we investigate using CNNs for generating melody (a series of MIDI notes) one bar after another in the symbolic domain. In addition to the generator, we use a discriminator to learn the distributions of melodies, making it a generative adversarial network (GAN). Moreover, we propose a novel conditional mechanism to exploit available prior knowledge, so that the model can generate melodies either from scratch, by following a chord sequence, or by conditioning on the melody of previous bars (e.g. a priming melody), among other possibilities. The resulting model, named MidiNet, can be expanded to generate music with multiple MIDI channels (i.e. tracks). We conduct a user study to compare the melody of eight-bar long generated by MidiNet and by Google's MelodyRNN models, each time using the same priming melody. Result shows that MidiNet performs comparably with MelodyRNN models in being realistic and pleasant to listen to, yet MidiNet's melodies are reported to be much more interesting. We present a probabilistic generative model for timing deviations in expressive music performance. The structure of the proposed model is equivalent to a switching state space model. The switch variables correspond to discrete note locations as in a musical score. The continuous hidden variables denote the tempo. We formulate two well known music recognition problems, namely tempo tracking and automatic transcription (rhythm quantization) as filtering and maximum a posteriori (MAP) state estimation tasks. Exact computation of posterior features such as the MAP state is intractable in this model class, so we introduce Monte Carlo methods for integration and optimization. We compare Markov Chain Monte Carlo (MCMC) methods (such as Gibbs sampling, simulated annealing and iterative improvement) and sequential Monte Carlo methods (particle filters). Our simulation results suggest better results with sequential methods. The methods can be applied in both online and batch scenarios such as tempo tracking and transcription and are thus potentially useful in a number of music applications such as adaptive automatic accompaniment, score typesetting and music information retrieval. Generating music has a few notable differences from generating images and videos. First, music is an art of time, necessitating a temporal model. Second, music is usually composed of multiple instruments tracks, with close interaction with one another. Each track has its own temporal dynamics, but collectively they unfold over time interdependently. Lastly, for symbolic domain music generation, the targeted output is sequences of discrete musical events, not continuous values. In this paper, we propose and study three generative adversarial networks (GANs) for symbolic-domain multi-track music generation, using a data set of 127,731 MIDI bars of pop rock music. The three models, which differ in the underlying model assumption and accordingly the network architecture, are referred to as the jamming model, composer model, and hybrid model, respectively. We propose a few intra-track and inter-track objective metrics to examine and compare their generation result, in addition to a subjective evaluation. We show that our models can learn from the noisy MIDI files and generate coherent music of four bars right from scratch (i.e. without human inputs). We also propose extensions of our models to facilitate human-AI cooperative music creation: given the piano track composed by human we can generate four additional tracks in return to accompany it. Several methods exist for a computer to generate music based on data including Markov chains, recurrent neural networks, recombinancy, and grammars. We explore the use of unit selection and concatenation as a means of generating music using a procedure based on ranking, where, we consider a unit to be a variable length number of measures of music. We first examine whether a unit selection method, that is restricted to a finite size unit library, can be sufficient for encompassing a wide spectrum of music. We do this by developing a deep autoencoder that encodes a musical input and reconstructs the input by selecting from the library. We then describe a generative model that combines a deep structured semantic model (DSSM) with an LSTM to predict the next unit, where units consist of four, two, and one measures of music. We evaluate the generative model using objective metrics including mean rank and accuracy and with a subjective listening test in which expert musicians are asked to complete a forced-choiced ranking task. We compare our model to a note-level generative baseline that consists of a stacked LSTM trained to predict forward by one note. In this paper, we propose a model using generative adversarial net (GAN) to generate realistic text. Instead of using standard GAN, we combine variational autoencoder (VAE) with generative adversarial net. The use of high-level latent random variables is helpful to learn the data distribution and solve the problem that generative adversarial net always emits the similar data. We propose the VGAN model where the generative model is composed of recurrent neural network and VAE. The discriminative model is a convolutional neural network. We train the model via policy gradient. We apply the proposed model to the task of text generation and compare it to other recent neural network based models, such as recurrent neural network language model and SeqGAN. We evaluate the performance of the model by calculating negative log-likelihood and the BLEU score. We conduct experiments on three benchmark datasets, and results show that our model outperforms other previous models. We explore methods of producing adversarial examples on deep generative models such as the variational autoencoder (VAE) and the VAE-GAN. Deep learning architectures are known to be vulnerable to adversarial examples, but previous work has focused on the application of adversarial examples to classification tasks. Deep generative models have recently become popular due to their ability to model input data distributions and generate realistic examples from those distributions. We present three classes of attacks on the VAE and VAE-GAN architectures and demonstrate them against networks trained on MNIST, SVHN and CelebA. Our first attack leverages classification-based adversaries by attaching a classifier to the trained encoder of the target generative model, which can then be used to indirectly manipulate the latent representation. Our second attack directly uses the VAE loss function to generate a target reconstruction image from the adversarial example. Our third attack moves beyond relying on classification or the standard loss for the gradient and directly optimizes against differences in source and target latent representations. We also motivate why an attacker might be interested in deploying such techniques against a target generative network. We explore methods of producing adversarial examples on deep generative models such as the variational autoencoder (VAE) and the VAE-GAN. Deep learning architectures are known to be vulnerable to adversarial examples, but previous work has focused on the application of adversarial examples to classification tasks. Deep generative models have recently become popular due to their ability to model input data distributions and generate realistic examples from those distributions. We present three classes of attacks on the VAE and VAE-GAN architectures and demonstrate them against networks trained on MNIST, SVHN and CelebA. Our first attack leverages classification-based adversaries by attaching a classifier to the trained encoder of the target generative model, which can then be used to indirectly manipulate the latent representation. Our second attack directly uses the VAE loss function to generate a target reconstruction image from the adversarial example. Our third attack moves beyond relying on classification or the standard loss for the gradient and directly optimizes against differences in source and target latent representations. We also motivate why an attacker might be interested in deploying such techniques against a target generative network. The Variational Autoencoder (VAE) has proven to be an effective model for producing semantically meaningful latent representations for natural data. However, it has thus far seen limited application to sequential data, and, as we demonstrate, existing recurrent VAE models have difficulty modeling sequences with long-term structure. To address this issue, we propose the use of a hierarchical decoder, which first outputs embeddings for subsequences of the input and then uses these embeddings to generate each subsequence independently. This structure encourages the model to utilize its latent code, thereby avoiding the "posterior collapse" problem which remains an issue for recurrent VAEs. We apply this architecture to modeling sequences of musical notes and find that it exhibits dramatically better sampling, interpolation, and reconstruction performance than a "flat" baseline model. An implementation of our "MusicVAE" is available online at this http URL As a new way of training generative models, Generative Adversarial Nets (GAN) that uses a discriminative model to guide the training of the generative model has enjoyed considerable success in generating real-valued data. However, it has limitations when the goal is for generating sequences of discrete tokens. A major reason lies in that the discrete outputs from the generative model make it difficult to pass the gradient update from the discriminative model to the generative model. Also, the discriminative model can only assess a complete sequence, while for a partially generated sequence, it is non-trivial to balance its current score and the future one once the entire sequence has been generated. In this paper, we propose a sequence generation framework, called SeqGAN, to solve the problems. Modeling the data generator as a stochastic policy in reinforcement learning (RL), SeqGAN bypasses the generator differentiation problem by directly performing gradient policy update. The RL reward signal comes from the GAN discriminator judged on a complete sequence, and is passed back to the intermediate state-action steps using Monte Carlo search. Extensive experiments on synthetic data and real-world tasks demonstrate significant improvements over strong baselines. Generative models such as Variational Auto Encoders (VAEs) and Generative Adversarial Networks (GANs) are typically trained for a fixed prior distribution in the latent space, such as uniform or Gaussian. After a trained model is obtained, one can sample the Generator in various forms for exploration and understanding, such as interpolating between two samples, sampling in the vicinity of a sample or exploring differences between a pair of samples applied to a third sample. In this paper, we show that the latent space operations used in the literature so far induce a distribution mismatch between the resulting outputs and the prior distribution the model was trained on. To address this, we propose to use distribution matching transport maps to ensure that such latent space operations preserve the prior distribution, while minimally modifying the original operation. Our experimental results validate that the proposed operations give higher quality samples compared to the original operations. As a new way of training generative models, Generative Adversarial Net (GAN) that uses a discriminative model to guide the training of the generative model has enjoyed considerable success in generating real-valued data. However, it has limitations when the goal is for generating sequences of discrete tokens. A major reason lies in that the discrete outputs from the generative model make it difficult to pass the gradient update from the discriminative model to the generative model. Also, the discriminative model can only assess a complete sequence, while for a partially generated sequence, it is nontrivial to balance its current score and the future one once the entire sequence has been generated. In this paper, we propose a sequence generation framework, called SeqGAN, to solve the problems. Modeling the data generator as a stochastic policy in reinforcement learning (RL), SeqGAN bypasses the generator differentiation problem by directly performing gradient policy update. The RL reward signal comes from the GAN discriminator judged on a complete sequence, and is passed back to the intermediate state-action steps using Monte Carlo search. Extensive experiments on synthetic data and real-world tasks demonstrate significant improvements over strong baselines. Realistic music generation is a challenging task. When building generative models of music that are learnt from data, typically high-level representations such as scores or MIDI are used that abstract away the idiosyncrasies of a particular performance. But these nuances are very important for our perception of musicality and realism, so in this work we embark on modelling music in the raw audio domain. It has been shown that autoregressive models excel at generating raw audio waveforms of speech, but when applied to music, we find them biased towards capturing local signal structure at the expense of modelling long-range correlations. This is problematic because music exhibits structure at many different timescales. In this work, we explore autoregressive discrete autoencoders (ADAs) as a means to enable autoregressive models to capture long-range correlations in waveforms. We find that they allow us to unconditionally generate piano music directly in the raw audio domain, which shows stylistic consistency across tens of seconds. Generative models, such as variational auto-encoders (VAE) and generative adversarial networks (GAN), have been immensely successful in approximating image statistics in computer vision. VAEs are useful for unsupervised feature learning, while GANs alleviate supervision by penalizing inaccurate samples using an adversarial game. In order to utilize benefits of these two approaches, we combine the VAE under an adversarial setup with auxiliary label information. We show that factorizing the latent space to separate the information needed for reconstruction (a continuous space) from the information needed for image attribute classification (a discrete space), enables the capability to edit specific attributes of an image. Machine improvisation and related style simulation problems usually consider building repre- sentations of time-based media data, such as music, either by explicit coding of rules or applying machine learning methods. Stylistic learning applies such methods to musical sequences in order to capture salient musical features and organize these features into a model. The Stylistic simulation process browses the model in order to generate variant musical sequences that are stylistically consistent with the learned ma- terial. If both the learning process and the simulation process happen in real-time, in an interactive system where the computer “plays” with musicians, then Machine Improvisation is achieved. Improvisation models have to cope with a trade-off between completeness (all the possible patterns and their continuation laws are discovered) and incrementality (the completeness is ensured only asymptotically for infinite sequences). In a previous work we devised a complete and incremental model based on the Factor Oracle Algorithm. In this paper we propose a concurrent constraints model for the Factor Oracle and show how it can be used in a concurrent learning improvisation situation. Our model is based on a non-deterministic concurrent constraint process calculus (NTCC). Such an approach allows the system to respond in a faster and more flexible manner to real-life performance situations. In addition, the declarative nature of constraints greatly simplifies the expansion of the system with improvisation rules at a higher musical level. We also describe the implementation of our model in a NTCC interpreter written in Common Lisp that is capable of real time performance. The main contribution of this paper is a simple semi-supervised pipeline that only uses the original training set without collecting extra data. It is challenging in 1) how to obtain more training data only from the training set and 2) how to use the newly generated data. In this work, the generative adversarial network (GAN) is used to generate unlabeled samples. We propose the label smoothing regularization for outliers (LSRO). This method assigns a uniform label distribution to the unlabeled images, which regularizes the supervised model and improves the baseline. We verify the proposed method on a practical problem: person re-identification (re-ID). This task aims to retrieve a query person from other cameras. We adopt the deep convolutional generative adversarial network (DCGAN) for sample generation, and a baseline convolutional neural network (CNN) for representation learning. Experiments show that adding the GAN-generated data effectively improves the discriminative ability of learned CNN embeddings. On three large-scale datasets, Market-1501, CUHK03 and DukeMTMC-reID, we obtain +4.37 , +1.6 and +2.46 improvement in rank-1 precision over the baseline CNN, respectively. We additionally apply the proposed method to fine-grained bird recognition and achieve a +0.6 improvement over a strong baseline. The code is available at this https URL