As deep learning advances, algorithms of music composition increase in performance. However, most of the successful models are designed for specific musical structures. Here, we present BachProp, an algorithmic composer that can generate music scores in many styles given sufficient training data. To adapt BachProp to a broad range of musical styles, we propose a novel representation of music and train a deep network to predict the note transition probabilities of a given music corpus. In this paper, new music scores generated by BachProp are compared with the original corpora as well as with different network architectures and other related models. We show that BachProp captures important features of the original datasets better than other models and invite the reader to a qualitative comparison on a large collection of generated songs.
DeepBach @cite_13 is designed exclusively for songs with a constant number of voices (e.g. four voices for a typical Bach chorale) and a discretization of the rhythm into multiples of a base unit, e.g. 16 th notes. The model achieves good results not only in generating novel songs but allows also in reharmonizing given melodies while respecting user-provided meta-information like the temporal position of fermatas. The model works with a Gibbs-sampling-like procedure, where, for each voice and time step, one note is sampled from conditional distributions parameterized by deep neural networks. The conditioning is on the other voices in a time window surrounding the current time-step. Additionally a temporal backbone'' signals the position of the current 16 th note relative to quarter notes and other meta-information. A special hold symbol can also be sampled instead of a note, to represent notes with a duration longer than one time-step.
@cite_13
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This paper introduces DeepBach, a graphical model aimed at modeling polyphonic music and specifically hymn-like pieces. We claim that, after being trained on the chorale harmonizations by Johann Sebastian Bach, our model is capable of generating highly convincing chorales in the style of Bach. DeepBach's strength comes from the use of pseudo-Gibbs sampling coupled with an adapted representation of musical data. This is in contrast with many automatic music composition approaches which tend to compose music sequentially. Our model is also steerable in the sense that a user can constrain the generation by imposing positional constraints such as notes, rhythms or cadences in the generated score. We also provide a plugin on top of the MuseScore music editor making the interaction with Deep-Bach easy to use. This paper introduces DeepBach, a graphical model aimed at modeling polyphonic music and specifically hymn-like pieces. We claim that, after being trained on the chorale harmonizations by Johann Sebastian Bach, our model is capable of generating highly convincing chorales in the style of Bach. DeepBach's strength comes from the use of pseudo-Gibbs sampling coupled with an adapted representation of musical data. This is in contrast with many automatic music composition approaches which tend to compose music sequentially. Our model is also steerable in the sense that a user can constrain the generation by imposing positional constraints such as notes, rhythms or cadences in the generated score. We also provide a plugin on top of the MuseScore music editor making the interaction with DeepBach easy to use. 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. A method is described which analyzes the basic pattern of beats in a piece of music, the musical meter. The analysis is performed jointly at three different time scales: at the temporally atomic tatum pulse level, at the tactus pulse level which corresponds to the tempo of a piece, and at the musical measure level. Acoustic signals from arbitrary musical genres are considered. For the initial time-frequency analysis, a new technique is proposed which measures the degree of musical accent as a function of time at four different frequency ranges. This is followed by a bank of comb filter resonators which extracts features for estimating the periods and phases of the three pulses. The features are processed by a probabilistic model which represents primitive musical knowledge and uses the low-level observations to perform joint estimation of the tatum, tactus, and measure pulses. The model takes into account the temporal dependencies between successive estimates and enables both causal and noncausal analysis. The method is validated using a manually annotated database of 474 music signals from various genres. The method works robustly for different types of music and improves over two state-of-the-art reference methods in simulations.