Existing research on music generation focuses on composition, but often ignores the expressive performance characteristics required for plausible renditions of resultant pieces. In this paper, we introduce the Nintendo Entertainment System Music Database (NES-MDB), a large corpus allowing for separate examination of the tasks of composition and performance. NES-MDB contains thousands of multi-instrumental songs composed for playback by the compositionally-constrained NES audio synthesizer. For each song, the dataset contains a musical score for four instrument voices as well as expressive attributes for the dynamics and timbre of each voice. Unlike datasets comprised of General MIDI files, NES-MDB includes all of the information needed to render exact acoustic performances of the original compositions. Alongside the dataset, we provide a tool that renders generated compositions as NES-style audio by emulating the device's audio processor. Additionally, we establish baselines for the tasks of composition, which consists of learning the semantics of composing for the NES synthesizer, and performance, which involves finding a mapping between a composition and realistic expressive attributes.
There are several popular datasets commonly used in statistical music composition. A dataset consisting of the entirety of J.S. Bach's four-voice chorales has been extensively studied under the lenses of algorithmic composition and reharmonization @cite_23 @cite_36 @cite_3 @cite_14 . Like , this dataset has a fixed number of voices and can be represented as a separated score ( fig:rep_sep ), however it is small in size ( @math chorales) and lacks expressive information. Another popular dataset is Piano-midi.de, a corpus of classical piano from various composers @cite_12 . This dataset has expressive timing and dynamics information but has heterogeneous time periods and only features solo piano music. Alongside Bach's chorales and the Piano-midi.de dataset, Boulanger-Lewandowski et al. (2012) standardized the Nottingham collection of folk tunes and MuseData library of orchestral and piano classical music into blended score format ( fig:rep_blend ).
@cite_14 @cite_36 @cite_3 @cite_23 @cite_12
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We introduce a dataset for facilitating audio-visual analysis of music performances. The dataset comprises 44 simple multi-instrument classical music pieces assembled from coordinated but separately recorded performances of individual tracks. For each piece, we provide the musical score in MIDI format, the audio recordings of the individual tracks, the audio and video recording of the assembled mixture, and ground-truth annotation files including frame-level and note-level transcriptions. We describe our methodology for the creation of the dataset, particularly highlighting our approaches to address the challenges involved in maintaining synchronization and expressiveness. We demonstrate the high quality of synchronization achieved with our proposed approach by comparing the dataset with existing widely used music audio datasets. We anticipate that the dataset will be useful for the development and evaluation of existing music information retrieval (MIR) tasks, as well as for novel multimodal tasks. We benchmark two existing MIR tasks (multipitch analysis and score-informed source separation) on the dataset and compare them with other existing music audio datasets. In addition, we consider two novel multimodal MIR tasks (visually informed multipitch analysis and polyphonic vibrato analysis) enabled by the dataset and provide evaluation measurements and baseline systems for future comparisons (from our recent work). Finally, we propose several emerging research directions that the dataset enables. This paper describes the design policy and specifications of the RWC Music Database, a copyright-cleared music database (DB) compiled specifically for research purposes. Shared DBs are common in other research fields and have made significant contributions to progress in those fields. The field of music information processing, however, has lacked a common DB of musical pieces or a large-scale DB of musical instrument sounds. We therefore recently constructed the RWC Music Database comprising four original component DBs: the Popular Music Database (100 pieces), Royalty-Free Music Database (15 pieces), Classical Music Database (50 pieces), and Jazz Music Database (50 pieces). In this paper we report the construction of two additional component DBs: the Music Genre Database (100 pieces) and Musical Instrument Sound Database (50 instruments). For all 315 musical pieces, we prepared original audio signals, corresponding standard MIDI files, and text files of lyrics (for songs). For all 50 instruments, we recorded individual sounds at half-tone intervals with several variations of playing styles, dynamics, instrument manufacturers, and musicians. It is our hope that our DB will make a significant contribution to future advances in the field of music information processing. This paper introduces a new large-scale music dataset, MusicNet, to serve as a source of supervision and evaluation of machine learning methods for music research. MusicNet consists of hundreds of freely-licensed classical music recordings by 10 composers, written for 11 instruments, together with instrument note annotations resulting in over 1 million temporal labels on 34 hours of chamber music performances under various studio and microphone conditions. @PARASPLIT The paper defines a multi-label classification task to predict notes in musical recordings, along with an evaluation protocol, and benchmarks several machine learning architectures for this task: i) learning from spectrogram features; ii) end-to-end learning with a neural net; iii) end-to-end learning with a convolutional neural net. These experiments show that end-to-end models trained for note prediction learn frequency selective filters as a low-level representation of audio. A new method for the estimation of multiple concurrent pitches in piano recordings is presented. It addresses the issue of overlapping overtones by modeling the spectral envelope of the overtones of each note with a smooth autoregressive model. For the background noise, a moving-average model is used and the combination of both tends to eliminate harmonic and sub-harmonic erroneous pitch estimations. This leads to a complete generative spectral model for simultaneous piano notes, which also explicitly includes the typical deviation from exact harmonicity in a piano overtone series. The pitch set which maximizes an approximate likelihood is selected from among a restricted number of possible pitch combinations as the one. Tests have been conducted on a large homemade database called MAPS, composed of piano recordings from a real upright piano and from high-quality samples.