We demonstrate a conditional autoregressive pipeline for efficient music recomposition, based on methods presented in van den (2017). Recomposition (Casal & Casey, 2010) focuses on reworking existing musical pieces, adhering to structure at a high level while also re-imagining other aspects of the work. This can involve reuse of pre-existing themes or parts of the original piece, while also requiring the flexibility to generate new content at different levels of granularity. Applying the aforementioned modeling pipeline to recomposition, we show diverse and structured generation conditioned on chord sequence annotations.
Autoregressive models have proven to be powerful distribution estimators for images and sequence data, showing excellent results in generative settings . They have also performed well in related prior work for polyphonic music generation @cite_0 . Most related to the work described in this paper is CoCoNet , which also uses an autoregressive convolutional model over image-like structures for polyphonic music generation and was a direct inspiration for our approach. One key difference of our approach is our utilization of a two stage pipeline (first seen in the work of ) which greatly improves training and generation speed as well as creating an implicit separation between local voice agreement (first stage) and global consistency over measures (second stage).
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Machine learning models of music typically break down the task of composition into a chronological process, composing a piece of music in a single pass from beginning to end. On the contrary, human composers write music in a nonlinear fashion, scribbling motifs here and there, often revisiting choices previously made. We explore the use of blocked Gibbs sampling as an analogue to the human approach, and introduce Coconet, a convolutional neural network in the NADE family of generative models. Despite ostensibly sampling from the same distribution as the NADE ancestral sampling procedure, we find that a blocked Gibbs approach significantly improves sample quality. We provide evidence that this is due to some conditional distributions being poorly modeled. Moreover, we show that even the cheap approximate blocked Gibbs procedure from (2014) yields better samples than ancestral sampling. We demonstrate the versatility of our method on unconditioned polyphonic music generation. 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. 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. Autoregressive generative models of images tend to be biased towards capturing local structure, and as a result they often produce samples which are lacking in terms of large-scale coherence. To address this, we propose two methods to learn discrete representations of images which abstract away local detail. We show that autoregressive models conditioned on these representations can produce high-fidelity reconstructions of images, and that we can train autoregressive priors on these representations that produce samples with large-scale coherence. We can recursively apply the learning procedure, yielding a hierarchy of progressively more abstract image representations. We train hierarchical class-conditional autoregressive models on the ImageNet dataset and demonstrate that they are able to generate realistic images at resolutions of 128 @math 128 and 256 @math 256 pixels.