This paper explores a variety of models for frame-based music transcription, with an emphasis on the methods needed to reach state-of-the-art on human recordings. The translation-invariant network discussed in this paper, which combines a traditional filterbank with a convolutional neural network, was the top-performing model in the 2017 MIREX Multiple Fundamental Frequency Estimation evaluation. This class of models shares parameters in the log-frequency domain, which exploits the frequency invariance of music to reduce the number of model parameters and avoid overfitting to the training data. All models in this paper were trained with supervision by labeled data from the MusicNet dataset, augmented by random label-preserving pitch-shift transformations.
To the best of our knowledge, music transcription was first considered as a supervised learning problem in @cite_27 using labels obtained from MIDI files to train an SVM on the spectrograms of synthesized recordings of these MIDIs. Subsequent work on supervised transcription improves upon these results in two directions: use of more sophisticated models, and construction of datasets of recorded human performances (as opposed to synthesized data).
@cite_27
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Recentlyunsupervisedfeaturelearningmethodshaveshown great promise as a way of extracting features from high dimensional data, such as image or audio. In this paper, we apply deep belief networks to musical data and evaluate the learned feature representations on classification-based polyphonic piano transcription. We also suggest a way of training classifiers jointly for multiple notes to improve training speed and classification performance. Our method is evaluated on three public piano datasets. The results show that the learned features outperform the baseline features, and also our method gives significantly better frame-level accuracy than other state-of-the-art music transcription methods. This paper proposes a Bayesian approach for automatic music transcription of polyphonic MIDI signals based on generative modeling of onset occurrences of musical notes. Automatic music transcription involves two subproblems that are interdependent of each other: rhythm recognition and tempo estimation. When we listen to music, we are able to recognize its rhythm and tempo (or beat location) fairly easily even though there is ambiguity in determining the individual note values and tempo. This may be made possible through our empirical knowledge about rhythm patterns and tempo variations that possibly occur in music. To automate the process of recognizing the rhythm and tempo of music, we propose modeling the generative process of a MIDI signal of polyphonic music by combining the sub-process by which a musically natural tempo curve is generated and the sub-process by which a set of note onset positions is generated based on a 2-dimensional rhythm tree structure representation of music, and develop a parameter inference algorithm for the proposed model. We show some of the transcription results obtained with the present method. We apply deep learning methods, specifically long short-term memory (LSTM) networks, to music transcription modelling and composition. We build and train LSTM networks using approximately 23,000 music transcriptions expressed with a high-level vocabulary (ABC notation), and use them to generate new transcriptions. Our practical aim is to create music transcription models useful in particular contexts of music composition. We present results from three perspectives: 1) at the population level, comparing descriptive statistics of the set of training transcriptions and generated transcriptions; 2) at the individual level, examining how a generated transcription reflects the conventions of a music practice in the training transcriptions (Celtic folk); 3) at the application level, using the system for idea generation in music composition. We make our datasets, software and sound examples open and available: this https URL . The aim of this overview is to describe methods for the automatic transcription of Western polyphonic music. The transcription task is here understood as transforming an acoustic musical signal into a MIDI-like symbolic representation. Only pitched musical instruments are considered: recognizing the sounds of drum instruments is not discussed. The main emphasis is laid on estimating the multiple fundamental frequencies of several concurrent sounds. Various approaches to solve this problem are discussed, including methods that are based on modelling the human auditory periphery, methods that mimic the human auditory scene analysis function, signal model-based Bayesian inference methods, and data-adaptive methods. Another subproblem addressed is the rhythmic parsing of acoustic musical signals. From the transcription point of view, this amounts to the temporal segmentation of music signals at different time scales. The relationship between the two subproblems and the general structure of the transcription p...