Discovering and exploring the underlying structure of multi-instrumental music using learning-based approaches remains an open problem. We extend the recent MusicVAE model to represent multitrack polyphonic measures as vectors in a latent space. Our approach enables several useful operations such as generating plausible measures from scratch, interpolating between measures in a musically meaningful way, and manipulating specific musical attributes. We also introduce chord conditioning, which allows all of these operations to be performed while keeping harmony fixed, and allows chords to be changed while maintaining musical "style". By generating a sequence of measures over a predefined chord progression, our model can produce music with convincing long-term structure. We demonstrate that our latent space model makes it possible to intuitively control and generate musical sequences with rich instrumentation (see this https URL for generated audio).
Perhaps the most similar systems to our current work are MusicVAE from @cite_39 (which we directly extend) and MuseGAN from @cite_35 (which builds upon the work of @cite_30 ). MuseGAN @cite_35 is based on generative adversarial networks (GANs) and is capable of modeling multiple instruments over multiple bars. Like our work, the system uses a latent space shared across tracks to handle interdependencies between instruments. However, in MuseGAN the set of instruments is a fixed quintet consisting of bass, drums, guitar, piano, and strings, whereas our system handles arbitrary instrument combinations. Separately, MuseGAN is focused on accompaniment and generation and is unable to represent or manipulate preexisting music. Our system can also generate from scratch, but in contrast with MuseGAN, it can also facilitate user-driven manipulation of existing music via the latent space.
@cite_30 @cite_35 @cite_39
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We propose an application of SeqGAN, generative adversarial networks for discrete sequence generation, for creating polyphonic musical sequences. Instead of monophonic melody generation suggested in the original work, we present an efficient representation of polyphony MIDI file that captures chords and melodies with dynamic timings simultaneously. The network can create sequences that are musically coherent. We also report that careful tuning of reinforcement learning signals of the model is crucial for general application. Discovering and exploring the underlying structure of multi-instrumental music using learning-based approaches remains an open problem. We extend the recent MusicVAE model to represent multitrack polyphonic measures as vectors in a latent space. Our approach enables several useful operations such as generating plausible measures from scratch, interpolating between measures in a musically meaningful way, and manipulating specific musical attributes. We also introduce chord conditioning, which allows all of these operations to be performed while keeping harmony fixed, and allows chords to be changed while maintaining musical "style". By generating a sequence of measures over a predefined chord progression, our model can produce music with convincing long-term structure. We demonstrate that our latent space model makes it possible to intuitively control and generate musical sequences with rich instrumentation (see this https URL for generated audio). 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. 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 their own temporal dynamics, but collectively they unfold over time interdependently. Lastly, musical notes are often grouped into chords, arpeggios or melodies in polyphonic music, and thereby introducing a chronological ordering of notes is not naturally suitable. In this paper, we propose three models for symbolic multi-track music generation under the framework of generative adversarial networks (GANs). The three models, which differ in the underlying assumptions and accordingly the network architectures, are referred to as the jamming model, the composer model and the hybrid model. We trained the proposed models on a dataset of over one hundred thousand bars of rock music and applied them to generate piano-rolls of five tracks: bass, drums, guitar, piano and strings. A few intra-track and inter-track objective metrics are also proposed to evaluate the generative results, in addition to a subjective user study. We show that our models can generate coherent music of four bars right from scratch (i.e. without human inputs). We also extend our models to human-AI cooperative music generation: given a specific track composed by human, we can generate four additional tracks to accompany it. All code, the dataset and the rendered audio samples are available at this https URL .