We present Piano Genie, an intelligent controller which allows non-musicians to improvise on the piano. With Piano Genie, a user performs on a simple interface with eight buttons, and their performance is decoded into the space of plausible piano music in real time. To learn a suitable mapping procedure for this problem, we train recurrent neural network autoencoders with discrete bottlenecks: an encoder learns an appropriate sequence of buttons corresponding to a piano piece, and a decoder learns to map this sequence back to the original piece. During performance, we substitute a user's input for the encoder output, and play the decoder's prediction each time the user presses a button. To improve the intuitiveness of Piano Genie's performance behavior, we impose musically meaningful constraints over the encoder's outputs.
There is extensive prior work @cite_9 @cite_10 @cite_16 @cite_15 on learning of mappings from different control modalities to musical gestures. These approaches require users to provide a training set of control gestures and associated labels. There has been less work on approaches, where gestures are automatically extracted from arbitrary performances. Scurto and Fiebrink @cite_1 describe an approach to a grab-and-play'' paradigm, where gestures are extracted from a performance on an arbitrary control surface, and mapped to inputs for another. Our approach differs in that the controller is fixed and integrated into our training methodology, and we require no example performances on the controller.
@cite_9 @cite_1 @cite_15 @cite_16 @cite_10
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In this report we present our tools for prototyping adaptive user interfaces in the context of real-time musical instrument control. Characteristic of most human communication is the simultaneous use of classified events and estimated parameters. We have integrated a neural network object into the MAX language to explore adaptive user interfaces that considers these facets of human communication. By placing the neural processing in the context of a flexible real-time musical programming environment, we can rapidly prototype experiments on applications of adaptive interfaces and learning systems to musical problems. We have trained networks to recognize gestures from a Mathews radio baton, Nintendo Power GloveTM, and MIDI keyboard gestural input devices. In one experiment, a network successfully extracted classification and attribute data from gestural contours transduced by a continuous space controller, suggesting their application in the interpretation of conducting gestures and musical instrument control. We discuss network architectures, low-level features extracted for the networks to operate on, training methods, and musical applications of adaptive techniques.© (1992) COPYRIGHT SPIE--The International Society for Optical Engineering. Downloading of the abstract is permitted for personal use only. We present the first implementation of a new tool for prototyping digital musical instruments, which allows a user to literally grab a controller and turn it into a new, playable musical instrument almost instantaneously. The tool briefly observes a user interacting with a controller or sensors (without making any sound), and then it automatically generates a mapping from this observed input space to the control of an arbitrary sound synthesis program. The sound is then immediately manipulable using the controller, and this newly-created instrument thus invites the user to begin an embodied exploration of the newly-created relationships between human movement and sound. We hypothesize that this approach offers a useful alternative to both the creation of mappings by programming and to existing supervised learning approaches that create mappings from labeled training data. We have explored the potential value and trade-offs of this approach in two preliminary studies. In a workshop with disadvantaged young people who are unlikely to learn instrumental music, we observed advantages to the rapid adaptation afforded by this tool. In three interviews with computer musicians, we learned about how this “grab-and-play” interaction paradigm might fit into professional compositional practices. This paper presents the SARC EyesWeb Catalog, (SEC), a machine learning toolbox that has been specically developed for musician-computer interaction. The SEC features a large number of machine learning algorithms that can be used in real-time to recognise static postures, perform regression and classify multivariate temporal gestures. The algorithms within the toolbox have been designed to work with any N-dimensional signal and can be quickly trained with a small number of training examples. We also provide the motivation for the algorithms used for the recognition of musical gestures to achieve a low intra-personal generalisation error, as opposed to the inter-personal generalisation error that is more common in other areas of humancomputer interaction. Supervised learning methods have long been used to allow musical interface designers to generate new mappings by example. We propose a method for harnessing machine learning algorithms within a radically interactive paradigm, in which the designer may repeatedly generate examples, train a learner, evaluate outcomes, and modify parameters in real-time within a single software environment. We describe our meta-instrument, the Wekinator, which allows a user to engage in on-the-fly learning using arbitrary control modalities and sound synthesis environments. We provide details regarding the system implementation and discuss our experiences using the Wekinator for experimentation and performance. In this report, we describe our development on the Max MSP toolbox MnM dedicated to mapping between gesture and sound, and more generally to statistical and machine learning methods. This library is built on top of the FTM library, which enables the efficient use of matrices and other data structures in Max MSP. Mapping examples are described based on various matrix manipulations such as Single Value Decomposition. The FTM and MnM libraries are freely available.