A Functional Taxonomy of Music Generation Systems

Digital advances have transformed the face of automatic music generation since its beginnings at the dawn of computing. Despite the many breakthroughs, issues such as the musical tasks targeted by different machines and the degree to which they succeed remain open questions. We present a functional taxonomy for music generation systems with reference to existing systems. The taxonomy organizes systems according to the purposes for which they were designed. It also reveals the inter-relatedness amongst the systems. This design-centered approach contrasts with predominant methods-based surveys and facilitates the identification of grand challenges to set the stage for new breakthroughs.Comment: survey, music generation, taxonomy, functional survey, survey, automatic composition, algorithmic compositio

Deep Learning Techniques for Music Generation -- A Survey

This paper is a survey and an analysis of different ways of using deep learning (deep artificial neural networks) to generate musical content. We propose a methodology based on five dimensions for our analysis: Objective - What musical content is to be generated? Examples are: melody, polyphony, accompaniment or counterpoint. - For what destination and for what use? To be performed by a human(s) (in the case of a musical score), or by a machine (in the case of an audio file). Representation - What are the concepts to be manipulated? Examples are: waveform, spectrogram, note, chord, meter and beat. - What format is to be used? Examples are: MIDI, piano roll or text. - How will the representation be encoded? Examples are: scalar, one-hot or many-hot. Architecture - What type(s) of deep neural network is (are) to be used? Examples are: feedforward network, recurrent network, autoencoder or generative adversarial networks. Challenge - What are the limitations and open challenges? Examples are: variability, interactivity and creativity. Strategy - How do we model and control the process of generation? Examples are: single-step feedforward, iterative feedforward, sampling or input manipulation. For each dimension, we conduct a comparative analysis of various models and techniques and we propose some tentative multidimensional typology. This typology is bottom-up, based on the analysis of many existing deep-learning based systems for music generation selected from the relevant literature. These systems are described and are used to exemplify the various choices of objective, representation, architecture, challenge and strategy. The last section includes some discussion and some prospects.Comment: 209 pages. This paper is a simplified version of the book: J.-P. Briot, G. Hadjeres and F.-D. Pachet, Deep Learning Techniques for Music Generation, Computational Synthesis and Creative Systems, Springer, 201

Towards a Galant Pedagogy: Partimenti and Schemata as Tools in the Pedagogy of Eighteenth-Century Style Improvisation

This article presents a pedagogical approach for teaching modern-day students how to improvise in eighteenth-century style based on Gjerdingen’s schemata and the tradition of partimenti. We present results from a pedagogical experiment conducted at the Eastman School of Music, in which students’ improvisations were recorded. We offer a qualitative assessment of selected student improvisations in order to demonstrate the merits of this approach for teaching music theory and historical improvisation. We also address the challenges associated with implementing such a pedagogical approach in modern-day theory curricula. We conclude by reflecting on sonata-form improvisations by the authors and discuss the theoretical implications of attempting to construct complete movements based on Gjerdingen’s schemata and formal considerations

MuseGAN: Multi-track Sequential Generative Adversarial Networks for Symbolic Music Generation and Accompaniment

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 https://salu133445.github.io/musegan/ .Comment: to appear at AAAI 201

Chord-Conditioned Melody Choralization with Controllable Harmonicity and Polyphonicity

Melody choralization, i.e. generating a four-part chorale based on a user-given melody, has long been closely associated with J.S. Bach chorales. Previous neural network-based systems rarely focus on chorale generation conditioned on a chord progression, and none of them realised controllable melody choralization. To enable neural networks to learn the general principles of counterpoint from Bach's chorales, we first design a music representation that encoded chord symbols for chord conditioning. We then propose DeepChoir, a melody choralization system, which can generate a four-part chorale for a given melody conditioned on a chord progression. Furthermore, with the improved density sampling, a user can control the extent of harmonicity and polyphonicity for the chorale generated by DeepChoir. Experimental results reveal the effectiveness of our data representation and the controllability of DeepChoir over harmonicity and polyphonicity. The code and generated samples (chorales, folk songs and a symphony) of DeepChoir, and the dataset we use now are available at https://github.com/sander-wood/deepchoir.Comment: 7 pages, 4 figures, 2 table

The Effect of Explicit Structure Encoding of Deep Neural Networks for Symbolic Music Generation

With recent breakthroughs in artificial neural networks, deep generative models have become one of the leading techniques for computational creativity. Despite very promising progress on image and short sequence generation, symbolic music generation remains a challenging problem since the structure of compositions are usually complicated. In this study, we attempt to solve the melody generation problem constrained by the given chord progression. This music meta-creation problem can also be incorporated into a plan recognition system with user inputs and predictive structural outputs. In particular, we explore the effect of explicit architectural encoding of musical structure via comparing two sequential generative models: LSTM (a type of RNN) and WaveNet (dilated temporal-CNN). As far as we know, this is the first study of applying WaveNet to symbolic music generation, as well as the first systematic comparison between temporal-CNN and RNN for music generation. We conduct a survey for evaluation in our generations and implemented Variable Markov Oracle in music pattern discovery. Experimental results show that to encode structure more explicitly using a stack of dilated convolution layers improved the performance significantly, and a global encoding of underlying chord progression into the generation procedure gains even more.Comment: 8 pages, 13 figure

RL-Duet: Online Music Accompaniment Generation Using Deep Reinforcement Learning

This paper presents a deep reinforcement learning algorithm for online accompaniment generation, with potential for real-time interactive human-machine duet improvisation. Different from offline music generation and harmonization, online music accompaniment requires the algorithm to respond to human input and generate the machine counterpart in a sequential order. We cast this as a reinforcement learning problem, where the generation agent learns a policy to generate a musical note (action) based on previously generated context (state). The key of this algorithm is the well-functioning reward model. Instead of defining it using music composition rules, we learn this model from monophonic and polyphonic training data. This model considers the compatibility of the machine-generated note with both the machine-generated context and the human-generated context. Experiments show that this algorithm is able to respond to the human part and generate a melodic, harmonic and diverse machine part. Subjective evaluations on preferences show that the proposed algorithm generates music pieces of higher quality than the baseline method

AI Methods in Algorithmic Composition: A Comprehensive Survey

Algorithmic composition is the partial or total automation of the process of music composition by using computers. Since the 1950s, different computational techniques related to Artificial Intelligence have been used for algorithmic composition, including grammatical representations, probabilistic methods, neural networks, symbolic rule-based systems, constraint programming and evolutionary algorithms. This survey aims to be a comprehensive account of research on algorithmic composition, presenting a thorough view of the field for researchers in Artificial Intelligence.This study was partially supported by a grant for the MELOMICS project (IPT-300000-2010-010) from the Spanish Ministerio de Ciencia e Innovación, and a grant for the CAUCE project (TSI-090302-2011-8) from the Spanish Ministerio de Industria, Turismo y Comercio. The first author was supported by a grant for the GENEX project (P09-TIC- 5123) from the Consejería de Innovación y Ciencia de Andalucía

POSTMINIMALIST CHORAL MUSIC: A PEDAGOGICAL PERSPECTIVE

After the strict processes of mid-twentieth-century minimalism, a new musical style has emerged which retains extensive use of repetition, but is generally more aurally accessible, based in non-functional triadic harmony, and flexible in its compositional structure. Frequent use of non-minimalist resources, musical resources from multiple styles in a single composition, and quotation from previous historical periods define this flexibility. American choral music has many popular compositions that exhibit characteristics of this new musical style, in part because of its accessibility relative to earlier minimalist styles, and in part because it adapts easily to the choral setting. At the same time, teaching this music to choirs requires resources that are not in standard-practice choral pedagogy textbooks or peer-reviewed choral journals. This monograph utilizes newer research in musical analysis and several recent writings attempting to generalize the postminimalist style to develop a definition of choral postminimalism. Then, this monograph also suggests analytical approaches and resources for choral warm-ups, score preparation, and other pedagogical tools for three pieces: Arvo Pärt’s The Beatitudes, Nico Muhly’s Bright Mass with Canons, and Tarik O’Regan’s The Ecstasies Above