Zero and Few-shot Semantic Parsing with Ambiguous Inputs

Despite the frequent challenges posed by ambiguity when representing meaning via natural language, it is often ignored or deliberately removed in tasks mapping language to formally-designed representations, which generally assume a one-to-one mapping between linguistic and formal representations. We attempt to address this shortcoming by introducing AmP, a framework, dataset, and challenge for translating ambiguous natural language to formal representations like logic and code. We define templates and generate data for five well-documented linguistic ambiguities. Using AmP, we investigate how several few-shot text-to-code systems handle ambiguity, introducing three new metrics. We find that large pre-trained models perform poorly at capturing the distribution of possible meanings without deliberate instruction. However, models are able to capture the distribution well when ambiguity is attested in their inputs. These results motivate a call for including ambiguity explicitly in datasets and promote considering the distribution of possible outputs when evaluating systems. Data and code: https://github.com/esteng/ambiguous_parsingComment: ICLR 2024 Camera Read

Melody Harmonization

Vedci z oboru informačných technológií oddávna považovali hudbu za obzvlášť zaujímavé umenie. Pravdou je, že história hudby tvorenej počítačom je skoro tak dlhá ako história počítačovej vedy. Programy pre komponovanie, alebo tvorenie hudby" na rôznych úrovniach procesu kompozície boli vyvíjané už od 50tych rokov minulého storočia. Táto bakalárska práca uvádza hlavné prístupy v oblasti automatickej harmonizácie t.j. Problém produkovania hudobného aranžmá (nôt) z daných melódií, a sústreďuje sa na najpoužívanejšie techniky jeho riešenia. Hlavným cieľom tejto práce je návrh a implementácia softvérového systému pre automatickú harmonizáciu, ktorý by mal byť schopný naučiť sa pravidlá harmónie z databázy midi súborov. V tejto práci popíšem existujúce harmonizačné systémy a ďalej sa zameriam hlavne na princípy strojového učenia - teóriu a aplikáciu umelých neurónových sietí a ich použitie pre harmonizáciu.Computer scientists have long been considering music as a particularly interesting art Indeed, the history of computer music is almost as long as the history of computer science. Programs to compose music, or to make music" at various levels of the composition process have been designed since the 50s. This bachelor's thesis surveys the main approaches in the field of automatic harmonization, i.e. the problem of producing musical arrangements (scores) from given melodies, and focuses on the most widely used techniques to do so. The main goal of this paper is the issue of design and implementation of a software system for an automatic music harmonization which should learn the rules of harmony from the database of midi file. In the paper. In this thesis I describe existing systems for harmonization and furthermore I focus mainly on principles of machine learning - theory and application of Artificial Neural Networks and their use for harmonization.

Toward Interactive Music Generation: A Position Paper

Music generation using deep learning has received considerable attention in recent years. Researchers have developed various generative models capable of imitating musical conventions, comprehending the musical corpora, and generating new samples based on the learning outcome. Although the samples generated by these models are persuasive, they often lack musical structure and creativity. For instance, a vanilla end-to-end approach, which deals with all levels of music representation at once, does not offer human-level control and interaction during the learning process, leading to constrained results. Indeed, music creation is a recurrent process that follows some principles by a musician, where various musical features are reused or adapted. On the other hand, a musical piece adheres to a musical style, breaking down into precise concepts of timbre style, performance style, composition style, and the coherency between these aspects. Here, we study and analyze the current advances in music generation using deep learning models through different criteria. We discuss the shortcomings and limitations of these models regarding interactivity and adaptability. Finally, we draw the potential future research direction addressing multi-agent systems and reinforcement learning algorithms to alleviate these shortcomings and limitations

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

A toolkit for music processing and analysis

Dissertação de mestrado em Engenharia InformáticaPresentemente, plataformas cooperativas para edição de partituras musicais, como a Wiki::Score que utiliza a notação abc, não têm à sua disposição utilitários de avaliação e deteção de erros, nem ferramentas que auxiliem a musicologia. Esta carência impede os utilizadores de tirarem o melhor partido dessas plataformas e proporciona um sentimento de limitação na composição e transcrição de partituras. Para colmatar estas falhas, e adotando a filosofia utilizada pelo sistema operativo Unix, criar-se-á um toolkit, em que cada ferramenta trata um problema individualmente, como a deteção e correção de erros sintáticos, léxicos, entre outros. Para que estas ferramentas tenham uma componente musicológica como a análise tonal e deteção de padrões, é necessária a construção de corpora de obras musicais, onde, após análise, é possível extrair conhecimento que será integrado nas ferramentas criadas ou exibido ao utilizador num formato específico.ABC [58] é uma notação musical simples mas poderosa que permite a produção de partituras completas e profissionais. Atualmente, existe uma escassez de ferramentas genéricas para processamento de notação musical, particularmente para ABC. Esta dissertação apresenta o ABC::DT, uma linguagem de domínio específico [39, 38] baseada em regras (embutida em Perl), projetada para simplificar a criação de ferramentas para processamento de ABC. Inpiradas na filosofia UNIX, essas ferramentas pretendem ser simples e composicionais à semelhança dos filtros UNIX. A partir das regras do ABC::DT obtém-se uma ferramenta para processamento de ABC cujo algoritmo principal segue a arquitetura de um compilador tradicional, dessa forma consistindo em três fases: 1) parsing de ABC (baseado no parser do abcm2ps [46]), 2) transformação semântica de ABC (associada a atributos ABC) e 3) geração de output (um gerador definido pelo utilizador or fornecido pelo sistema). Umconjunto de ferramentas para processamento de ABC foi desenvolvido utilizando o ABC::DT. Cada uma delas tem uma finalidade única, desde detetar erros, a auxiliar no estudo de música e até imitar o comportamento de algumas ferramentas UNIX. Estas têm o objetivo de serem provas de conceito e ainda podem ser melhoradas, no entanto demonstram quão facilmente ferramentas compactas para processamento de ABC podem ser criadas. Umteste e avaliação foram realizados a uma das ferramentas criadas (canon_abc) com uma partitura ABC real, o Canon de Pachelbel.ABC [58] is a simple, yet powerful, textual musical notation which allows to produce professional and complete music scores. Presently, there is a lack of music notation general processing tools, particularly for ABC. This dissertation presents ABC::DT, a rule-based domain-specific language (DSL) [39, 38] (Perl embedded), designed to simplify the creation of ABC processing tools. Inspired by the UNIX philosophy, those tools intend to be simple and compositional in a UNIX filters’ way. From ABC::DT’s rules an ABC processing tool whose main algorithm follows a traditional compiler architecture is obtained, therefore consisting of three stages: 1) ABC parsing (based on abcm2ps’ [46] parser), 2) ABC semantic transformation (associated with ABC attributes) and 3) output generation (either a user defined or system provided ABC generator). A set of ABC processing tools was developed using ABC::DT. Every one of them has its single purpose, from error detection, to aiding in music studying and even imitating some UNIX tools behavior. They are intended to be proof of concept and can still be improved, yet they demonstrate how easily compact ABC processing tools can be created. A test and evaluation were done to one of the created ABC processing tools (canon_abc) with a real ABC score, Pachelbel's Canon

Networks of Liveness in Singer-Songwriting: A practice-based enquiry into developing audio-visual interactive systems and creative strategies for composition and performance.

This enquiry explores the creation and use of computer-based, real-time interactive audio-visual systems for the composition and performance of popular music by solo artists. Using a practice-based methodology, research questions are identified that relate to the impact of incorporating interactive systems into the songwriting process and the liveness of the performances with them. Four approaches to the creation of interactive systems are identified: creating explorative-generative tools, multiple tools for guitar/vocal pieces, typing systems and audio-visual metaphors. A portfolio of ten pieces that use these approaches was developed for live performance. A model of the songwriting process is presented that incorporates system-building and strategies are identified for reconciling the indeterminate, electronic audio output of the system with composed popular music features and instrumental/vocal output. The four system approaches and ten pieces are compared in terms of four aspects of liveness, derived from current theories. It was found that, in terms of overall liveness, a unity to system design facilitated both technological and aesthetic connections between the composition, the system processes and the audio and visual outputs. However, there was considerable variation between the four system approaches in terms of the different aspects of liveness. The enquiry concludes by identifying strategies for maximising liveness in the different system approaches and discussing the connections between liveness and the songwriting process