1,210 research outputs found
Deep Learning for Audio Signal Processing
Given the recent surge in developments of deep learning, this article
provides a review of the state-of-the-art deep learning techniques for audio
signal processing. Speech, music, and environmental sound processing are
considered side-by-side, in order to point out similarities and differences
between the domains, highlighting general methods, problems, key references,
and potential for cross-fertilization between areas. The dominant feature
representations (in particular, log-mel spectra and raw waveform) and deep
learning models are reviewed, including convolutional neural networks, variants
of the long short-term memory architecture, as well as more audio-specific
neural network models. Subsequently, prominent deep learning application areas
are covered, i.e. audio recognition (automatic speech recognition, music
information retrieval, environmental sound detection, localization and
tracking) and synthesis and transformation (source separation, audio
enhancement, generative models for speech, sound, and music synthesis).
Finally, key issues and future questions regarding deep learning applied to
audio signal processing are identified.Comment: 15 pages, 2 pdf figure
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
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
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