Small errors are inevitable in annotations.

The scarcity of high-quality and multi-task singing datasets significantly hinders the development of diverse controllable and personalized singing tasks, as existing singing datasets suffer from low quality, limited diversity of languages and singers, absence of multi-technique information and realistic music scores, and poor task suitability. To tackle these problems, we present GTSinger, a large Global, multi-Technique, free-to-use, high-quality singing corpus with realistic music scores, designed for all singing tasks, along with its benchmarks. Particularly, (1) we collect 80.59 hours of high-quality singing voices, forming the largest recorded singing dataset; (2) 20 professional singers across nine widely spoken languages offer diverse timbres and styles; (3) we provide controlled comparison and phoneme-level annotations of six commonly used singing techniques, helping technique modeling and control; (4) GTSinger offers realistic music scores, assisting real-world musical composition; (5) singing voices are accompanied by manual phoneme-to-audio alignments, global style labels, and 16.16 hours of paired speech for various singing tasks. Moreover, to facilitate the use of GTSinger, we conduct four benchmark experiments: technique-controllable singing voice synthesis, technique recognition, style transfer, and speech-to-singing conversion. The corpus and demos can be found at http://gtsinger.github.io.

While significant advancements have been made in music generation and differentiable sound synthesis within machine learning and computer audition, the simulation of instrument vibration guided by physical laws has been underexplored. To address this gap, we introduce a novel model for simulating the spatio-temporal motion of nonlinear strings, integrating modal synthesis and spectral modeling within a neural network framework. Our model leverages physical properties and fundamental frequencies as inputs, outputting string states across time and space that solve the partial differential equation characterizing the nonlinear string. Empirical evaluations demonstrate that the proposed architecture achieves superior accuracy in string motion simulation compared to existing baseline architectures. The code and demo are available online.

When used as a surrogate objective for maximum likelihood estimation in latent variable models, the evidence lower bound (ELBO) produces state-of-the-art results. Inspired by this, we consider the extension of the ELBO to a family of lower bounds defined by a particle filter's estimator of the marginal likelihood, the filtering variational objectives (FIVOs). FIVOs take the same arguments as the ELBO, but can exploit a model's sequential structure to form tighter bounds. We present results that relate the tightness of FIVO's bound to the variance of the particle filter's estimator by considering the generic case of bounds defined as log-transformed likelihood estimators. Experimentally, we show that training with FIVO results in substantial improvements over training the same model architecture with the ELBO on sequential data.

Neural Information Processing Systems http://nips.cc/

Abstraction and realization are bilateral processes that are key in deriving intelligence and creativity. In many domains, the two processes are approached through rules: high-level principles that reveal invariances within similar yet diverse examples. Under a probabilistic setting for discrete input spaces, we focus on the rule realization problem which generates input sample distributions that follow the given rules. More ambitiously, we go beyond a mechanical realization that takes whatever is given, but instead ask for proactively selecting reasonable rules to realize. This goal is demanding in practice, since the initial rule set may not always be consistent and thus intelligent compromises are needed. We formulate both rule realization and selection as two strongly connected components within a single and symmetric bi-convex problem, and derive an efficient algorithm that works at large scale. Taking music compositional rules as the main example throughout the paper, we demonstrate our model's efficiency in not only music realization (composition) but also music interpretation and understanding (analysis).

We prove near-tight concentration of measure for polynomial functions of the Ising model under high temperature.

Recent progress in deep learning for audio synthesis opens the way to models that directly produce the waveform, shifting away from the traditional paradigm of relying on vocoders or MIDI synthesizers for speech or music generation. Despite their successes, current state-of-the-art neural audio synthesizers such as WaveNet and SampleRNN [24, 17] suffer from prohibitive training and inference times because they are based on autoregressive models that generate audio samples one at a time at a rate of 16kHz. In this work, we study the more computationally efficient alternative of generating the waveform frame-by-frame with large strides. We present SING, a lightweight neural audio synthesizer for the original task of generating musical notes given desired instrument, pitch and velocity. Our model is trained end-to-end to generate notes from nearly 1000 instruments with a single decoder, thanks to a new loss function that minimizes the distances between the log spectrograms of the generated and target waveforms. On the generalization task of synthesizing notes for pairs of pitch and instrument not seen during training, SING produces audio with significantly improved perceptual quality compared to a state-of-the-art autoencoder based on WaveNet [4] as measured by a Mean Opinion Score (MOS), and is about 32 times faster for training and 2, 500 times faster for inference.

Realistic music generation is a challenging task. When building generative models of music that are learnt from data, typically high-level representations such as scores or MIDI are used that abstract away the idiosyncrasies of a particular performance. But these nuances are very important for our perception of musicality and realism, so in this work we embark on modelling music in the raw audio domain. It has been shown that autoregressive models excel at generating raw audio waveforms of speech, but when applied to music, we find them biased towards capturing local signal structure at the expense of modelling long-range correlations. This is problematic because music exhibits structure at many different timescales. In this work, we explore autoregressive discrete autoencoders (ADAs) as a means to enable autoregressive models to capture long-range correlations in waveforms. We find that they allow us to unconditionally generate piano music directly in the raw audio domain, which shows stylistic consistency across tens of seconds.

During training, ground-truth spatial audio serves as self-supervision and a mixed down mono track forms the input to our network.