Western music is an innately hierarchical system of interacting levels of structure, from fine-grained melody to high-level form. In order to analyze music compositions holistically and at multiple granularities, we propose a unified, hierarchical meta-representation of musical structure called the structural temporal graph (STG). For a single piece, the STG is a data structure that defines a hierarchy of progressively finer structural musical features and the temporal relationships between them. We use the STG to enable a novel approach for deriving a representative structural summary of a music corpus, which we formalize as a dually NP-hard combinatorial optimization problem extending the Generalized Median Graph problem. Our approach first applies simulated annealing to develop a measure of structural distance between two music pieces rooted in graph isomorphism. Our approach then combines the formal guarantees of SMT solvers with nested simulated annealing over structural distances to produce a structurally sound, representative centroid STG for an entire corpus of STGs from individual pieces. To evaluate our approach, we conduct experiments verifying that structural distance accurately differentiates between music pieces, and that derived centroids accurately structurally characterize their corpora.

Current automatic lyrics transcription (ALT) benchmarks focus exclusively on word content and ignore the finer nuances of written lyrics including formatting and punctuation, which leads to a potential misalignment with the creative products of musicians and songwriters as well as listeners' experiences. For example, line breaks are important in conveying information about rhythm, emotional emphasis, rhyme, and high-level structure. To address this issue, we introduce Jam-ALT, a new lyrics transcription benchmark based on the JamendoLyrics dataset. Our contribution is twofold. Firstly, a complete revision of the transcripts, geared specifically towards ALT evaluation by following a newly created annotation guide that unifies the music industry's guidelines, covering aspects such as punctuation, line breaks, spelling, background vocals, and non-word sounds. Secondly, a suite of evaluation metrics designed, unlike the traditional word error rate, to capture such phenomena. We hope that the proposed benchmark contributes to the ALT task, enabling more precise and reliable assessments of transcription systems and enhancing the user experience in lyrics applications such as subtitle renderings for live captioning or karaoke.

Singing melody extraction is an important problem in the field of music information retrieval. Existing methods typically rely on frequency-domain representations to estimate the sung frequencies. However, this design does not lead to human-level performance in the perception of melody information for both tone (pitch-class) and octave. In this paper, we propose TONet, a plug-and-play model that improves both tone and octave perceptions by leveraging a novel input representation and a novel network architecture. First, we present an improved input representation, the Tone-CFP, that explicitly groups harmonics via a rearrangement of frequency-bins. Second, we introduce an encoder-decoder architecture that is designed to obtain a salience feature map, a tone feature map, and an octave feature map. Third, we propose a tone-octave fusion mechanism to improve the final salience feature map. Experiments are done to verify the capability of TONet with various baseline backbone models. Our results show that tone-octave fusion with Tone-CFP can significantly improve the singing voice extraction performance across various datasets -- with substantial gains in octave and tone accuracy.

Drawing an analogy with automatic image completion systems, we propose Music SketchNet, a neural network framework that allows users to specify partial musical ideas guiding automatic music generation. We focus on generating the missing measures in incomplete monophonic musical pieces, conditioned on surrounding context, and optionally guided by user-specified pitch and rhythm snippets. First, we introduce SketchVAE, a novel variational autoencoder that explicitly factorizes rhythm and pitch contour to form the basis of our proposed model. Then we introduce two discriminative architectures, SketchInpainter and SketchConnector, that in conjunction perform the guided music completion, filling in representations for the missing measures conditioned on surrounding context and user-specified snippets. We evaluate SketchNet on a standard dataset of Irish folk music and compare with models from recent works. When used for music completion, our approach outperforms the state-of-the-art both in terms of objective metrics and subjective listening tests. Finally, we demonstrate that our model can successfully incorporate user-specified snippets during the generation process.

ABSTRACT We describe a machine-learning approach to pitch correcting a solo singing performance in a karaoke setting, where the solo voice and accompaniment are on separate tracks. The proposed approach addresses thesituation where no musical score of the vocals nor the accompaniment exists: It predicts the amount of correction from the relationship between the spectral contents of the vocal and accompaniment tracks.Hence, the pitch shift in cents suggested by the model can be used to make the voice sound in tune with the accompaniment. Thisapproach differs from commercially used automatic pitch correction systems, where notes in the vocal tracks are shifted to be centered around notes in a user-defined score or mapped to the closest pitch among the twelve equal-tempered scale degrees. We train the model using a dataset of 4,702 amateur karaoke performances selectedfor good intonation. We present a Convolutional Gated Recurrent Unit (CGRU) model to accomplish this task. This method can be extended into unsupervised pitch correction of a vocal performance--popularly referred to as autotuning.