Counterpoint is an important concept in Western music theory. In the past century, there have been significant interests in incorporating counterpoint into Chinese folk music composition. In this paper, we propose a reinforcement learning-based system, named FolkDuet, towards the online countermelody generation for Chinese folk melodies. With no existing data of Chinese folk duets, FolkDuet employs two reward models based on out-of-domain data, i.e.

Counterpoint is an important concept in Western music theory.

Counterpoint is an important concept in Western music theory. In the past century, there have been significant interests in incorporating counterpoint into Chinese folk music composition. In this paper, we propose a reinforcement learning-based system, named FolkDuet, towards the online countermelody generation for Chinese folk melodies. With no existing data of Chinese folk duets, FolkDuet employs two reward models based on out-of-domain data, i.e. An interaction reward model is trained on the duets formed from outer parts of Bach chorales to model counterpoint interaction, while a style reward model is trained on monophonic melodies of Chinese folk songs to model melodic patterns.

This thesis investigates Bach's composition style using deep sequence learning. We develop BachBot: an automatic stylistic composition system for composing polyphonic music in the style of Bach's chorales. We find a 3-layer stacked LSTM performs best and conduct analyses and evaluations to understand its success and failure modes. Unlike many previous works, we avoid allowing prior assumptions about music impact model design, opting instead to build systems that learn rather than ones which encode prior hypotheses. While this is not the first application of deep LSTM to Bach chorales, our work consists of the following novel contributions.

At AWS, we love sharing our passion for technology and innovation, and AWS DeepComposer is no exception. This service is designed to help everyone learn about generative artificial intelligence (AI) through the language of music. You can use a sample melody, upload your own melody, or play a tune using the virtual or a real keyboard. Best of all, you don't have to write any code. But what exactly is generative AI, and why is it useful?

Deep learning has rapidly become the state-of-the-art approach for music generation. However, training a deep model typically requires a large training set, which is often not available for specific musical styles. In this paper, we present augmentative generation (Aug-Gen), a method of dataset augmentation for any music generation system trained on a resource-constrained domain. The key intuition of this method is that the training data for a generative system can be augmented by examples the system produces during the course of training, provided these examples are of sufficiently high quality and variety. We apply Aug-Gen to Transformer-based chorale generation in the style of J.S. Bach, and show that this allows for longer training and results in better generative output.

Deep generative systems that learn probabilistic models from a corpus of existing music do not explicitly encode knowledge of a musical style, compared to traditional rule-based systems. Thus, it can be difficult to determine whether deep models generate stylistically correct output without expert evaluation, but this is expensive and time-consuming. Therefore, there is a need for automatic, interpretable, and musically-motivated evaluation measures of generated music. In this paper, we introduce a grading function that evaluates four-part chorales in the style of J.S. Bach along important musical features. We use the grading function to evaluate the output of a Transformer model, and show that the function is both interpretable and outperforms human experts at discriminating Bach chorales from model-generated ones.

Machine learning models of music typically break up the task of composition into a chronological process, composing a piece of music in a single pass from beginning to end. On the contrary, human composers write music in a nonlinear fashion, scribbling motifs here and there, often revisiting choices previously made. In order to better approximate this process, we train a convolutional neural network to complete partial musical scores, and explore the use of blocked Gibbs sampling as an analogue to rewriting. Neither the model nor the generative procedure are tied to a particular causal direction of composition. Our model is an instance of orderless NADE (Uria et al., 2014), which allows more direct ancestral sampling. However, we find that Gibbs sampling greatly improves sample quality, which we demonstrate to be due to some conditional distributions being poorly modeled. Moreover, we show that even the cheap approximate blocked Gibbs procedure from Yao et al. (2014) yields better samples than ancestral sampling, based on both log-likelihood and human evaluation.

How much of what we consider to be fundamentally human can be reduced to an algorithm? Can we create something sufficiently advanced that people can no longer distinguish between the two? This, after all, is the idea behind the Turing Test, which has yet to be passed. At first glance, you might think music is beyond the realm of algorithms. Birds can sing, and people can compose symphonies.