We show that either explicitly or implicitly, various well-known graph-based models exhibit a common significant \emph{harmonic} structure in its target function -- the value of a vertex is approximately the weighted average of the values of its adjacent neighbors. Understanding of such structure and analysis of the loss defined over such structure help reveal important properties of the target function over a graph. In this paper, we show that the variation of the target function across a cut can be upper and lower bounded by the ratio of its harmonic loss and the cut cost. We use this to develop an analytical tool and analyze 5 popular models in graph-based learning: absorbing random walks, partially absorbing random walks, hitting times, pseudo-inverse of graph Laplacian, and eigenvectors of the Laplacian matrices. Our analysis well explains several open questions of these models reported in the literature. Furthermore, it provides theoretical justifications and guidelines for their practical use. Simulations on synthetic and real datasets support our analysis.

We find that various well-known graph-based models exhibit a common important harmonic structure in its target function - the value of a vertex is approximately the weighted average of the values of its adjacent neighbors. Understanding of such structure and analysis of the loss defined over such structure help reveal important properties of the target function over a graph. In this paper, we show that the variation of the target function across a cut can be upper and lower bounded by the ratio of its harmonic loss and the cut cost. We use this to develop an analytical tool and analyze five popular graph-based models: absorbing random walks, partially absorbing random walks, hitting times, pseudo-inverse of the graph Laplacian, and eigenvectors of the Laplacian matrices. Our analysis sheds new insights into several open questions related to these models, and provides theoretical justifications and guidelines for their practical use. Simulations on synthetic and real datasets confirm the potential of the proposed theory and tool.

We show that either explicitly or implicitly, various well-known graph-based models exhibit a common significant \emph{harmonic} structure in its target function -- the value of a vertex is approximately the weighted average of the values of its adjacent neighbors. Understanding of such structure and analysis of the loss defined over such structure help reveal important properties of the target function over a graph. In this paper, we show that the variation of the target function across a cut can be upper and lower bounded by the ratio of its harmonic loss and the cut cost. We use this to develop an analytical tool and analyze 5 popular models in graph-based learning: absorbing random walks, partially absorbing random walks, hitting times, pseudo-inverse of graph Laplacian, and eigenvectors of the Laplacian matrices. Our analysis well explains several open questions of these models reported in the literature.

In a previous post, we described the details of NSynth (Neural Audio Synthesis), a new approach to audio synthesis using neural networks. We hinted at further releases to enable you to make your own music with these technologies. Today, we're excited to follow through on that promise by releasing a playable set of neural synthesizer instruments: The goal of Magenta is not just to develop new generative algorithms, but to "close the creative loop". We want to empower creators with tools built with machine learning that also inspire future research directions. Instead of using AI in the place of human creativity, we strive to infuse our tools with deeper understanding so that they are more intuitive and inspiring.

The human auditory system is able to distinguish the vocal source of thousands of speakers, yet not much is known about what features the auditory system uses to do this. Fourier Transforms are capable of capturing the pitch and harmonic structure of the speaker but this alone proves insufficient at identifying speakers uniquely. The remaining structure, often referred to as timbre, is critical to identifying speakers but we understood little about it. In this paper we use recent advances in neural networks in order to manipulate the voice of one speaker into another by transforming not only the pitch of the speaker, but the timbre. We review generative models built with neural networks as well as architectures for creating neural networks that learn analogies. Our preliminary results converting voices from one speaker to another are encouraging.

We show that either explicitly or implicitly, various well-known graph-based models exhibit a common significant \emph{harmonic} structure in its target function -- the value of a vertex is approximately the weighted average of the values of its adjacent neighbors. Understanding of such structure and analysis of the loss defined over such structure help reveal important properties of the target function over a graph. In this paper, we show that the variation of the target function across a cut can be upper and lower bounded by the ratio of its harmonic loss and the cut cost. We use this to develop an analytical tool and analyze 5 popular models in graph-based learning: absorbing random walks, partially absorbing random walks, hitting times, pseudo-inverse of graph Laplacian, and eigenvectors of the Laplacian matrices. Our analysis well explains several open questions of these models reported in the literature. Furthermore, it provides theoretical justifications and guidelines for their practical use. Simulations on synthetic and real datasets support our analysis.

Separation of music signals is an interesting but difficult problem. It is helpful for many other music researches such as audio content analysis. In this paper, a new music signal separation method is proposed, which is based on harmonic structure modeling. The main idea of harmonic structure modeling is that the harmonic structure of a music signal is stable, so a music signal can be represented by a harmonic structure model. Accordingly, a corresponding separation algorithm is proposed. The main idea is to learn a harmonic structure model for each music signal in the mixture, and then separate signals by using these models to distinguish harmonic structures of different signals. Experimental results show that the algorithm can separate signals and obtain not only a very high Signalto-Noise Ratio (SNR) but also a rather good subjective audio quality.

Separation of music signals is an interesting but difficult problem. It is helpful for many other music researches such as audio content analysis. In this paper, a new music signal separation method is proposed, which is based on harmonic structure modeling. The main idea of harmonic structure modeling is that the harmonic structure of a music signal is stable, so a music signal can be represented by a harmonic structure model. Accordingly, a corresponding separation algorithm is proposed. The main idea is to learn a harmonic structure model for each music signal in the mixture, and then separate signals by using these models to distinguish harmonic structures of different signals. Experimental results show that the algorithm can separate signals and obtain not only a very high Signalto-Noise Ratio (SNR) but also a rather good subjective audio quality.

Separation of music signals is an interesting but difficult problem. It is helpful for many other music researches such as audio content analysis. In this paper, a new music signal separation method is proposed, which is based on harmonic structure modeling. The main idea of harmonic structure modelingis that the harmonic structure of a music signal is stable, so a music signal can be represented by a harmonic structure model. Accordingly, acorresponding separation algorithm is proposed. The main idea is to learn a harmonic structure model for each music signal in the mixture, and then separate signals by using these models to distinguish harmonic structures of different signals. Experimental results show that the algorithm can separate signals and obtain not only a very high Signalto-Noise Ratio(SNR) but also a rather good subjective audio quality.

We describe how we used a data set of chorale harmonisations composed by Johann Sebastian Bach to train Hidden Markov Models. Using a probabilistic framework allows us to create a harmonisation system which learns from examples, and which can compose new harmonisations. We make a quantitative comparison of our system's harmonisation performance against simpler models, and provide example harmonisations.