Music performance is a distinctly human activity, intrinsically linked to the performer's ability to convey, evoke, or express emotion. Machines cannot perform music in the human sense; they can produce, reproduce, execute, or synthesize music, but they lack the capacity for affective or emotional experience. As such, music performance is an ideal candidate through which to explore aspects of collaboration between humans and machines. In this paper, we introduce the witheFlow system, designed to enhance real-time music performance by automatically modulating audio effects based on features extracted from both biosignals and the audio itself. The system, currently in a proof-of-concept phase, is designed to be lightweight, able to run locally on a laptop, and is open-source given the availability of a compatible Digital Audio Workstation and sensors.

These authors contributed equally to this work. ABSTRACT This study investigates emotional expression and perception in music performance using computational and neurophysiological methods. The influence of different performance settings, such as repertoire, diatonic modal etudes, and improvisation, as well as levels of expressiveness, on performers' emotional communication and listeners' reactions is explored. Professional musicians performed various tasks, and emotional annotations were provided by both performers and the audience. Audio analysis revealed that expressive and improvisational performances exhibited unique acoustic features, while emotion analysis showed stronger emotional responses. Neurophysiological measurements indicated greater relaxation in improvisa-tional performances. This multimodal study highlights the significance of expressivity in enhancing emotional communication and audience engagement. 1. INTRODUCTION In recent years, the study of music performance has become a prominent area of research. While traditional analysis of music often relied on the score, modern research highlights the importance of performance-specific features that distinguish one rendition from another.

Singing melody extraction (SME) is a key task in the field of music information retrieval. However, existing methods are facing several limitations: firstly, prior models use transformers to capture the contextual dependencies, which requires quadratic computation resulting in low efficiency in the inference stage. Secondly, prior works typically rely on frequencysupervised methods to estimate the fundamental frequency (f0), which ignores that the musical performance is actually based on notes. Thirdly, transformers typically require large amounts of labeled data to achieve optimal performances, but the SME task lacks of sufficient annotated data. To address these issues, in this paper, we propose a mamba-based network, called SpectMamba, for semi-supervised singing melody extraction using confidence binary regularization. In particular, we begin by introducing vision mamba to achieve computational linear complexity. Then, we propose a novel note-f0 decoder that allows the model to better mimic the musical performance. Further, to alleviate the scarcity of the labeled data, we introduce a confidence binary regularization (CBR) module to leverage the unlabeled data by maximizing the probability of the correct classes. The proposed method is evaluated on several public datasets and the conducted experiments demonstrate the effectiveness of our proposed method.

In recent years, there has been a growing interest in using machine learning models for creative purposes. In most cases, this is with the use of large generative models which, as their name implies, can generate high-quality and realistic outputs in music [Huang et al., 2019], images [Esser et al., 2021], text [Brown et al., 2020], and others. The standard approach for artistic creation using these models is to take a pre-trained model (or set of models) and use them for producing output. The artist directs the model's generation by "navigating" the latent space [Castro, 2020], fine-tuning the trained parameters [Dinculescu et al., 2019], or using the model's output to steer another generative process [White, 2019, Castro, 2019]. At a high-level what all these approaches are doing is converting the numerical signal of a machine learning model's output into art, whether implicitly or explicitly. However, in most (if not all) cases they only do so after the initial model has been trained.

A diverse team of engineers, artists, and algorithms, collaborated to create songs for SophiaPop, via various neural networks, robotics technologies, and artistic tools, and animated the results on Sophia the Robot, a robotic celebrity and animated character. Sophia is a platform for arts, research, and other uses. To advance the art and technology of Sophia, we combine various AI with a fictional narrative of her burgeoning career as a popstar. Her actual AI-generated pop lyrics, music, and paintings, and animated conversations wherein she interacts with humans real-time in narratives that discuss her experiences. To compose the music, SophiaPop team built corpora from human and AI-generated Sophia character personality content, along with pop music song forms, to train and provide seeds for a number of AI algorithms including expert models, and custom-trained transformer neural networks, which then generated original pop-song lyrics and melodies. Our musicians including Frankie Storm, Adam Pickrell, and Tiger Darrow, then performed interpretations of the AI-generated musical content, including singing and instrumentation. The human-performed singing data then was processed by a neural-network-based Sophia voice, which was custom-trained from human performances by Cereproc. This AI then generated the unique Sophia voice singing of the songs. Then we animated Sophia to sing the songs in music videos, using a variety of animation generators and human-generated animations. Being algorithms and humans, working together, SophiaPop represents a human-AI collaboration, aspiring toward human AI symbiosis. We believe that such a creative convergence of multiple disciplines with humans and AI working together, can make AI relevant to human culture in new and exciting ways, and lead to a hopeful vision for the future of human-AI relations.

Our in house ML models can estimate pitch and extract chords from audio streams, on the fly, in realtime. Our proprietary models can estimate the 3d position and orientation of real instruments from a single photograph. The algorithms are trained using a mix of real and synthetic data, and can work with reflective surfaces and repeating patterns. We've developed new machine learning algorithms that can synthesize novel and kinematically accurate 3d musical performance from just a midi audio file, for the use in education and AR / VR. Our tools can perform advanced full body and hand inverse kinematics to fit the same 3d musical performance to different avatars.

Since the introduction of Generative Adversarial Networks (GANs) [Goodfellow et al., 2014] there has been a regular stream of both technical advances (e.g., Arjovsky et al. [2017]) and creative uses of these generative models (e.g., [Karras et al., 2019, Zhu et al., 2017, Jin et al., 2017]). In this work we propose an approach for using the power of GANs to automatically generate videos to accompany audio recordings by aligning to spectral properties of the recording. This allows musicians to explore new forms of multi-modal creative expression, where musical performance can induce an AIgenerated musical video that is guided by said performance, as well as a medium for creating a visual narrative to follow a storyline (similar to what was proposed by Frosst and Kereliuk [2019]). When trained properly, these latent spaces are learned in a structured manner, where nearby points generate similar images. For our work we make use of the BigGAN family of models [Brock et al., 2019], which are class-conditional generative models.

With the rapid evolution of technology, new tools for creativity and development are constantly emerging. Musicians today are beginning to use machine learning, where computers "learn" over time by being fed large amounts of data, to create music in new and innovative ways. The computers process this data and identify patterns, allowing them to act on future data. After identifying these patterns, computers can classify new information, make predictions, or even generate novel, creative content. In the world of music, the possible applications of this technology are endless.