University of California San Diego, USA This work presents a generative neural network that's able to generate expressive piano performance in MIDI format. The musical expressivity is reflected by vivid micro-timing, rich polyphonic texture, varied dynamics, and the sustain pedal effects. This model is innovative from many aspects of data processing to neural network design. We claim that this symbolic music generation model overcame the common critics of symbolic music and is able to generate expressive music flows as good as, if not better than generations with raw audio. One drawback is that, due to the limited time for submission, the model is not fine-tuned and sufficiently trained, thus the generation may sound incoherent and random at certain points. Despite that, this model shows its powerful generative ability in generating expressive piano pieces.

This study proposes a system designed to enumerate the process of collaborative composition among humans, using automatic music composition technology. By integrating multiple Recurrent Neural Network (RNN) models, the system provides an experience akin to collaborating with several composers, thereby fostering diverse creativity. Through dynamic adaptation to the user's creative intentions, based on feedback, the system enhances its capability to generate melodies that align with user preferences and creative needs. The system's effectiveness was evaluated through experiments with composers of varying backgrounds, revealing its potential to facilitate musical creativity and suggesting avenues for further refinement. The study underscores the importance of interaction between the composer and AI, aiming to make music composition more accessible and personalized. This system represents a step towards integrating AI into the creative process, offering a new tool for composition support and collaborative artistic exploration.

YY, ZZZZ 1 Music Transcription Based on Bayesian Piece-Specific Score Models Capturing Repetitions Eita Nakamura, Kazuyoshi Y oshii, Member, IEEE Abstract --Most work on models for music transcription has focused on describing local sequential dependence of notes in musical scores and failed to capture their global repetitive structure, which can be a useful guide for transcribing music. Focusing on the rhythm, we formulate several classes of Bayesian Markov models of musical scores that describe repetitions indirectly by sparse transition probabilities of notes or note patterns. This enables us to construct piece-specific models for unseen scores with unfixed repetitive structure and to derive tractable inference algorithms. Moreover, to describe approximate repetitions, we explicitly incorporate a process of modifying the repeated notes/note patterns. We apply these models as a prior music language model for rhythm transcription, where piece-specific score models are inferred from performed MIDI data by unsupervised learning, in contrast to the conventional supervised construction of score models. Evaluations using vocal melodies of popular music showed that the Bayesian models improved the transcription accuracy for most of the tested model types, indicating the universal efficacy of the proposed approach. I NTRODUCTION Music transcription is an actively studied but yet unsolved problem in music information processing [1], [2]. One of the goals of music transcription is to convert a music performance signal into a human-readable symbolic musical score. While recent studies have achieved highly accurate pitch detection [3]-[7], it is also necessary to transcribe rhythms in order to obtain symbolic music representation [8]-[18]. Since there are many logically possible representations of rhythms (including meaningless one for humans) for a given performance [11], using a score model that describes prior knowledge about musical scores is a key to solve this problem. A common approach for music transcription is to integrate a musical score (language) model and a performance/acoustic model to obtain a proper transcription that best fits an input performance signal, similarly to the method of statistical speech recognition. More recently, end-to-end approaches have also been attempted [19]-[21], which have been of limited success so far. Manuscript received XX, YY; revised XX, YY . This work was supported partially by JSPS KAKENHI (Nos. The work of EN was supported by the JSPS research fellowship (PD).

This paper presents a statistical method for use in music transcription that can estimate score times of note onsets and offsets from polyphonic MIDI performance signals. Because performed note durations can deviate largely from score-indicated values, previous methods had the problem of not being able to accurately estimate offset score times (or note values) and thus could only output incomplete musical scores. Based on observations that the pitch context and onset score times are influential on the configuration of note values, we construct a context-tree model that provides prior distributions of note values using these features and combine it with a performance model in the framework of Markov random fields. Evaluation results show that our method reduces the average error rate by around 40 percent compared to existing/simple methods. We also confirmed that, in our model, the score model plays a more important role than the performance model, and it automatically captures the voice structure by unsupervised learning.