Piano transcription systems are typically optimized to estimate pitch activity at each frame of audio. They are often followed by carefully designed heuristics and post-processing algorithms to estimate note events from the frame-level predictions. Recent methods have also framed piano transcription as a multi-task learning problem, where the activation of different stages of a note event are estimated independently. These practices are not well aligned with the desired outcome of the task, which is the specification of note intervals as holistic events, rather than the aggregation of disjoint observations. In this work, we propose a novel formulation of piano transcription, which is optimized to directly predict note events. Our method is based on Semi-Markov Conditional Random Fields (semi-CRF), which produce scores for intervals rather than individual frames. When formulating piano transcription in this way, we eliminate the need to rely on disjoint frame-level estimates for different stages of a note event. We conduct experiments on the MAESTRO dataset and demonstrate that the proposed model surpasses the current state-of-the-art for piano transcription. Our results suggest that the semi-CRF output layer, while still quadratic in complexity, is a simple, fast and well-performing solution for event-based prediction, and may lead to similar success in other areas which currently rely on frame-level estimates.

Piano transcription systems are typically optimized to estimate pitch activity at each frame of audio. They are often followed by carefully designed heuristics and post-processing algorithms to estimate note events from the frame-level predictions. Recent methods have also framed piano transcription as a multi-task learning problem, where the activation of different stages of a note event are estimated independently. These practices are not well aligned with the desired outcome of the task, which is the specification of note intervals as holistic events, rather than the aggregation of disjoint observations. In this work, we propose a novel formulation of piano transcription, which is optimized to directly predict note events.

Automatic Music Transcription (AMT), aiming to get musical notes from raw audio, typically uses frame-level systems with piano-roll outputs or language model (LM)-based systems with note-level predictions. However, frame-level systems require manual thresholding, while the LM-based systems struggle with long sequences. In this paper, we propose a hybrid method combining pre-trained roll-based encoders with an LM decoder to leverage the strengths of both methods. Besides, our approach employs a hierarchical prediction strategy, first predicting onset and pitch, then velocity, and finally offset. The hierarchical prediction strategy reduces computational costs by breaking down long sequences into different hierarchies. Evaluated on two benchmark roll-based encoders, our method outperforms traditional piano-roll outputs 0.01 and 0.022 in onset-offset-velocity F1 score, demonstrating its potential as a performance-enhancing plug-in for arbitrary roll-based music transcription encoder.

We present a new approach for fast and controllable generation of symbolic music based on the simplex diffusion, which is essentially a diffusion process operating on probabilities rather than the signal space. This objective has been applied in domains such as natural language processing but here we apply it to generating 4-bar multi-instrument music loops using an orderless representation. We show that our model can be steered with vocabulary priors, which affords a considerable level control over the music generation process, for instance, infilling in time and pitch and choice of instrumentation -- all without task-specific model adaptation or applying extrinsic control.

An ideal music synthesizer should be both interactive and expressive, generating high-fidelity audio in realtime for arbitrary combinations of instruments and notes. Recent neural synthesizers have exhibited a tradeoff between domain-specific models that offer detailed control of only specific instruments, or raw waveform models that can train on any music but with minimal control and slow generation. In this work, we focus on a middle ground of neural synthesizers that can generate audio from MIDI sequences with arbitrary combinations of instruments in realtime. This enables training on a wide range of transcription datasets with a single model, which in turn offers note-level control of composition and instrumentation across a wide range of instruments. We use a simple two-stage process: MIDI to spectrograms with an encoder-decoder Transformer, then spectrograms to audio with a generative adversarial network (GAN) spectrogram inverter. We compare training the decoder as an autoregressive model and as a Denoising Diffusion Probabilistic Model (DDPM) and find that the DDPM approach is superior both qualitatively and as measured by audio reconstruction and Fr\'echet distance metrics. Given the interactivity and generality of this approach, we find this to be a promising first step towards interactive and expressive neural synthesis for arbitrary combinations of instruments and notes.

This article presents a 2-phase computational learning model and application. As a demonstration, a system has been built, called CHIME for Computer Human Interacting Musical Entity. In phase 1 of training, recurrent back-propagation trains the machine to reproduce 3 jazz melodies. The recurrent network is expanded and is further trained in phase 2 with a reinforcement learning algorithm and a critique produced by a set of basic rules for jazz improvisation.

This article presents a 2-phase computational learning model and application. As a demonstration, a system has been built, called CHIME for Computer Human Interacting Musical Entity. In phase 1 of training, recurrent back-propagation trains the machine to reproduce 3 jazz melodies. The recurrent network is expanded and is further trained in phase 2 with a reinforcement learning algorithm and a critique produced by a set of basic rules for jazz improvisation.

This article presents a 2-phase computational learning model and application. Asa demonstration, a system has been built, called CHIME for Computer Human Interacting Musical Entity. In phase 1 of training, recurrent back-propagationtrains the machine to reproduce 3 jazz melodies. The recurrent network is expanded and is further trained in phase 2 with a reinforcement learning algorithm and a critique produced by a set of basic rules for jazz improvisation.