We present a new probabilistic model for transcribing piano music from audio to a symbolic form. Our model reflects the process by which discrete musical events give rise to acoustic signals that are then superimposed to produce the observed data. As a result, the inference procedure for our model naturally resolves the source separation problem introduced by the the piano's polyphony. In order to adapt to the properties of a new instrument or acoustic environment being transcribed, we learn recording specific spectral profiles and temporal envelopes in an unsupervised fashion. Our system outperforms the best published approaches on a standard piano transcription task, achieving a 10.6% relative gain in note onset F1 on real piano audio.

This paper focuses on automatic music engraving, i.e., the creation of a humanly-readable musical score from musical content. This step is fundamental for all applications that include a human player, but it remains a mostly unexplored topic in symbolic music processing. In this work, we formalize the problem as a collection of interdependent subtasks, and propose a unified graph neural network (GNN) framework that targets the case of piano music and quantized symbolic input. Our method employs a multi-task GNN to jointly predict voice connections, staff assignments, pitch spelling, key signature, stem direction, octave shifts, and clef signs. A dedicated postprocessing pipeline generates print-ready MusicXML/MEI outputs. Comprehensive evaluation on two diverse piano corpora (J-Pop and DCML Romantic) demonstrates that our unified model achieves good accuracy across all subtasks, compared to existing systems that only specialize in specific subtasks. These results indicate that a shared GNN encoder with lightweight task-specific decoders in a multi-task setting offers a scalable and effective solution for automatic music engraving.

While piano music has become a significant area of study in Music Information Retrieval (MIR), there is a notable lack of datasets for piano solo music with text labels. To address this gap, we present PIAST (PIano dataset with Audio, Symbolic, and Text), a piano music dataset. Utilizing a piano-specific taxonomy of semantic tags, we collected 9,673 tracks from YouTube and added human annotations for 2,023 tracks by music experts, resulting in two subsets: PIAST-YT and PIAST-AT. Both include audio, text, tag annotations, and transcribed MIDI utilizing state-of-the-art piano transcription and beat tracking models. Among many possible tasks with the multi-modal dataset, we conduct music tagging and retrieval using both audio and MIDI data and report baseline performances to demonstrate its potential as a valuable resource for MIR research.

Recently, artificial intelligence techniques for education have been received increasing attentions, while it still remains an open problem to design the effective music instrument instructing systems. Although key presses can be directly derived from sheet music, the transitional movements among key presses require more extensive guidance in piano performance. In this work, we construct a piano-hand motion generation benchmark to guide hand movements and fingerings for piano playing. To this end, we collect an annotated dataset, PianoMotion10M, consisting of 116 hours of piano playing videos from a bird's-eye view with 10 million annotated hand poses. We also introduce a powerful baseline model that generates hand motions from piano audios through a position predictor and a position-guided gesture generator. Furthermore, a series of evaluation metrics are designed to assess the performance of the baseline model, including motion similarity, smoothness, positional accuracy of left and right hands, and overall fidelity of movement distribution. Despite that piano key presses with respect to music scores or audios are already accessible, PianoMotion10M aims to provide guidance on piano fingering for instruction purposes.

Originally published on Towards AI the World's Leading AI and Technology News and Media Company. If you are building an AI-related product or service, we invite you to consider becoming an AI sponsor. At Towards AI, we help scale AI and technology startups. Let us help you unleash your technology to the masses. AudioLM is Google's new model, capable of generating music in the same style as the prompt.

AI-generated audio is commonplace: voices on home assistants like Alexa use natural language processing. AI music systems like OpenAI's Jukebox have already generated impressive results, but most existing techniques need people to prepare transcriptions and label text-based training data, which takes a lot of time and human labor. Jukebox, for example, uses text-based data to generate song lyrics. AudioLM, described in a non-peer-reviewed paper last month, is different: it doesn't require transcription or labeling. Instead, sound databases are fed into the program, and machine learning is used to compress the audio files into sound snippets, called "tokens," without losing too much information.

A considerable amount of research has been devoted to training deep neural networks that can compose piano music. For example, Musenet, developed by OpenAI, has trained large-scale transformer models capable of composing realistic piano pieces that are many minutes in length. The model used by Musenet adopts many of the technologies, such as attention layers, that were originally developed for NLP tasks. See this previous TDS post for more details on applying attention-based models to music generation. Although NLP-based methods are a fantastic fit for machine-based music generation (after all, music is like a language), the transformer model architecture is somewhat involved, and proper data preparation and training can require great care and experience. In particular, I'll focus on fully convolutional neural networks based on dilated convolutions, which require only a handful of lines of code to define, take minimal data preparation, and are easy to train. In 2016, DeepMind researchers introduced the WaveNet model architecture,¹ which yielded state-of-the-art performance in speech synthesis. Their research demonstrated that stacked 1D convolutional layers with exponentially growing dilation rates can process sequences of raw audio waveforms extremely efficiently, leading to generative models that can synthesize convincing audio from a variety of sources, including piano music. In this post, I build upon DeepMind's research, with an explicit focus on generating piano music.

Music generation is always interesting in a sense that there is no formalized recipe. In this work, we propose a novel dual-track architecture for generating classical piano music, which is able to model the inter-dependency of left-hand and right-hand piano music. Particularly, we experimented with a lot of different models of neural network as well as different representations of music, and the results show that our proposed model outperforms all other tested methods. Besides, we deployed some special policies for model training and generation, which contributed to the model performance remarkably. Finally, under two evaluation methods, we compared our models with the MuseGAN project and true music.

We present a new probabilistic model for transcribing piano music from audio to a symbolic form. Our model reflects the process by which discrete musical events give rise to acoustic signals that are then superimposed to produce the observed data. As a result, the inference procedure for our model naturally resolves the source separation problem introduced by the the piano's polyphony. In order to adapt to the properties of a new instrument or acoustic environment being transcribed, we learn recording specific spectral profiles and temporal envelopes in an unsupervised fashion. Our system outperforms the best published approaches on a standard piano transcription task, achieving a 10.6% relative gain in note onset F1 on real piano audio.

The task automatic music composition entails generative modeling of music in symbolic formats such as the musical scores. By serializing a score as a sequence of MIDI-like events, recent work has demonstrated that state-of-the-art sequence models with self-attention work nicely for this task, especially for composing music with long-range coherence. In this paper, we show that sequence models can do even better when we improve the way a musical score is converted into events. The new event set, dubbed "REMI" (REvamped MIDI-derived events), provides sequence models a metric context for modeling the rhythmic patterns of music, while allowing for local tempo changes. Moreover, it explicitly sets up a harmonic structure and makes chord progression controllable. It also facilitates coordinating different tracks of a musical piece, such as the piano, bass and drums. With this new approach, we build a Pop Music Transformer that composes Pop piano music with a more plausible rhythmic structure than prior arts do. The code, data and pre-trained model are publicly available.\footnote{\url{https://github.com/YatingMusic/remi}}