Piano Music Generation with a Text Based Musical Note Representation using LSTM Models

Author(s):  
Ahmet Emin Memis ◽  
ve Hacer Yalim Keles
2021 ◽  
Vol 336 ◽  
pp. 06015
Author(s):  
Guangwei Li ◽  
Shuxue Ding ◽  
Yujie Li ◽  
Kangkang Zhang

Music is closely related to human life and is an important way for people to express their feelings in life. Deep neural networks have played a significant role in the field of music processing. There are many different neural network models to implement deep learning for audio processing. For general neural networks, there are problems such as complex operation and slow computing speed. In this paper, we introduce Long Short-Term Memory (LSTM), which is a circulating neural network, to realize end-to-end training. The network structure is simple and can generate better audio sequences after the training model. After music generation, human voice conversion is important for music understanding and inserting lyrics to pure music. We propose the audio segmentation technology for segmenting the fixed length of the human voice. Different notes are classified through piano music without considering the scale and are correlated with the different human voices we get. Finally, through the transformation, we can express the generated piano music through the output of the human voice. Experimental results demonstrate that the proposed scheme can successfully obtain a human voice from pure piano Music generated by LSTM.


2020 ◽  
Vol 34 (01) ◽  
pp. 710-718
Author(s):  
Nan Jiang ◽  
Sheng Jin ◽  
Zhiyao Duan ◽  
Changshui Zhang

This paper presents a deep reinforcement learning algorithm for online accompaniment generation, with potential for real-time interactive human-machine duet improvisation. Different from offline music generation and harmonization, online music accompaniment requires the algorithm to respond to human input and generate the machine counterpart in a sequential order. We cast this as a reinforcement learning problem, where the generation agent learns a policy to generate a musical note (action) based on previously generated context (state). The key of this algorithm is the well-functioning reward model. Instead of defining it using music composition rules, we learn this model from monophonic and polyphonic training data. This model considers the compatibility of the machine-generated note with both the machine-generated context and the human-generated context. Experiments show that this algorithm is able to respond to the human part and generate a melodic, harmonic and diverse machine part. Subjective evaluations on preferences show that the proposed algorithm generates music pieces of higher quality than the baseline method.


2021 ◽  
Author(s):  
Qing Huang ◽  
Xinhao Yang ◽  
Feiyang Qian ◽  
Ze Li
Keyword(s):  

2019 ◽  
Vol 7 (3) ◽  
pp. 80-82
Author(s):  
Lawakesh Patel ◽  
Nidhi Singh ◽  
Rizwan Khan

2020 ◽  
Vol 384 (2) ◽  
pp. 222-232
Author(s):  
P. V. Menshikov ◽  
G. K. Kassymova ◽  
R. R. Gasanova ◽  
Y. V. Zaichikov ◽  
V. A. Berezovskaya ◽  
...  

A special role in the development of a pianist as a musician, composer and performer, as shown by the examples of the well-known, included in the history of art, and the most ordinary pianists, their listeners and admirers, lovers of piano music and music in general, are played by moments associated with psychotherapeutic abilities and music features. The purpose of the study is to comprehend the psychotherapeutic aspects of performing activities (using pianists as an example). The research method is a theoretical analysis of the psychotherapeutic aspects of performing activities: the study of the possibilities and functions of musical psychotherapy in the life of a musician as a “(self) psychotherapist” and “patient”. For almost any person, music acts as a way of self-understanding and understanding of the world, a way of self-realization, rethinking and overcoming life's difficulties - internal and external "blockages" of development, a way of saturating life with universal meanings, including a person in the richness of his native culture and universal culture as a whole. Art and, above all, its metaphorical nature help to bring out and realize internal experiences, provide an opportunity to look at one’s own experiences, problems and injuries from another perspective, to see a different meaning in them. In essence, we are talking about art therapy, including the art of writing and performing music - musical psychotherapy. However, for a musician, music has a special meaning, special significance. Musician - produces music, and, therefore, is not only an “object”, but also the subject of musical psychotherapy. The musician’s training includes preparing him as an individual and as a professional to perform functions that can be called psychotherapeutic: in the works of the most famous performers, as well as in the work of ordinary teachers, psychotherapeutic moments sometimes become key. Piano music and performance practice sets a certain “viewing angle” of life, and, in the case of traumatic experiences, a new way of understanding a difficult, traumatic and continuing to excite a person event, changing his attitude towards him. It helps to see something that was hidden in the hustle and bustle of everyday life or in the patterns of relationships familiar to a given culture. At the same time, while playing music or learning to play music, a person teaches to see the hidden and understand the many secrets of the human soul, the relationships of people.


Author(s):  
Sharipova A.R. ◽  
Sidikova A.M.

The article is devoted to the issue of the formation and development of piano art in Uzbekistan. The material characterizes the interaction between composers, interpreters and listeners of piano music. Using such methods as comparative-historical, theoretical-analytical, musical-critical, performing, the analysis of the state of the piano art of Uzbekistan is carried out. The topic under consideration will be of interest to specialists working in the field of music education. The issue of the state of the piano art in Uzbekistan requires further study.


2020 ◽  
Author(s):  
Vineet Tiwari ◽  
Pratheesh Shivaprasad ◽  
Rushikesh Rushikesh

2021 ◽  
Vol 0 (0) ◽  
Author(s):  
Marcin Szeliga ◽  
Zsolt Kasztovszky ◽  
Grzegorz Osipowicz ◽  
Veronika Szilágyi

Abstract The inflow of the Carpathian obsidian into the areas on the northern side of the Carpathians and the Sudetes is confirmed as early as in the Palaeolithic. However, its greatest intensity occurred in the Early Neolithic, i. e. in the late 6th and in the first half of 5th millennia BC. During that period, the phenomenon was closely related with the development of the Danubian cultural groups in the upper Vistula river basin, including especially Linear Pottery culture (LBK) and Malice Culture. The constant presence of this raw material products in mentioned areas is documented from the classical (musical-note) phase of LBK, constituting one of the most expressive pieces of evidence of permanent and intense intercultural contacts with communities of the northern Carpathian Basin. This phenomenon has been repeatedly emphasized in the literature. One of the most numerous LBK obsidian inventories in the upper Vistula river basin was obtained at site 6 in Tominy, located in southern Poland, in the non-loess zone of the Sandomierz Upland northern foreground. The above-mentioned collection, its non-destructive elemental analysis, using Prompt Gamma Activation Analysis (PGAA) and also traceological analysis, is the subject of this article. The results supplement the published data to a significant extent, simultaneously providing partial verification and updating of the current state of knowledge on the basic issues related to the Early Neolithic obsidian inflow into areas located North of the Carpathians, including primarily the origin of the raw material, the scale of its processing and distribution ways, as well as the range of its use by the LBK communities.


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