scholarly journals Musical Composition Style Transfer via Disentangled Timbre Representations

Author(s):  
Yun-Ning Hung ◽  
I-Tung Chiang ◽  
Yi-An Chen ◽  
Yi-Hsuan Yang

Music creation involves not only composing the different parts (e.g., melody, chords) of a musical work but also arranging/selecting the instruments to play the different parts. While the former has received increasing attention, the latter has not been much investigated. This paper presents, to the best of our knowledge, the first deep learning models for rearranging music of arbitrary genres. Specifically, we build encoders and decoders that take a piece of polyphonic musical audio as input, and predict as output its musical score. We investigate disentanglement techniques such as adversarial training to separate latent factors that are related to the musical content (pitch) of different parts of the piece, and that are related to the instrumentation (timbre) of the parts per short-time segment. By disentangling pitch and timbre, our models have an idea of how each piece was composed and arranged. Moreover, the models can realize “composition style transfer” by rearranging a musical piece without much affecting its pitch content. We validate the effectiveness of the models by experiments on instrument activity detection and composition style transfer. To facilitate follow-up research, we open source our code at https://github.com/biboamy/instrument-disentangle.

2015 ◽  
Vol 39 (1) ◽  
pp. 74-87 ◽  
Author(s):  
Akira Maezawa ◽  
Hiroshi G. Okuno

This article presents an offline method for aligning an audio signal to individual instrumental parts constituting a musical score. The proposed method is based on fitting multiple hidden semi-Markov models (HSMMs) to the observed audio signal. The emission probability of each state of the HSMM is described using latent harmonic allocation (LHA), a Bayesian model of a harmonic sound mixture. Each HSMM corresponds to one musical instrument’s part, and the state duration probability is conditioned on a linear dynamics system (LDS) tempo model. Variational Bayesian inference is used to jointly infer LHA, HSMM, and the LDS. We evaluate the capability of the method to align musical audio to its score, under reverberation, structural variations, and fluctuations in onset timing among different parts.


2021 ◽  
pp. 030573562199523
Author(s):  
Claudia Iorio ◽  
Elvira Brattico ◽  
Frederik Munk Larsen ◽  
Peter Vuust ◽  
Leonardo Bonetti

Mental practice (MP) in music refers to the ability to rehearse music in the mind without any muscular movements or acoustic feedback. While previous studies have shown effects of the combination of MP and physical practice (PP) on instrumental performance, here we aimed to assess MP and PP effects on memory abilities. During a 1-week music practice protocol, classical guitarists were asked to practise a new musical piece using either a combination of MP and PP or PP alone. We asked participants to perform the piece and notate it at 3 different times: Day 1 and Day 7 of the 1-week practice protocol and 10 days after its completion (follow-up session). Results showed that the combination of MP and PP improves both notation and performance tasks compared with PP alone. Furthermore, we observed a clearer difference in memory performance in the follow-up session as compared with that in Day 7. Our results show that musicians can use both MP and PP to improve long-term retention and to reduce physical workload and playing-related overuse injuries. Therefore, we encourage music educators to teach MP in the classrooms rather than letting students discover it in a serendipitous way.


Author(s):  
Anders Raustorp ◽  
Andreas Fröberg

Background: The objectives of this study were to explore the effect of time, long-term tracking, and the proportion of objectively measured physical activity (PA) from early adolescence to the mid-thirties. Methods: PA was measured as mean steps per day (SPD) with pedometers during 2000 (T1), 2003 (T2), 2005 (T3), 2010 (T4), 2016 (T5) and 2020 (T6). Data from 64 participants (n = 32 males) were analysed from their early adolescence (T1) to their mid-thirties (T6). Results: SPD decreased in the total sample and among males and females (all, p < 0.001). Males took more mean SPD than females during T1 (p = 0.002), whereas females took more mean SPD during T2 (p = 0.009) and T6 (p = 0.008). Males’ mean SPD tracked between T1 and T2 (p = 0.021), T2 and T3 (p = 0.030), T3 and T4 (p = 0.015) and T4 and T5 (p = 0.003). Females’ mean SPD tracked between T3 and T4 (p = 0.024) and T5 and T6 (p < 0.001). In the total sample, more mean SPD were found on weekdays compared to weekend days at T3 (p = 0.017) and T5 (p < 0.001). Conclusions: SPD decreased between T1 and T6. Mean SPD tracked low-to-moderate in the short time span. From late adolescence to the mid-thirties, more mean SPD was observed during weekdays compared to weekend days.


2014 ◽  
Vol 11 (8) ◽  
pp. 1999-2011 ◽  
Author(s):  
Katrien Wierckx ◽  
Eva Van Caenegem ◽  
Thomas Schreiner ◽  
Ira Haraldsen ◽  
Alessandra Fisher ◽  
...  

2020 ◽  
Author(s):  
Ali Shafti ◽  
Shlomi Haar ◽  
Renato Mio Zaldivar ◽  
Pierre Guilleminot ◽  
A. Aldo Faisal

AbstractWe wanted to study the ability of our brains and bodies to be augmented by supernumerary robot limbs, here extra fingers. We developed a mechanically highly functional supernumerary robotic 3rd thumb actuator, the SR3T, and interfaced it with human users enabling them to play the piano with 11 fingers. We devised a set of measurement protocols and behavioural “biomarkers”, the Human Augmentation Motor Coordination Assessment (HAMCA), which allowed us a priori to predict how well each individual human user could, after training, play the piano with a two-thumbs-hand. To evaluate augmented music playing ability we devised a simple musical score, as well as metrics for assessing the accuracy of playing the score. We evaluated the SR3T (supernumerary robotic 3rd thumb) on 12 human subjects including 6 naïve and 6 experienced piano players. We demonstrated that humans can learn to play the piano with a 6-fingered hand within one hour of training. For each subject we could predict individually, based solely on their HAMCA performance before training, how well they were able to perform with the extra robotic thumb, after training (training end-point performance). Our work demonstrates the feasibility of robotic human augmentation with supernumerary robotic limbs within short time scales. We show how linking the neuroscience of motor learning with dexterous robotics and human-robot interfacing can be used to inform a priori how far individual motor impaired patients or healthy manual workers could benefit from robotic augmentation solutions.


2006 ◽  
pp. 111-115
Author(s):  
Ke Xu ◽  
Jun Chen ◽  
Jian Yao ◽  
Zhaoyang Zhao ◽  
Tao Yu ◽  
...  
Keyword(s):  

1865 ◽  
Vol 155 ◽  
pp. 203-262 ◽  

In the year 1843 a friend of mine, Mr. Ennis of Falmouth, sent me some bottles of seawater from the Mediterranean, which I subjected to a chemical examination, a work which induced me to collect what other chemists had determined about the constitution of the water of the great Ocean. This labour convinced me that our knowledge of, the composition of sea-water was very deficient, and that we knew very little about the differences in composition which occur in different parts of the sea. I entered into this labour more as a geologist than as a chemist, wishing, principally to find facts which could serve as a basis for the explanation of those effects, that have taken place at the formation of those voluminous beds which once were deposited at the bottom of the ocean. I thought that it was absolutely necessary to know with precision the composition of the water of the present ocean, in order to form an opinion about the action of that ocean from which the mountain limestone, the oolite and the chalk with its flint have been deposited, in the same way as it has been of the most material influence upon science to know the chemical actions of the present volcanos, in order to determine the causes which have acted in forming the older plutonic and many of the metamorphic rocks. Thus I determined to undertake a series of investigations upon the composition of the water of the ocean, and of its large inlets and bays, and ever since that time I have assiduously collected and analyzed water from the different parts of the sea. It is evident that it was impossible to collect this material in a short time, and without the assistance of many friends of science, and I most gratefully acknowledge how much I am indebted to many distinguished officers of the Danish and British Navy, as well as to many private men, who were all willing to undertake the trouble carefully to collect samples of sea-water from different parts of the ocean, both from the surface and from different depths. I shall afterwards, when giving the particular analyses, find an opportunity to mention the name of each of those to whom I am indebted for my material.


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