Small adversarial perturbations of input data are able to drastically change performance of machine learning systems, thereby challenging the validity of such systems. We present the very first end-to-end adversarial attacks on a music instrument classification system allowing to add perturbations directly to audio waveforms instead of spectrograms. Our attacks are able to reduce the accuracy close to a random baseline while at the same time keeping perturbations almost imperceptible and producing misclassifications to any desired instrument.
As digital music production has become mainstream, the selection of appropriate virtual instruments plays a crucial role in determining the quality of music. To search the musical instrument samples or virtual instruments that make one's desired sound, music producers use their ears to listen and compare each instrument sample in their collection, which is time-consuming and inefficient. In this paper, we call this task as Musical Instrument Retrieval and propose a method for retrieving desired musical instruments using reference music mixture as a query. The proposed model consists of the Sin…
Deep learning work on musical instrument recognition has generally focused on instrument classes for which we have abundant data. In this work, we exploit hierarchical relationships between instruments in a few-shot learning setup to enable classification of a wider set of musical instruments, given a few examples at inference. We apply a hierarchical loss function to the training of prototypical networks, combined with a method to aggregate prototypes hierarchically, mirroring the structure of a predefined musical instrument hierarchy. These extensions require no changes to the network archit…
Performance Conditioning for Diffusion-Based Multi-Instrument Music Synthesis
International Audio Laboratories Erlangen（埃尔朗根国际音频实验室）；Friedrich-Alexander-Universität Erlangen-Nürnberg（埃尔朗根-纽伦堡弗里德里希-亚历山大大学）；Fraunhofer Institute for Integrated Circuits IIS（弗劳恩霍夫集成电路研究所IIS）
Music is a mysterious language that conveys feeling and thoughts via different tones and timbre. For better understanding of timbre in music, we chose music data of 6 representative instruments, analysed their timbre features and classified them. Instead of the current trend of Neural Network for black-box classification, our project is based on a combination of MFCC and LPC, and augmented with a 6-dimensional feature vector designed by ourselves from observation and attempts. In our white-box model, we observed significant patterns of sound that distinguish different timbres, and discovered s…
Musical instrument classification is one of the focuses of Music Information Retrieval (MIR). In order to solve the problem of poor performance of current musical instrument classification models, we propose a musical instrument classification algorithm based on multi-channel feature fusion and XGBoost. Based on audio feature extraction and fusion of the dataset, the features are input into the XGBoost model for training; secondly, we verified the superior performance of the algorithm in the musical instrument classification task by com-paring different feature combinations and several classic…
The performance of approaches to Music Instrument Classification, a popular task in Music Information Retrieval, is often impacted and limited by the lack of availability of annotated data for training. We propose to address this issue with "reprogramming," a technique that utilizes pre-trained deep and complex neural networks originally targeting a different task by modifying and mapping both the input and output of the pre-trained model. We demonstrate that reprogramming can effectively leverage the power of the representation learned for a different task and that the resulting reprogrammed …
Indian Institute of Technology, Kharagpur（印度理工学院克勒格布尔分校）；Indian Statistical Institute, Kolkata（印度统计研究所加尔各答分所）
This work aims to examine one of the cornerstone problems of Musical Instrument Retrieval (MIR), in particular, instrument classification. IRMAS (Instrument recognition in Musical Audio Signals) data set is chosen for this purpose. The data includes musical clips recorded from various sources in the last century, thus having a wide variety of audio quality. We have presented a very concise summary of past work in this domain. Having implemented various supervised learning algorithms for this classification task, SVM classifier has outperformed the other state-of-the-art models with an accuracy…
We propose a novel system that takes as an input body movements of a musician playing a musical instrument and generates music in an unsupervised setting. Learning to generate multi-instrumental music from videos without labeling the instruments is a challenging problem. To achieve the transformation, we built a pipeline named 'Multi-instrumentalistNet' (MI Net). At its base, the pipeline learns a discrete latent representation of various instruments music from log-spectrogram using a Vector Quantized Variational Autoencoder (VQ-VAE) with multi-band residual blocks. The pipeline is then traine…
Arranging music for a different set of instruments that it was originally written for is traditionally a tedious and time-consuming process, performed by experts with intricate knowledge of the specific instruments and involving significant experimentation. In this paper we study the problem of automating music arrangements for music pieces written for monophonic instruments or voices. We designed and implemented an algorithm that can always produce a music arrangement when feasible by transposing the music piece to a different scale, permuting the assigned parts to instruments/voices, and tra…
Google Research（谷歌研究院）；Northwestern University（西北大学）
Automatic Music Transcription (AMT), inferring musical notes from raw audio, is a challenging task at the core of music understanding. Unlike Automatic Speech Recognition (ASR), which typically focuses on the words of a single speaker, AMT often requires transcribing multiple instruments simultaneously, all while preserving fine-scale pitch and timing information. Further, many AMT datasets are "low-resource", as even expert musicians find music transcription difficult and time-consuming. Thus, prior work has focused on task-specific architectures, tailored to the individual instruments of eac…
University of California San Diego（加州大学圣迭戈分校）；Stanford University（斯坦福大学）
Modern keyboards allow a musician to play multiple instruments at the same time by assigning zones -- fixed pitch ranges of the keyboard -- to different instruments. In this paper, we aim to further extend this idea and examine the feasibility of automatic instrumentation -- dynamically assigning instruments to notes in solo music during performance. In addition to the online, real-time-capable setting for performative use cases, automatic instrumentation can also find applications in assistive composing tools in an offline setting. Due to the lack of paired data of original solo music and the…
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 wid…
A recurrent Neural Network (RNN) is trained to predict sound samples based on audio input augmented by control parameter information for pitch, volume, and instrument identification. During the generative phase following training, audio input is taken from the output of the previous time step, and the parameters are externally controlled allowing the network to be played as a musical instrument. Building on an architecture developed in previous work, we focus on the learning and synthesis of transients - the temporal response of the network during the short time (tens of milliseconds) followin…
Music source separation performance has greatly improved in recent years with the advent of approaches based on deep learning. Such methods typically require large amounts of labelled training data, which in the case of music consist of mixtures and corresponding instrument stems. However, stems are unavailable for most commercial music, and only limited datasets have so far been released to the public. It can thus be difficult to draw conclusions when comparing various source separation methods, as the difference in performance may stem as much from better data augmentation techniques or trai…
Universitat Pompeu Fabra（庞培法布拉大学）；Joint Research Centre, European Commission（欧盟委员会联合研究中心）
In music source separation, the number of sources may vary for each piece and some of the sources may belong to the same family of instruments, thus sharing timbral characteristics and making the sources more correlated. This leads to additional challenges in the source separation problem. This paper proposes a source separation method for multiple musical instruments sounding simultaneously and explores how much additional information apart from the audio stream can lift the quality of source separation. We explore conditioning techniques at different levels of a primary source separation net…
Using open-source and creative coding frameworks, a teamof artist-engineers from Portland Community College work-ing with artists who experience Intellectual/Developmentaldisabilities prototyped an ensemble of adapted instrumentsand synthesizers that facilitate real-time in-key collabora-tion. The instruments employ a variety of sensors, send-ing the resulting musical controls to software sound gener-ators via MIDI. Careful consideration was given to the bal-ance between freedom of expression, and curating the pos-sible sonic outcomes as adaptation. Evaluation of adaptedinstrument design may d…
LG AI Research（LG人工智能研究院）；University of Ulsan（蔚山大学）
Similar to colorization in computer vision, instrument separation is to assign instrument labels (e.g. piano, guitar...) to notes from unlabeled mixtures which contain only performance information. To address the problem, we adopt diffusion models and explicitly guide them to preserve consistency between mixtures and music. The quantitative results show that our proposed model can generate high-fidelity samples for multitrack symbolic music with creativity.
Instrument classification is one of the fields in Music Information Retrieval (MIR) that has attracted a lot of research interest. However, the majority of that is dealing with monophonic music, while efforts on polyphonic material mainly focus on predominant instrument recognition. In this paper, we propose an approach for instrument classification in polyphonic music from purely monophonic data, that involves performing data augmentation by mixing different audio segments. A variety of data augmentation techniques focusing on different sonic aspects, such as overlaying audio segments of the …
The aim of this work is to define a model based on deep learning that is able to identify different instrument timbres with as few parameters as possible. For this purpose, we have worked with classical orchestral instruments played with different dynamics, which are part of a few instrument families and which play notes in the same pitch range. It has been possible to assess the ability to classify instruments by timbre even if the instruments are playing the same note with the same intensity. The network employed uses a multi-head attention mechanism, with 8 heads and a dense network at the …
Georgia Institute of Technology（佐治亚理工学院）；Center for Music Technology（音乐技术中心）
Music source separation is a core task in music information retrieval which has seen a dramatic improvement in the past years. Nevertheless, most of the existing systems focus exclusively on the problem of source separation itself and ignore the utilization of other~---possibly related---~MIR tasks which could lead to additional quality gains. In this work, we propose a novel multitask structure to investigate using instrument activation information to improve source separation performance. Furthermore, we investigate our system on six independent instruments, a more realistic scenario than th…
K.N. Toosi University of Technology（霍斯拉维·纳赛尔·托西理工大学）；University of Tabriz（大不里士大学）；Islamic Azad University, Sari branch（伊斯兰阿扎德大学萨里分校）
In this paper, AzarNet, a deep neural network (DNN), is proposed to recognizing seven different Dastgahs of Iranian classical music in Maryam Iranian classical music (MICM) dataset. Over the last years, there has been remarkable interest in employing feature learning and DNNs which lead to decreasing the required engineering effort. DNNs have shown better performance in many classification tasks such as audio signal classification compares to shallow processing architectures. Despite image data, audio data need some preprocessing steps to extract spectra and temporal features. Some transformat…
Singapore University of Technology and Design（新加坡科技设计大学）；Gaudio Lab（Gaudio实验室）；Bytedance（字节跳动）
In this paper, we introduce Jointist, an instrument-aware multi-instrument framework that is capable of transcribing, recognizing, and separating multiple musical instruments from an audio clip. Jointist consists of an instrument recognition module that conditions the other two modules: a transcription module that outputs instrument-specific piano rolls, and a source separation module that utilizes instrument information and transcription results. The joint training of the transcription and source separation modules serves to improve the performance of both tasks. The instrument module is opti…
Although music is typically multi-label, many works have studied hierarchical music tagging with simplified settings such as single-label data. Moreover, there lacks a framework to describe various joint training methods under the multi-label setting. In order to discuss the above topics, we introduce hierarchical multi-label music instrument classification task. The task provides a realistic setting where multi-instrument real music data is assumed. Various hierarchical methods that jointly train a DNN are summarized and explored in the context of the fusion of deep learning and conventional …
School of Music, Shandong University of Technology（山东理工大学音乐学院）；No.2 High School (Baoshan) of East China Normal University（华东师范大学第二附属中学（宝山））；Shanghai Institute of Microsystem and Information Technology, Chinese Academy of Sciences（中国科学院上海微系统与信息技术研究所）；Department of Electrical and Computer Engineering, University of Texas at Dallas（德克萨斯大学达拉斯分校电气与计算机工程系）
Musical instruments recognition is a widely used application for music information retrieval. As most of previous musical instruments recognition dataset focus on western musical instruments, it is difficult for researcher to study and evaluate the area of traditional Chinese musical instrument recognition. This paper propose a traditional Chinese music dataset for training model and performance evaluation, named ChMusic. This dataset is free and publicly available, 11 traditional Chinese musical instruments and 55 traditional Chinese music excerpts are recorded in this dataset. Then an evalua…
We present SingSong, a system that generates instrumental music to accompany input vocals, potentially offering musicians and non-musicians alike an intuitive new way to create music featuring their own voice. To accomplish this, we build on recent developments in musical source separation and audio generation. Specifically, we apply a state-of-the-art source separation algorithm to a large corpus of music audio to produce aligned pairs of vocals and instrumental sources. Then, we adapt AudioLM (Borsos et al., 2022) -- a state-of-the-art approach for unconditional audio generation -- to be sui…
University of Bremen（不来梅大学）；Colorado State University（科罗拉多州立大学）
We propose an algorithm for the blind separation of single-channel audio signals. It is based on a parametric model that describes the spectral properties of the sounds of musical instruments independently of pitch. We develop a novel sparse pursuit algorithm that can match the discrete frequency spectra from the recorded signal with the continuous spectra delivered by the model. We first use this algorithm to convert an STFT spectrogram from the recording into a novel form of log-frequency spectrogram whose resolution exceeds that of the mel spectrogram. We then make use of the pitch-invarian…
UC San Diego（加州大学圣地亚哥分校）；Tencent AI Lab（腾讯人工智能实验室）
Choral music separation refers to the task of extracting tracks of voice parts (e.g., soprano, alto, tenor, and bass) from mixed audio. The lack of datasets has impeded research on this topic as previous work has only been able to train and evaluate models on a few minutes of choral music data due to copyright issues and dataset collection difficulties. In this paper, we investigate the use of synthesized training data for the source separation task on real choral music. We make three contributions: first, we provide an automated pipeline for synthesizing choral music data from sampled instrum…
National Institute of Informatics, Tokyo, Japan（日本东京国立信息学研究所）；Department of Signal Processing and Acoustics, Aalto University, Finland（芬兰阿尔托大学信号处理与声学系）
Recent neural waveform synthesizers such as WaveNet, WaveGlow, and the neural-source-filter (NSF) model have shown good performance in speech synthesis despite their different methods of waveform generation. The similarity between speech and music audio synthesis techniques suggests interesting avenues to explore in terms of the best way to apply speech synthesizers in the music domain. This work compares three neural synthesizers used for musical instrument sounds generation under three scenarios: training from scratch on music data, zero-shot learning from the speech domain, and fine-tuning-…
Research Center for IT Innovation, Academia Sinica（中央研究院资讯科技创新研究中心）；KKBOX Inc.（KKBOX公司）
For many music analysis problems, we need to know the presence of instruments for each time frame in a multi-instrument musical piece. However, such a frame-level instrument recognition task remains difficult, mainly due to the lack of labeled datasets. To address this issue, we present in this paper a large-scale dataset that contains synthetic polyphonic music with frame-level pitch and instrument labels. Moreover, we propose a simple yet novel network architecture to jointly predict the pitch and instrument for each frame. With this multitask learning method, the pitch information can be le…
Snap Inc.（Snap公司）；University of California, Berkeley（加州大学伯克利分校）；University of California, Los Angeles（加州大学洛杉矶分校）
In this paper, we propose a recurrent neural network (RNN)-based MIDI music composition machine that is able to learn musical knowledge from existing Beatles' songs and generate music in the style of the Beatles with little human intervention. In the learning stage, a sequence of stylistically uniform, multiple-channel music samples was modeled by a RNN. In the composition stage, a short clip of randomly-generated music was used as a seed for the RNN to start music score prediction. To form structured music, segments of generated music from different seeds were concatenated together. To improv…
We are interested in the task of generating multi-instrumental music scores. The Transformer architecture has recently shown great promise for the task of piano score generation; here we adapt it to the multi-instrumental setting. Transformers are complex, high-dimensional language models which are capable of capturing long-term structure in sequence data, but require large amounts of data to fit. Their success on piano score generation is partially explained by the large volumes of symbolic data readily available for that domain. We leverage the recently-introduced NES-MDB dataset of four-ins…
Peking University（北京大学）；Wangxuan Institute of Computer Technology, PKU（北京大学王选计算机研究所）；China Conservatory of Music（中国音乐学院）；University of Illinois at Urbana-Champaign（伊利诺伊大学厄巴纳-香槟分校）
Unlike melody extraction and other aspects of music transcription, research on playing technique detection is still in its early stages. Compared to existing work mostly focused on playing technique detection for individual single notes, we propose a general end-to-end method based on Sound Event Detection by FCN for musical instrument playing technique detection. In our case, we choose Erhu, a well-known Chinese bowed-stringed instrument, to experiment with our method. Because of the limitation of FCN, we present an algorithm to detect on variable length audio. The effectiveness of the propos…
Research Center for IT Innovation, Academia Sinica（中央研究院资讯科技创新研究中心）；KKBOX Inc.（KKBOX公司）
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…
Isolating individual instruments in a musical mixture has a myriad of potential applications, and seems imminently achievable given the levels of performance reached by recent deep learning methods. While most musical source separation techniques learn an independent model for each instrument, we propose using a common embedding space for the time-frequency bins of all instruments in a mixture inspired by deep clustering and deep attractor networks. Additionally, an auxiliary network is used to generate parameters of a Gaussian mixture model (GMM) where the posterior distribution over GMM comp…
RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion（节奏、时间与运动跨学科研究中心）；Department of Musicology（音乐学系）；University of Oslo（奥斯陆大学）；PRAXIS（实践舞蹈公司）；Norwegian Contemporary Dance Company（挪威当代舞蹈公司）
This paper describes the process of developing a shared instrument for music-dance performance, with a particular focus on exploring the boundaries between standstill vs motion, and silence vs sound. The piece Vrengt grew from the idea of enabling a true partnership between a musician and a dancer, developing an instrument that would allow for active co-performance. Using a participatory design approach, we worked with sonification as a tool for systematically exploring the dancer's bodily expressions. The exploration used a "spatiotemporal matrix", with a particular focus on sonic microintera…
