Jitong Chen

Bing Han, Junyu Dai, Weituo Hao et al.

Music editing primarily entails the modification of instrument tracks or remixing in the whole, which offers a novel reinterpretation of the original piece through a series of operations. These music processing methods hold immense potential across various applications but demand substantial expertise. Prior methodologies, although effective for image and audio modifications, falter when directly applied to music. This is attributed to music's distinctive data nature, where such methods can inadvertently compromise the intrinsic harmony and coherence of music. In this paper, we develop InstructME, an Instruction guided Music Editing and remixing framework based on latent diffusion models. Our framework fortifies the U-Net with multi-scale aggregation in order to maintain consistency before and after editing. In addition, we introduce chord progression matrix as condition information and incorporate it in the semantic space to improve melodic harmony while editing. For accommodating extended musical pieces, InstructME employs a chunk transformer, enabling it to discern long-term temporal dependencies within music sequences. We tested InstructME in instrument-editing, remixing, and multi-round editing. Both subjective and objective evaluations indicate that our proposed method significantly surpasses preceding systems in music quality, text relevance and harmony. Demo samples are available at https://musicedit.github.io/

Julian D. Parker, Janne Spijkervet, Katerina Kosta et al.

End-to-end generation of musical audio using deep learning techniques has seen an explosion of activity recently. However, most models concentrate on generating fully mixed music in response to abstract conditioning information. In this work, we present an alternative paradigm for producing music generation models that can listen and respond to musical context. We describe how such a model can be constructed using a non-autoregressive, transformer-based model architecture and present a number of novel architectural and sampling improvements. We train the described architecture on both an open-source and a proprietary dataset. We evaluate the produced models using standard quality metrics and a new approach based on music information retrieval descriptors. The resulting model reaches the audio quality of state-of-the-art text-conditioned models, as well as exhibiting strong musical coherence with its context.

Qiuqiang Kong, Bochen Li, Jitong Chen et al.

Symbolic music datasets are important for music information retrieval and musical analysis. However, there is a lack of large-scale symbolic datasets for classical piano music. In this article, we create a GiantMIDI-Piano (GP) dataset containing 38,700,838 transcribed notes and 10,855 unique solo piano works composed by 2,786 composers. We extract the names of music works and the names of composers from the International Music Score Library Project (IMSLP). We search and download their corresponding audio recordings from the internet. We further create a curated subset containing 7,236 works composed by 1,787 composers by constraining the titles of downloaded audio recordings containing the surnames of composers. We apply a convolutional neural network to detect solo piano works. Then, we transcribe those solo piano recordings into Musical Instrument Digital Interface (MIDI) files using a high-resolution piano transcription system. Each transcribed MIDI file contains the onset, offset, pitch, and velocity attributes of piano notes and pedals. GiantMIDI-Piano includes 90% live performance MIDI files and 10\% sequence input MIDI files. We analyse the statistics of GiantMIDI-Piano and show pitch class, interval, trichord, and tetrachord frequencies of six composers from different eras to show that GiantMIDI-Piano can be used for musical analysis. We evaluate the quality of GiantMIDI-Piano in terms of solo piano detection F1 scores, metadata accuracy, and transcription error rates. We release the source code for acquiring the GiantMIDI-Piano dataset at https://github.com/bytedance/GiantMIDI-Piano

Max W. Y. Lam, Qiao Tian, Tang Li et al.

Recent progress in music generation has been remarkably advanced by the state-of-the-art MusicLM, which comprises a hierarchy of three LMs, respectively, for semantic, coarse acoustic, and fine acoustic modelings. Yet, sampling with the MusicLM requires processing through these LMs one by one to obtain the fine-grained acoustic tokens, making it computationally expensive and prohibitive for a real-time generation. Efficient music generation with a quality on par with MusicLM remains a significant challenge. In this paper, we present MeLoDy (M for music; L for LM; D for diffusion), an LM-guided diffusion model that generates music audios of state-of-the-art quality meanwhile reducing 95.7% or 99.6% forward passes in MusicLM, respectively, for sampling 10s or 30s music. MeLoDy inherits the highest-level LM from MusicLM for semantic modeling, and applies a novel dual-path diffusion (DPD) model and an audio VAE-GAN to efficiently decode the conditioning semantic tokens into waveform. DPD is proposed to simultaneously model the coarse and fine acoustics by incorporating the semantic information into segments of latents effectively via cross-attention at each denoising step. Our experimental results suggest the superiority of MeLoDy, not only in its practical advantages on sampling speed and infinitely continuable generation, but also in its state-of-the-art musicality, audio quality, and text correlation. Our samples are available at https://Efficient-MeLoDy.github.io/.

Siyuan Shan, Lamtharn Hantrakul, Jitong Chen et al.

Differentiable Wavetable Synthesis (DWTS) is a technique for neural audio synthesis which learns a dictionary of one-period waveforms i.e. wavetables, through end-to-end training. We achieve high-fidelity audio synthesis with as little as 10 to 20 wavetables and demonstrate how a data-driven dictionary of waveforms opens up unprecedented one-shot learning paradigms on short audio clips. Notably, we show audio manipulations, such as high quality pitch-shifting, using only a few seconds of input audio. Lastly, we investigate performance gains from using learned wavetables for realtime and interactive audio synthesis.

Ju-Chiang Wang, Jordan B. L. Smith, Jitong Chen et al.

This paper presents a novel supervised approach to detecting the chorus segments in popular music. Traditional approaches to this task are mostly unsupervised, with pipelines designed to target some quality that is assumed to define "chorusness," which usually means seeking the loudest or most frequently repeated sections. We propose to use a convolutional neural network with a multi-task learning objective, which simultaneously fits two temporal activation curves: one indicating "chorusness" as a function of time, and the other the location of the boundaries. We also propose a post-processing method that jointly takes into account the chorus and boundary predictions to produce binary output. In experiments using three datasets, we compare our system to a set of public implementations of other segmentation and chorus-detection algorithms, and find our approach performs significantly better.

Yu Gu, Xiang Yin, Yonghui Rao et al.

This paper presents ByteSing, a Chinese singing voice synthesis (SVS) system based on duration allocated Tacotron-like acoustic models and WaveRNN neural vocoders. Different from the conventional SVS models, the proposed ByteSing employs Tacotron-like encoder-decoder structures as the acoustic models, in which the CBHG models and recurrent neural networks (RNNs) are explored as encoders and decoders respectively. Meanwhile an auxiliary phoneme duration prediction model is utilized to expand the input sequence, which can enhance the model controllable capacity, model stability and tempo prediction accuracy. WaveRNN neural vocoders are also adopted as neural vocoders to further improve the voice quality of synthesized songs. Both objective and subjective experimental results prove that the SVS method proposed in this paper can produce quite natural, expressive and high-fidelity songs by improving the pitch and spectrogram prediction accuracy and the models using attention mechanism can achieve best performance.

Wei Ping, Kainan Peng, Jitong Chen

In this work, we propose a new solution for parallel wave generation by WaveNet. In contrast to parallel WaveNet (van den Oord et al., 2018), we distill a Gaussian inverse autoregressive flow from the autoregressive WaveNet by minimizing a regularized KL divergence between their highly-peaked output distributions. Our method computes the KL divergence in closed-form, which simplifies the training algorithm and provides very efficient distillation. In addition, we introduce the first text-to-wave neural architecture for speech synthesis, which is fully convolutional and enables fast end-to-end training from scratch. It significantly outperforms the previous pipeline that connects a text-to-spectrogram model to a separately trained WaveNet (Ping et al., 2018). We also successfully distill a parallel waveform synthesizer conditioned on the hidden representation in this end-to-end model.

Sercan O. Arik, Jitong Chen, Kainan Peng et al.

Voice cloning is a highly desired feature for personalized speech interfaces. Neural network based speech synthesis has been shown to generate high quality speech for a large number of speakers. In this paper, we introduce a neural voice cloning system that takes a few audio samples as input. We study two approaches: speaker adaptation and speaker encoding. Speaker adaptation is based on fine-tuning a multi-speaker generative model with a few cloning samples. Speaker encoding is based on training a separate model to directly infer a new speaker embedding from cloning audios and to be used with a multi-speaker generative model. In terms of naturalness of the speech and its similarity to original speaker, both approaches can achieve good performance, even with very few cloning audios. While speaker adaptation can achieve better naturalness and similarity, the cloning time or required memory for the speaker encoding approach is significantly less, making it favorable for low-resource deployment.

DeLiang Wang, Jitong Chen

Speech separation is the task of separating target speech from background interference. Traditionally, speech separation is studied as a signal processing problem. A more recent approach formulates speech separation as a supervised learning problem, where the discriminative patterns of speech, speakers, and background noise are learned from training data. Over the past decade, many supervised separation algorithms have been put forward. In particular, the recent introduction of deep learning to supervised speech separation has dramatically accelerated progress and boosted separation performance. This article provides a comprehensive overview of the research on deep learning based supervised speech separation in the last several years. We first introduce the background of speech separation and the formulation of supervised separation. Then we discuss three main components of supervised separation: learning machines, training targets, and acoustic features. Much of the overview is on separation algorithms where we review monaural methods, including speech enhancement (speech-nonspeech separation), speaker separation (multi-talker separation), and speech dereverberation, as well as multi-microphone techniques. The important issue of generalization, unique to supervised learning, is discussed. This overview provides a historical perspective on how advances are made. In addition, we discuss a number of conceptual issues, including what constitutes the target source.

Eric Battenberg, Jitong Chen, Rewon Child et al.

In this work, we perform an empirical comparison among the CTC, RNN-Transducer, and attention-based Seq2Seq models for end-to-end speech recognition. We show that, without any language model, Seq2Seq and RNN-Transducer models both outperform the best reported CTC models with a language model, on the popular Hub5'00 benchmark. On our internal diverse dataset, these trends continue - RNNTransducer models rescored with a language model after beam search outperform our best CTC models. These results simplify the speech recognition pipeline so that decoding can now be expressed purely as neural network operations. We also study how the choice of encoder architecture affects the performance of the three models - when all encoder layers are forward only, and when encoders downsample the input representation aggressively.