The Skipping Behavior of Users of Music Streaming Services and its Relation to Musical Structure

The behavior of users of music streaming services is investigated from the point of view of the temporal dimension of individual songs; specifically, the main object of the analysis is the point in time within a song at which users stop listening and start streaming another song ("skip"). The main contribution of this study is the ascertainment of a correlation between the distribution in time of skipping events and the musical structure of songs. It is also shown that such distribution is not only specific to the individual songs, but also independent of the cohort of users and, under stationary conditions, date of observation. Finally, user behavioral data is used to train a predictor of the musical structure of a song solely from its acoustic content; it is shown that the use of such data, available in large quantities to music streaming services, yields significant improvements in accuracy over the customary fashion of training this class of algorithms, in which only smaller amounts of hand-labeled data are available

Music Generation by Deep Learning - Challenges and Directions

In addition to traditional tasks such as prediction, classification and translation, deep learning is receiving growing attention as an approach for music generation, as witnessed by recent research groups such as Magenta at Google and CTRL (Creator Technology Research Lab) at Spotify. The motivation is in using the capacity of deep learning architectures and training techniques to automatically learn musical styles from arbitrary musical corpora and then to generate samples from the estimated distribution. However, a direct application of deep learning to generate content rapidly reaches limits as the generated content tends to mimic the training set without exhibiting true creativity. Moreover, deep learning architectures do not offer direct ways for controlling generation (e.g., imposing some tonality or other arbitrary constraints). Furthermore, deep learning architectures alone are autistic automata which generate music autonomously without human user interaction, far from the objective of interactively assisting musicians to compose and refine music. Issues such as: control, structure, creativity and interactivity are the focus of our analysis. In this paper, we select some limitations of a direct application of deep learning to music generation, analyze why the issues are not fulfilled and how to address them by possible approaches. Various examples of recent systems are cited as examples of promising directions.Comment: 17 pages. arXiv admin note: substantial text overlap with arXiv:1709.01620. Accepted for publication in Special Issue on Deep learning for music and audio, Neural Computing & Applications, Springer Nature, 201

RoboJam: A Musical Mixture Density Network for Collaborative Touchscreen Interaction

RoboJam is a machine-learning system for generating music that assists users of a touchscreen music app by performing responses to their short improvisations. This system uses a recurrent artificial neural network to generate sequences of touchscreen interactions and absolute timings, rather than high-level musical notes. To accomplish this, RoboJam's network uses a mixture density layer to predict appropriate touch interaction locations in space and time. In this paper, we describe the design and implementation of RoboJam's network and how it has been integrated into a touchscreen music app. A preliminary evaluation analyses the system in terms of training, musical generation and user interaction

Deep Learning Techniques for Music Generation -- A Survey

This paper is a survey and an analysis of different ways of using deep learning (deep artificial neural networks) to generate musical content. We propose a methodology based on five dimensions for our analysis: Objective - What musical content is to be generated? Examples are: melody, polyphony, accompaniment or counterpoint. - For what destination and for what use? To be performed by a human(s) (in the case of a musical score), or by a machine (in the case of an audio file). Representation - What are the concepts to be manipulated? Examples are: waveform, spectrogram, note, chord, meter and beat. - What format is to be used? Examples are: MIDI, piano roll or text. - How will the representation be encoded? Examples are: scalar, one-hot or many-hot. Architecture - What type(s) of deep neural network is (are) to be used? Examples are: feedforward network, recurrent network, autoencoder or generative adversarial networks. Challenge - What are the limitations and open challenges? Examples are: variability, interactivity and creativity. Strategy - How do we model and control the process of generation? Examples are: single-step feedforward, iterative feedforward, sampling or input manipulation. For each dimension, we conduct a comparative analysis of various models and techniques and we propose some tentative multidimensional typology. This typology is bottom-up, based on the analysis of many existing deep-learning based systems for music generation selected from the relevant literature. These systems are described and are used to exemplify the various choices of objective, representation, architecture, challenge and strategy. The last section includes some discussion and some prospects.Comment: 209 pages. This paper is a simplified version of the book: J.-P. Briot, G. Hadjeres and F.-D. Pachet, Deep Learning Techniques for Music Generation, Computational Synthesis and Creative Systems, Springer, 201

Régularité, génération de documents, et Cyc

Nous nous intéressons à la modélisation des réseaux hiérarchiques, et avons développé un modèle de hiérarchies sémantiques basé sur la RÉGULARITÉ, une généralisation de l’héritage [MIL 88a]. Nous nous intéressons également à la génération de documents séquentiels structurés à partir de documents hypertextes en utilisant la sémantique des liens hypertextes pour structurer la présentation [MIL 90b]. Nous avons acquis une copie de la base de connaissances CYC [LEN 90a] dans le but de: 1) utiliser le réseau sémantique sous-jacent à CYC pour aider à la génération de textes, et 2) tester\ud l’hypothèse de la régularité. Ironiquement, la taille gigantesque de CYC a forcé ses concepteurs d’adopter des optimisations d’implantation qui la rendent peu adaptée aux explorations logiques profondes requises par la génération de textes. Par ailleurs, l’étude des patrons de régularité dans CYC nous a amené à généraliser la notion de régularité, et à formuler un certain nombre d’hypothèses quant à la structure logique de la base de connaissances

Action Identity in Style Simulation Systems: Do Players Consider Machine-Generated Music As of Their Own Style?

The generation of musical material in a given style has been the subject of many studies with the increased sophistication of artificial intelligence models of musical style. In this paper we address a question of primary importance for artificial intelligence and music psychology: can such systems generate music that users indeed consider as corresponding to their own style? We address this question through an experiment involving both performance and recognition tasks with musically naïve school-age children. We asked 56 children to perform a free-form improvisation from which two kinds of music excerpt were created. One was a mere recording of original performances. The other was created by a software program designed to simulate the participants' style, based on their original performances. Two hours after the performance task, the children completed the recognition task in two conditions, one with the original excerpts and one with machine-generated music. Results indicate that the success rate is practically equivalent in two conditions: children tended to make correct attribution of the excerpts to themselves or to others, whether the music was human-produced or machine-generated (mean accuracy = 0.75 and = 0.71, respectively). We discuss this equivalence in accuracy for machine-generated and human produced music in the light of the literature on memory effects and action identity which addresses the recognition of one's own production

Generating all Possible Palindromes from Ngram Corpora

International audienceWe address the problem of generating all possible palindromes from a corpus of Ngrams. Palin-dromes are texts that read the same both ways. Short palindromes (" race car ") usually carry precise , significant meanings. Long palindromes are often less meaningful, but even harder to generate. The palindrome generation problem has never been addressed, to our knowledge, from a strictly combinatorial point of view. The main difficulty is that generating palindromes require the simultaneous consideration of two interrelated levels in a sequence: the " character " and the " word " levels. Although the problem seems very combina-torial, we propose an elegant yet non-trivial graph structure that can be used to generate all possible palindromes from a given corpus of Ngrams, with a linear complexity. We illustrate our approach with short and long palindromes obtained from the Google Ngram corpus. We show how we can control the semantics, to some extent, by using arbitrary text corpora to bias the probabilities of certain sets of words. More generally this work addresses the issue of modelling human virtuosity from a combinatorial viewpoint, as a means to understand human creativity