Neural machine translation has surpassed statistical machine translation as the leading approach. It uses an encoder-decoder model with attention to learn translation representations from large parallel corpora. Recent developments include incorporating monolingual data through language models, improving attention mechanisms, and minimizing evaluation metrics like BLEU during training rather than just cross-entropy. Open problems remain around handling rare words, semantic meaning, and context. Future work may focus on multilingual models, low-resource translation, and generating text for other modalities like images.
This document presents a method for generating walking bass lines using hidden Markov models. It proposes three methods for defining hidden states and evaluates them objectively and subjectively. Method 3, which considers pitch class and metrical position, performed best by generating bass lines that were harmonically congruent, sequentially smooth, and preferred by an expert bassist over the ground truth. While effective, the approach has limitations like only handling short, simple chord progressions and more work is needed to address longer, more complex progressions and additional musical factors.
Neural machine translation has surpassed statistical machine translation as the leading approach. It uses an encoder-decoder model with attention to learn translation representations from large parallel corpora. Recent developments include incorporating monolingual data through language models, improving attention mechanisms, and minimizing evaluation metrics like BLEU during training rather than just cross-entropy. Open problems remain around handling rare words, semantic meaning, and context. Future work may focus on multilingual models, low-resource translation, and generating text for other modalities like images.
This document presents a method for generating walking bass lines using hidden Markov models. It proposes three methods for defining hidden states and evaluates them objectively and subjectively. Method 3, which considers pitch class and metrical position, performed best by generating bass lines that were harmonically congruent, sequentially smooth, and preferred by an expert bassist over the ground truth. While effective, the approach has limitations like only handling short, simple chord progressions and more work is needed to address longer, more complex progressions and additional musical factors.
JamSketch: Improvisation Support System with GA-based Melody Creation from Us...kthrlab
This document describes JamSketch, a system that allows non-musicians to enjoy musical improvisation. It works by having users draw a melodic outline, then generates a melody in real-time to match the outline using a genetic algorithm. An experiment found that while JamSketch was inferior to experienced musicians, it performed as well or better than inexperienced musicians. Future work includes improving rhythm variation and considering relationships between pitch and rhythm.
1. The study analyzed bass melodies from Red Hot Chili Peppers albums before and after 1999 to investigate changes in the playing style of bassist Flea over time. Features related to pitch, duration, and note counts were extracted from MIDI data and used to accurately classify melodies as pre- or post-1999.
2. A second study investigated the relationship between verbal impressions of equalized vocal tones (e.g. warm, bright) and parametric equalizer settings. Participants evaluated modified vocal recordings and their responses were used to map impressions to frequency boosts and cuts.
3. The results of both studies could help develop music analysis and generation systems that incorporate stylistic changes over time or allow intuitive equalizer
The document discusses an improvisation support system called JamSketch that allows musical novices to enjoy creating music. JamSketch uses a simple drawing interface where users draw melodic outlines, and a genetic algorithm then generates a complete melody in real-time based on the outline. An experiment found the system-generated melodies were comparable to inexperienced human players but lacked human-likeness. Ongoing work aims to improve rhythm variety and allow input on smartphones or with eye tracking. The author believes systems should act as ghostwriters to support but not replace human musical ideas.
11. このとき
x (身長)
y (髪の長さ)
男
男
男
女
女
女
女
y < x – 100 なら z = 1 を出力
3
2
y > x – 100 なら z = 0 を出力
3
2
この式は
どう作るの?
y = x – 100
3
2
あらかじめ用意したデータで識別誤りが
なくなるように、ココの部分を調整する
y = x – 100
3
2
たとえば、
としよう