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This paper discusses MIDI innovation for dance accompaniment needs. MIDI or Musical Instrument (with) Digital Interface, is a revolution in the development of music. Presentation of dance accompaniment using MIDI has several advantages in a technological update. MIDI innovations in this study are discussed using descriptive analysis methods. The dance accompaniment in question is a dance accompaniment that usually uses gamelan devices can be denoted in software in a system called MIDI. This topic is taken from the phenomenon that occurs in the Yogyakarta ISI Dance Department. With MIDI, a composer can relatively simple listen to his work that has been written using music notation software on his computer. The large number of choreographers who need accompaniment during the Final Project (TA), allows the availability of insufficient human resources. Therefore, MIDI can be an alternative innovation to fill or correct these deficiencies.AbstrakTulisan ini membahas tentang inovasi MIDI untuk kebutuhan iringan tari. MIDI atau Musical Instrument (with) Digital Interface, merupakan revolusi dalam perkembangan musik. Penyajian iringan tari menggunakan MIDI memiliki beberapa kelebihan dalam

Symbolic music datasets are important for music information retrieval and musical analysis. However, there is a lack of large-scale symbolic dataset for classical piano music. In this article, we create a GiantMIDI-Piano dataset containing 10,854 unique piano solo pieces composed by 2,786 composers. The dataset is collected as follows, we extract music piece names and composer names from the International Music Score Library Project (IMSLP). We search and download their corresponding audio recordings from the internet. We apply a convolutional neural network to detect piano solo pieces. Then, we transcribe those piano solo recordings to Musical Instrument Digital Interface (MIDI) files using our recently proposed high-resolution piano transcription system. Each transcribed MIDI file contains onset, offset, pitch and velocity attributes of piano notes, and onset and offset attributes of sustain pedals. GiantMIDI-Piano contains 34,504,873 transcribed notes, and contains metadata information of each music piece. To our knowledge, GiantMIDI-Piano is the largest classical piano MIDI dataset so far. We analyses the statistics of GiantMIDI-Piano including the nationalities, the number and

Generative models guided by text prompts are increasingly becoming more popular. However, no text-to-MIDI models currently exist due to the lack of a captioned MIDI dataset. This work aims to enable research that combines LLMs with symbolic music by presenting, the first openly available large-scale MIDI dataset with text captions. MIDI (Musical Instrument Digital Interface) files are widely used for encoding musical information and can capture the nuances of musical composition. They are widely used by music producers, composers, musicologists, and performers alike. Inspired by recent advancements in captioning techniques, we present a curated dataset of over 168k MIDI files with textual descriptions. Each MIDI caption describes the musical content, including tempo, chord progression, time signature, instruments, genre, and mood, thus facilitating multi-modal exploration and analysis. The dataset encompasses various genres, styles, and complexities, offering a rich data source for training and evaluating models for tasks such as music information retrieval, music understanding, and cross-modal translation. We provide detailed statistics about the dataset and have assessed the qual

Recently, singing voice synthesis (SVS) models have shown significant progress with generative models. However, previous SVS models inaccurately predict prior and fundamental frequency (F0) for unseen speakers, resulting in a low-quality generated singing voice. To address these issues, in this paper, we propose MIDI-Voice for expressive singing voice synthesis and robust zero-shot singing voice style transfer. We employ a MIDI-based prior to a score-based diffusion model for better singing voice style adaptation. We first generate a MIDI-driven prior from the musical score, and this only includes the note information, not speaker information resulting in high-quality singing voice style adaptation. We also propose a DDSP-based MIDI-style prior for synthesizing a more expressive singing voice and for singing style adaptation, although it requires additional information from the audio. The experimental results show that MIDI-Voice outperforms the previous models in synthesizing an expressive singing voice, and also the superiority in zero-shot singing voice style transfer performance.

Music classification is a task to classify a music piece into labels such as genres or composers. We propose large-scale MIDI based composer classification systems using GiantMIDI-Piano, a transcription-based dataset. We propose to use piano rolls, onset rolls, and velocity rolls as input representations and use deep neural networks as classifiers. To our knowledge, we are the first to investigate the composer classification problem with up to 100 composers. By using convolutional recurrent neural networks as models, our MIDI based composer classification system achieves a 10-composer and a 100-composer classification accuracies of 0.648 and 0.385 (evaluated on 30-second clips) and 0.739 and 0.489 (evaluated on music pieces), respectively. Our MIDI based composer system outperforms several audio-based baseline classification systems, indicating the effectiveness of using compact MIDI representations for composer classification.

Speech synthesis and music audio generation from symbolic input differ in many aspects but share some similarities. In this study, we investigate how text-to-speech synthesis techniques can be used for piano MIDI-to-audio synthesis tasks. Our investigation includes Tacotron and neural source-filter waveform models as the basic components, with which we build MIDI-to-audio synthesis systems in similar ways to TTS frameworks. We also include reference systems using conventional sound modeling techniques such as sample-based and physical-modeling-based methods. The subjective experimental results demonstrate that the investigated TTS components can be applied to piano MIDI-to-audio synthesis with minor modifications. The results also reveal the performance bottleneck -- while the waveform model can synthesize high quality piano sound given natural acoustic features, the conversion from MIDI to acoustic features is challenging. The full MIDI-to-audio synthesis system is still inferior to the sample-based or physical-modeling-based approaches, but we encourage TTS researchers to test their TTS models for this new task and improve the performance.

This paper introduces MIDI, a novel paradigm for compositional 3D scene generation from a single image. Unlike existing methods that rely on reconstruction or retrieval techniques or recent approaches that employ multi-stage object-by-object generation, MIDI extends pre-trained image-to-3D object generation models to multi-instance diffusion models, enabling the simultaneous generation of multiple 3D instances with accurate spatial relationships and high generalizability. At its core, MIDI incorporates a novel multi-instance attention mechanism, that effectively captures inter-object interactions and spatial coherence directly within the generation process, without the need for complex multi-step processes. The method utilizes partial object images and global scene context as inputs, directly modeling object completion during 3D generation. During training, we effectively supervise the interactions between 3D instances using a limited amount of scene-level data, while incorporating single-object data for regularization, thereby maintaining the pre-trained generalization ability. MIDI demonstrates state-of-the-art performance in image-to-scene generation, validated through evaluatio

We present and release MIDI-GPT, a generative system based on the Transformer architecture that is designed for computer-assisted music composition workflows. MIDI-GPT supports the infilling of musical material at the track and bar level, and can condition generation on attributes including: instrument type, musical style, note density, polyphony level, and note duration. In order to integrate these features, we employ an alternative representation for musical material, creating a time-ordered sequence of musical events for each track and concatenating several tracks into a single sequence, rather than using a single time-ordered sequence where the musical events corresponding to different tracks are interleaved. We also propose a variation of our representation allowing for expressiveness. We present experimental results that demonstrate that MIDI-GPT is able to consistently avoid duplicating the musical material it was trained on, generate music that is stylistically similar to the training dataset, and that attribute controls allow enforcing various constraints on the generated material. We also outline several real-world applications of MIDI-GPT, including collaborations with i

We introduce an extensive new dataset of MIDI files, created by transcribing audio recordings of piano performances into their constituent notes. The data pipeline we use is multi-stage, employing a language model to autonomously crawl and score audio recordings from the internet based on their metadata, followed by a stage of pruning and segmentation using an audio classifier. The resulting dataset contains over one million distinct MIDI files, comprising roughly 100,000 hours of transcribed audio. We provide an in-depth analysis of our techniques, offering statistical insights, and investigate the content by extracting metadata tags, which we also provide. Dataset available at https://github.com/loubbrad/aria-midi.

This work introduces MiDi, a novel diffusion model for jointly generating molecular graphs and their corresponding 3D arrangement of atoms. Unlike existing methods that rely on predefined rules to determine molecular bonds based on the 3D conformation, MiDi offers an end-to-end differentiable approach that streamlines the molecule generation process. Our experimental results demonstrate the effectiveness of this approach. On the challenging GEOM-DRUGS dataset, MiDi generates 92% of stable molecules, against 6% for the previous EDM model that uses interatomic distances for bond prediction, and 40% using EDM followed by an algorithm that directly optimize bond orders for validity. Our code is available at github.com/cvignac/MiDi.

An important problem in large symbolic music collections is the low availability of high-quality metadata, which is essential for various information retrieval tasks. Traditionally, systems have addressed this by relying either on costly human annotations or on rule-based systems at a limited scale. Recently, embedding strategies have been exploited for representing latent factors in graphs of connected nodes. In this work, we propose MIDI2vec, a new approach for representing MIDI files as vectors based on graph embedding techniques. Our strategy consists of representing the MIDI data as a graph, including the information about tempo, time signature, programs and notes. Next, we run and optimise node2vec for generating embeddings using random walks in the graph. We demonstrate that the resulting vectors can successfully be employed for predicting the musical genre and other metadata such as the composer, the instrument or the movement. In particular, we conduct experiments using those vectors as input to a Feed-Forward Neural Network and we report good comparable accuracy scores in the prediction with respect to other approaches relying purely on symbolic music, avoiding feature en

We introduce Composer's Assistant, a system for interactive human-computer composition in the REAPER digital audio workstation. We consider the task of multi-track MIDI infilling when arbitrary track-measures have been deleted from a contiguous slice of measures from a MIDI file, and we train a T5-like model to accomplish this task. Composer's Assistant consists of this model together with scripts that enable interaction with the model in REAPER. We conduct objective and subjective tests of our model. We release our complete system, consisting of source code, pretrained models, and REAPER scripts. Our models were trained only on permissively-licensed MIDI files.

This paper investigates a cross-modal retrieval problem in which a user would like to retrieve a passage of music from a MIDI file by taking a cell phone picture of a physical page of sheet music. While audio-sheet music retrieval has been explored by a number of works, this scenario is novel in that the query is a cell phone picture rather than a digital scan. To solve this problem, we introduce a mid-level feature representation called a bootleg score which explicitly encodes the rules of Western musical notation. We convert both the MIDI and the sheet music into bootleg scores using deterministic rules of music and classical computer vision techniques for detecting simple geometric shapes. Once the MIDI and cell phone image have been converted into bootleg scores, we estimate the alignment using dynamic programming. The most notable characteristic of our system is that it does test-time adaptation and has no trainable weights at all -- only a set of about 30 hyperparameters. On a dataset containing 1000 cell phone pictures taken of 100 scores of classical piano music, our system achieves an F measure score of .869 and outperforms baseline systems based on commercial optical musi

This article investigates a cross-modal retrieval problem in which a user would like to retrieve a passage of music from a MIDI file by taking a cell phone picture of several lines of sheet music. This problem is challenging for two reasons: it has a significant runtime constraint since it is a user-facing application, and there is very little relevant training data containing cell phone images of sheet music. To solve this problem, we introduce a novel feature representation called a bootleg score which encodes the position of noteheads relative to staff lines in sheet music. The MIDI representation can be converted into a bootleg score using deterministic rules of Western musical notation, and the sheet music image can be converted into a bootleg score using classical computer vision techniques for detecting simple geometrical shapes. Once the MIDI and cell phone image have been converted into bootleg scores, we can estimate the alignment using dynamic programming. The most notable characteristic of our system is that it has no trainable weights at all — only a set of about 40 hyperparameters. With a training set of just 400 images, we show that our system generalizes well to a m

One of the major challenges in Automatic Drum Transcription (ADT) research is the lack of large-scale labeled dataset featuring audio with polyphonic mixtures; this limitation around data availability greatly impedes the progress of data-driven approaches in the context of ADT. To tackle this issue, we propose a semi-automatic way of compiling a labeled dataset using the audio-to-MIDI alignment technique. The resulting dataset consists of 1565 polyphonic mixtures of music with audio-aligned MIDI ground truth. To validate the quality and generality of this dataset, an ADT model based on Convolutional Neural Network (CNN) is trained and evaluated on several publicly available datasets. The evaluation results suggest that our proposed model, which is trained solely on the compiled dataset, compares favorably with the state-of-the-art ADT systems. The result also implies the possibility of leveraging audio-to-MIDI alignment in creating datasets for a broader range of audio related tasks.

Recent progress in natural language processing has been adapted to the symbolic music modality. Language models, such as Transformers, have been used with symbolic music for a variety of tasks among which music generation, modeling or transcription, with state-of-the-art performances. These models are beginning to be used in production products. To encode and decode music for the backbone model, they need to rely on tokenizers, whose role is to serialize music into sequences of distinct elements called tokens. MidiTok is an open-source library allowing to tokenize symbolic music with great flexibility and extended features. It features the most popular music tokenizations, under a unified API. It is made to be easily used and extensible for everyone.

The complex synthesis of emotions seen in music is meticulously composed using a wide range of aural components. Given the expanding soundscape and abundance of online music resources, creating a music recommendation system is significant. The area of music file emotion recognition is particularly fascinating. The RGRU (Enhanced Residual Gated Recurrent Unit), a complex architecture, is used in our study to look at MIDI (Musical Instrument and Digital Interface) compositions for detecting emotions. This involves extracting diverse features from the MIDI dataset, encompassing harmony, rhythm, dynamics, and statistical attributes. These extracted features subsequently serve as input to our emotion recognition model for emotion detection. We use an improved RGRU version to identify emotions and the Adaptive Red Fox Algorithm (ARFA) to optimize the RGRU hyperparameters. Our suggested model offers a sophisticated classification framework that effectively divides emotional content into four separate quadrants: positive-high, positive-low, negative-high, and negative-low. The Python programming environment is used to implement our suggested approach. We use the EMOPIA dataset to compare i

Recent advances in automatic piano transcription have enabled large scale analysis of piano music in the symbolic domain. However, the research has largely focused on classical piano music. We present PiJAMA ( Pi ano J azz with A utomatic M IDI A nnotations): a dataset of over 200 hours of solo jazz piano performances with automatically transcribed MIDI. In total there are 2,777 unique performances by 120 different pianists across 244 recorded albums. The dataset contains a mixture of studio recordings and live performances. We use automatic audio tagging to identify applause, spoken introductions, and other non-piano audio to facilitate downstream music information retrieval tasks. We explore descriptive statistics of the MIDI data, including pitch histograms and chromaticism. We then demonstrate two experimental benchmarks on the data: performer detection and generative modeling. The dataset, including a link to the associated source code is available at REDACTED_FOR_ANONYMOUS_REVIEW .

In today's real-world, estimation of the level of difficulty of the musical is part of very meaningful musical learning. A musical learner cannot learn without a defined precise estimation. This problem is not very basic but it is complicated up to some extent because of the subjectivity of the contents and the scarcity of the data. In this paper, a lightweight model that generates original music content using deep learning along with generating music based on a specific genre is proposed. The paper discusses a lightweight deep learning-based approach for jazz music generation in MIDI format. In this work, the genre of music chosen is Jazz, and the songs selected are classical numbers composed by various artists. All the songs are in MIDI format and there might be differences in the pace or tone of the music. It is prudential to make sure that the chosen datasets that do not have these kinds of differences and are similar to the final output as desired. A model is trained to take in a part of a music file as input and should produce its continuation. The result generated should be similar to the dataset given as the input. Moreover, the proposed model also generates music using a p

We introduce MIDI-VAE, a neural network model based on Variational Autoencoders that is capable of handling polyphonic music with multiple instrument tracks, as well as modeling the dynamics of music by incorporating note durations and velocities. We show that MIDI-VAE can perform style transfer on symbolic music by automatically changing pitches, dynamics and instruments of a music piece from, e.g., a Classical to a Jazz style. We evaluate the efficacy of the style transfer by training separate style validation classifiers. Our model can also interpolate between short pieces of music, produce medleys and create mixtures of entire songs. The interpolations smoothly change pitches, dynamics and instrumentation to create a harmonic bridge between two music pieces. To the best of our knowledge, this work represents the first successful attempt at applying neural style transfer to complete musical compositions.