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naraburns  nihil supernum  1yr ago (text post)   33252 thread views

Culture War Roundup for the week of February 20, 2023

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Computers are absolutely terrible at this. There is software available that purports to do this, some of which is available online for free, some of which is built into commercial music notation software like Sibelius or Finale, and the utility of all of it is fairly limited. It can work, but only when dealing with a simple, clean melody that's reasonably in tune and played with a steady tempo. Put a normal commercial recording into it and the results range from "needs quite a bit of cleanup" to "completely unusable", and at its best it won't include stylistic markings or formatting. At first glance, this should be much easier for the computer than it is for us. We have to listen through 5 instruments playing at once to hear what the acoustic guitar, which is low in the mix to begin with, is doing underneath the big cymbal crash, and separate 2 sax parts playing simultaneously, sometimes in unison, sometimes in harmony. The computer, on the other hand, has access to the entire waveform, and can analyze every individual frequency and amplitude that's on the recording every 1/44,100th of a second.

But we are right at the start of an explosion of AI for all kinds of tasks. The past (and present) is no guide to the future, here.

And Bregman was just talking about the ability to separate instruments! A lot of transcription requires a reasonable amount of musical knowledge, but even someone who's never picked up an instrument and can't tell a C from an Eb can tell which part is the piano part and which part is the trumpet part. And then there are all the issues related to timing. Take something simple like a fermata, a symbol that instructs the musician to hold the note as long as he feels necessary in a solo piece or until the conductor cuts him off in an ensemble piece. Is the comuter going to be able to intuit from the context of the performance that the note that was held for 3 seconds was a quarter note with a fermata and not just a note held for 5 1/2 beats or however long it was? Will it know that the pause afterward should take place immediately in the music and not to insert rests?

And what about articulations? Staccato quarter notes sound much the same as eighth notes followed by eighth rests. Or possibly sixteenth notes followed by three sixteenth rests. How will the computer decide which to use? Does it matter? Is there really a difference? Well, yeah. A quarter note melody like Mary Had a Little Lamb, with each note played short, is going to read much easier as staccato quarters, since using anything else needlessly complicates things, and doesn't giver the performer (or conductor) the discretion of determining exactly how short the articulation should be. On the other hand, a complex passage requiring precise articulation would look odd with a lone staccato quarter stuck in the middle of it. A musician can use their innate feel and experience as a player to determine what would work best in any given situation. A computer doesn't have this experience to draw on.

Machine translation will vary, likely not easily matching what a random music undergrad or postgrad would transcribe. There will be three main angles, and I expect the third to win, handily. (1) is a direct reproduction of the audio input, via sampling (e.g. WAV file) (2) is vector form (not samples or pixels, but how to recreate the image, e.g. MIDI, hold this note for x seconds) (3) will be: send the music to a neural net trained to notate. This thing will have judgment, and it will be poorer initially and improve over time, given (potentially expensive) training.

The real question is, how do you train it? And there are several easy answers; maybe harder answers are more efficient

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