Source author record

François Pachet

François Pachet appears in the imported research catalog. Authorship, coauthor and topic links are available while profile ownership is still unclaimed.

ResearcherUnclaimed source record

Catalog footprint

What is connected

8works
5topics
4close collaborators

Actions

Connect this record

Log in to claim

Research graph

See the researcher in context

Open full explorer

Inspect adjacent papers, topics, institutions and collaborators without losing the researcher page.

Building this map preview

BZPEER is loading the nearby papers, people, topics and institutions for this page.

Published work

8 published item(s)

preprint2026arXiv

Exact Regular-Constrained Variable-Order Markov Generation via Sparse Context-State Belief Propagation

Variable-order Markov models generate sequences over a finite alphabet by conditioning each symbol on the longest available suffix of the generated history. Regular constraints, by contrast, describe finite-horizon control requirements by an automaton: fixed positions, forced endings, metrical patterns, and forbidden copied fragments are all special cases. Existing exact methods already handle regular constraints with belief propagation for first-order Markov chains. The contribution here is the variable-order extension: identifying the state space on which the existing BP-regular machinery must be run when the generator is a variable-order/backoff model. A first-order constraint layer can enforce useful support conditions, but it computes future mass after merging histories that a variable-order generator deliberately keeps distinct. We formalize this mismatch and give the sparse construction obtained by replacing the first-order Markov state with the observed context state, then taking the standard product with the regular constraint automaton. For a fixed trained context graph and automaton, inference is linear in the sequence horizon; in general it is polynomial in the number of reachable product edges. This gives the correct variable-order distribution conditioned on regular constraints without expanding to all K-tuples. The same finite-source interface supports reversible data augmentation by inverse count lookup, matching materialized transposition augmentation without storing transformed corpora. We also separate exact BP inference from generation-time backoff policies, such as singleton avoidance, whose stochastic semantics must be made explicit if exactness is claimed.

preprint2021arXiv

Assisted music creation with Flow Machines: towards new categories of new

This chapter reflects on about 10 years of research in AI- assisted music composition, in particular during the Flow Machines project. We reflect on the motivations for such a project, its background, its main results and impact, both technological and musical, several years after its completion. We conclude with a proposal for new categories of new, created by the many uses of AI techniques to generate novel material.

preprint2019arXiv

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.

preprint2016arXiv

Decision-Based Transcription of Jazz Guitar Solos Using a Harmonic Bident Analysis Filter Bank and Spectral Distribution Weighting

Jazz guitar solos are improvised melody lines played on one instrument on top of a chordal accompaniment (comping). As the improvisation happens spontaneously, a reference score is non-existent, only a lead sheet. There are situations, however, when one would like to have the original melody lines in the form of notated music, see the Real Book. The motivation is either for the purpose of practice and imitation or for musical analysis. In this work, an automatic transcriber for jazz guitar solos is developed. It resorts to a very intuitive representation of tonal music signals: the pitchgram. No instrument-specific modeling is involved, so the transcriber should be applicable to other pitched instruments as well. Neither is there the need to learn any note profiles prior to or during the transcription. Essentially, the proposed transcriber is a decision tree, thus a classifier, with a depth of 3. It has a (very) low computational complexity and can be run on-line. The decision rules can be refined or extended with no or little musical education. The transcriber's performance is evaluated on a set of ten jazz solo excerpts and compared with a state-of-the-art transcription system for the guitar plus PYIN. We achieve an improvement of 34% w.r.t. the reference system and 19% w.r.t. PYIN in terms of the F-measure. Another measure of accuracy, the error score, attests that the number of erroneous pitch detections is reduced by more than 50% w.r.t. the reference system and by 45% w.r.t. PYIN.

preprint2016arXiv

Maximum entropy models capture melodic styles

We introduce a Maximum Entropy model able to capture the statistics of melodies in music. The model can be used to generate new melodies that emulate the style of the musical corpus which was used to train it. Instead of using the $n-$body interactions of $(n-1)-$order Markov models, traditionally used in automatic music generation, we use a $k-$nearest neighbour model with pairwise interactions only. In that way, we keep the number of parameters low and avoid over-fitting problems typical of Markov models. We show that long-range musical phrases don't need to be explicitly enforced using high-order Markov interactions, but can instead emerge from multiple, competing, pairwise interactions. We validate our Maximum Entropy model by contrasting how much the generated sequences capture the style of the original corpus without plagiarizing it. To this end we use a data-compression approach to discriminate the levels of borrowing and innovation featured by the artificial sequences. The results show that our modelling scheme outperforms both fixed-order and variable-order Markov models. This shows that, despite being based only on pairwise interactions, this Maximum Entropy scheme opens the possibility to generate musically sensible alterations of the original phrases, providing a way to generate innovation.

preprint2016arXiv

Maximum entropy models for generation of expressive music

In the context of contemporary monophonic music, expression can be seen as the difference between a musical performance and its symbolic representation, i.e. a musical score. In this paper, we show how Maximum Entropy (MaxEnt) models can be used to generate musical expression in order to mimic a human performance. As a training corpus, we had a professional pianist play about 150 melodies of jazz, pop, and latin jazz. The results show a good predictive power, validating the choice of our model. Additionally, we set up a listening test whose results reveal that on average, people significantly prefer the melodies generated by the MaxEnt model than the ones without any expression, or with fully random expression. Furthermore, in some cases, MaxEnt melodies are almost as popular as the human performed ones.

preprint2016arXiv

SISO and SIMO Accompaniment Cancellation for Live Solo Recordings Based on Short-Time ERB-Band Wiener Filtering and Spectral Subtraction

Research in collaborative music learning is subject to unresolved problems demanding new technological solutions. One such problem poses the suppression of the accompaniment in a live recording of a performance during practice, which can be for the purposes of self-assessment or further machine-aided analysis. Being able to separate a solo from the accompaniment allows to create learning agents that may act as personal tutors and help the apprentice improve his or her technique. First, we start from the classical adaptive noise cancelling approach, and adjust it to the problem at hand. In a second step, we compare some adaptive and Wiener filtering approaches and assess their performances on the task. Our findings underpin that adaptive filtering is inapt of dealing with music signals and that Wiener filtering in the short-time Fourier transform domain is a much more effective approach. In addition, it is very cheap if carried out in the frequency bands of auditory filters. A double-output extension based on maximal-ratio combining is also proposed.

preprint2016arXiv

Style Imitation and Chord Invention in Polyphonic Music with Exponential Families

Modeling polyphonic music is a particularly challenging task because of the intricate interplay between melody and harmony. A good model should satisfy three requirements: statistical accuracy (capturing faithfully the statistics of correlations at various ranges, horizontally and vertically), flexibility (coping with arbitrary user constraints), and generalization capacity (inventing new material, while staying in the style of the training corpus). Models proposed so far fail on at least one of these requirements. We propose a statistical model of polyphonic music, based on the maximum entropy principle. This model is able to learn and reproduce pairwise statistics between neighboring note events in a given corpus. The model is also able to invent new chords and to harmonize unknown melodies. We evaluate the invention capacity of the model by assessing the amount of cited, re-discovered, and invented chords on a corpus of Bach chorales. We discuss how the model enables the user to specify and enforce user-defined constraints, which makes it useful for style-based, interactive music generation.