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Titlebook: Deep Learning Techniques for Music Generation; Jean-Pierre Briot,Ga?tan Hadjeres,Fran?ois-David P Book 2020 Springer Nature Switzerland AG

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樓主: Addiction
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發(fā)表于 2025-3-23 10:13:46 | 只看該作者
12#
發(fā)表于 2025-3-23 16:28:58 | 只看該作者
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發(fā)表于 2025-3-23 18:47:51 | 只看該作者
14#
發(fā)表于 2025-3-24 01:37:02 | 只看該作者
Representation,The second dimension of our analysis, the ., is about the way the musical content is represented. The choice of representation and its encoding is tightly connected to the configuration of the input and the output of the architecture, i.e. the number of input and output variables as well as their corresponding types.
15#
發(fā)表于 2025-3-24 06:17:34 | 只看該作者
16#
發(fā)表于 2025-3-24 09:07:26 | 只看該作者
Challenge and Strategy,We are now reaching the core of this book. This chapter will analyze in depth how to apply the architectures presented in Chapter 5 to learn and generate music. We will first start with a naive, straightforward strategy, using the basic prediction task of a neural network to generate an accompaniment for a melody.
17#
發(fā)表于 2025-3-24 11:54:35 | 只看該作者
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發(fā)表于 2025-3-24 16:20:33 | 只看該作者
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發(fā)表于 2025-3-24 21:14:40 | 只看該作者
Introduction,voice recognition or translation. It became popular in 2012, when a deep learning architecture significantly outperformed standard techniques relying on handcrafted features in an image classification competition, see more details in Section 5.
20#
發(fā)表于 2025-3-25 00:44:15 | 只看該作者
Conceptual Elements of Framework,voice recognition or translation. It became popular in 2012, when a deep learning architecture significantly outperformed standard techniques relying on handcrafted features in an image classification competition, see more details in Section 5.
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