Automatic music generation dates back to more than half a century.[^reference-1][^reference-2][^reference-3][^reference-4] A prominent approach is to generate music symbolically in the form of a piano roll, which specifies the timing, pitch, velocity, and instrument of each note to be played. This has led to impressive results like producing Bach chorals,[^reference-5][^reference-6] polyphonic music with multiple instruments,[^reference-7][^reference-8][^reference-9] as well as minute long musical pieces.[^reference-10][^reference-11][^reference-12]

We chose to work on music because we want to continue to push the boundaries of generative models. Our previous work on MuseNet explored synthesizing music based on large amounts of MIDI data. Now in raw audio, our models must learn to tackle high diversity as well as very long range structure, and the raw audio domain is particularly unforgiving of errors in short, medium, or long term timing.

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Next, we train the prior models whose goal is to learn the distribution of music codes encoded by VQ-VAE and to generate music in this compressed discrete space. Like the VQ-VAE, we have three levels of priors: a top-level prior that generates the most compressed codes, and two upsampling priors that generate less compressed codes conditioned on above.

The top-level prior models the long-range structure of music, and samples decoded from this level have lower audio quality but capture high-level semantics like singing and melodies. The middle and bottom upsampling priors add local musical structures like timbre, significantly improving the audio quality.

To attend to the lyrics, we add an encoder to produce a representation for the lyrics, and add attention layers that use queries from the music decoder to attend to keys and values from the lyrics encoder. After training, the model learns a more precise alignment.

While Jukebox represents a step forward in musical quality, coherence, length of audio sample, and ability to condition on artist, genre, and lyrics, there is a significant gap between these generations and human-created music.

For example, while the generated songs show local musical coherence, follow traditional chord patterns, and can even feature impressive solos, we do not hear familiar larger musical structures such as choruses that repeat. Our downsampling and upsampling process introduces discernable noise. Improving the VQ-VAE so its codes capture more musical information would help reduce this. Our models are also slow to sample from, because of the autoregressive nature of sampling. It takes approximately 9 hours to fully render one minute of audio through our models, and thus they cannot yet be used in interactive applications. Using techniques[^reference-27][^reference-34] that distill the model into a parallel sampler can significantly speed up the sampling speed. Finally, we currently train on English lyrics and mostly Western music, but in the future we hope to include songs from other languages and parts of the world.

We scale our VQ-VAE from 22 to 44kHz to achieve higher quality audio. We also scale top-level prior from 1B to 5B to capture the increased information. We see better musical quality, clear singing, and long-range coherence. We also make novel completions of real songs.

This has been an issue that Minecraft: Education Edition has that has been bugging me recently. Java Edition has the music built in, but in Bedrock Edition, you have to get the music yourself from the Marketplace. However, while Minecraft: Education Edition is built off of Bedrock Edition, it doesn't have the Marketplace, so I can't get it from there. I have recently gotten a music disc (Cat) from a dungeon in my Survival world, and I was excited to hear it. So I took my disc, put it into my jukebox, and... nothing. The song didn't play. I went into my game settings, turned everything to the max, tried again, and still nothing. Oddly enough, there is a music volume setting and a Jukebox/Note Block volume setting. However, they do not work at all, as they stay completely quiet even at volume 100 (Note Blocks do work, though, so the Jukebox/Note Block setting sorta works). When I realized this, I surfed the web, looking for a mod or resource pack that could fix this issue. I couldn't find one. There is also non of Minecraft's phenomenal music playing. This is a massive bummer for me, as I love Minecraft's soundtrack, and especially the discs. May the Minecraft: EE team please add Minecraft's music into the game and fix the Jukebox and its disks? It can be it built in like in Java Edition, or be as a resource pack. Also, may you guys please add the music in a minor update (I don't mind if you guys want to add it in in a major update though)? Also also, if the reason you guys can't add it in is complicated, then I'd love to hear. Get as technical as you guys want! Or if it is something to with my Chromebook, then I'd also like to hear.

(note i too was playing on a chromebook weird... maybe just a coincidence) Oddly I am also having this problem (only difference was i was in creative) on minecraft: Ed Edition i was trying to make a thing that auto disc player thing and i placed otherside- by Lena Raine in the jukebox (when i did, it did what it normally does with the music notes coming out the top but no music) and after failing once or twice i thought to myself shouldn't there be music. i also had my music blocks (jukebox/noteblock) sounds at 100 and even tried all of the other sounds settings, but i have played a music disc before on MC: Ed Edition and it worked. i also have just noticed how quiet (without any music at all) it is especially for minecraft as it is (making it feel a little bit lonely at times) and without any music it feels so different like on a hole different level of loneliness and i'm now having to put on background music just to enjoy playing on survival.

Some jukebox musicals use a wide variety of songs, while others confine themselves to songs performed by one singer or band, or written by one songwriter. In such cases, the plot is often a biography of the artist or artists. In other jukebox musicals, the plot is purely fictional. For musicals about a musician or musical act, some of the songs can be diegetic, meaning that they are performed within the world of the play or film. Works in which all of the music is diegetic, however, such as a biographical film about a singer who is at times shown performing their songs, are generally not considered jukebox musicals.[1]

In Europe in the 17th and 18th century, many comic operas were produced that parodied popular songs of the time by performing them with modified lyrics. Comdie en vaudevilles and ballad operas are two genres that made heavy use of well-known melodies. The Beggar's Opera (1728), the first ballad opera and the most famous, has been called "the original jukebox musical".[4]

Films considered early examples of jukebox musicals include An American in Paris (1951), Singin' in the Rain (1952), Rock, Rock, Rock (1956) and Rock Around the Clock (1956).

The songwriting team of Robert Wright and George Forrest pioneered the concept of musicals whose songs are derived from one composer's instrumental works, with newly-written lyrics. Some of these musicals also told the life story of that composer. Musicals and operettas that they produced in this fashion include Song of Norway (1944, using the music of Edvard Grieg), Magdalena: a Musical Adventure (1948, music of Heitor Villa-Lobos), a 1949 reworking of the 1934 musical The Great Waltz (music of Johann Strauss I and Johann Strauss II), Kismet (1953, music of Alexander Borodin[2]), and Anya (1965, music of Sergei Rachmaninoff).

The origin of the phrase "jukebox musical" in its current meaning is unclear. The word "jukebox" dates to around 1939. The first documented use of "jukebox musical" in print may have been in a 1962 description of the musical Do Re Mi,[5] but that was a musical (with original music) about a man who sells jukeboxes. In a 1964 review of the Beatles film A Hard Day's Night, critic Andrew Sarris described that film as "the Citizen Kane of jukebox musicals",[6] but he too may have had a meaning in mind other than the contemporary one, since most of that film's songs were original.

Although jukebox musicals had achieved success for years (for example, the 1989 musical Buddy: The Buddy Holly Story), a surge in popularity was led by the success of Mamma Mia! (1999), built around the music of ABBA.[7]

The most common format for jukebox musicals is a show that tells the life story of a famous musician or musical group, while incorporating songs from throughout their career. Artists whose life and songs have served as the basis for a jukebox musical include Peter Allen, Susan Boyle, Shlomo Carlebach, Johnny Cash, Cher, Patsy Cline, Bobby Darin, The Drifters, Emilio and Gloria Estefan, Buddy Holly, Michael Jackson (twice), Janis Joplin, Carole King, The Kinks, Fela Kuti, John Lennon, Udo Lindenberg, Bob Marley (twice), Johnny O'Keefe, The Seekers, Dusty Springfield (twice), Donna Summer, The Temptations, Tina Turner (twice), Frankie Valli and The Four Seasons, and Hank Williams.[3] Others who have gotten similar treatment include songwriter/producers Bert Berns, Berry Gordy and Ellie Greenwich, record producer Florence Greenberg, and composer/songwriter Norbert Glanzberg.

For jukebox musicals with a fictional plot, one common approach is to center the plot around one or more (fictional) singers or musicians, thus letting some of the songs be performed as songs within the show. Examples of such musicals include Boogie Nights (1998), Mamma Mia! (1999), We Will Rock You (2002), Hoy no me puedo levantar (2005), Bsame mucho, el musical (2005), Rock of Ages (2005), Daddy Cool (2006), Never Forget (2007), Viva Forever! (2012), All Out of Love (2018), and Jukebox Hero (2018). 0852c4b9a8

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