mlsanityData to 7 Oct 2026

Learning Disentangled Representations of Timbre and Pitch for Musical Instrument Sounds Using Gaussian Mixture Variational Autoencoders

arXiv 1906.08152 ↗First posted 19 Jun 2019cs.LG cs.SD eess.AScited by 21

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Abstract (arXiv)

In this paper, we learn disentangled representations of timbre and pitch for musical instrument sounds. We adapt a framework based on variational autoencoders with Gaussian mixture latent distributions. Specifically, we use two separate encoders to learn distinct latent spaces for timbre and pitch, which form Gaussian mixture components representing instrument identity and pitch, respectively. For reconstruction, latent variables of timbre and pitch are sampled from corresponding mixture components, and are concatenated as the input to a decoder. We show the model efficacy by latent space visualization, and a quantitative analysis indicates the discriminability of these spaces, even with a limited number of instrument labels for training. The model allows for controllable synthesis of selected instrument sounds by sampling from the latent spaces. To evaluate this, we trained instrument and pitch classifiers using original labeled data. These classifiers achieve high accuracy when tested on our synthesized sounds, which verifies the model performance of controllable realistic timbre and pitch synthesis. Our model also enables timbre transfer between multiple instruments, with a single autoencoder architecture, which is evaluated by measuring the shift in posterior of instrument classification. Our in depth evaluation confirms the model ability to successfully disentangle timbre and pitch.

Key facts. Cited by 21 papers in the map (data through 7 Oct 2026). First posted on arXiv 19 Jun 2019.

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Cited by year (2026 to 7 Oct)

Citing papers per year: 2021: 7; 2022: 2; 2023: 2; 2024: 6; 2025: 2; 2026: 2.

21 papers.

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  1. 2024Foundation Models for Music: A Surveycited by 34
  2. 2021Self-Supervised VQ-VAE for One-Shot Music Style Transfercited by 13
  3. 2022GANStrument: Adversarial Instrument Sound Synthesis with Pitch-invariant Instance Conditioningcited by 9
  4. 2021Is Disentanglement enough? On Latent Representations for Controllable Music Generationcited by 7
  5. 2023Timbre transfer using image-to-image denoising diffusion implicit modelscited by 7
  6. 2022Learning long-term music representations via hierarchical contextual constraintscited by 5
  7. 2025Can3Tok: Canonical 3D Tokenization and Latent Modeling of Scene-Level 3D Gaussianscited by 5
  8. 2023Towards Controllable Audio Texture Morphingcited by 4
  9. 2024DisMix: Disentangling Mixtures of Musical Instruments for Source-level Pitch and Timbre Manipulationcited by 3
  10. 2024SoundMorpher: Perceptually-Uniform Sound Morphing with Diffusion Modelcited by 3
  11. 2024WaveTransfer: A Flexible End-to-end Multi-instrument Timbre Transfer with Diffusioncited by 2
  12. 2025FlowSynth: Instrument Generation Through Distributional Flow Matching and Test-Time Searchcited by 2
9 more
  1. 2021DeepA: A Deep Neural Analyzer For Speech And Singing Vocodingcited by 1
  2. 2021CAESynth: Real-Time Timbre Interpolation and Pitch Control with Conditional Autoencoderscited by 1
  3. 2024HyperGANStrument: Instrument Sound Synthesis and Editing with Pitch-Invariant Hypernetworkscited by 1
  4. 2024The Interpretation Gap in Text-to-Music Generation Modelscited by 1
  5. 2026Evaluating Disentangled Representations for Controllable Music Generationcited by 1
  6. 2021Timbre Classification of Musical Instruments with a Deep Learning Multi-Head Attention-Based Modelcited by 0
  7. 2021LDC-VAE: A Latent Distribution Consistency Approach to Variational AutoEncoderscited by 0
  8. 2021Towards Cross-Cultural Analysis using Music Information Dynamicscited by 0
  9. 2026On the Geometry of Music Bandwidth Extension in Latent Spaces of Audio Codecscited by 0