Queen Mary University of London（伦敦玛丽女王大学）；HCMC University of Technology（胡志明市理工大学）；University of Oxford（牛津大学）；Austrian Institute of Technology Vienna（维也纳奥地利技术研究所）；Singapore Institute of Technology（新加坡理工学院）
Huy Phan, Huy Le Nguyen, Oliver Y. Chén, Lam Pham, Philipp Koch, Ian McLoughlin, Alfred Mertins
We propose in this work a multi-view learning approach for audio and music classification. Considering four typical low-level representations (i.e. different views) commonly used for audio and music recognition tasks, the proposed multi-view network consists of four subnetworks, each handling one input types. The learned embedding in the subnetworks are then concatenated to form the multi-view embedding for classification similar to a simple concatenation network. However, apart from the joint classification branch, the network also maintains four classification branches on the single-view embedding of the subnetworks. A novel method is then proposed to keep track of the learning behavior on the classification branches and adapt their weights to proportionally blend their gradients for network training. The weights are adapted in such a way that learning on a branch that is generalizing well will be encouraged whereas learning on a branch that is overfitting will be slowed down. Experiments on three different audio and music classification tasks show that the proposed multi-view network not only outperforms the single-view baselines but also is superior to the multi-view baselines based on concatenation and late fusion.
Acoustics Research Institute, Austrian Academy of Sciences（奥地利科学院声学研究所）；Swiss Data Science Center, ETH Zürich（苏黎世联邦理工学院瑞士数据科学中心）
We studied the ability of deep neural networks (DNNs) to restore missing audio content based on its context, a process usually referred to as audio inpainting. We focused on gaps in the range of tens of milliseconds. The proposed DNN structure was trained on audio signals containing music and musical instruments, separately, with 64-ms long gaps. The input to the DNN was the context, i.e., the signal surrounding the gap, transformed into time-frequency (TF) coefficients. Our results were compared to those obtained from a reference method based on linear predictive coding (LPC). For music, our …
The Swiss AI Lab, IDSIA, USI & SUPSI（瑞士人工智能实验室，IDSIA，卢加诺大学与瑞士南部应用科学与艺术大学）；Institute of Neuroinformatics, ETH Zurich（苏黎世联邦理工学院神经信息学研究所）；AI Initiative, KAUST（阿卜杜拉国王科技大学人工智能计划）
Institute of Computational Perception, JKU Linz（林茨约翰·开普勒大学计算感知研究所）；Sony Computer Science Laboratories (CSL)（索尼计算机科学实验室）
Many music theoretical constructs (such as scale types, modes, cadences, and chord types) are defined in terms of pitch intervals---relative distances between pitches. Therefore, when computer models are employed in music tasks, it can be useful to operate on interval representations rather than on the raw musical surface. Moreover, interval representations are transposition-invariant, valuable for tasks like audio alignment, cover song detection and music structure analysis. We employ a gated autoencoder to learn fixed-length, invertible and transposition-invariant interval representations fr…
Could we automatically derive the score of a piano accompaniment based on the audio of a pop song? This is the audio-to-symbolic arrangement problem we tackle in this paper. A good arrangement model should not only consider the audio content but also have prior knowledge of piano composition (so that the generation "sounds like" the audio and meanwhile maintains musicality). To this end, we contribute a cross-modal representation-learning model, which 1) extracts chord and melodic information from the audio, and 2) learns texture representation from both audio and a corrupted ground truth arra…
We showcase an unsupervised method that repurposes deep models trained for music generation and music tagging for audio source separation, without any retraining. An audio generation model is conditioned on an input mixture, producing a latent encoding of the audio used to generate audio. This generated audio is fed to a pretrained music tagger that creates source labels. The cross-entropy loss between the tag distribution for the generated audio and a predefined distribution for an isolated source is used to guide gradient ascent in the (unchanging) latent space of the generative model. This …
The Cooper Union for the Advancement of Science and Art（库珀高等科学艺术联盟学院）
A method for musical audio synthesis using autoencoding neural networks is proposed. The autoencoder is trained to compress and reconstruct magnitude short-time Fourier transform frames. The autoencoder produces a spectrogram by activating its smallest hidden layer, and a phase response is calculated using real-time phase gradient heap integration. Taking an inverse short-time Fourier transform produces the audio signal. Our algorithm is light-weight when compared to current state-of-the-art audio-producing machine learning algorithms. We outline our design process, produce metrics, and detail…
As digital music production has become mainstream, the selection of appropriate virtual instruments plays a crucial role in determining the quality of music. To search the musical instrument samples or virtual instruments that make one's desired sound, music producers use their ears to listen and compare each instrument sample in their collection, which is time-consuming and inefficient. In this paper, we call this task as Musical Instrument Retrieval and propose a method for retrieving desired musical instruments using reference music mixture as a query. The proposed model consists of the Sin…
Queen Mary University of London（伦敦玛丽女王大学）；Universal Music Group（环球音乐集团）
Content-based music information retrieval has seen rapid progress with the adoption of deep learning. Current approaches to high-level music description typically make use of classification models, such as in auto-tagging or genre and mood classification. In this work, we propose to address music description via audio captioning, defined as the task of generating a natural language description of music audio content in a human-like manner. To this end, we present the first music audio captioning model, MusCaps, consisting of an encoder-decoder with temporal attention. Our method combines convo…
Queen Mary University of London（伦敦玛丽女王大学）；Centre for Digital Music（数字音乐中心）
Convolutional Neural Networks have been extensively explored in the task of automatic music tagging. The problem can be approached by using either engineered time-frequency features or raw audio as input. Modulation filter bank representations that have been actively researched as a basis for timbre perception have the potential to facilitate the extraction of perceptually salient features. We explore end-to-end learned front-ends for audio representation learning, ModNet and SincModNet, that incorporate a temporal modulation processing block. The structure is effectively analogous to a modula…
Preprint for a book chapter introducing Audio Content Analysis. With a focus on Music Information Retrieval systems, this chapter defines musical audio content, introduces the general process of audio content analysis, and surveys basic approaches to audio content analysis. The various tasks in Audio Content Analysis are categorized into three classes: music transcription, music performance analysis, and music identification and categorization. The examples for music transcription systems include music key detection, fundamental frequency detection, and music structure detection. Music perform…
Existing automatic music generation approaches that feature deep learning can be broadly classified into two types: raw audio models and symbolic models. Symbolic models, which train and generate at the note level, are currently the more prevalent approach; these models can capture long-range dependencies of melodic structure, but fail to grasp the nuances and richness of raw audio generations. Raw audio models, such as DeepMind's WaveNet, train directly on sampled audio waveforms, allowing them to produce realistic-sounding, albeit unstructured music. In this paper, we propose an automatic mu…
Research Center for IT Innovation, Academia Sinica（中央研究院资讯科技创新研究中心）
We present in this paper PerformacnceNet, a neural network model we proposed recently to achieve score-to-audio music generation. The model learns to convert a music piece from the symbolic domain to the audio domain, assigning performance-level attributes such as changes in velocity automatically to the music and then synthesizing the audio. The model is therefore not just a neural audio synthesizer, but an AI performer that learns to interpret a musical score in its own way. The code and sample outputs of the model can be found online at https://github.com/bwang514/PerformanceNet.
University of Plymouth（普利茅斯大学）；University of Glasgow（格拉斯哥大学）；Anglia Ruskin University（安格利亚鲁斯金大学）；Brighton and Sussex Medical School（布莱顿与苏塞克斯医学院）
Segmenting audio into homogeneous sections such as music and speech helps us understand the content of audio. It is useful as a pre-processing step to index, store, and modify audio recordings, radio broadcasts and TV programmes. Deep learning models for segmentation are generally trained on copyrighted material, which cannot be shared. Annotating these datasets is time-consuming and expensive and therefore, it significantly slows down research progress. In this study, we present a novel procedure that artificially synthesises data that resembles radio signals. We replicate the workflow of a r…
With increasing amounts of music being digitally transferred from production to distribution, automatic means of determining media quality are needed. Protection mechanisms in digital audio processing tools have not eliminated the need of production entities located downstream the distribution chain to assess audio quality and detect defects inserted further upstream. Such analysis often relies on the received audio and scarce meta-data alone. Deliberate use of artefacts such as clicks in popular music as well as more recent defects stemming from corruption in modern audio encodings call for d…
Stanford University（斯坦福大学）；Politecnico di Milano（米兰理工大学）；Politecnico di Torino（都灵理工大学）
Networked Music Performance (NMP) is envisioned as a potential game changer among Internet applications: it aims at revolutionizing the traditional concept of musical interaction by enabling remote musicians to interact and perform together through a telecommunication network. Ensuring realistic conditions for music performance, however, constitutes a significant engineering challenge due to extremely strict requirements in terms of audio quality and, most importantly, network delay. To minimize the end-to-end delay experienced by the musicians, typical implementations of NMP applications use …
Realistic music generation is a challenging task. When building generative models of music that are learnt from data, typically high-level representations such as scores or MIDI are used that abstract away the idiosyncrasies of a particular performance. But these nuances are very important for our perception of musicality and realism, so in this work we embark on modelling music in the raw audio domain. It has been shown that autoregressive models excel at generating raw audio waveforms of speech, but when applied to music, we find them biased towards capturing local signal structure at the ex…
Digital audio processing tools offer music researchers the opportunity to examine both non-notated music and music as performance. This chapter summarises the types of information that can be extracted from audio as well as currently available audio tools for music corpus studies. The survey of extraction methods includes both a primer on signal processing and background theory on audio feature extraction. The survey of audio tools focuses on widely used tools, including both those with a graphical user interface, namely Audacity and Sonic Visualiser, and code-based tools written in the C/C++,…
Kyungpook National University（庆北国立大学）；Electronics and Telecommunications Research Institute（韩国电子通信研究院）
Deep generative models for audio synthesis have recently been significantly improved. However, the task of modeling raw-waveforms remains a difficult problem, especially for audio waveforms and music signals. Recently, the realtime audio variational autoencoder (RAVE) method was developed for high-quality audio waveform synthesis. The RAVE method is based on the variational autoencoder and utilizes the two-stage training strategy. Unfortunately, the RAVE model is limited in reproducing wide-pitch polyphonic music sound. Therefore, to enhance the reconstruction performance, we adopt the pitch a…
Music Technology Group, Universitat Pompeu Fabra（庞培法布拉大学音乐技术组）；Joint Research Centre, European Commission（欧盟委员会联合研究中心）
Loops, seamlessly repeatable musical segments, are a cornerstone of modern music production. Contemporary artists often mix and match various sampled or pre-recorded loops based on musical criteria such as rhythm, harmony and timbral texture to create compositions. Taking such criteria into account, we present LoopNet, a feed-forward generative model for creating loops conditioned on intuitive parameters. We leverage Music Information Retrieval (MIR) models as well as a large collection of public loop samples in our study and use the Wave-U-Net architecture to map control parameters to audio. …
Emotion is a complicated notion present in music that is hard to capture even with fine-tuned feature engineering. In this paper, we investigate the utility of state-of-the-art pre-trained deep audio embedding methods to be used in the Music Emotion Recognition (MER) task. Deep audio embedding methods allow us to efficiently capture the high dimensional features into a compact representation. We implement several multi-class classifiers with deep audio embeddings to predict emotion semantics in music. We investigate the effectiveness of L3-Net and VGGish deep audio embedding methods for music …
Queen Mary University of London（伦敦玛丽女王大学）；Universal Music Group（环球音乐集团）
As one of the most intuitive interfaces known to humans, natural language has the potential to mediate many tasks that involve human-computer interaction, especially in application-focused fields like Music Information Retrieval. In this work, we explore cross-modal learning in an attempt to bridge audio and language in the music domain. To this end, we propose MusCALL, a framework for Music Contrastive Audio-Language Learning. Our approach consists of a dual-encoder architecture that learns the alignment between pairs of music audio and descriptive sentences, producing multimodal embeddings t…
This paper introduces the jazznet Dataset, a dataset of fundamental jazz piano music patterns for developing machine learning (ML) algorithms in music information retrieval (MIR). The dataset contains 162520 labeled piano patterns, including chords, arpeggios, scales, and chord progressions with their inversions, resulting in more than 26k hours of audio and a total size of 95GB. The paper explains the dataset's composition, creation, and generation, and presents an open-source Pattern Generator using a method called Distance-Based Pattern Structures (DBPS), which allows researchers to easily …
Music segmentation refers to the dual problem of identifying boundaries between, and labeling, distinct music segments, e.g., the chorus, verse, bridge etc. in popular music. The performance of a range of music segmentation algorithms has been shown to be dependent on the audio features chosen to represent the audio. Some approaches have proposed learning feature transformations from music segment annotation data, although, such data is time consuming or expensive to create and as such these approaches are likely limited by the size of their datasets. While annotated music segmentation data is…
Pronounced as "musician", the musicnn library contains a set of pre-trained musically motivated convolutional neural networks for music audio tagging: https://github.com/jordipons/musicnn. This repository also includes some pre-trained vgg-like baselines. These models can be used as out-of-the-box music audio taggers, as music feature extractors, or as pre-trained models for transfer learning. We also provide the code to train the aforementioned models: https://github.com/jordipons/musicnn-training. This framework also allows implementing novel models. For example, a musically motivated convol…
University of California San Diego（加利福尼亚大学圣地亚哥分校）；Tencent Music Entertainment（腾讯音乐娱乐）
Personalized recommendation on new track releases has always been a challenging problem in the music industry. To combat this problem, we first explore user listening history and demographics to construct a user embedding representing the user's music preference. With the user embedding and audio data from user's liked and disliked tracks, an audio embedding can be obtained for each track using metric learning with Siamese networks. For a new track, we can decide the best group of users to recommend by computing the similarity between the track's audio embedding and different user embeddings, …
The computer vision literature shows that randomly weighted neural networks perform reasonably as feature extractors. Following this idea, we study how non-trained (randomly weighted) convolutional neural networks perform as feature extractors for (music) audio classification tasks. We use features extracted from the embeddings of deep architectures as input to a classifier - with the goal to compare classification accuracies when using different randomly weighted architectures. By following this methodology, we run a comprehensive evaluation of the current deep architectures for audio classif…
Queen Mary University of London（伦敦玛丽女王大学）；Universal Music Group（环球音乐集团）
Audio representations for music information retrieval are typically learned via supervised learning in a task-specific fashion. Although effective at producing state-of-the-art results, this scheme lacks flexibility with respect to the range of applications a model can have and requires extensively annotated datasets. In this work, we pose the question of whether it may be possible to exploit weakly aligned text as the only supervisory signal to learn general-purpose music audio representations. To address this question, we design a multimodal architecture for music and language pre-training (…
This paper demonstrates the feasibility of learning to retrieve short snippets of sheet music (images) when given a short query excerpt of music (audio) -- and vice versa --, without any symbolic representation of music or scores. This would be highly useful in many content-based musical retrieval scenarios. Our approach is based on Deep Canonical Correlation Analysis (DCCA) and learns correlated latent spaces allowing for cross-modality retrieval in both directions. Initial experiments with relatively simple monophonic music show promising results.
Graduate School of Culture Technology, KAIST（韩国科学技术院文化技术研究生院）；NAVER Corp.（NAVER公司）
Audio-based music classification and tagging is typically based on categorical supervised learning with a fixed set of labels. This intrinsically cannot handle unseen labels such as newly added music genres or semantic words that users arbitrarily choose for music retrieval. Zero-shot learning can address this problem by leveraging an additional semantic space of labels where side information about the labels is used to unveil the relationship between each other. In this work, we investigate the zero-shot learning in the music domain and organize two different setups of side information. One i…
National Institute of Informatics（国立信息学研究所）；SOKENDAI（综合研究大学院大学）
This work present a music dataset named MusicTM-Dataset, which is utilized in improving the representation learning ability of different types of cross-modal retrieval (CMR). Little large music dataset including three modalities is available for learning representations for CMR. To collect a music dataset, we expand the original musical notation to synthesize audio and generated sheet-music image, and build musical notation based sheet-music image, audio clip and syllable-denotation text as fine-grained alignment, such that the MusicTM-Dataset can be exploited to receive shared representation …
We present SingSong, a system that generates instrumental music to accompany input vocals, potentially offering musicians and non-musicians alike an intuitive new way to create music featuring their own voice. To accomplish this, we build on recent developments in musical source separation and audio generation. Specifically, we apply a state-of-the-art source separation algorithm to a large corpus of music audio to produce aligned pairs of vocals and instrumental sources. Then, we adapt AudioLM (Borsos et al., 2022) -- a state-of-the-art approach for unconditional audio generation -- to be sui…
University of Sheffield（谢菲尔德大学）；Beijing Academy of Artificial Intelligence（北京人工智能研究院）；Queen Mary University of London（伦敦玛丽女王大学）；Carnegie Mellon University（卡内基梅隆大学）；University of Michigan Ann Arbor（密歇根大学安娜堡分校）；Peking University（北京大学）；University of Tübingen（蒂宾根大学）；MPI-IS（马克斯·普朗克智能系统研究所）；Dartmouth College（达特茅斯学院）
The deep learning community has witnessed an exponentially growing interest in self-supervised learning (SSL). However, it still remains unexplored how to build a framework for learning useful representations of raw music waveforms in a self-supervised manner. In this work, we design Music2Vec, a framework exploring different SSL algorithmic components and tricks for music audio recordings. Our model achieves comparable results to the state-of-the-art (SOTA) music SSL model Jukebox, despite being significantly smaller with less than 2% of parameters of the latter. The model will be released on…
Music genre classification is one of the sub-disciplines of music information retrieval (MIR) with growing popularity among researchers, mainly due to the already open challenges. Although research has been prolific in terms of number of published works, the topic still suffers from a problem in its foundations: there is no clear and formal definition of what genre is. Music categorizations are vague and unclear, suffering from human subjectivity and lack of agreement. In its first part, this paper offers a survey trying to cover the many different aspects of the matter. Its main goal is give …
École de Technologie Supérieure, Université du Québec（魁北克大学高等技术学院）
This paper proposes a 1D residual convolutional neural network (CNN) architecture for music genre classification and compares it with other recent 1D CNN architectures. The 1D CNNs learn a representation and a discriminant directly from the raw audio signal. Several convolutional layers capture the time-frequency characteristics of the audio signal and learn various filters relevant to the music genre recognition task. The proposed approach splits the audio signal into overlapped segments using a sliding window to comply with the fixed-length input constraint of the 1D CNNs. As a result, music…
We have built a music similarity search engine that lets video producers search by listenable music excerpts, as a complement to traditional full-text search. Our system suggests similar sounding track segments in a large music catalog by training a self-supervised convolutional neural network with triplet loss terms and musical transformations. Semi-structured user interviews demonstrate that we can successfully impress professional video producers with the quality of the search experience, and perceived similarities to query tracks averaged 7.8/10 in user testing. We believe this search tool…
Google Research（谷歌研究院）；Seoul National University（首尔大学）
Music tagging and content-based retrieval systems have traditionally been constructed using pre-defined ontologies covering a rigid set of music attributes or text queries. This paper presents MuLan: a first attempt at a new generation of acoustic models that link music audio directly to unconstrained natural language music descriptions. MuLan takes the form of a two-tower, joint audio-text embedding model trained using 44 million music recordings (370K hours) and weakly-associated, free-form text annotations. Through its compatibility with a wide range of music genres and text styles (includi…
