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Register a new userLearning to Groove with Inverse Sequence Transformations
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Added by
Jon Gillick
Publication date
2019
fields
Informatics Engineering
and research's language is
English
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We explore models for translating abstract musical ideas (scores, rhythms) into expressive performances using Seq2Seq and recurrent Variational Information Bottleneck (VIB) models. Though Seq2Seq models usually require painstakingly aligned corpora, we show that it is possible to adapt an approach from the Generative Adversarial Network (GAN) literature (e.g. Pix2Pix (Isola et al., 2017) and Vid2Vid (Wang et al. 2018a)) to sequences, creating large volumes of paired data by performing simple transformations and training generative models to plausibly invert these transformations. Music, and drumming in particular, provides a strong test case for this approach because many common transformations (quantization, removing voices) have clear semantics, and models for learning to invert them have real-world applications. Focusing on the case of drum set players, we create and release a new dataset for this purpose, containing over 13 hours of recordings by professional drummers aligned with fine-grained timing and dynamics information. We also explore some of the creative potential of these models, including demonstrating improvements on state-of-the-art methods for Humanization (instantiating a performance from a musical score).
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Automatic Music Transcription has seen significant progress in recent years by training custom deep neural networks on large datasets. However, these models have required extensive domain-specific design of network architectures, input/output representations, and complex decoding schemes. In this work, we show that equivalent performance can be achieved using a generic encoder-decoder Transformer with standard decoding methods. We demonstrate that the model can learn to translate spectrogram inputs directly to MIDI-like output events for several transcription tasks. This sequence-to-sequence approach simplifies transcription by jointly modeling audio features and language-like output dependencies, thus removing the need for task-specific architectures. These results point toward possibilities for creating new Music Information Retrieval models by focusing on dataset creation and labeling rather than custom model design.
The vector representations of fixed dimensionality for words (in text) offered by Word2Vec have been shown to be very useful in many application scenarios, in particular due to the semantic information they carry. This paper proposes a parallel version, the Audio Word2Vec. It offers the vector representations of fixed dimensionality for variable-length audio segments. These vector representations are shown to describe the sequential phonetic structures of the audio segments to a good degree, with very attractive real world applications such as query-by-example Spoken Term Detection (STD). In this STD application, the proposed approach significantly outperformed the conventional Dynamic Time Warping (DTW) based approaches at significantly lower computation requirements. We propose unsupervised learning of Audio Word2Vec from audio data without human annotation using Sequence-to-sequence Audoencoder (SA). SA consists of two RNNs equipped with Long Short-Term Memory (LSTM) units: the first RNN (encoder) maps the input audio sequence into a vector representation of fixed dimensionality, and the second RNN (decoder) maps the representation back to the input audio sequence. The two RNNs are jointly trained by minimizing the reconstruction error. Denoising Sequence-to-sequence Autoencoder (DSA) is furthered proposed offering more robust learning.
We introduce the Expanded Groove MIDI dataset (E-GMD), an automatic drum transcription (ADT) dataset that contains 444 hours of audio from 43 drum kits, making it an order of magnitude larger than similar datasets, and the first with human-performed velocity annotations. We use E-GMD to optimize classifiers for use in downstream generation by predicting expressive dynamics (velocity) and show with listening tests that they produce outputs with improved perceptual quality, despite similar results on classification metrics. Via the listening tests, we argue that standard classifier metrics, such as accuracy and F-measure score, are insufficient proxies of performance in downstream tasks because they do not fully align with the perceptual quality of generated outputs.
Audio content analysis in terms of sound events is an important research problem for a variety of applications. Recently, the development of weak labeling approaches for audio or sound event detection (AED) and availability of large scale weakly labeled dataset have finally opened up the possibility of large scale AED. However, a deeper understanding of how weak labels affect the learning for sound events is still missing from literature. In this work, we first describe a CNN based approach for weakly supervised training of audio events. The approach follows some basic design principle desirable in a learning method relying on weakly labeled audio. We then describe important characteristics, which naturally arise in weakly supervised learning of sound events. We show how these aspects of weak labels affect the generalization of models. More specifically, we study how characteristics such as label density and corruption of labels affects weakly supervised training for audio events. We also study the feasibility of directly obtaining weak labeled data from the web without any manual label and compare it with a dataset which has been manually labeled. The analysis and understanding of these factors should be taken into picture in the development of future weak label learning methods. Audioset, a large scale weakly labeled dataset for sound events is used in our experiments.
Acoustic Event Classification (AEC) has become a significant task for machines to perceive the surrounding auditory scene. However, extracting effective representations that capture the underlying characteristics of the acoustic events is still challenging. Previous methods mainly focused on designing the audio features in a `hand-crafted manner. Interestingly, data-learnt features have been recently reported to show better performance. Up to now, these were only considered on the frame level. In this article, we propose an unsupervised learning framework to learn a vector representation of an audio sequence for AEC. This framework consists of a Recurrent Neural Network (RNN) encoder and an RNN decoder, which respectively transforms the variable-length audio sequence into a fixed-length vector and reconstructs the input sequence on the generated vector. After training the encoder-decoder, we feed the audio sequences to the encoder and then take the learnt vectors as the audio sequence representations. Compared with previous methods, the proposed method can not only deal with the problem of arbitrary-lengths of audio streams, but also learn the salient information of the sequence. Extensive evaluation on a large-size acoustic event database is performed, and the empirical results demonstrate that the learnt audio sequence representation yields a significant performance improvement by a large margin compared with other state-of-the-art hand-crafted sequence features for AEC.
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