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Register a new userMetric Learning vs Classification for Disentangled Music Representation Learning
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Added by
Jongpil Lee
Publication date
2020
fields
Informatics Engineering
and research's language is
English
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Deep representation learning offers a powerful paradigm for mapping input data onto an organized embedding space and is useful for many music information retrieval tasks. Two central methods for representation learning include deep metric learning and classification, both having the same goal of learning a representation that can generalize well across tasks. Along with generalization, the emerging concept of disentangled representations is also of great interest, where multiple semantic concepts (e.g., genre, mood, instrumentation) are learned jointly but remain separable in the learned representation space. In this paper we present a single representation learning framework that elucidates the relationship between metric learning, classification, and disentanglement in a holistic manner. For this, we (1) outline past work on the relationship between metric learning and classification, (2) extend this relationship to multi-label data by exploring three different learning approaches and their disentangl
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Music similarity search is useful for a variety of creative tasks such as replacing one music recording with another recording with a similar feel, a common task in video editing. For this task, it is typically necessary to define a similarity metric to compare one recording to another. Music similarity, however, is hard to define and depends on multiple simultaneous notions of similarity (i.e. genre, mood, instrument, tempo). While prior work ignore this issue, we embrace this idea and introduce the concept of multidimensional similarity and unify both global and specialized similarity metrics into a single, semantically disentangled multidimensional similarity metric. To do so, we adapt a variant of deep metric learning called conditional similarity networks to the audio domain and extend it using track-based information to control the specificity of our model. We evaluate our method and show that our single, multidimensional model outperforms both specialized similarity spaces and alternative baselines. We also run a user-study and show that our approach is favored by human annotators as well.
Analogy-making is a key method for computer algorithms to generate both natural and creative music pieces. In general, an analogy is made by partially transferring the music abstractions, i.e., high-level representations and their relationships, from one piece to another; however, this procedure requires disentangling music representations, which usually takes little effort for musicians but is non-trivial for computers. Three sub-problems arise: extracting latent representations from the observation, disentangling the representations so that each part has a unique semantic interpretation, and mapping the latent representations back to actual music. In this paper, we contribute an explicitly-constrained variational autoencoder (EC$^2$-VAE) as a unified solution to all three sub-problems. We focus on disentangling the pitch and rhythm representations of 8-beat music clips conditioned on chords. In producing music analogies, this model helps us to realize the imaginary situation of what if a piece is composed using a different pitch contour, rhythm pattern, or chord progression by borrowing the representations from other pieces. Finally, we validate the proposed disentanglement method using objective measurements and evaluate the analogy examples by a subjective study.
Music Performers have their own idiosyncratic way of interpreting a musical piece. A group of skilled performers playing the same piece of music would likely to inject their unique artistic styles in their performances. The variations of the tempo, timing, dynamics, articulation etc. from the actual notated music are what make the performers unique in their performances. This study presents a dataset consisting of four movements of Schuberts ``Sonata in B-flat major, D.960 performed by nine virtuoso pianists individually. We proposed and extracted a set of expressive features that are able to capture the characteristics of an individual performers style. We then present a performer identification method based on the similarity of feature distribution, given a set of piano performances. The identification is done considering each feature individually as well as a fusion of the features. Results show that the proposed method achieved a precision of 0.903 using fusion features. Moreover, the onset time deviation feature shows promising result when considered individually.
Humans learn to imitate by observing others. However, robot imitation learning generally requires expert demonstrations in the first-person view (FPV). Collecting such FPV videos for every robot could be very expensive. Third-person imitation learning (TPIL) is the concept of learning action policies by observing other agents in a third-person view (TPV), similar to what humans do. This ultimately allows utilizing human and robot demonstration videos in TPV from many different data sources, for the policy learning. In this paper, we present a TPIL approach for robot tasks with egomotion. Although many robot tasks with ground/aerial mobility often involve actions with camera egomotion, study on TPIL for such tasks has been limited. Here, FPV and TPV observations are visually very different; FPV shows egomotion while the agent appearance is only observable in TPV. To enable better state learning for TPIL, we propose our disentangled representation learning method. We use a dual auto-encoder structure plus representation permutation loss and time-contrastive loss to ensure the state and viewpoint representations are well disentangled. Our experiments show the effectiveness of our approach.
Cardiovascular diseases are the leading cause of deaths and severely threaten human health in daily life. On the one hand, there have been dramatically increasing demands from both the clinical practice and the smart home application for monitoring the heart status of subjects suffering from chronic cardiovascular diseases. On the other hand, experienced physicians who can perform an efficient auscultation are still lacking in terms of number. Automatic heart sound classification leveraging the power of advanced signal processing and machine learning technologies has shown encouraging results. Nevertheless, human hand-crafted features are expensive and time-consuming. To this end, we propose a novel deep representation learning method with an attention mechanism for heart sound classification. In this paradigm, high-level representations are learnt automatically from the recorded heart sound data. Particularly, a global attention pooling layer improves the performance of the learnt representations by estimating the contribution of each unit in feature maps. The Heart Sounds Shenzhen (HSS) corpus (170 subjects involved) is used to validate the proposed method. Experimental results validate that, our approach can achieve an unweighted average recall of 51.2% for classifying three categories of heart sounds, i. e., normal, mild, and moderate/severe annotated by cardiologists with the help of Echocardiography.
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