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Register a new userLow Resource Audio-to-Lyrics Alignment From Polyphonic Music Recordings
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Lyrics alignment in long music recordings can be memory exhaustive when performed in a single pass. In this study, we present a novel method that performs audio-to-lyrics alignment with a low memory consumption footprint regardless of the duration of the music recording. The proposed system first spots the anchoring words within the audio signal. With respect to these anchors, the recording is then segmented and a second-pass alignment is performed to obtain the word timings. We show that our audio-to-lyrics alignment system performs competitively with the state-of-the-art, while requiring much less computational resources. In addition, we utilise our lyrics alignment system to segment the music recordings into sentence-level chunks. Notably on the segmented recordings, we report the lyrics transcription scores on a number of benchmark test sets. Finally, our experiments highlight the importance of the source separation step for good performance on the transcription and alignment tasks. For reproducibility, we publicly share our code with the research community.
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Time-aligned lyrics can enrich the music listening experience by enabling karaoke, text-based song retrieval and intra-song navigation, and other applications. Compared to text-to-speech alignment, lyrics alignment remains highly challenging, despite many attempts to combine numerous sub-modules including vocal separation and detection in an effort to break down the problem. Furthermore, training required fine-grained annotations to be available in some form. Here, we present a novel system based on a modified Wave-U-Net architecture, which predicts character probabilities directly from raw audio using learnt multi-scale representations of the various signal components. There are no sub-modules whose interdependencies need to be optimized. Our training procedure is designed to work with weak, line-level annotations available in the real world. With a mean alignment error of 0.35s on a standard dataset our system outperforms the state-of-the-art by an order of magnitude.
Background music affects lyrics intelligibility of singing vocals in a music piece. Automatic lyrics alignment and transcription in polyphonic music are challenging tasks because the singing vocals are corrupted by the background music. In this work, we propose to learn music genre-specific characteristics to train polyphonic acoustic models. We first compare several automatic speech recognition pipelines for the application of lyrics transcription. We then present the lyrics alignment and transcription performance of music-informed acoustic models for the best-performing pipeline, and systematically study the impact of music genre and language model on the performance. With such genre-based approach, we explicitly model the music without removing it during acoustic modeling. The proposed approach outperforms all competing systems in the lyrics alignment and transcription tasks on several well-known polyphonic test datasets.
Large-scale deep neural networks (DNNs) such as convolutional neural networks (CNNs) have achieved impressive performance in audio classification for their powerful capacity and strong generalization ability. However, when training a DNN model on low-resource tasks, it is usually prone to overfitting the small data and learning too much redundant information. To address this issue, we propose to use variational information bottleneck (VIB) to mitigate overfitting and suppress irrelevant information. In this work, we conduct experiments ona 4-layer CNN. However, the VIB framework is ready-to-use and could be easily utilized with many other state-of-the-art network architectures. Evaluation on a few audio datasets shows that our approach significantly outperforms baseline methods, yielding more than 5.0% improvement in terms of classification accuracy in some low-source settings.
In recent years, music source separation has been one of the most intensively studied research areas in music information retrieval. Improvements in deep learning lead to a big progress in music source separation performance. However, most of the previous studies are restricted to separating a few limited number of sources, such as vocals, drums, bass, and other. In this study, we propose a network for audio query-based music source separation that can explicitly encode the source information from a query signal regardless of the number and/or kind of target signals. The proposed method consists of a Query-net and a Separator: given a query and a mixture, the Query-net encodes the query into the latent space, and the Separator estimates masks conditioned by the latent vector, which is then applied to the mixture for separation. The Separator can also generate masks using the latent vector from the training samples, allowing separation in the absence of a query. We evaluate our method on the MUSDB18 dataset, and experimental results show that the proposed method can separate multiple sources with a single network. In addition, through further investigation of the latent space we demonstrate that our method can generate continuous outputs via latent vector interpolation.
Audio tagging aims to detect the types of sound events occurring in an audio recording. To tag the polyphonic audio recordings, we propose to use Connectionist Temporal Classification (CTC) loss function on the top of Convolutional Recurrent Neural Network (CRNN) with learnable Gated Linear Units (GLU-CTC), based on a new type of audio label data: Sequentially Labelled Data (SLD). In GLU-CTC, CTC objective function maps the frame-level probability of labels to clip-level probability of labels. To compare the mapping ability of GLU-CTC for sound events, we train a CRNN with GLU based on Global Max Pooling (GLU-GMP) and a CRNN with GLU based on Global Average Pooling (GLU-GAP). And we also compare the proposed GLU-CTC system with the baseline system, which is a CRNN trained using CTC loss function without GLU. The experiments show that the GLU-CTC achieves an Area Under Curve (AUC) score of 0.882 in audio tagging, outperforming the GLU-GMP of 0.803, GLU-GAP of 0.766 and baseline system of 0.837. That means based on the same CRNN model with GLU, the performance of CTC mapping is better than the GMP and GAP mapping. Given both based on the CTC mapping, the CRNN with GLU outperforms the CRNN without GLU.
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