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Register a new userMulti-view Audio and Music Classification
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Added by
Huy Phan
Publication date
2021
fields
Informatics Engineering
and research's language is
English
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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.
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Deep learning is very data hungry, and supervised learning especially requires massive labeled data to work well. Machine listening research often suffers from limited labeled data problem, as human annotations are costly to acquire, and annotations for audio are time consuming and less intuitive. Besides, models learned from labeled dataset often embed biases specific to that particular dataset. Therefore, unsupervised learning techniques become popular approaches in solving machine listening problems. Particularly, a self-supervised learning technique utilizing reconstructions of multiple hand-crafted audio features has shown promising results when it is applied to speech domain such as emotion recognition and automatic speech recognition (ASR). In this paper, we apply self-supervised and multi-task learning methods for pre-training music encoders, and explore various design choices including encoder architectures, weighting mechanisms to combine losses from multiple tasks, and worker selections of pretext tasks. We investigate how these design choices interact with various downstream music classification tasks. We find that using various music specific workers altogether with weighting mechanisms to balance the losses during pre-training helps improve and generalize to the downstream tasks.
Although speaker verification has conventionally been an audio-only task, some practical applications provide both audio and visual streams of input. In these cases, the visual stream provides complementary information and can often be leveraged in conjunction with the acoustics of speech to improve verification performance. In this study, we explore audio-visual approaches to speaker verification, starting with standard fusion techniques to learn joint audio-visual (AV) embeddings, and then propose a novel approach to handle cross-modal verification at test time. Specifically, we investigate unimodal and concatenation based AV fusion and report the lowest AV equal error rate (EER) of 0.7% on the VoxCeleb1 dataset using our best system. As these methods lack the ability to do cross-modal verification, we introduce a multi-view model which uses a shared classifier to map audio and video into the same space. This new approach achieves 28% EER on VoxCeleb1 in the challenging testing condition of cross-modal verification.
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 modulation filter bank, where the FIR filter center frequencies are learned in a data-driven manner. The expectation is that a perceptually motivated filter bank can provide a useful representation for identifying music features. Our experimental results provide a fully visualisable and interpretable front-end temporal modulation decomposition of raw audio. We evaluate the performance of our model against the state-of-the-art of music tagging on the MagnaTagATune dataset. We analyse the impact on performance for particular tags when time-frequency bands are subsampled by the modulation filters at a progressively reduced rate. We demonstrate that modulation filtering provides promising results for music tagging and feature representation, without using extensive musical domain knowledge in the design of this front-end.
Audio signals are often represented as spectrograms and treated as 2D images. In this light, deep convolutional architectures are widely used for music audio tasks even though these two data types have very different structures. In this work, we attempt to open the black-box on deep convolutional models to inform future architectures for music audio tasks, and explain the excellent performance of deep convolutions that model spectrograms as 2D images. To this end, we expand recent explainability discussions in deep learning for natural image data to music audio data through systematic experiments using the deep features learned by various convolutional architectures. We demonstrate that deep convolutional features perform well across various target tasks, whether or not they are extracted from deep architectures originally trained on that task. Additionally, deep features exhibit high similarity to hand-crafted wavelet features, whether the deep features are extracted from a trained or untrained model.
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 DeepMinds WaveNet, train directly on sampled audio waveforms, allowing them to produce realistic-sounding, albeit unstructured music. In this paper, we propose an automatic music generation methodology combining both of these approaches to create structured, realistic-sounding compositions. We consider a Long Short Term Memory network to learn the melodic structure of different styles of music, and then use the unique symbolic generations from this model as a conditioning input to a WaveNet-based raw audio generator, creating a model for automatic, novel music. We then evaluate this approach by showcasing results of this work.
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