ترغب بنشر مسار تعليمي؟ اضغط هنا

A Modulation Front-End for Music Audio Tagging

93   0   0.0 ( 0 )
 نشر من قبل Cyrus Vahidi
 تاريخ النشر 2021
  مجال البحث الهندسة المعلوماتية
والبحث باللغة English




اسأل ChatGPT حول البحث

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.



قيم البحث

اقرأ أيضاً

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.
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 atte mpt 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.
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.
In this paper, we describe our contribution to Task 2 of the DCASE 2018 Audio Challenge. While it has become ubiquitous to utilize an ensemble of machine learning methods for classification tasks to obtain better predictive performance, the majority of ensemble methods combine predictions rather than learned features. We propose a single-model method that combines learned high-level features computed from log-scaled mel-spectrograms and raw audio data. These features are learned separately by two Convolutional Neural Networks, one for each input type, and then combined by densely connected layers within a single network. This relatively simple approach along with data augmentation ranks among the best two percent in the Freesound General-Purpose Audio Tagging Challenge on Kaggle.
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 ap proach; 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.

الأسئلة المقترحة

التعليقات
جاري جلب التعليقات جاري جلب التعليقات
mircosoft-partner

هل ترغب بارسال اشعارات عن اخر التحديثات في شمرا-اكاديميا