11,644 research outputs found
Deep clustering: Discriminative embeddings for segmentation and separation
We address the problem of acoustic source separation in a deep learning
framework we call "deep clustering." Rather than directly estimating signals or
masking functions, we train a deep network to produce spectrogram embeddings
that are discriminative for partition labels given in training data. Previous
deep network approaches provide great advantages in terms of learning power and
speed, but previously it has been unclear how to use them to separate signals
in a class-independent way. In contrast, spectral clustering approaches are
flexible with respect to the classes and number of items to be segmented, but
it has been unclear how to leverage the learning power and speed of deep
networks. To obtain the best of both worlds, we use an objective function that
to train embeddings that yield a low-rank approximation to an ideal pairwise
affinity matrix, in a class-independent way. This avoids the high cost of
spectral factorization and instead produces compact clusters that are amenable
to simple clustering methods. The segmentations are therefore implicitly
encoded in the embeddings, and can be "decoded" by clustering. Preliminary
experiments show that the proposed method can separate speech: when trained on
spectrogram features containing mixtures of two speakers, and tested on
mixtures of a held-out set of speakers, it can infer masking functions that
improve signal quality by around 6dB. We show that the model can generalize to
three-speaker mixtures despite training only on two-speaker mixtures. The
framework can be used without class labels, and therefore has the potential to
be trained on a diverse set of sound types, and to generalize to novel sources.
We hope that future work will lead to segmentation of arbitrary sounds, with
extensions to microphone array methods as well as image segmentation and other
domains.Comment: Originally submitted on June 5, 201
Final Research Report on Auto-Tagging of Music
The deliverable D4.7 concerns the work achieved by IRCAM until M36 for the “auto-tagging of music”. The deliverable is a research report. The software libraries resulting from the research have been integrated into Fincons/HearDis! Music Library Manager or are used by TU Berlin. The final software libraries are described in D4.5.
The research work on auto-tagging has concentrated on four aspects:
1) Further improving IRCAM’s machine-learning system ircamclass. This has been done by developing the new MASSS audio features, including audio augmentation and audio segmentation into ircamclass. The system has then been applied to train HearDis! “soft” features (Vocals-1, Vocals-2, Pop-Appeal, Intensity, Instrumentation, Timbre, Genre, Style). This is described in Part 3.
2) Developing two sets of “hard” features (i.e. related to musical or musicological concepts) as specified by HearDis! (for integration into Fincons/HearDis! Music Library Manager) and TU Berlin (as input for the prediction model of the GMBI attributes). Such features are either derived from previously estimated higher-level concepts (such as structure, key or succession of chords) or by developing new signal processing algorithm (such as HPSS) or main melody estimation. This is described in Part 4.
3) Developing audio features to characterize the audio quality of a music track. The goal is to describe the quality of the audio independently of its apparent encoding. This is then used to estimate audio degradation or music decade. This is to be used to ensure that playlists contain tracks with similar audio quality. This is described in Part 5.
4) Developing innovative algorithms to extract specific audio features to improve music mixes. So far, innovative techniques (based on various Blind Audio Source Separation algorithms and Convolutional Neural Network) have been developed for singing voice separation, singing voice segmentation, music structure boundaries estimation, and DJ cue-region estimation. This is described in Part 6.EC/H2020/688122/EU/Artist-to-Business-to-Business-to-Consumer Audio Branding System/ABC D
A joint separation-classification model for sound event detection of weakly labelled data
Source separation (SS) aims to separate individual sources from an audio
recording. Sound event detection (SED) aims to detect sound events from an
audio recording. We propose a joint separation-classification (JSC) model
trained only on weakly labelled audio data, that is, only the tags of an audio
recording are known but the time of the events are unknown. First, we propose a
separation mapping from the time-frequency (T-F) representation of an audio to
the T-F segmentation masks of the audio events. Second, a classification
mapping is built from each T-F segmentation mask to the presence probability of
each audio event. In the source separation stage, sources of audio events and
time of sound events can be obtained from the T-F segmentation masks. The
proposed method achieves an equal error rate (EER) of 0.14 in SED,
outperforming deep neural network baseline of 0.29. Source separation SDR of
8.08 dB is obtained by using global weighted rank pooling (GWRP) as probability
mapping, outperforming the global max pooling (GMP) based probability mapping
giving SDR at 0.03 dB. Source code of our work is published.Comment: Accepted by ICASSP 201
Multimodal music information processing and retrieval: survey and future challenges
Towards improving the performance in various music information processing
tasks, recent studies exploit different modalities able to capture diverse
aspects of music. Such modalities include audio recordings, symbolic music
scores, mid-level representations, motion, and gestural data, video recordings,
editorial or cultural tags, lyrics and album cover arts. This paper critically
reviews the various approaches adopted in Music Information Processing and
Retrieval and highlights how multimodal algorithms can help Music Computing
applications. First, we categorize the related literature based on the
application they address. Subsequently, we analyze existing information fusion
approaches, and we conclude with the set of challenges that Music Information
Retrieval and Sound and Music Computing research communities should focus in
the next years
The Segment Ontology: Bridging Music-generic and Domain-specific
Existing semantic representations of music analysis encapsulate narrow sub-domain concepts and are frequently scoped by the context of a particular MIR task. Segmentation is a crucial abstraction in the investigation of phenomena which unfold over time; we present a Segment Ontology as the backbone of an approach that models properties from the musicological domain independently from MIR implementations and their signal processing foundations, whilst maintaining an accurate and complete description of the relationships that link them. This framework provides two principal advantages which are explored through several examples: a layered separation of concerns that aligns the model with the needs of the users and systems that consume and produce the data; and the ability to link multiple analyses of differing types through transforms to and from the Segment axis
Scene extraction in motion pictures
This paper addresses the challenge of bridging the semantic gap between the rich meaning users desire when they query to locate and browse media and the shallowness of media descriptions that can be computed in today\u27s content management systems. To facilitate high-level semantics-based content annotation and interpretation, we tackle the problem of automatic decomposition of motion pictures into meaningful story units, namely scenes. Since a scene is a complicated and subjective concept, we first propose guidelines from fill production to determine when a scene change occurs. We then investigate different rules and conventions followed as part of Fill Grammar that would guide and shape an algorithmic solution for determining a scene. Two different techniques using intershot analysis are proposed as solutions in this paper. In addition, we present different refinement mechanisms, such as film-punctuation detection founded on Film Grammar, to further improve the results. These refinement techniques demonstrate significant improvements in overall performance. Furthermore, we analyze errors in the context of film-production techniques, which offer useful insights into the limitations of our method
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