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

Classification of music genres using sparse representations in overcomplete dictionaries

This paper presents a simple, but efficient and robust, method for music genre classification that utilizes sparse representations in overcomplete dictionaries. The training step involves creating dictionaries, using the K-SVD algorithm, in which data corresponding to a particular music genre has a sparse representation. In the classification step, the Orthogonal Matching Pursuit (OMP) algorithm is used to separate feature vectors that consist only of Linear Predictive Coding (LPC) coefficients. The paper analyses in detail a popular case study from the literature, the ISMIR 2004 database. Using the presented method, the correct classification percentage of the 6 music genres is 85.59, result that is comparable with the best results published so far

Probabilistic Modeling Paradigms for Audio Source Separation

This is the author's final version of the article, first published as E. Vincent, M. G. Jafari, S. A. Abdallah, M. D. Plumbley, M. E. Davies. Probabilistic Modeling Paradigms for Audio Source Separation. In W. Wang (Ed), Machine Audition: Principles, Algorithms and Systems. Chapter 7, pp. 162-185. IGI Global, 2011. ISBN 978-1-61520-919-4. DOI: 10.4018/978-1-61520-919-4.ch007file: VincentJafariAbdallahPD11-probabilistic.pdf:v\VincentJafariAbdallahPD11-probabilistic.pdf:PDF owner: markp timestamp: 2011.02.04file: VincentJafariAbdallahPD11-probabilistic.pdf:v\VincentJafariAbdallahPD11-probabilistic.pdf:PDF owner: markp timestamp: 2011.02.04Most sound scenes result from the superposition of several sources, which can be separately perceived and analyzed by human listeners. Source separation aims to provide machine listeners with similar skills by extracting the sounds of individual sources from a given scene. Existing separation systems operate either by emulating the human auditory system or by inferring the parameters of probabilistic sound models. In this chapter, the authors focus on the latter approach and provide a joint overview of established and recent models, including independent component analysis, local time-frequency models and spectral template-based models. They show that most models are instances of one of the following two general paradigms: linear modeling or variance modeling. They compare the merits of either paradigm and report objective performance figures. They also,conclude by discussing promising combinations of probabilistic priors and inference algorithms that could form the basis of future state-of-the-art systems

FMA: A Dataset For Music Analysis

We introduce the Free Music Archive (FMA), an open and easily accessible dataset suitable for evaluating several tasks in MIR, a field concerned with browsing, searching, and organizing large music collections. The community's growing interest in feature and end-to-end learning is however restrained by the limited availability of large audio datasets. The FMA aims to overcome this hurdle by providing 917 GiB and 343 days of Creative Commons-licensed audio from 106,574 tracks from 16,341 artists and 14,854 albums, arranged in a hierarchical taxonomy of 161 genres. It provides full-length and high-quality audio, pre-computed features, together with track- and user-level metadata, tags, and free-form text such as biographies. We here describe the dataset and how it was created, propose a train/validation/test split and three subsets, discuss some suitable MIR tasks, and evaluate some baselines for genre recognition. Code, data, and usage examples are available at https://github.com/mdeff/fmaComment: ISMIR 2017 camera-read

Automatic Environmental Sound Recognition: Performance versus Computational Cost

In the context of the Internet of Things (IoT), sound sensing applications are required to run on embedded platforms where notions of product pricing and form factor impose hard constraints on the available computing power. Whereas Automatic Environmental Sound Recognition (AESR) algorithms are most often developed with limited consideration for computational cost, this article seeks which AESR algorithm can make the most of a limited amount of computing power by comparing the sound classification performance em as a function of its computational cost. Results suggest that Deep Neural Networks yield the best ratio of sound classification accuracy across a range of computational costs, while Gaussian Mixture Models offer a reasonable accuracy at a consistently small cost, and Support Vector Machines stand between both in terms of compromise between accuracy and computational cost

Efficient Synthesis of Room Acoustics via Scattering Delay Networks

An acoustic reverberator consisting of a network of delay lines connected via scattering junctions is proposed. All parameters of the reverberator are derived from physical properties of the enclosure it simulates. It allows for simulation of unequal and frequency-dependent wall absorption, as well as directional sources and microphones. The reverberator renders the first-order reflections exactly, while making progressively coarser approximations of higher-order reflections. The rate of energy decay is close to that obtained with the image method (IM) and consistent with the predictions of Sabine and Eyring equations. The time evolution of the normalized echo density, which was previously shown to be correlated with the perceived texture of reverberation, is also close to that of IM. However, its computational complexity is one to two orders of magnitude lower, comparable to the computational complexity of a feedback delay network (FDN), and its memory requirements are negligible

Acoustic Scene Classification

This work was supported by the Centre for Digital Music Platform (grant EP/K009559/1) and a Leadership Fellowship (EP/G007144/1) both from the United Kingdom Engineering and Physical Sciences Research Council