1,009 research outputs found

    Auditory Streaming: Behavior, Physiology, and Modeling

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    Auditory streaming is a fundamental aspect of auditory perception. It refers to the ability to parse mixed acoustic events into meaningful streams where each stream is assumed to originate from a separate source. Despite wide interest and increasing scientific investigations over the last decade, the neural mechanisms underlying streaming still remain largely unknown. A simple example of this mystery concerns the streaming of simple tone sequences, and the general assumption that separation along the tonotopic axis is sufficient for stream segregation. However, this dissertation research casts doubt on the validity of this assumption. First, behavioral measures of auditory streaming in ferrets prove that they can be used as an animal model to study auditory streaming. Second, responses from neurons in the primary auditory cortex (A1) of ferrets show that spectral components that are well-separated in frequency produce comparably segregated responses along the tonotopic axis, no matter whether presented synchronously or consecutively, despite the substantial differences in their streaming percepts when measured psychoacoustically in humans. These results argue against the notion that tonotopic separation per se is a sufficient neural correlate of stream segregation. Thirdly, comparing responses during behavior to those during the passive condition, the temporal correlations of spiking activity between neurons belonging to the same stream display an increased correlation, while responses among neurons belonging to different streams become less correlated. Rapid task-related plasticity of neural receptive fields shows a pattern that is consistent with the changes in correlation. Taken together these results indicate that temporal coherence is a plausible neural correlate of auditory streaming. Finally, inspired by the above biological findings, we propose a computational model of auditory scene analysis, which uses temporal coherence as the primary criterion for predicting stream formation. The promising results of this dissertation research significantly advance our understanding of auditory streaming and perception

    Score-Informed Source Separation for Musical Audio Recordings [An overview]

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    (c) 2014 IEEE. Personal use of this material is permitted. Permission from IEEE must be obtained for all other users, including reprinting/ republishing this material for advertising or promotional purposes, creating new collective works for resale or redistribution to servers or lists, or reuse of any copyrighted components of this work in other works

    Sound Source Separation

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    This is the author's accepted pre-print of the article, first published as G. Evangelista, S. Marchand, M. D. Plumbley and E. Vincent. Sound source separation. In U. Zölzer (ed.), DAFX: Digital Audio Effects, 2nd edition, Chapter 14, pp. 551-588. John Wiley & Sons, March 2011. ISBN 9781119991298. DOI: 10.1002/9781119991298.ch14file: Proof:e\EvangelistaMarchandPlumbleyV11-sound.pdf:PDF owner: markp timestamp: 2011.04.26file: Proof:e\EvangelistaMarchandPlumbleyV11-sound.pdf:PDF owner: markp timestamp: 2011.04.2

    Predicting Audio Advertisement Quality

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    Online audio advertising is a particular form of advertising used abundantly in online music streaming services. In these platforms, which tend to host tens of thousands of unique audio advertisements (ads), providing high quality ads ensures a better user experience and results in longer user engagement. Therefore, the automatic assessment of these ads is an important step toward audio ads ranking and better audio ads creation. In this paper we propose one way to measure the quality of the audio ads using a proxy metric called Long Click Rate (LCR), which is defined by the amount of time a user engages with the follow-up display ad (that is shown while the audio ad is playing) divided by the impressions. We later focus on predicting the audio ad quality using only acoustic features such as harmony, rhythm, and timbre of the audio, extracted from the raw waveform. We discuss how the characteristics of the sound can be connected to concepts such as the clarity of the audio ad message, its trustworthiness, etc. Finally, we propose a new deep learning model for audio ad quality prediction, which outperforms the other discussed models trained on hand-crafted features. To the best of our knowledge, this is the first large-scale audio ad quality prediction study.Comment: WSDM '18 Proceedings of the Eleventh ACM International Conference on Web Search and Data Mining, 9 page

    Computational Models of Auditory Scene Analysis: A Review

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    Auditory scene analysis (ASA) refers to the process(es) of parsing the complex acoustic input into auditory perceptual objects representing either physical sources or temporal sound patterns, such as melodies, which contributed to the sound waves reaching the ears. A number of new computational models accounting for some of the perceptual phenomena of ASA have been published recently. Here we provide a theoretically motivated review of these computational models, aiming to relate their guiding principles to the central issues of the theoretical framework of ASA. Specifically, we ask how they achieve the grouping and separation of sound elements and whether they implement some form of competition between alternative interpretations of the sound input. We consider the extent to which they include predictive processes, as important current theories suggest that perception is inherently predictive, and also how they have been evaluated. We conclude that current computational models of ASA are fragmentary in the sense that rather than providing general competing interpretations of ASA, they focus on assessing the utility of specific processes (or algorithms) for finding the causes of the complex acoustic signal. This leaves open the possibility for integrating complementary aspects of the models into a more comprehensive theory of ASA

    Pitch-informed instrument assignment using a deep convolutional network with multiple kernel shapes

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    This paper proposes a deep convolutional neural network for performing note-level instrument assignment. Given a polyphonic multi-instrumental music signal along with its ground truth or predicted notes, the objective is to assign an instrumental source for each note. This problem is addressed as a pitch-informed classification task where each note is analysed individually. We also propose to utilise several kernel shapes in the convolutional layers in order to facilitate learning of timbre-discriminative feature maps. Experiments on the MusicNet dataset using 7 instrument classes show that our approach is able to achieve an average F-score of 0.904 when the original multi-pitch annotations are used as the pitch information for the system, and that it also excels if the note information is provided using third-party multi-pitch estimation algorithms. We also include ablation studies investigating the effects of the use of multiple kernel shapes and comparing different input representations for the audio and the note-related information
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