Music Structure Boundaries Estimation Using Multiple Self-Similarity Matrices as Input Depth of Convolutional Neural Networks

International audienceIn this paper, we propose a new representation as input of a Convolutional Neural Network with the goal of estimating music structure boundaries. For this task, previous works used a network performing the late-fusion of a Mel-scaled log-magnitude spectrogram and a self-similarity-lag-matrix. We propose here to use the square-sub-matrices centered on the main diagonals of several self-similarity-matrices, each one representing a different audio descriptors. We propose to combine them using the depth of the input layer. We show that this representation improves the results over the use of the self-similarity-lag-matrix. We also show that using the depth of the input layer provide a convenient way for early fusion of audio representations

Music Boundary Detection using Convolutional Neural Networks: A comparative analysis of combined input features

The analysis of the structure of musical pieces is a task that remains a challenge for Artificial Intelligence, especially in the field of Deep Learning. It requires prior identification of structural boundaries of the music pieces. This structural boundary analysis has recently been studied with unsupervised methods and \textit{end-to-end} techniques such as Convolutional Neural Networks (CNN) using Mel-Scaled Log-magnitude Spectograms features (MLS), Self-Similarity Matrices (SSM) or Self-Similarity Lag Matrices (SSLM) as inputs and trained with human annotations. Several studies have been published divided into unsupervised and \textit{end-to-end} methods in which pre-processing is done in different ways, using different distance metrics and audio characteristics, so a generalized pre-processing method to compute model inputs is missing. The objective of this work is to establish a general method of pre-processing these inputs by comparing the inputs calculated from different pooling strategies, distance metrics and audio characteristics, also taking into account the computing time to obtain them. We also establish the most effective combination of inputs to be delivered to the CNN in order to establish the most efficient way to extract the limits of the structure of the music pieces. With an adequate combination of input matrices and pooling strategies we obtain a measurement accuracy $F_1$ of 0.411 that outperforms the current one obtained under the same conditions

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

Characterizing and comparing acoustic representations in convolutional neural networks and the human auditory system

Le traitement auditif dans le cerveau humain et dans les systèmes informatiques consiste en une cascade de transformations représentationnelles qui extraient et réorganisent les informations pertinentes pour permettre l'exécution des tâches. Cette thèse s'intéresse à la nature des représentations acoustiques et aux principes de conception et d'apprentissage qui soutiennent leur développement. Les objectifs scientifiques sont de caractériser et de comparer les représentations auditives dans les réseaux de neurones convolutionnels profonds (CNN) et la voie auditive humaine. Ce travail soulève plusieurs questions méta-scientifiques sur la nature du progrès scientifique, qui sont également considérées. L'introduction passe en revue les connaissances actuelles sur la voie auditive des mammifères et présente les concepts pertinents de l'apprentissage profond. Le premier article soutient que les questions philosophiques les plus pressantes à l'intersection de l'intelligence artificielle et biologique concernent finalement la définition des phénomènes à expliquer et ce qui constitue des explications valables de tels phénomènes. Je surligne les théories pertinentes de l'explication scientifique que j’espére fourniront un échafaudage pour de futures discussions. L'article 2 teste un modèle populaire de cortex auditif basé sur des modulations spectro-temporelles. Nous constatons qu'un modèle linéaire entraîné uniquement sur les réponses BOLD aux ondulations dynamiques simples (contenant seulement une fréquence fondamentale, un taux de modulation temporelle et une échelle spectrale) peut se généraliser pour prédire les réponses aux mélanges de deux ondulations dynamiques. Le troisième article caractérise la spécificité linguistique des couches CNN et explore l'effet de l'entraînement figé et des poids aléatoires. Nous avons observé trois régions distinctes de transférabilité: (1) les deux premières couches étaient entièrement transférables, (2) les couches 2 à 8 étaient également hautement transférables, mais nous avons trouvé évidence de spécificité de la langue, (3) les couches suivantes entièrement connectées étaient plus spécifiques à la langue mais pouvaient être adaptées sur la langue cible. Dans l'article 4, nous utilisons l'analyse de similarité pour constater que la performance supérieure de l'entraînement figé obtenues à l'article 3 peuvent être attribuées aux différences de représentation dans l'avant-dernière couche: la deuxième couche entièrement connectée. Nous analysons également les réseaux aléatoires de l'article 3, dont nous concluons que la forme représentationnelle est doublement contrainte par l'architecture et la forme de l'entrée et de la cible. Pour tester si les CNN acoustiques apprennent une hiérarchie de représentation similaire à celle du système auditif humain, le cinquième article compare l'activité des réseaux «freeze trained» de l'article 3 à l'activité IRMf 7T dans l'ensemble du système auditif humain. Nous ne trouvons aucune évidence d'une hiérarchie de représentation partagée et constatons plutôt que tous nos régions auditifs étaient les plus similaires à la première couche entièrement connectée. Enfin, le chapitre de discussion passe en revue les mérites et les limites d'une approche d'apprentissage profond aux neurosciences dans un cadre de comparaison de modèles. Ensemble, ces travaux contribuent à l'entreprise naissante de modélisation du système auditif avec des réseaux de neurones et constituent un petit pas vers une science unifiée de l'intelligence qui étudie les phénomènes qui se manifestent dans l'intelligence biologique et artificielle.Auditory processing in the human brain and in contemporary machine hearing systems consists of a cascade of representational transformations that extract and reorganize relevant information to enable task performance. This thesis is concerned with the nature of acoustic representations and the network design and learning principles that support their development. The primary scientific goals are to characterize and compare auditory representations in deep convolutional neural networks (CNNs) and the human auditory pathway. This work prompts several meta-scientific questions about the nature of scientific progress, which are also considered. The introduction reviews what is currently known about the mammalian auditory pathway and introduces the relevant concepts in deep learning.The first article argues that the most pressing philosophical questions at the intersection of artificial and biological intelligence are ultimately concerned with defining the phenomena to be explained and with what constitute valid explanations of such phenomena. I highlight relevant theories of scientific explanation which we hope will provide scaffolding for future discussion. Article 2 tests a popular model of auditory cortex based on frequency-specific spectrotemporal modulations. We find that a linear model trained only on BOLD responses to simple dynamic ripples (containing only one fundamental frequency, temporal modulation rate, and spectral scale) can generalize to predict responses to mixtures of two dynamic ripples. Both the third and fourth article investigate how CNN representations are affected by various aspects of training. The third article characterizes the language specificity of CNN layers and explores the effect of freeze training and random weights. We observed three distinct regions of transferability: (1) the first two layers were entirely transferable between languages, (2) layers 2--8 were also highly transferable but we found some evidence of language specificity, (3) the subsequent fully connected layers were more language specific but could be successfully finetuned to the target language. In Article 4, we use similarity analysis to find that the superior performance of freeze training achieved in Article 3 can be largely attributed to representational differences in the penultimate layer: the second fully connected layer. We also analyze the random networks from Article 3, from which we conclude that representational form is doubly constrained by architecture and the form of the input and target. To test whether acoustic CNNs learn a similar representational hierarchy as that of the human auditory system, the fifth article presents a similarity analysis to compare the activity of the freeze trained networks from Article 3 to 7T fMRI activity throughout the human auditory system. We find no evidence of a shared representational hierarchy and instead find that all of our auditory regions were most similar to the first fully connected layer. Finally, the discussion chapter reviews the merits and limitations of a deep learning approach to neuroscience in a model comparison framework. Together, these works contribute to the nascent enterprise of modeling the auditory system with neural networks and constitute a small step towards a unified science of intelligence that studies the phenomena that are exhibited in both biological and artificial intelligence

Representation Learning: A Review and New Perspectives

The success of machine learning algorithms generally depends on data representation, and we hypothesize that this is because different representations can entangle and hide more or less the different explanatory factors of variation behind the data. Although specific domain knowledge can be used to help design representations, learning with generic priors can also be used, and the quest for AI is motivating the design of more powerful representation-learning algorithms implementing such priors. This paper reviews recent work in the area of unsupervised feature learning and deep learning, covering advances in probabilistic models, auto-encoders, manifold learning, and deep networks. This motivates longer-term unanswered questions about the appropriate objectives for learning good representations, for computing representations (i.e., inference), and the geometrical connections between representation learning, density estimation and manifold learning

Deep Learning Techniques for Music Generation -- A Survey

This paper is a survey and an analysis of different ways of using deep learning (deep artificial neural networks) to generate musical content. We propose a methodology based on five dimensions for our analysis: Objective - What musical content is to be generated? Examples are: melody, polyphony, accompaniment or counterpoint. - For what destination and for what use? To be performed by a human(s) (in the case of a musical score), or by a machine (in the case of an audio file). Representation - What are the concepts to be manipulated? Examples are: waveform, spectrogram, note, chord, meter and beat. - What format is to be used? Examples are: MIDI, piano roll or text. - How will the representation be encoded? Examples are: scalar, one-hot or many-hot. Architecture - What type(s) of deep neural network is (are) to be used? Examples are: feedforward network, recurrent network, autoencoder or generative adversarial networks. Challenge - What are the limitations and open challenges? Examples are: variability, interactivity and creativity. Strategy - How do we model and control the process of generation? Examples are: single-step feedforward, iterative feedforward, sampling or input manipulation. For each dimension, we conduct a comparative analysis of various models and techniques and we propose some tentative multidimensional typology. This typology is bottom-up, based on the analysis of many existing deep-learning based systems for music generation selected from the relevant literature. These systems are described and are used to exemplify the various choices of objective, representation, architecture, challenge and strategy. The last section includes some discussion and some prospects.Comment: 209 pages. This paper is a simplified version of the book: J.-P. Briot, G. Hadjeres and F.-D. Pachet, Deep Learning Techniques for Music Generation, Computational Synthesis and Creative Systems, Springer, 201

Melodic Phrase Segmentation By Deep Neural Networks

Automated melodic phrase detection and segmentation is a classical task in content-based music information retrieval and also the key towards automated music structure analysis. However, traditional methods still cannot satisfy practical requirements. In this paper, we explore and adapt various neural network architectures to see if they can be generalized to work with the symbolic representation of music and produce satisfactory melodic phrase segmentation. The main issue of applying deep-learning methods to phrase detection is the sparse labeling problem of training sets. We proposed two tailored label engineering with corresponding training techniques for different neural networks in order to make decisions at a sequential level. Experiment results show that the CNN-CRF architecture performs the best, being able to offer finer segmentation and faster to train, while CNN, Bi-LSTM-CNN and Bi-LSTM-CRF are acceptable alternatives