Music genre classification via Topology Preserving Non-Negative Tensor Factorization and sparse representations

Motivated by the rich, psycho-physiologically grounded proper-ties of auditory cortical representations and the power of sparse representation-based classifiers, we propose a robust music genre classification framework. Its first pilar is a novel multilinear sub-space analysis method that reduces the dimensionality of cortical representations of music signals, while preserving the topology of the cortical representations. Its second pilar is the sparse representa-tion based classification, that models any test cortical representation as a sparse weighted sum of dictionary atoms, which stem from training cortical representations of known genre, by assuming that the representations of music recordings of the same genre are close enough in the tensor space they lie. Accordingly, the dimensionality reduction is made in a compatible manner to the working princi-ple of the sparse-representation based classification. Music genre classification accuracy of 93.7 % and 94.93 % is reported on the GTZAN and the ISMIR2004 Genre datasets, respectively. Both accuracies outperform any accuracy ever reported for state of the art music genre classification algorithms applied to the aforementioned datasets. Index Terms — Music genre classification, topology preserving, non-negative tensor factorization, sparse representations 1

The GTZAN dataset: Its contents, its faults, their effects on evaluation, and its future use

The GTZAN dataset appears in at least 100 published works, and is the most-used public dataset for evaluation in machine listening research for music genre recognition (MGR). Our recent work, however, shows GTZAN has several faults (repetitions, mislabelings, and distortions), which challenge the interpretability of any result derived using it. In this article, we disprove the claims that all MGR systems are affected in the same ways by these faults, and that the performances of MGR systems in GTZAN are still meaningfully comparable since they all face the same faults. We identify and analyze the contents of GTZAN, and provide a catalog of its faults. We review how GTZAN has been used in MGR research, and find few indications that its faults have been known and considered. Finally, we rigorously study the effects of its faults on evaluating five different MGR systems. The lesson is not to banish GTZAN, but to use it with consideration of its contents.Comment: 29 pages, 7 figures, 6 tables, 128 reference

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

Deep Learning for Audio Signal Processing

Given the recent surge in developments of deep learning, this article provides a review of the state-of-the-art deep learning techniques for audio signal processing. Speech, music, and environmental sound processing are considered side-by-side, in order to point out similarities and differences between the domains, highlighting general methods, problems, key references, and potential for cross-fertilization between areas. The dominant feature representations (in particular, log-mel spectra and raw waveform) and deep learning models are reviewed, including convolutional neural networks, variants of the long short-term memory architecture, as well as more audio-specific neural network models. Subsequently, prominent deep learning application areas are covered, i.e. audio recognition (automatic speech recognition, music information retrieval, environmental sound detection, localization and tracking) and synthesis and transformation (source separation, audio enhancement, generative models for speech, sound, and music synthesis). Finally, key issues and future questions regarding deep learning applied to audio signal processing are identified.Comment: 15 pages, 2 pdf figure