Self-Supervised Representation Learning for Vocal Music Context

In music and speech, meaning is derived at multiple levels of context. Affect, for example, can be inferred both by a short sound token and by sonic patterns over a longer temporal window such as an entire recording. In this paper we focus on inferring meaning from this dichotomy of contexts. We show how contextual representations of short sung vocal lines can be implicitly learned from fundamental frequency ($F_0$) and thus be used as a meaningful feature space for downstream Music Information Retrieval (MIR) tasks. We propose three self-supervised deep learning paradigms which leverage pseudotask learning of these two levels of context to produce latent representation spaces. We evaluate the usefulness of these representations by embedding unseen vocal contours into each space and conducting downstream classification tasks. Our results show that contextual representation can enhance downstream classification by as much as 15 % as compared to using traditional statistical contour features.Comment: Working on more updated versio

From heuristics-based to data-driven audio melody extraction

The identification of the melody from a music recording is a relatively easy task for humans, but very challenging for computational systems. This task is known as "audio melody extraction", more formally defined as the automatic estimation of the pitch sequence of the melody directly from the audio signal of a polyphonic music recording. This thesis investigates the benefits of exploiting knowledge automatically derived from data for audio melody extraction, by combining digital signal processing and machine learning methods. We extend the scope of melody extraction research by working with a varied dataset and multiple definitions of melody. We first present an overview of the state of the art, and perform an evaluation focused on a novel symphonic music dataset. We then propose melody extraction methods based on a source-filter model and pitch contour characterisation and evaluate them on a wide range of music genres. Finally, we explore novel timbre, tonal and spatial features for contour characterisation, and propose a method for estimating multiple melodic lines. The combination of supervised and unsupervised approaches leads to advancements on melody extraction and shows a promising path for future research and applications