Adversarial Semi-Supervised Audio Source Separation applied to Singing Voice Extraction

The state of the art in music source separation employs neural networks trained in a supervised fashion on multi-track databases to estimate the sources from a given mixture. With only few datasets available, often extensive data augmentation is used to combat overfitting. Mixing random tracks, however, can even reduce separation performance as instruments in real music are strongly correlated. The key concept in our approach is that source estimates of an optimal separator should be indistinguishable from real source signals. Based on this idea, we drive the separator towards outputs deemed as realistic by discriminator networks that are trained to tell apart real from separator samples. This way, we can also use unpaired source and mixture recordings without the drawbacks of creating unrealistic music mixtures. Our framework is widely applicable as it does not assume a specific network architecture or number of sources. To our knowledge, this is the first adoption of adversarial training for music source separation. In a prototype experiment for singing voice separation, separation performance increases with our approach compared to purely supervised training.Comment: 5 pages, 2 figures, 1 table. Final version of manuscript accepted for 2018 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). Implementation available at https://github.com/f90/AdversarialAudioSeparatio

Basic Filters for Convolutional Neural Networks Applied to Music: Training or Design?

When convolutional neural networks are used to tackle learning problems based on music or, more generally, time series data, raw one-dimensional data are commonly pre-processed to obtain spectrogram or mel-spectrogram coefficients, which are then used as input to the actual neural network. In this contribution, we investigate, both theoretically and experimentally, the influence of this pre-processing step on the network's performance and pose the question, whether replacing it by applying adaptive or learned filters directly to the raw data, can improve learning success. The theoretical results show that approximately reproducing mel-spectrogram coefficients by applying adaptive filters and subsequent time-averaging is in principle possible. We also conducted extensive experimental work on the task of singing voice detection in music. The results of these experiments show that for classification based on Convolutional Neural Networks the features obtained from adaptive filter banks followed by time-averaging perform better than the canonical Fourier-transform-based mel-spectrogram coefficients. Alternative adaptive approaches with center frequencies or time-averaging lengths learned from training data perform equally well.Comment: Completely revised version; 21 pages, 4 figure

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

Problems and opportunities of applying data-& audio-mining techniques to ethnic music

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Melodic Transcription of Flamenco Singing from Monophonic and Polyphonic Music Recordings

We propose a method for the automatic transcription of flamenco singing from monophonic and polyphonic music recordings. Our transcription system is based on estimating the fundamental frequency (f0) of the singing voice, and follows an iterative strategy for note segmentation and labelling. The generated transcriptions are used in the context of melodic similarity, style classification and pattern detection. In our study, we discuss the difficulties found in transcribing flamenco singing and in evaluating the obtained transcriptions, we analyze the influence of the different steps of the algorithm, and we state the main limitations of our approach and discuss the challenges for future studies