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An Introduction To The Event Related Potential Technique

This paper introduces a new large-scale music dataset, MusicNet, to serve as a source of supervision and evaluation of machine learning methods for music research. MusicNet consists of hundreds of freely-licensed classical music recordings by 10 composers, written for 11 instruments, together with instrument/note annotations resulting in over 1 million temporal labels on 34 hours of chamber music performances under various studio and microphone conditions. 
The paper defines a multi-label classification task to predict notes in musical recordings, along with an evaluation protocol, and benchmarks several machine learning architectures for this task: i) learning from spectrogram features; ii) end-to-end learning with a neural net; iii) end-to-end learning with a convolutional neural net. These experiments show that end-to-end models trained for note prediction learn frequency selective filters as a low-level representation of audio.

Learning Features of Music from Scratch

In recent years, source separation has been a central research topic in music signal processing, with applications in stereo-to-surround up-mixing, remixing tools for disc jockeys or producers, instrument-wise equalizing, karaoke systems, and preprocessing in music analysis tasks. Musical sound sources, however, are often strongly correlated in time and frequency, and without additional knowledge about the sources, a decomposition of a musical recording is often infeasible. To simplify this complex task, various methods have recently been proposed that exploit the availability of a musical score. The additional instrumentation and note information provided by the score guides the separation process, leading to significant improvements in terms of separation quality and robustness. A major challenge in utilizing this rich source of information is to bridge the gap between high-level musical events specified by the score and their corresponding acoustic realizations in an audio recording. In this article, we review recent developments in score-informed source separation and discuss various strategies for integrating the prior knowledge encoded by the score.

http://www.eecs.qmul.ac.uk/~ewerts/publications/2014_EwertPardoMuellerPlumbley_ScoreInformedSourceSep_IEEE-SPM_AuthorVersion.pdf

Score-Informed Source Separation for Musical Audio Recordings: An overview

Popular music is often composed of an accompaniment and a lead component, the latter typically consisting of vocals. Filtering such mixtures to extract one or both components has many applications, such as automatic karaoke and remixing. This particular case of source separation yields very specific challenges and opportunities, including the particular complexity of musical structures, but also relevant prior knowledge coming from acoustics, musicology or sound engineering. Due to both its importance in applications and its challenging difficulty, lead and accompaniment separation has been a popular topic in signal processing for decades. In this article, we provide a comprehensive review of this research topic, organizing the different approaches according to whether they are model-based or data-centered. For model-based methods, we organize them according to whether they concentrate on the lead signal, the accompaniment, or both. For data-centered approaches, we discuss the particular difficulty of obtaining data for learning lead separation systems, and then review recent approaches, notably those based on deep learning. Finally, we discuss the delicate problem of evaluating the quality of music separation through adequate metrics and present the results of the largest evaluation, to-date, of lead and accompaniment separation systems. In conjunction with the above, a comprehensive list of references is provided, along with relevant pointers to available implementations and repositories.

https://hal-lirmm.ccsd.cnrs.fr/lirmm-01766781/document

An Overview of Lead and Accompaniment Separation in Music

We introduce a method for automated temporal segmentation of human motion data into distinct actions and compositing motion primitives based on self-similar structures in the motion sequence. We use neighborhood graphs for the partitioning and the similarity information in the graph is further exploited to cluster the motion primitives into larger entities of semantic significance. The method requires no assumptions about the motion sequences at hand and no user interaction is required for the segmentation or clustering. In addition, we introduce a feature bundling preprocessing technique to make the segmentation more robust to noise, as well as a notion of motion symmetry for more refined primitive detection. We test our method on several sensor modalities, including markered and markerless motion capture as well as on electromyograph and accelerometer recordings. The results highlight our system's capabilities for both segmentation and for analysis of the finer structures of motion data, all in a completely unsupervised manner.

Efficient Unsupervised Temporal Segmentation of Motion Data

Dynamic Time Warping (DTW) is an established method for finding a global alignment between two feature sequences. However, having a computational complexity that is quadratic in the input length, memory consumption becomes a major issue when dealing with long feature sequences. Various strategies have been proposed to reduce the memory requirements of DTW. For example, online alignment approaches often have a constant memory consumption by applying forward path estimation strategies. However, this comes at the cost of robustness. Efficient offline DTW based on multiscale strategies constitutes another approach. While methods built on this principle are usually robust, their memory requirements are still dependent on the input length. By combining ideas from online alignment approaches and offline multiscale strategies, we introduce a novel alignment procedure that allows for specifying a constant upper bound on its memory requirements. This is an important aspect when working on devices with limited computational resources. Experiments show that when restricting the memory consumption of our proposed procedure to eight megabytes, it basically yields the same alignments as the standard DTW procedure.

Memory-restricted multiscale dynamic time warping

When recording a live musical performance, the different voices, such as the instrument groups or soloists of an orchestra, are typically recorded in the same room simultaneously, with at least one microphone assigned to each voice. However, it is difficult to acoustically shield the microphones. In practice, each one contains interference from every other voice. In this paper, we aim to reduce these interferences in multi-channel recordings to recover only the isolated voices. Following the recently proposed Kernel Additive Modeling framework, we present a method that iteratively estimates both the power spectral density of each voice and the corresponding strength in each microphone signal. With this information, we build an optimal Wiener filter, strongly reducing interferences. The trade-off between distortion and separation can be controlled by the user through the number of iterations of the algorithm. Furthermore, we present a computationally effective approximation of the iterative procedure. Listening tests demonstrate the effectiveness of the method.

/pdf/kernel-additive-modeling-for-interference-reduction-in-multi-cf0nibxot6.pdf

Kernel Additive Modeling for interference reduction in multi-channel music recordings

A swarm of bees buzzing “Let it be” by the Beatles or the wind gently howling the romantic “Gute Nacht” by Schubert ‐ these are examples of audio mosaics as we want to create them. Given a target and a source recording, the goal of audio mosaicing is to generate a mosaic recording that conveys musical aspects (like melody and rhythm) of the target, using sound components taken from the source. In this work, we propose a novel approach for automatically generating audio mosaics with the objective to preserve the source’s timbre in the mosaic. Inspired by algorithms for non-negative matrix factorization (NMF), our idea is to use update rules to learn an activation matrix that, when multiplied with the spectrogram of the source recording, resembles the spectrogram of the target recording. However, when applying the original NMF procedure, the resulting mosaic does not adequately reflect the source’s timbre. As our main technical contribution, we propose an extended set of update rules for the iterative learning procedure that supports the development of sparse diagonal structures in the activation matrix. We show how these structures better retain the source’s timbral characteristics in the resulting mosaic.

/pdf/let-it-bee-towards-nmf-inspired-audio-mosaicing-23irjwg14h.pdf

Let it Bee - Towards NMF-Inspired Audio Mosaicing.

The goal of live song identification is to recognize a song based on a short, noisy cell phone recording of a live performance. We propose a system for known-artist live song identification and provide empirical evidence of its feasibility. The proposed system represents audio as a sequence of hashprints, which are binary fingerprints that are derived from applying a set of spectro-temporal filters to a spectrogram representation. The spectro-temporal filters can be learned in an unsupervised manner on a small amount of data, and can thus tailor its representation to each artist. Matching is performed using a cross-correlation approach with downsampling and rescoring. We evaluate our approach on the Gracenote live song identification benchmark data set, and compare our results to five other baseline systems. Compared to the previous state-of-the-art, the proposed system improves the mean reciprocal rank from .68 to .79, while simultaneously reducing the average runtime per query from 10 seconds down to 0.9 seconds.

Known Artist Live Song ID: A Hashprint Approach.

This paper approaches the problem of annotating measure positions in Western classical music recordings. Such annotations can be useful for navigation, segmentation, and cross-version analysis of music in different types of representations. In a case study based on Wagner’s opera “Die Walküre”, we analyze two types of annotations. First, we report on an experiment where several human listeners generated annotations in a manual fashion. Second, we examine computer-generated annotations which were obtained by using score-to-audio alignment techniques. As one main contribution of this paper, we discuss the inconsistencies of the different annotations and study possible musical reasons for deviations. As another contribution, we propose a kernel-based method for automatically estimating confidences of the computed annotations which may serve as a first step towards improving the quality of this automatic method.

Thomas Prätzlich

Papers

Memory-restricted multiscale dynamic time warping

Kernel Additive Modeling for interference reduction in multi-channel music recordings

Let it Bee - Towards NMF-Inspired Audio Mosaicing.

Known Artist Live Song ID: A Hashprint Approach.

Analyzing Measure Annotations for Western Classical Music Recordings.