Search

Content creators often use music to enhance their stories, as it can be a powerful tool to convey emotion. In this paper, our goal is to help creators find music to match the emotion of their story. We focus on text-based stories that can be auralized (e.g., books), use multiple sentences as input queries, and automatically retrieve matching music. We formalize this task as a cross-modal text-to-music retrieval problem. Both the music and text domains have existing datasets with emotion labels, but mismatched emotion vocabularies prevent us from using mood or emotion annotations directly for matching. To address this challenge, we propose and investigate several emotion embedding spaces, both manually defined (e.g., valence/arousal) and data-driven (e.g., Word2Vec and metric learning) to bridge this gap. Our experiments show that by leveraging these embedding spaces, we are able to successfully bridge the gap between modalities to facilitate cross modal retrieval. We show that our method can leverage the well established valence-arousal space, but that it can also achieve our goal via data-driven embedding spaces. By leveraging data-driven embeddings, our approach has the potential of being generalized to other retrieval tasks that require broader or completely different vocabularies. [ABSTRACT FROM AUTHOR]

Music segmentation algorithms identify the structure of a music recording by automatically dividing it into sections and determining which sections repeat and when. Since the desired granularity of the sections may vary by application, multi-level segmentation produces several levels of segmentation ordered by granularity from one section (the whole song) up to N unique sections, and has proven to be a challenging MIR task. In this work we propose a multi-level segmentation method that leverages deep audio embeddings learned via other tasks. Our approach builds on an existing multi-level segmentation algorithm, replacing manually engineered features with deep embeddings learned through audio classification problems where data are abundant. Additionally, we propose a novel section fusion algorithm that leverages the multi-level segmentation to consolidate short segments at each level in a way that is consistent with the segmentations at lower levels. Through a series of experiments we show that replacing handcrafted features with deep embeddings can lead to significant improvements in multilevel music segmentation performance, and that section fusion further improves the results by cleaning up spurious short sections. We compare our approach to two strong baselines and show that it yields state-of-the-art results. [ABSTRACT FROM AUTHOR]

Deep representation learning offers a powerful paradigm for mapping input data onto an organized embedding space and is useful for many music information retrieval tasks. Two central methods for representation learning include deep metric learning and classification, both having the same goal of learning a representation that can generalize well across tasks. Along with generalization, the emerging concept of disentangled representations is also of great interest, where multiple semantic concepts (e.g., genre, mood, instrumentation) are learned jointly but remain separable in the learned representation space. In this paper we present a single representation learning framework that elucidates the relationship between metric learning, classification, and disentanglement in a holistic manner. For this, we (1) outline past work on the relationship between metric learning and classification, (2) extend this relationship to multi-label data by exploring three different learning approaches and their disentangled versions, and (3) evaluate all models on four tasks (training time, similarity retrieval, auto-tagging, and triplet prediction). We find that classification-based models are generally advantageous for training time, similarity retrieval, and autotagging, while deep metric learning exhibits better performance for triplet-prediction. Finally, we show that our proposed approach yields state-of-the-art results for music auto-tagging. [ABSTRACT FROM AUTHOR]

Data-driven approaches to automatic drum transcription (ADT) are often limited to a predefined, small vocabulary of percussion instrument classes. Such models cannot recognize out-of-vocabulary classes nor are they able to adapt to finer-grained vocabularies. In this work, we address open vocabulary ADT by introducing few-shot learning to the task. We train a Prototypical Network on a synthetic dataset and evaluate the model on multiple real-world ADT datasets with polyphonic accompaniment. We show that, given just a handful of selected examples at inference time, we can match and in some cases outperform a state-of-theart supervised ADT approach under a fixed vocabulary setting. At the same time, we show that our model can successfully generalize to finer-grained or extended vocabularies unseen during training, a scenario where supervised approaches cannot operate at all. We provide a detailed analysis of our experimental results, including a breakdown of performance by sound class and by polyphony. [ABSTRACT FROM AUTHOR]

We propose a method to both identify and synchronize multi-camera video recordings within a large collection of video and/or audio files. Landmark-based audio fingerprinting is used to match multiple recordings of the same event together and time-synchronize each file within the groups. Compared to prior work, we offer improvements towards event identification and a new synchronization refinement method that resolves inconsistent estimates and allows non-overlapping content to be synchronized within larger groups of recordings. Furthermore, the audio fingerprinting-based synchronization is shown to be equivalent to an efficient and scalable time-difference-of-arrival method using cross-correlation performed on a non-linearly transformed signal. [ABSTRACT FROM PUBLISHER]