We introduce MuseChat, an innovative dialog-based music recommendation system. This unique platform not only offers interactive user engagement but also suggests music tailored for input videos, so that users can refine and personalize their music selections. In contrast, previous systems predominantly emphasized content compatibility, often overlooking the nuances of users' individual preferences. For example, all the datasets only provide basic music-video pairings or such pairings with textual music descriptions. To address this gap, our research offers three contributions. First, we devise a conversation-synthesis method that simulates a two-turn interaction between a user and a recommendation system, which leverages pre-trained music tags and artist information. In this interaction, users submit a video to the system, which then suggests a suitable music piece with a rationale. Afterwards, users communicate their musical preferences, and the system presents a refined music recommendation with reasoning. Second, we introduce a multi-modal recommendation engine that matches music either by aligning it with visual cues from the video or by harmonizing visual information, feedback from previously recommended music, and the user's textual input. Third, we bridge music representations and textual data with a Large Language Model(Vicuna-7B). This alignment equips MuseChat to deliver music recommendations and their underlying reasoning in a manner resembling human communication. Our evaluations show that MuseChat surpasses existing state-of-the-art models in music retrieval tasks and pioneers the integration of the recommendation process within a natural language framework.
In recent years, there has been a growing emphasis on the intersection of audio, vision, and text modalities, driving forward the advancements in multimodal research. However, strong bias that exists in any modality can lead to the model neglecting the others. Consequently, the model's ability to effectively reason across these diverse modalities is compromised, impeding further advancement. In this paper, we meticulously review each question type from the original dataset, selecting those with pronounced answer biases. To counter these biases, we gather complementary videos and questions, ensuring that no answers have outstanding skewed distribution. In particular, for binary questions, we strive to ensure that both answers are almost uniformly spread within each question category. As a result, we construct a new dataset, named MUSIC-AVQA v2.0, which is more challenging and we believe could better foster the progress of AVQA task. Furthermore, we present a novel baseline model that delves deeper into the audio-visual-text interrelation. On MUSIC-AVQA v2.0, this model surpasses all the existing benchmarks, improving accuracy by 2% on MUSIC-AVQA v2.0, setting a new state-of-the-art performance.
Efficient navigation towards an audio-goal necessitates an embodied agent to not only possess the ability to use audio-visual cues effectively, but also be equipped to actively (but occasionally) seek human/oracle assistance without sacrificing autonomy, e.g., when it is uncertain of where to navigate towards locating a noisy or sporadic audio goal. To this end, we present CAVEN -- a conversational audio-visual embodied navigation agent that is capable of posing navigation questions to a human/oracle and processing the oracle responses; both in free-form natural language. At the core of CAVEN is a multimodal hierarchical reinforcement learning (RL) setup that is equipped with a high-level policy that is trained to choose from one of three low-level policies (at every step), namely: (i) to navigate using audio-visual cues, or (ii) to frame a question to the oracle and receive a short or detailed response, or (iii) ask generic questions (when unsure of what to ask) and receive instructions. Key to generating the agent's questions is our novel TrajectoryNet that forecasts the most likely next steps to the goal and a QuestionNet that uses these steps to produce a question. All the policies are learned end-to-end via the RL setup, with penalties to enforce sparsity in receiving navigation instructions from the oracle. To evaluate the performance of CAVEN, we present extensive experiments on the SoundSpaces framework for the task of semantic audio-visual navigation. Our results show that CAVEN achieves upto 12% gain in performance over competing methods, especially in localizing new sound sources, even in the presence of auditory distractions.
Social Internet of Things (SIoT), a promising and emerging paradigm that injects the notion of social networking into smart objects (i.e., things), paving the way for the next generation of Internet of Things. However, due to the risks and uncertainty, a crucial and urgent problem to be settled is establishing reliable relationships within SIoT, that is, trust evaluation. Graph neural networks for trust evaluation typically adopt a straightforward way such as one-hot or node2vec to comprehend node characteristics, which ignores the valuable semantic knowledge attached to nodes. Moreover, the underlying structure of SIoT is usually complex, including both the heterogeneous graph structure and pairwise trust relationships, which renders hard to preserve the properties of SIoT trust during information propagation. To address these aforementioned problems, we propose a novel knowledge-enhanced graph neural network (KGTrust) for better trust evaluation in SIoT. Specifically, we first extract useful knowledge from users' comment behaviors and external structured triples related to object descriptions, in order to gain a deeper insight into the semantics of users and objects. Furthermore, we introduce a discriminative convolutional layer that utilizes heterogeneous graph structure, node semantics, and augmented trust relationships to learn node embeddings from the perspective of a user as a trustor or a trustee, effectively capturing multi-aspect properties of SIoT trust during information propagation. Finally, a trust prediction layer is developed to estimate the trust relationships between pairwise nodes. Extensive experiments on three public datasets illustrate the superior performance of KGTrust over state-of-the-art methods.
We propose a novel system that takes as an input body movements of a musician playing a musical instrument and generates music in an unsupervised setting. Learning to generate multi-instrumental music from videos without labeling the instruments is a challenging problem. To achieve the transformation, we built a pipeline named 'Multi-instrumentalistNet' (MI Net). At its base, the pipeline learns a discrete latent representation of various instruments music from log-spectrogram using a Vector Quantized Variational Autoencoder (VQ-VAE) with multi-band residual blocks. The pipeline is then trained along with an autoregressive prior conditioned on the musician's body keypoints movements encoded by a recurrent neural network. Joint training of the prior with the body movements encoder succeeds in the disentanglement of the music into latent features indicating the musical components and the instrumental features. The latent space results in distributions that are clustered into distinct instruments from which new music can be generated. Furthermore, the VQ-VAE architecture supports detailed music generation with additional conditioning. We show that a Midi can further condition the latent space such that the pipeline will generate the exact content of the music being played by the instrument in the video. We evaluate MI Net on two datasets containing videos of 13 instruments and obtain generated music of reasonable audio quality, easily associated with the corresponding instrument, and consistent with the music audio content.
We present a novel system that gets as an input video frames of a musician playing the piano and generates the music for that video. Generation of music from visual cues is a challenging problem and it is not clear whether it is an attainable goal at all. Our main aim in this work is to explore the plausibility of such a transformation and to identify cues and components able to carry the association of sounds with visual events. To achieve the transformation we built a full pipeline named `\textit{Audeo}' containing three components. We first translate the video frames of the keyboard and the musician hand movements into raw mechanical musical symbolic representation Piano-Roll (Roll) for each video frame which represents the keys pressed at each time step. We then adapt the Roll to be amenable for audio synthesis by including temporal correlations. This step turns out to be critical for meaningful audio generation. As a last step, we implement Midi synthesizers to generate realistic music. \textit{Audeo} converts video to audio smoothly and clearly with only a few setup constraints. We evaluate \textit{Audeo} on `in the wild' piano performance videos and obtain that their generated music is of reasonable audio quality and can be successfully recognized with high precision by popular music identification software.
We propose a novel system for unsupervised skeleton-based action recognition. Given inputs of body keypoints sequences obtained during various movements, our system associates the sequences with actions. Our system is based on an encoder-decoder recurrent neural network, where the encoder learns a separable feature representation within its hidden states formed by training the model to perform prediction task. We show that according to such unsupervised training the decoder and the encoder self-organize their hidden states into a feature space which clusters similar movements into the same cluster and distinct movements into distant clusters. Current state-of-the-art methods for action recognition are strongly supervised, i.e., rely on providing labels for training. Unsupervised methods have been proposed, however, they require camera and depth inputs (RGB+D) at each time step. In contrast, our system is fully unsupervised, does not require labels of actions at any stage, and can operate with body keypoints input only. Furthermore, the method can perform on various dimensions of body keypoints (2D or 3D) and include additional cues describing movements. We evaluate our system on three extensive action recognition benchmarks with different number of actions and examples. Our results outperform prior unsupervised skeleton-based methods, unsupervised RGB+D based methods on cross-view tests and while being unsupervised have similar performance to supervised skeleton-based action recognition.