We explore active audio-visual separation for dynamic sound sources, where an embodied agent moves intelligently in a 3D environment to continuously isolate the time-varying audio stream being emitted by an object of interest. The agent hears a mixed stream of multiple time-varying audio sources (e.g., multiple people conversing and a band playing music at a noisy party). Given a limited time budget, it needs to extract the target sound using egocentric audio-visual observations. We propose a reinforcement learning agent equipped with a novel transformer memory that learns motion policies to control its camera and microphone to recover the dynamic target audio, improving its own estimates for past timesteps via self-attention. Using highly realistic acoustic SoundSpaces simulations in real-world scanned Matterport3D environments, we show that our model is able to learn efficient behavior to carry out continuous separation of a time-varying audio target. Project: https://vision.cs.utexas.edu/projects/active-av-dynamic-separation/.
Performance RNN is a machine-learning system designed primarily for the generation of solo piano performances using an event-based (rather than audio) representation. More specifically, Performance RNN is a long short-term memory (LSTM) based recurrent neural network that models polyphonic music with expressive timing and dynamics (Oore et al., 2018). The neural network uses a simple language model based on the Musical Instrument Digital Interface (MIDI) file format. Performance RNN is trained on the e-Piano Junior Competition Dataset (International Piano e-Competition, 2018), a collection of solo piano performances by expert pianists. As an artistic tool, one of the limitations of the original model has been the lack of useable controls. The standard form of Performance RNN can generate interesting pieces, but little control is provided over what specifically is generated. This paper explores a set of conditioning-based controls used to influence the generation process.
Classifying EEG responses to naturalistic acoustic stimuli is of theoretical and practical importance, but standard approaches are limited by processing individual channels separately on very short sound segments (a few seconds or less). Recent developments have shown classification for music stimuli (~2 mins) by extracting spectral components from EEG and using convolutional neural networks (CNNs). This paper proposes an efficient method to map raw EEG signals to individual songs listened for end-to-end classification. EEG channels are treated as a dimension of a [Channel x Sample] image tile, and images are classified using CNNs. Our experimental results (88.7%) compete with state-of-the-art methods (85.0%), yet our classification task is more challenging by processing longer stimuli that were similar to each other in perceptual quality, and were unfamiliar to participants. We also adopt a transfer learning scheme using a pre-trained ResNet-50, confirming the effectiveness of transfer learning despite image domains unrelated from each other.
Music genre classification, especially using lyrics alone, remains a challenging topic in Music Information Retrieval. In this study we apply recurrent neural network models to classify a large dataset of intact song lyrics. As lyrics exhibit a hierarchical layer structure - in which words combine to form lines, lines form segments, and segments form a complete song - we adapt a hierarchical attention network (HAN) to exploit these layers and in addition learn the importance of the words, lines, and segments. We test the model over a 117-genre dataset and a reduced 20-genre dataset. Experimental results show that the HAN outperforms both non-neural models and simpler neural models, whilst also classifying over a higher number of genres than previous research. Through the learning process we can also visualise which words or lines in a song the model believes are important to classifying the genre. As a result the HAN provides insights, from a computational perspective, into lyrical structure and language features that differentiate musical genres.
Dynamic systems have found their use in sound synthesis as well as score synthesis. These levels can be integrated in monolithic autonomous systems in a novel approach to algorithmic composition that shares certain aesthetic motivations with some work with autonomous music systems, such as the search for emergence. We discuss various strategies for achieving variation on multiple time-scales by using slow-fast, hybrid dynamic systems, and statistical feedback. The ideas are illustrated with a case study.
We look into Generative Adversarial Network (GAN), its prevalent variants and applications in a number of sectors. GANs combine two neural networks that compete against one another using zero-sum game theory, allowing them to create much crisper and discrete outputs. GANs can be used to perform image processing, video generation and prediction, among other computer vision applications. GANs can also be utilised for a variety of science-related activities, including protein engineering, astronomical data processing, remote sensing image dehazing, and crystal structure synthesis. Other notable fields where GANs have made gains include finance, marketing, fashion design, sports, and music. Therefore in this article we provide a comprehensive overview of the applications of GANs in a wide variety of disciplines. We first cover the theory supporting GAN, GAN variants, and the metrics to evaluate GANs. Then we present how GAN and its variants can be applied in twelve domains, ranging from STEM fields, such as astronomy and biology, to business fields, such as marketing and finance, and to arts, such as music. As a result, researchers from other fields may grasp how GANs work and apply them to their own study. To the best of our knowledge, this article provides the most comprehensive survey of GAN's applications in different fields.
Pre-trained models are essential as feature extractors in modern machine learning systems in various domains. In this study, we hypothesize that representations effective for general audio tasks should provide multiple aspects of robust features of the input sound. For recognizing sounds regardless of perturbations such as varying pitch or timbre, features should be robust to these perturbations. For serving the diverse needs of tasks such as recognition of emotions or music genres, representations should provide multiple aspects of these robust features, such as local and global features and their statistics. To implement our principle, we propose a self-supervised learning method: Bootstrap Your Own Latent (BYOL) for Audio (BYOL-A, pronounced "viola"). BYOL-A pre-trains representations of the input sound themselves invariant to audio data augmentations by minimizing the difference between a pair of augmented input variants, which makes the learned representations robust to the perturbations of sounds. In the BYOL-A encoder, the global pooling calculates representations to form multi-aspect information by combining statistics of frequency- and channel-wise, local, and global features. As a result, the learned representations should provide multi-aspect robust features of the input and serve various needs of diverse tasks. We evaluated general audio task performance among previous state-of-the-art methods, and BYOL-A showed competitive results in all tasks with the best average result of 72.4 %. Besides, BYOL-A sets new records of 57.6 % on VoxCeleb1 and 63.8 % on CREMA-D. We also conducted extensive ablation experiments and validated the contributions of BYOL-A components. Our code is available online.
Deep learning models are mostly used in an offline inference fashion. However, this strongly limits the use of these models inside audio generation setups, as most creative workflows are based on real-time digital signal processing. Although approaches based on recurrent networks can be naturally adapted to this buffer-based computation, the use of convolutions still poses some serious challenges. To tackle this issue, the use of causal streaming convolutions have been proposed. However, this requires specific complexified training and can impact the resulting audio quality. In this paper, we introduce a new method allowing to produce non-causal streaming models. This allows to make any convolutional model compatible with real-time buffer-based processing. As our method is based on a post-training reconfiguration of the model, we show that it is able to transform models trained without causal constraints into a streaming model. We show how our method can be adapted to fit complex architectures with parallel branches. To evaluate our method, we apply it on the recent RAVE model, which provides high-quality real-time audio synthesis. We test our approach on multiple music and speech datasets and show that it is faster than overlap-add methods, while having no impact on the generation quality. Finally, we introduce two open-source implementation of our work as Max/MSP and PureData externals, and as a VST audio plugin. This allows to endow traditional digital audio workstation with real-time neural audio synthesis on a laptop CPU.
On an artist's profile page, music streaming services frequently recommend a ranked list of "similar artists" that fans also liked. However, implementing such a feature is challenging for new artists, for which usage data on the service (e.g. streams or likes) is not yet available. In this paper, we model this cold start similar artists ranking problem as a link prediction task in a directed and attributed graph, connecting artists to their top-k most similar neighbors and incorporating side musical information. Then, we leverage a graph autoencoder architecture to learn node embedding representations from this graph, and to automatically rank the top-k most similar neighbors of new artists using a gravity-inspired mechanism. We empirically show the flexibility and the effectiveness of our framework, by addressing a real-world cold start similar artists ranking problem on a global music streaming service. Along with this paper, we also publicly release our source code as well as the industrial graph data from our experiments.
Session-based recommendation is a challenging problem in the real-world scenes, e.g., ecommerce, short video platforms, and music platforms, which aims to predict the next click action based on the anonymous session. Recently, graph neural networks (GNNs) have emerged as the state-of-the-art methods for session-based recommendation. However, we find that there exist two limitations in these methods. One is the item transition relations are not fully exploited since the relations are not explicitly modeled. Another is the long-range dependencies between items can not be captured effectively due to the limitation of GNNs. To solve the above problems, we propose a novel approach for session-based recommendation, called Transition Relation Aware Self-Attention (TRASA). Specifically, TRASA first converts the session to a graph and then encodes the shortest path between items through the gated recurrent unit as their transition relation. Then, to capture the long-range dependencies, TRASA utilizes the self-attention mechanism to build the direct connection between any two items without going through intermediate ones. Also, the transition relations are incorporated explicitly when computing the attention scores. Extensive experiments on three real-word datasets demonstrate that TRASA outperforms the existing state-of-the-art methods consistently.