We explore frame-level audio feature learning for chord recognition using artificial neural networks. We present the argument that chroma vectors potentially hold enough information to model harmonic content of audio for chord recognition, but that standard chroma extractors compute too noisy features. This leads us to propose a learned chroma feature extractor based on artificial neural networks. It is trained to compute chroma features that encode harmonic information important for chord recognition, while being robust to irrelevant interferences. We achieve this by feeding the network an audio spectrum with context instead of a single frame as input. This way, the network can learn to selectively compensate noise and resolve harmonic ambiguities. We compare the resulting features to hand-crafted ones by using a simple linear frame-wise classifier for chord recognition on various data sets. The results show that the learned feature extractor produces superior chroma vectors for chord recognition.
Approaches to directly learn a mapping from spectrogram to chroma include those by İzmirli and Dannenberg @cite_30 and @cite_25 . However, both learn only a linear transformation of the time-frequency representation, which limits the mapping's expressivity. Additionally, both base their mapping on a single frame, which comes with the disadvantages we outlined in the previous section.
@cite_30 @cite_25
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We present new methods which transfer the color style of a source image into an arbitrary given target image having a different 3D color distribution. The color transfer has a high importance ensuring a wide area of applications from artistic transformation of the color atmosphere of images until different scientific visualizations using special gamut mappings. Our technique use a permissive, or optionally strict, 3D histogram matching, similarly to the sampling of multivariable functions applying a sequential chain of conditional probability density functions. We work by order of hue, hue dependent lightness and from both dependent saturation histograms of source and target images, respectively. We apply different histogram transformations, like smoothing or contrast limitation, in order to avoid some unexpected high gradients and other artifacts. Furthermore, we use dominance suppression optionally, by applying sub-linear functions for the histograms in order to get well balanced color distributions, or an overall appearance reflecting the memory color distribution better. Forward and inverse operations on the corresponding cumulative histograms ensure a continuous mapping of perceptual attributes correlating to limited derivatives. Sampling an appropriate fraction of the pixels and using perceptually accurate and continuous histograms with minimal size as well as other gems make this method robust and fast. We propose a parallel-data-free voice-conversion (VC) method that can learn a mapping from source to target speech without relying on parallel data. The proposed method is general purpose, high quality, and parallel-data free and works without any extra data, modules, or alignment procedure. It also avoids over-smoothing, which occurs in many conventional statistical model-based VC methods. Our method, called CycleGAN-VC, uses a cycle-consistent adversarial network (CycleGAN) with gated convolutional neural networks (CNNs) and an identity-mapping loss. A CycleGAN learns forward and inverse mappings simultaneously using adversarial and cycle-consistency losses. This makes it possible to find an optimal pseudo pair from unpaired data. Furthermore, the adversarial loss contributes to reducing over-smoothing of the converted feature sequence. We configure a CycleGAN with gated CNNs and train it with an identity-mapping loss. This allows the mapping function to capture sequential and hierarchical structures while preserving linguistic information. We evaluated our method on a parallel-data-free VC task. An objective evaluation showed that the converted feature sequence was near natural in terms of global variance and modulation spectra. A subjective evaluation showed that the quality of the converted speech was comparable to that obtained with a Gaussian mixture model-based method under advantageous conditions with parallel and twice the amount of data. We present a content-based automatic music tagging algorithm using fully convolutional neural networks (FCNs). We evaluate different architectures consisting of 2D convolutional layers and subsampling layers only. In the experiments, we measure the AUC-ROC scores of the architectures with different complexities and input types using the MagnaTagATune dataset, where a 4-layer architecture shows state-of-the-art performance with mel-spectrogram input. Furthermore, we evaluated the performances of the architectures with varying the number of layers on a larger dataset (Million Song Dataset), and found that deeper models outperformed the 4-layer architecture. The experiments show that mel-spectrogram is an effective time-frequency representation for automatic tagging and that more complex models benefit from more training data. We investigate the problem of matching symbolic representations directly to audio based representations for applications that use data from both domains. One such application is score alignment, which aligns a sequence of frames based on features such as chroma vectors and distance functions such as Euclidean distance. Good representations are critical, yet current systems use ad hoc constructions such as the chromagram that have been shown to work quite well. We investigate ways to learn chromagram-like representations that optimize the classification of “matching” vs. “non-matching” frame pairs of audio and MIDI. New representations learned automatically from examples not only perform better than the chromagram representation but they also reveal interesting projection structures that differ distinctly from the traditional chromagram.