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.
In an alternative approach, apply deep learning methods to produce Tonnetz features from a spectrogram @cite_7 . Using other features than the chromagram is a promising direction, and was also explored in @cite_25 for bass notes. Most chord recognition systems however still use chromas, and more research is necessary to explore to which degree and under which circumstances Tonnetz features are favourable.
@cite_25 @cite_7
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Temporal pitch class profiles - commonly referred to as a chromagrams - are the de facto standard signal representation for content-based methods of musical harmonic analysis, despite exhibiting a set of practical difficulties. Here, we present a novel, data-driven approach to learning a robust function that projects audio data into Tonnetz-space, a geometric representation of equal-tempered pitch intervals grounded in music theory. We apply this representation to automatic chord recognition and show that our approach out-performs the classification accuracy of previous chroma representations, while providing a mid-level feature space that circumvents challenges inherent to chroma. Deep convolutional neural networks (CNNs) have been actively adopted in the field of music information retrieval, e.g. genre classification, mood detection, and chord recognition. However, the process of learning and prediction is little understood, particularly when it is applied to spectrograms. We introduce auralisation of a CNN to understand its underlying mechanism, which is based on a deconvolution procedure introduced in [2]. Auralisation of a CNN is converting the learned convolutional features that are obtained from deconvolution into audio signals. In the experiments and discussions, we explain trained features of a 5-layer CNN based on the deconvolved spectrograms and auralised signals. The pairwise correlations per layers with varying different musical attributes are also investigated to understand the evolution of the learnt features. It is shown that in the deep layers, the features are learnt to capture textures, the patterns of continuous distributions, rather than shapes of lines. 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. In this work we investigate the applicability of unsupervised feature learning methods to the task of automatic genre prediction of music pieces. More specifically we evaluate a framework that recently has been successfully used to recognize objects in images. We first extract local patches from the time-frequency transformed audio signal, which are then pre-processed and used for unsupervised learning of an overcomplete dictionary of local features. For learning we either use a bootstrapped k-means clustering approach or select features randomly. We further extract feature responses in a convolutional manner and train a linear SVM for classification. We extensively evaluate the approach on the GTZAN dataset, emphasizing the influence of important design choices such as dimensionality reduction, pooling and patch dimension on the classification accuracy. We show that convolutional extraction of local feature responses is crucial to reach high performance. Furthermore we find that using this approach, simple and fast learning techniques such as k-means or randomly selected features are competitive with previously published results which also learn features from audio signals.