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.
A number of works used neural networks in the context of chord recognition. Humphrey and Bello @cite_11 applied Convolutional Neural Networks to classify major and minor chords end-to-end. Boulanger- @cite_14 , and @cite_0 explored Recurrent Neural Networks as a post-filtering method, where the former used a deep belief net, the latter a deep neural network as underlying feature extractor. All these approaches train their models to directly predict major and minor chords, and following @cite_4 , the hidden layers of these models learn a hierarchical, discriminative feature representation. However, since the models are trained to distinguish major minor chords only, they consider other chord types (such as seventh, augmented, or suspended) mapped to major minor as intra-class variation to be robust against, which will be reflected by the extracted internal features. These features might thus not be useful to recognise other chords.
@cite_0 @cite_14 @cite_4 @cite_11
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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. Most existing neural network models for music generation use recurrent neural networks. However, the recent WaveNet model proposed by DeepMind shows that convolutional neural networks (CNNs) can also generate realistic musical waveforms in the audio domain. Following this light, we investigate using CNNs for generating melody (a series of MIDI notes) one bar after another in the symbolic domain. In addition to the generator, we use a discriminator to learn the distributions of melodies, making it a generative adversarial network (GAN). Moreover, we propose a novel conditional mechanism to exploit available prior knowledge, so that the model can generate melodies either from scratch, by following a chord sequence, or by conditioning on the melody of previous bars (e.g. a priming melody), among other possibilities. The resulting model, named MidiNet, can be expanded to generate music with multiple MIDI channels (i.e. tracks). We conduct a user study to compare the melody of eight-bar long generated by MidiNet and by Google's MelodyRNN models, each time using the same priming melody. Result shows that MidiNet performs comparably with MelodyRNN models in being realistic and pleasant to listen to, yet MidiNet's melodies are reported to be much more interesting. We introduce a convolutional recurrent neural network (CRNN) for music tagging. CRNNs take advantage of convolutional neural networks (CNNs) for local feature extraction and recurrent neural networks for temporal summarisation of the extracted features. We compare CRNN with three CNN structures that have been used for music tagging while controlling the number of parameters with respect to their performance and training time per sample. Overall, we found that CRNNs show a strong performance with respect to the number of parameter and training time, indicating the effectiveness of its hybrid structure in music feature extraction and feature summarisation. We investigate the use of Deep Neural Networks for the classification of image datasets where texture features are important for generating class-conditional discriminative representations. To this end, we first derive the size of the feature space for some standard textural features extracted from the input dataset and then use the theory of Vapnik-Chervonenkis dimension to show that hand-crafted feature extraction creates low-dimensional representations which help in reducing the overall excess error rate. As a corollary to this analysis, we derive for the first time upper bounds on the VC dimension of Convolutional Neural Network as well as Dropout and Dropconnect networks and the relation between excess error rate of Dropout and Dropconnect networks. The concept of intrinsic dimension is used to validate the intuition that texture-based datasets are inherently higher dimensional as compared to handwritten digits or other object recognition datasets and hence more difficult to be shattered by neural networks. We then derive the mean distance from the centroid to the nearest and farthest sampling points in an n-dimensional manifold and show that the Relative Contrast of the sample data vanishes as dimensionality of the underlying vector space tends to infinity.