Digital music has become prolific in the web in recent decades. Automated recommendation systems are essential for users to discover music they love and for artists to reach appropriate audience. When manual annotations and user preference data is lacking (e.g. for new artists) these systems must rely on content based methods. Besides powerful machine learning tools for classification and retrieval, a key component for successful recommendation is the audio content representation. Good representations should capture informative musical patterns in the audio signal of songs. These representations should be concise, to enable efficient (low storage, easy indexing, fast search) management of huge music repositories, and should also be easy and fast to compute, to enable real-time interaction with a user supplying new songs to the system. Before designing new audio features, we explore the usage of traditional local features, while adding a stage of encoding with a pre-computed codebook and a stage of pooling to get compact vectorial representations. We experiment with different encoding methods, namely the LASSO, vector quantization (VQ) and cosine similarity (CS). We evaluate the representations' quality in two music information retrieval applications: query-by-tag and query-by-example. Our results show that concise representations can be used for successful performance in both applications. We recommend using top-τ VQ encoding, which consistently performs well in both applications, and requires much less computation time than the LASSO.
Encoding of low-level features using a pre-calculated codebook was examined for audio and music. Quantization tree ( @cite_36 ), vector quantization (VQ) ( @cite_23 @cite_4 @cite_35 ), sparse coding with the LASSO ( @cite_50 ) and other variations ( @cite_42 @cite_17 ) were used to represent the features at a higher level. Sparse representations were also applied directly to time domain audio signals, with either predetermined kernel functions (Gammatone) or with a trained codebook ( @cite_15 @cite_32 ). As alternative to the heavy computational cost of solving optimization criteria (like the LASSO) greedy algorithms like matching pursuit have also been applied ( @cite_15 @cite_32 @cite_4 ).
@cite_35 @cite_4 @cite_36 @cite_42 @cite_32 @cite_50 @cite_23 @cite_15 @cite_17
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This paper considers the problem of sparse signal recovery when the decoder has prior information on the sparsity pattern of the data. The data vector x=[x1,...,xN]T has a randomly generated sparsity pattern, where the i-th entry is non-zero with probability pi. Given knowledge of these probabilities, the decoder attempts to recover x based on M random noisy projections. Information-theoretic limits on the number of measurements needed to recover the support set of x perfectly are given, and it is shown that significantly fewer measurements can be used if the prior distribution is sufficiently non-uniform. Furthermore, extensions of Basis Pursuit, LASSO, and Orthogonal Matching Pursuit which exploit the prior information are presented. The improved performance of these methods over their standard counterparts is demonstrated using simulations. In this work we present a system to automatically learn features from audio in an unsupervised manner. Our method first learns an overcomplete dictionary which can be used to sparsely decompose log-scaled spectrograms. It then trains an efficient encoder which quickly maps new inputs to approximations of their sparse representations using the learned dictionary. This avoids expensive iterative procedures usually required to infer sparse codes. We then use these sparse codes as inputs for a linear Support Vector Machine (SVM). Our system achieves 83.4 accuracy in predicting genres on the GTZAN dataset, which is competitive with current state-of-the-art approaches. Furthermore, the use of a simple linear classifier combined with a fast feature extraction system allows our approach to scale well to large datasets. This paper concerns the development of a music codebook for summarizing local feature descriptors computed over time. Comparing to a holistic representation, this text-like representation better captures the rich and time-varying information of music. We systematically compare a number of existing codebook generation techniques and also propose a new one that incorporates labeled data in the dictionary learning process. Several aspects of the encoding system such as local feature extraction and codeword encoding are also analyzed. Our result demonstrates the superiority of sparsity-enforced dictionary learning over conventional VQ-based or exemplar-based methods. With the new supervised dictionary learning algorithm and the optimal settings inferred from the performance study, we achieve state-of-the-art accuracy of music genre classification using just the log-power spectrogram as the local feature descriptor. The classification accuracies for benchmark datasets GTZAN and IS-MIR2004Genre are 84.7 and 90.8 , respectively. While vector quantization (VQ) has been applied widely to generate features for visual recognition problems, much recent work has focused on more powerful methods. In particular, sparse coding has emerged as a strong alternative to traditional VQ approaches and has been shown to achieve consistently higher performance on benchmark datasets. Both approaches can be split into a training phase, where the system learns a dictionary of basis functions, and an encoding phase, where the dictionary is used to extract features from new inputs. In this work, we investigate the reasons for the success of sparse coding over VQ by decoupling these phases, allowing us to separate out the contributions of training and encoding in a controlled way. Through extensive experiments on CIFAR, NORB and Caltech 101 datasets, we compare several training and encoding schemes, including sparse coding and a form of VQ with a soft threshold activation function. Our results show not only that we can use fast VQ algorithms for training, but that we can just as well use randomly chosen exemplars from the training set. Rather than spend resources on training, we find it is more important to choose a good encoder—which can often be a simple feed forward non-linearity. Our results include state-of-the-art performance on both CIFAR and NORB.