Humans can imagine a scene from a sound. We want machines to do so by using conditional generative adversarial networks (GANs). By applying the techniques including spectral norm, projection discriminator and auxiliary classifier, compared with naive conditional GAN, the model can generate images with better quality in terms of both subjective and objective evaluations. Almost three-fourth of people agree that our model have the ability to generate images related to sounds. By inputting different volumes of the same sound, our model output different scales of changes based on the volumes, showing that our model truly knows the relationship between sounds and images to some extent.
There are some similar works that generate images condition on sounds, such as @cite_3 @cite_0 . In these works, they use different dataset called Sub-URMP @cite_3 @cite_14 which is composed of sounds of musical performances with monotonous background and similar composition in images. By using different training scenario, they achieve the goal of generating images which depict a single person with an instrument correspond to input sound. However, in our work, we want to know whether machines can generate more complicated images condition on more complicated sounds. Some different experimental results will be shown in section 5.
@cite_0 @cite_14 @cite_3
2768355722 2759171953
Visual and audio modalities are two symbiotic modalities underlying videos, which contain both common and complementary information. If they can be mined and fused sufficiently, performances of related video tasks can be significantly enhanced. However, due to the environmental interference or sensor fault, sometimes, only one modality exists while the other is abandoned or missing. By recovering the missing modality from the existing one based on the common information shared between them and the prior information of the specific modality, great bonus will be gained for various vision tasks. In this paper, we propose a Cross-Modal Cycle Generative Adversarial Network (CMCGAN) to handle cross-modal visual-audio mutual generation. Specifically, CMCGAN is composed of four kinds of subnetworks: audio-to-visual, visual-to-audio, audio-to-audio and visual-to-visual subnetworks respectively, which are organized in a cycle architecture. CMCGAN has several remarkable advantages. Firstly, CMCGAN unifies visual-audio mutual generation into a common framework by a joint corresponding adversarial loss. Secondly, through introducing a latent vector with Gaussian distribution, CMCGAN can handle dimension and structure asymmetry over visual and audio modalities effectively. Thirdly, CMCGAN can be trained end-to-end to achieve better convenience. Benefiting from CMCGAN, we develop a dynamic multimodal classification network to handle the modality missing problem. Abundant experiments have been conducted and validate that CMCGAN obtains the state-of-the-art cross-modal visual-audio generation results. Furthermore, it is shown that the generated modality achieves comparable effects with those of original modality, which demonstrates the effectiveness and advantages of our proposed method. We introduce a dataset for facilitating audio-visual analysis of music performances. The dataset comprises 44 simple multi-instrument classical music pieces assembled from coordinated but separately recorded performances of individual tracks. For each piece, we provide the musical score in MIDI format, the audio recordings of the individual tracks, the audio and video recording of the assembled mixture, and ground-truth annotation files including frame-level and note-level transcriptions. We describe our methodology for the creation of the dataset, particularly highlighting our approaches to address the challenges involved in maintaining synchronization and expressiveness. We demonstrate the high quality of synchronization achieved with our proposed approach by comparing the dataset with existing widely used music audio datasets. We anticipate that the dataset will be useful for the development and evaluation of existing music information retrieval (MIR) tasks, as well as for novel multimodal tasks. We benchmark two existing MIR tasks (multipitch analysis and score-informed source separation) on the dataset and compare them with other existing music audio datasets. In addition, we consider two novel multimodal MIR tasks (visually informed multipitch analysis and polyphonic vibrato analysis) enabled by the dataset and provide evaluation measurements and baseline systems for future comparisons (from our recent work). Finally, we propose several emerging research directions that the dataset enables.