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In recent years, foundation models (FMs) such as large language models (LLMs) and latent diffusion models (LDMs) have profoundly impacted diverse sectors, including music. This comprehensive review examines state-of-the-art (SOTA) pre-trained models and foundation models in music, spanning from representation learning, generative learning and multimodal learning. We first contextualise the significance of music in various industries and trace the evolution of AI in music. By delineating the modalities targeted by foundation models, we discover many of the music representations are underexplored in FM development. Then, emphasis is placed on the lack of versatility of previous methods on diverse music applications, along with the potential of FMs in music understanding, generation and medical application. By comprehensively exploring the details of the model pre-training paradigm, architectural choices, tokenisation, finetuning methodologies and controllability, we emphasise the important topics that should have been well explored, like instruction tuning and in-context learning, scaling law and emergent ability, as well as long-sequence modelling etc. A dedicated section presents insights into music agents, accompanied by a thorough analysis of datasets and evaluations essential for pre-training and downstream tasks. Finally, by underscoring the vital importance of ethical considerations, we advocate that following research on FM for music should focus more on such issues as interpretability, transparency, human responsibility, and copyright issues. The paper offers insights into future challenges and trends on FMs for music, aiming to shape the trajectory of human-AI collaboration in the music realm.

Multimodal models that jointly process audio and language hold great promise in audio understanding and are increasingly being adopted in the music domain. By allowing users to query via text and obtain information about a given audio input, these models have the potential to enable a variety of music understanding tasks via language-based interfaces. However, their evaluation poses considerable challenges, and it remains unclear how to effectively assess their ability to correctly interpret music-related inputs with current methods. Motivated by this, we introduce MuChoMusic, a benchmark for evaluating music understanding in multimodal language models focused on audio. MuChoMusic comprises 1,187 multiple-choice questions, all validated by human annotators, on 644 music tracks sourced from two publicly available music datasets, and covering a wide variety of genres. Questions in the benchmark are crafted to assess knowledge and reasoning abilities across several dimensions that cover fundamental musical concepts and their relation to cultural and functional contexts. Through the holistic analysis afforded by the benchmark, we evaluate five open-source models and identify several pitfalls, including an over-reliance on the language modality, pointing to a need for better multimodal integration. Data and code are open-sourced., Comment: Accepted at ISMIR 2024. Data: https://doi.org/10.5281/zenodo.12709974 Code: https://github.com/mulab-mir/muchomusic Supplementary material: https://mulab-mir.github.io/muchomusic

Symbolic Music, akin to language, can be encoded in discrete symbols. Recent research has extended the application of large language models (LLMs) such as GPT-4 and Llama2 to the symbolic music domain including understanding and generation. Yet scant research explores the details of how these LLMs perform on advanced music understanding and conditioned generation, especially from the multi-step reasoning perspective, which is a critical aspect in the conditioned, editable, and interactive human-computer co-creation process. This study conducts a thorough investigation of LLMs' capability and limitations in symbolic music processing. We identify that current LLMs exhibit poor performance in song-level multi-step music reasoning, and typically fail to leverage learned music knowledge when addressing complex musical tasks. An analysis of LLMs' responses highlights distinctly their pros and cons. Our findings suggest achieving advanced musical capability is not intrinsically obtained by LLMs, and future research should focus more on bridging the gap between music knowledge and reasoning, to improve the co-creation experience for musicians., Comment: Accepted by ISMIR2024

Telomeres are repetitive sequences of nucleotides at the end of chromosomes, whose evolution over time is intrinsically related to biological ageing. In most cells, with each cell division, telomeres shorten due to the so-called end replication problem, which can lead to replicative senescence and a variety of age-related diseases. On the other hand, in certain cells, the presence of the enzyme telomerase can lead to the lengthening of telomeres, which may delay or prevent the onset of such diseases but can also increase the risk of cancer.In this article, we propose a stochastic representation of this biological model, which takes into account multiple chromosomes per cell, the effect of telomerase, different cell types and the dependence of the distribution of telomere length on the dynamics of the process. We study theoretical properties of this model, including its long-term behaviour. In addition, we investigate numerically the impact of the model parameters on biologically relevant quantities, such as the Hayflick limit and the Malthusian parameter of the population of cells.

Multi-instrument music transcription aims to convert polyphonic music recordings into musical scores assigned to each instrument. This task is challenging for modeling as it requires simultaneously identifying multiple instruments and transcribing their pitch and precise timing, and the lack of fully annotated data adds to the training difficulties. This paper introduces YourMT3+, a suite of models for enhanced multi-instrument music transcription based on the recent language token decoding approach of MT3. We enhance its encoder by adopting a hierarchical attention transformer in the time-frequency domain and integrating a mixture of experts. To address data limitations, we introduce a new multi-channel decoding method for training with incomplete annotations and propose intra- and cross-stem augmentation for dataset mixing. Our experiments demonstrate direct vocal transcription capabilities, eliminating the need for voice separation pre-processors. Benchmarks across ten public datasets show our models' competitiveness with, or superiority to, existing transcription models. Further testing on pop music recordings highlights the limitations of current models. Fully reproducible code and datasets are available with demos at \url{https://github.com/mimbres/YourMT3}., Comment: Accepted at IEEE International Workshop on Machine Learning for Signal Processing (MLSP) 2024, London

Multilingual automatic lyrics transcription (ALT) is a challenging task due to the limited availability of labelled data and the challenges introduced by singing, compared to multilingual automatic speech recognition. Although some multilingual singing datasets have been released recently, English continues to dominate these collections. Multilingual ALT remains underexplored due to the scale of data and annotation quality. In this paper, we aim to create a multilingual ALT system with available datasets. Inspired by architectures that have been proven effective for English ALT, we adapt these techniques to the multilingual scenario by expanding the target vocabulary set. We then evaluate the performance of the multilingual model in comparison to its monolingual counterparts. Additionally, we explore various conditioning methods to incorporate language information into the model. We apply analysis by language and combine it with the language classification performance. Our findings reveal that the multilingual model performs consistently better than the monolingual models trained on the language subsets. Furthermore, we demonstrate that incorporating language information significantly enhances performance., Comment: Accepted at EUSIPCO 2024

Large Language Models (LLMs) have made great strides in recent years to achieve unprecedented performance across different tasks. However, due to commercial interest, the most competitive models like GPT, Gemini, and Claude have been gated behind proprietary interfaces without disclosing the training details. Recently, many institutions have open-sourced several strong LLMs like LLaMA-3, comparable to existing closed-source LLMs. However, only the model's weights are provided with most details (e.g., intermediate checkpoints, pre-training corpus, and training code, etc.) being undisclosed. To improve the transparency of LLMs, the research community has formed to open-source truly open LLMs (e.g., Pythia, Amber, OLMo), where more details (e.g., pre-training corpus and training code) are being provided. These models have greatly advanced the scientific study of these large models including their strengths, weaknesses, biases and risks. However, we observe that the existing truly open LLMs on reasoning, knowledge, and coding tasks are still inferior to existing state-of-the-art LLMs with similar model sizes. To this end, we open-source MAP-Neo, a highly capable and transparent bilingual language model with 7B parameters trained from scratch on 4.5T high-quality tokens. Our MAP-Neo is the first fully open-sourced bilingual LLM with comparable performance compared to existing state-of-the-art LLMs. Moreover, we open-source all details to reproduce our MAP-Neo, where the cleaned pre-training corpus, data cleaning pipeline, checkpoints, and well-optimized training/evaluation framework are provided. Finally, we hope our MAP-Neo will enhance and strengthen the open research community and inspire more innovations and creativities to facilitate the further improvements of LLMs., Comment: https://map-neo.github.io/

Accurately predicting whether an image is private before sharing it online is difficult due to the vast variety of content and the subjective nature of privacy itself. In this paper, we evaluate privacy models that use objects extracted from an image to determine why the image is predicted as private. To explain the decision of these models, we use feature-attribution to identify and quantify which objects (and which of their features) are more relevant to privacy classification with respect to a reference input (i.e., no objects localised in an image) predicted as public. We show that the presence of the person category and its cardinality is the main factor for the privacy decision. Therefore, these models mostly fail to identify private images depicting documents with sensitive data, vehicle ownership, and internet activity, or public images with people (e.g., an outdoor concert or people walking in a public space next to a famous landmark). As baselines for future benchmarks, we also devise two strategies that are based on the person presence and cardinality and achieve comparable classification performance of the privacy models., Comment: 7 pages, 3 figures, 1 table, supplementary material included as Appendix. Paper accepted at the 3rd XAI4CV Workshop at CVPR 2024. Code: https://github.com/graphnex/ig-privacy

Music composition represents the creative side of humanity, and itself is a complex task that requires abilities to understand and generate information with long dependency and harmony constraints. While demonstrating impressive capabilities in STEM subjects, current LLMs easily fail in this task, generating ill-written music even when equipped with modern techniques like In-Context-Learning and Chain-of-Thoughts. To further explore and enhance LLMs' potential in music composition by leveraging their reasoning ability and the large knowledge base in music history and theory, we propose ComposerX, an agent-based symbolic music generation framework. We find that applying a multi-agent approach significantly improves the music composition quality of GPT-4. The results demonstrate that ComposerX is capable of producing coherent polyphonic music compositions with captivating melodies, while adhering to user instructions.

In this paper, we explore the application of Large Language Models (LLMs) to the pre-training of music. While the prevalent use of MIDI in music modeling is well-established, our findings suggest that LLMs are inherently more compatible with ABC Notation, which aligns more closely with their design and strengths, thereby enhancing the model's performance in musical composition. To address the challenges associated with misaligned measures from different tracks during generation, we propose the development of a Synchronized Multi-Track ABC Notation (SMT-ABC Notation), which aims to preserve coherence across multiple musical tracks. Our contributions include a series of models capable of handling up to 8192 tokens, covering 90% of the symbolic music data in our training set. Furthermore, we explore the implications of the Symbolic Music Scaling Law (SMS Law) on model performance. The results indicate a promising direction for future research in music generation, offering extensive resources for community-led research through our open-source contributions.

Detecting the presence of animal vocalisations in nature is essential to study animal populations and their behaviors. A recent development in the field is the introduction of the task known as few-shot bioacoustic sound event detection, which aims to train a versatile animal sound detector using only a small set of audio samples. Previous efforts in this area have utilized different architectures and data augmentation techniques to enhance model performance. However, these approaches have not fully bridged the domain gap between source and target distributions, limiting their applicability in real-world scenarios. In this work, we introduce an new dataset designed to augment the diversity and breadth of classes available for few-shot bioacoustic event detection, building on the foundations of our previous datasets. To establish a robust baseline system tailored for the DCASE 2024 Task 5 challenge, we delve into an array of acoustic features and adopt negative hard sampling as our primary domain adaptation strategy. This approach, chosen in alignment with the challenge's guidelines that necessitate the independent treatment of each audio file, sidesteps the use of transductive learning to ensure compliance while aiming to enhance the system's adaptability to domain shifts. Our experiments show that the proposed baseline system achieves a better performance compared with the vanilla prototypical network. The findings also confirm the effectiveness of each domain adaptation method by ablating different components within the networks. This highlights the potential to improve few-shot bioacoustic sound event detection by further reducing the impact of domain shift.

Multi-Source Diffusion Models (MSDM) allow for compositional musical generation tasks: generating a set of coherent sources, creating accompaniments, and performing source separation. Despite their versatility, they require estimating the joint distribution over the sources, necessitating pre-separated musical data, which is rarely available, and fixing the number and type of sources at training time. This paper generalizes MSDM to arbitrary time-domain diffusion models conditioned on text embeddings. These models do not require separated data as they are trained on mixtures, can parameterize an arbitrary number of sources, and allow for rich semantic control. We propose an inference procedure enabling the coherent generation of sources and accompaniments. Additionally, we adapt the Dirac separator of MSDM to perform source separation. We experiment with diffusion models trained on Slakh2100 and MTG-Jamendo, showcasing competitive generation and separation results in a relaxed data setting., Comment: Accepted at ICASSP 2024

We introduce WavCraft, a collective system that leverages large language models (LLMs) to connect diverse task-specific models for audio content creation and editing. Specifically, WavCraft describes the content of raw audio materials in natural language and prompts the LLM conditioned on audio descriptions and user requests. WavCraft leverages the in-context learning ability of the LLM to decomposes users' instructions into several tasks and tackle each task collaboratively with the particular module. Through task decomposition along with a set of task-specific models, WavCraft follows the input instruction to create or edit audio content with more details and rationales, facilitating user control. In addition, WavCraft is able to cooperate with users via dialogue interaction and even produce the audio content without explicit user commands. Experiments demonstrate that WavCraft yields a better performance than existing methods, especially when adjusting the local regions of audio clips. Moreover, WavCraft can follow complex instructions to edit and create audio content on the top of input recordings, facilitating audio producers in a broader range of applications. Our implementation and demos are available at this https://github.com/JinhuaLiang/WavCraft.

While Large Language Models (LLMs) demonstrate impressive capabilities in text generation, we find that their ability has yet to be generalized to music, humanity's creative language. We introduce ChatMusician, an open-source LLM that integrates intrinsic musical abilities. It is based on continual pre-training and finetuning LLaMA2 on a text-compatible music representation, ABC notation, and the music is treated as a second language. ChatMusician can understand and generate music with a pure text tokenizer without any external multi-modal neural structures or tokenizers. Interestingly, endowing musical abilities does not harm language abilities, even achieving a slightly higher MMLU score. Our model is capable of composing well-structured, full-length music, conditioned on texts, chords, melodies, motifs, musical forms, etc, surpassing GPT-4 baseline. On our meticulously curated college-level music understanding benchmark, MusicTheoryBench, ChatMusician surpasses LLaMA2 and GPT-3.5 on zero-shot setting by a noticeable margin. Our work reveals that LLMs can be an excellent compressor for music, but there remains significant territory to be conquered. We release our 4B token music-language corpora MusicPile, the collected MusicTheoryBench, code, model and demo in GitHub., Comment: GitHub: https://shanghaicannon.github.io/ChatMusician/

Algorithms for automatic piano transcription have improved dramatically in recent years due to new datasets and modeling techniques. Recent developments have focused primarily on adapting new neural network architectures, such as the Transformer and Perceiver, in order to yield more accurate systems. In this work, we study transcription systems from the perspective of their training data. By measuring their performance on out-of-distribution annotated piano data, we show how these models can severely overfit to acoustic properties of the training data. We create a new set of audio for the MAESTRO dataset, captured automatically in a professional studio recording environment via Yamaha Disklavier playback. Using various data augmentation techniques when training with the original and re-performed versions of the MAESTRO dataset, we achieve state-of-the-art note-onset accuracy of 88.4 F1-score on the MAPS dataset, without seeing any of its training data. We subsequently analyze these data augmentation techniques in a series of ablation studies to better understand their influence on the resulting models., Comment: Accepted for publication in IEEE Signal Processing Letters on 31 Janurary, 2024

The auditory system plays a substantial role in shaping the overall human perceptual experience. While prevailing large language models (LLMs) and visual language models (VLMs) have shown their promise in solving a wide variety of vision and language understanding tasks, only a few of them can be generalised to the audio domain without compromising their domain-specific capacity. In this work, we introduce Acoustic Prompt Turning (APT), a new adapter extending LLMs and VLMs to the audio domain by soft prompting only. Specifically, APT applies an instruction-aware audio aligner to generate soft prompts, conditioned on both input text and sounds, as language model inputs. To mitigate the data scarcity in the audio domain, a multi-task learning strategy is proposed by formulating diverse audio tasks in a sequence-to-sequence manner. Moreover, we improve the framework of audio language model by using interleaved audio-text embeddings as the input sequence. This improved framework imposes zero constraints on the input format and thus is capable of tackling more understanding tasks, such as few-shot audio classification and audio reasoning. To further evaluate the reasoning ability of audio networks, we propose natural language audio reasoning (NLAR), a new task that analyses across two audio clips by comparison and summarization. Experiments show that APT-enhanced LLMs (namely APT-LLMs) achieve competitive results compared to the expert models (i.e., the networks trained on the targeted datasets) across various tasks. We finally demonstrate the APT's ability in extending frozen VLMs to the audio domain without finetuning, achieving promising results in the audio-visual question and answering task. Our code and model weights are released at https://github.com/JinhuaLiang/APT.

We build and study an individual based model of the telomere length's evolution in a population across multiple generations. This model is a continuous time typed branching process, where the type of an individual includes its gamete mean telomere length and its age. We study its Malthusian's behaviour and provide numerical simulations to understand the influence of biologically relevant parameters.

We introduce the Song Describer dataset (SDD), a new crowdsourced corpus of high-quality audio-caption pairs, designed for the evaluation of music-and-language models. The dataset consists of 1.1k human-written natural language descriptions of 706 music recordings, all publicly accessible and released under Creative Common licenses. To showcase the use of our dataset, we benchmark popular models on three key music-and-language tasks (music captioning, text-to-music generation and music-language retrieval). Our experiments highlight the importance of cross-dataset evaluation and offer insights into how researchers can use SDD to gain a broader understanding of model performance., Comment: Accepted to NeurIPS 2023 Workshop on Machine Learning for Audio

Deep learning models such as CNNs and Transformers have achieved impressive performance for end-to-end audio tagging. Recent works have shown that despite stacking multiple layers, the receptive field of CNNs remains severely limited. Transformers on the other hand are able to map global context through self-attention, but treat the spectrogram as a sequence of patches which is not flexible enough to capture irregular audio objects. In this work, we treat the spectrogram in a more flexible way by considering it as graph structure and process it with a novel graph neural architecture called ATGNN. ATGNN not only combines the capability of CNNs with the global information sharing ability of Graph Neural Networks, but also maps semantic relationships between learnable class embeddings and corresponding spectrogram regions. We evaluate ATGNN on two audio tagging tasks, where it achieves 0.585 mAP on the FSD50K dataset and 0.335 mAP on the AudioSet-balanced dataset, achieving comparable results to Transformer based models with significantly lower number of learnable parameters.

Instrument playing techniques (IPTs) constitute a pivotal component of musical expression. However, the development of automatic IPT detection methods suffers from limited labeled data and inherent class imbalance issues. In this paper, we propose to apply a self-supervised learning model pre-trained on large-scale unlabeled music data and finetune it on IPT detection tasks. This approach addresses data scarcity and class imbalance challenges. Recognizing the significance of pitch in capturing the nuances of IPTs and the importance of onset in locating IPT events, we investigate multi-task finetuning with pitch and onset detection as auxiliary tasks. Additionally, we apply a post-processing approach for event-level prediction, where an IPT activation initiates an event only if the onset output confirms an onset in that frame. Our method outperforms prior approaches in both frame-level and event-level metrics across multiple IPT benchmark datasets. Further experiments demonstrate the efficacy of multi-task finetuning on each IPT class., Comment: submitted to ICASSP 2024

Large Language Models (LLMs) have shown immense potential in multimodal applications, yet the convergence of textual and musical domains remains not well-explored. To address this gap, we present MusiLingo, a novel system for music caption generation and music-related query responses. MusiLingo employs a single projection layer to align music representations from the pre-trained frozen music audio model MERT with a frozen LLM, bridging the gap between music audio and textual contexts. We train it on an extensive music caption dataset and fine-tune it with instructional data. Due to the scarcity of high-quality music Q&A datasets, we created the MusicInstruct (MI) dataset from captions in the MusicCaps datasets, tailored for open-ended music inquiries. Empirical evaluations demonstrate its competitive performance in generating music captions and composing music-related Q&A pairs. Our introduced dataset enables notable advancements beyond previous ones.

Recent developments in MIR have led to several benchmark deep learning models whose embeddings can be used for a variety of downstream tasks. At the same time, the vast majority of these models have been trained on Western pop/rock music and related styles. This leads to research questions on whether these models can be used to learn representations for different music cultures and styles, or whether we can build similar music audio embedding models trained on data from different cultures or styles. To that end, we leverage transfer learning methods to derive insights about the similarities between the different music cultures to which the data belongs to. We use two Western music datasets, two traditional/folk datasets coming from eastern Mediterranean cultures, and two datasets belonging to Indian art music. Three deep audio embedding models are trained and transferred across domains, including two CNN-based and a Transformer-based architecture, to perform auto-tagging for each target domain dataset. Experimental results show that competitive performance is achieved in all domains via transfer learning, while the best source dataset varies for each music culture. The implementation and the trained models are both provided in a public repository.

Self-supervised learning (SSL) has shown promising results in various speech and natural language processing applications. However, its efficacy in music information retrieval (MIR) still remains largely unexplored. While previous SSL models pre-trained on music recordings may have been mostly closed-sourced, recent speech models such as wav2vec2.0 have shown promise in music modelling. Nevertheless, research exploring the effectiveness of applying speech SSL models to music recordings has been limited. We explore the music adaption of SSL with two distinctive speech-related models, data2vec1.0 and Hubert, and refer to them as music2vec and musicHuBERT, respectively. We train $12$ SSL models with 95M parameters under various pre-training configurations and systematically evaluate the MIR task performances with 13 different MIR tasks. Our findings suggest that training with music data can generally improve performance on MIR tasks, even when models are trained using paradigms designed for speech. However, we identify the limitations of such existing speech-oriented designs, especially in modelling polyphonic information. Based on the experimental results, empirical suggestions are also given for designing future musical SSL strategies and paradigms.

We introduce LyricWhiz, a robust, multilingual, and zero-shot automatic lyrics transcription method achieving state-of-the-art performance on various lyrics transcription datasets, even in challenging genres such as rock and metal. Our novel, training-free approach utilizes Whisper, a weakly supervised robust speech recognition model, and GPT-4, today's most performant chat-based large language model. In the proposed method, Whisper functions as the "ear" by transcribing the audio, while GPT-4 serves as the "brain," acting as an annotator with a strong performance for contextualized output selection and correction. Our experiments show that LyricWhiz significantly reduces Word Error Rate compared to existing methods in English and can effectively transcribe lyrics across multiple languages. Furthermore, we use LyricWhiz to create the first publicly available, large-scale, multilingual lyrics transcription dataset with a CC-BY-NC-SA copyright license, based on MTG-Jamendo, and offer a human-annotated subset for noise level estimation and evaluation. We anticipate that our proposed method and dataset will advance the development of multilingual lyrics transcription, a challenging and emerging task., Comment: 9 pages, 2 figures, 5 tables, accepted by ISMIR 2023

In the era of extensive intersection between art and Artificial Intelligence (AI), such as image generation and fiction co-creation, AI for music remains relatively nascent, particularly in music understanding. This is evident in the limited work on deep music representations, the scarcity of large-scale datasets, and the absence of a universal and community-driven benchmark. To address this issue, we introduce the Music Audio Representation Benchmark for universaL Evaluation, termed MARBLE. It aims to provide a benchmark for various Music Information Retrieval (MIR) tasks by defining a comprehensive taxonomy with four hierarchy levels, including acoustic, performance, score, and high-level description. We then establish a unified protocol based on 14 tasks on 8 public-available datasets, providing a fair and standard assessment of representations of all open-sourced pre-trained models developed on music recordings as baselines. Besides, MARBLE offers an easy-to-use, extendable, and reproducible suite for the community, with a clear statement on copyright issues on datasets. Results suggest recently proposed large-scale pre-trained musical language models perform the best in most tasks, with room for further improvement. The leaderboard and toolkit repository are published at https://marble-bm.shef.ac.uk to promote future music AI research., Comment: camera-ready version for NeurIPS 2023

Self-supervised learning (SSL) has recently emerged as a promising paradigm for training generalisable models on large-scale data in the fields of vision, text, and speech. Although SSL has been proven effective in speech and audio, its application to music audio has yet to be thoroughly explored. This is partially due to the distinctive challenges associated with modelling musical knowledge, particularly tonal and pitched characteristics of music. To address this research gap, we propose an acoustic Music undERstanding model with large-scale self-supervised Training (MERT), which incorporates teacher models to provide pseudo labels in the masked language modelling (MLM) style acoustic pre-training. In our exploration, we identified an effective combination of teacher models, which outperforms conventional speech and audio approaches in terms of performance. This combination includes an acoustic teacher based on Residual Vector Quantisation - Variational AutoEncoder (RVQ-VAE) and a musical teacher based on the Constant-Q Transform (CQT). Furthermore, we explore a wide range of settings to overcome the instability in acoustic language model pre-training, which allows our designed paradigm to scale from 95M to 330M parameters. Experimental results indicate that our model can generalise and perform well on 14 music understanding tasks and attain state-of-the-art (SOTA) overall scores., Comment: accepted by ICLR 2024

Most existing methods for audio classification assume that the vocabulary of audio classes to be classified is fixed. When novel (unseen) audio classes appear, audio classification systems need to be retrained with abundant labeled samples of all audio classes for recognizing base (initial) and novel audio classes. If novel audio classes continue to appear, the existing methods for audio classification will be inefficient and even infeasible. In this work, we propose a method for few-shot class-incremental audio classification, which can continually recognize novel audio classes without forgetting old ones. The framework of our method mainly consists of two parts: an embedding extractor and a classifier, and their constructions are decoupled. The embedding extractor is the backbone of a ResNet based network, which is frozen after construction by a training strategy using only samples of base audio classes. However, the classifier consisting of prototypes is expanded by a prototype adaptation network with few samples of novel audio classes in incremental sessions. Labeled support samples and unlabeled query samples are used to train the prototype adaptation network and update the classifier, since they are informative for audio classification. Three audio datasets, named NSynth-100, FSC-89 and LS-100 are built by choosing samples from audio corpora of NSynth, FSD-MIX-CLIP and LibriSpeech, respectively. Results show that our method exceeds baseline methods in average accuracy and performance dropping rate. In addition, it is competitive compared to baseline methods in computational complexity and memory requirement. The code for our method is given at https://github.com/vinceasvp/FCAC., Comment: 13 pages, 8 figures, 12 tables. Accepted for publication in IEEE TMM

We presented the Treff adapter, a training-efficient adapter for CLAP, to boost zero-shot classification performance by making use of a small set of labelled data. Specifically, we designed CALM to retrieve the probability distribution of text-audio clips over classes using a set of audio-label pairs and combined it with CLAP's zero-shot classification results. Furthermore, we designed a training-free version of the Treff adapter by using CALM as a cosine similarity measure. Experiments showed that the proposed Treff adapter is comparable and even better than fully-supervised methods and adaptation methods in low-shot and data-abundant scenarios. While the Treff adapter shows that combining large-scale pretraining and rapid learning of domain-specific knowledge is non-trivial for obtaining generic representations for few-shot learning, it is still limited to audio classification tasks. In the future, we will explore how to use audio-language models in diverse audio domains.

Everyday sound recognition aims to infer types of sound events in audio streams. While many works succeeded in training models with high performance in a fully-supervised manner, they are still restricted to the demand of large quantities of labelled data and the range of predefined classes. To overcome these drawbacks, this work firstly curates a new database named FSD-FS for multi-label few-shot audio classification. It then explores how to incorporate audio taxonomy in few-shot learning. Specifically, this work proposes label-dependent prototypical networks (LaD-protonet) to exploit parent-children relationships between labels. Plus, it applies taxonomy-aware label smoothing techniques to boost model performance. Experiments demonstrate that LaD-protonet outperforms original prototypical networks as well as other state-of-the-art methods. Moreover, its performance can be further boosted when combined with taxonomy-aware label smoothing., Comment: submitted to ICASSP2023

The deep learning community has witnessed an exponentially growing interest in self-supervised learning (SSL). However, it still remains unexplored how to build a framework for learning useful representations of raw music waveforms in a self-supervised manner. In this work, we design Music2Vec, a framework exploring different SSL algorithmic components and tricks for music audio recordings. Our model achieves comparable results to the state-of-the-art (SOTA) music SSL model Jukebox, despite being significantly smaller with less than 2% of parameters of the latter. The model will be released on Huggingface(Please refer to: https://huggingface.co/m-a-p/music2vec-v1)

Learning music representations that are general-purpose offers the flexibility to finetune several downstream tasks using smaller datasets. The wav2vec 2.0 speech representation model showed promising results in many downstream speech tasks, but has been less effective when adapted to music. In this paper, we evaluate whether pre-training wav2vec 2.0 directly on music data can be a better solution instead of finetuning the speech model. We illustrate that when pre-training on music data, the discrete latent representations are able to encode the semantic meaning of musical concepts such as pitch and instrument. Our results show that finetuning wav2vec 2.0 pre-trained on music data allows us to achieve promising results on music classification tasks that are competitive with prior work on audio representations. In addition, the results are superior to the pre-trained model on speech embeddings, demonstrating that wav2vec 2.0 pre-trained on music data can be a promising music representation model., Comment: Submitted to ICASSP 2023

As one of the most intuitive interfaces known to humans, natural language has the potential to mediate many tasks that involve human-computer interaction, especially in application-focused fields like Music Information Retrieval. In this work, we explore cross-modal learning in an attempt to bridge audio and language in the music domain. To this end, we propose MusCALL, a framework for Music Contrastive Audio-Language Learning. Our approach consists of a dual-encoder architecture that learns the alignment between pairs of music audio and descriptive sentences, producing multimodal embeddings that can be used for text-to-audio and audio-to-text retrieval out-of-the-box. Thanks to this property, MusCALL can be transferred to virtually any task that can be cast as text-based retrieval. Our experiments show that our method performs significantly better than the baselines at retrieving audio that matches a textual description and, conversely, text that matches an audio query. We also demonstrate that the multimodal alignment capability of our model can be successfully extended to the zero-shot transfer scenario for genre classification and auto-tagging on two public datasets., Comment: Accepted to ISMIR 2022

Loss-gradients are used to interpret the decision making process of deep learning models. In this work, we evaluate loss-gradient based attribution methods by occluding parts of the input and comparing the performance of the occluded input to the original input. We observe that the occluded input has better performance than the original across the test dataset under certain conditions. Similar behaviour is observed in sound and image recognition tasks. We explore different loss-gradient attribution methods, occlusion levels and replacement values to explain the phenomenon of performance improvement under occlusion., Comment: Accepted at ICLR RobustML workshop 2021

Imitating musical instruments with the human voice is an efficient way of communicating ideas between music producers, from sketching melody lines to clarifying desired sonorities. For this reason, there is an increasing interest in building applications that allow artists to efficiently pick target samples from big sound libraries just by imitating them vocally. In this study, we investigated the potential of conditional autoencoder models to learn informative features for Drum Sample Retrieval by Vocalisation (DSRV). We assessed the usefulness of their embeddings using four evaluation metrics, two of them relative to their acoustic properties and two of them relative to their perceptual properties via human listeners' similarity ratings. Results suggest that models conditioned on both sound-type labels (drum vs imitation) and drum-type labels (kick vs snare vs closed hi-hat vs opened hi-hat) learn the most informative embeddings for DSRV. We finally looked into individual differences in vocal imitation style via the Mantel test and found salient differences among participants, highlighting the importance of user information when designing DSRV systems., Comment: Submitted to Interspeech 2022 (under review)

Most recent research about automatic music transcription (AMT) uses convolutional neural networks and recurrent neural networks to model the mapping from music signals to symbolic notation. Based on a high-resolution piano transcription system, we explore the possibility of incorporating another powerful sequence transformation tool -- the Transformer -- to deal with the AMT problem. We argue that the properties of the Transformer make it more suitable for certain AMT subtasks. We confirm the Transformer's superiority on the velocity detection task by experiments on the MAESTRO dataset and a cross-dataset evaluation on the MAPS dataset. We observe a performance improvement on both frame-level and note-level metrics after introducing the Transformer network., Comment: Accepted by ICASSP 2022

Speech synthesis quality prediction has made remarkable progress with the development of supervised and self-supervised learning (SSL) MOS predictors but some aspects related to the data are still unclear and require further study. In this paper, we evaluate several MOS predictors based on wav2vec 2.0 and the NISQA speech quality prediction model to explore the role of the training data, the influence of the system type, and the role of cross-domain features in SSL models. Our evaluation is based on the VoiceMOS challenge dataset. Results show that SSL-based models show the highest correlation and lowest mean squared error compared to supervised models. The key point of this study is that benchmarking the statistical performance of MOS predictors alone is not sufficient to rank models since potential issues hidden in the data could bias the evaluated performances., Comment: Accepted ISSC 2023

In recent years, the accuracy of automatic lyrics alignment methods has increased considerably. Yet, many current approaches employ frameworks designed for automatic speech recognition (ASR) and do not exploit properties specific to music. Pitch is one important musical attribute of singing voice but it is often ignored by current systems as the lyrics content is considered independent of the pitch. In practice, however, there is a temporal correlation between the two as note starts often correlate with phoneme starts. At the same time the pitch is usually annotated with high temporal accuracy in ground truth data while the timing of lyrics is often only available at the line (or word) level. In this paper, we propose a multi-task learning approach for lyrics alignment that incorporates pitch and thus can make use of a new source of highly accurate temporal information. Our results show that the accuracy of the alignment result is indeed improved by our approach. As an additional contribution, we show that integrating boundary detection in the forced-alignment algorithm reduces cross-line errors, which improves the accuracy even further., Comment: To appear in Proc. ICASSP 2022