This study demonstrates that the modern generation of Large Language Models (LLMs, such as GPT-4) suffers from the same out-of-domain (OOD) performance gap observed in prior research on pre-trained Language Models (PLMs, such as BERT). We demonstrate this across two non-topical classification tasks: 1) genre classification and 2) generated text detection. Our results show that when demonstration examples for In-Context Learning (ICL) come from one domain (e.g., travel) and the system is tested on another domain (e.g., history), classification performance declines significantly. To address this, we introduce a method that controls which predictive indicators are used and which are excluded during classification. For the two tasks studied here, this ensures that topical features are omitted, while the model is guided to focus on stylistic rather than content-based attributes. This approach reduces the OOD gap by up to 20 percentage points in a few-shot setup. Straightforward Chain-of-Thought (CoT) methods, used as the baseline, prove insufficient, while our approach consistently enhances domain transfer performance.
This paper exploits the zero-shot capabilities of pre-trained large language models (LLMs) for music genre classification. The proposed approach splits audio signals into 20 ms chunks and processes them through convolutional feature encoders, a transformer encoder, and additional layers for coding audio units and generating feature vectors. The extracted feature vectors are used to train a classification head. During inference, predictions on individual chunks are aggregated for a final genre classification. We conducted a comprehensive comparison of LLMs, including WavLM, HuBERT, and wav2vec 2.0, with traditional deep learning architectures like 1D and 2D convolutional neural networks (CNNs) and the audio spectrogram transformer (AST). Our findings demonstrate the superior performance of the AST model, achieving an overall accuracy of 85.5%, surpassing all other models evaluated. These results highlight the potential of LLMs and transformer-based architectures for advancing music information retrieval tasks, even in zero-shot scenarios.
Music foundation models possess impressive music generation capabilities. When people compose music, they may infuse their understanding of music into their work, by using notes and intervals to craft melodies, chords to build progressions, and tempo to create a rhythmic feel. To what extent is this true of music generation models? More specifically, are fundamental Western music theory concepts observable within the "inner workings" of these models? Recent work proposed leveraging latent audio representations from music generation models towards music information retrieval tasks (e.g. genre classification, emotion recognition), which suggests that high-level musical characteristics are encoded within these models. However, probing individual music theory concepts (e.g. tempo, pitch class, chord quality) remains under-explored. Thus, we introduce SynTheory, a synthetic MIDI and audio music theory dataset, consisting of tempos, time signatures, notes, intervals, scales, chords, and chord progressions concepts. We then propose a framework to probe for these music theory concepts in music foundation models (Jukebox and MusicGen) and assess how strongly they encode these concepts within their internal representations. Our findings suggest that music theory concepts are discernible within foundation models and that the degree to which they are detectable varies by model size and layer.
Over the years, Music Information Retrieval (MIR) has proposed various models pretrained on large amounts of music data. Transfer learning showcases the proven effectiveness of pretrained backend models with a broad spectrum of downstream tasks, including auto-tagging and genre classification. However, MIR papers generally do not explore the efficiency of pretrained models for Music Recommender Systems (MRS). In addition, the Recommender Systems community tends to favour traditional end-to-end neural network learning over these models. Our research addresses this gap and evaluates the applicability of six pretrained backend models (MusicFM, Music2Vec, MERT, EncodecMAE, Jukebox, and MusiCNN) in the context of MRS. We assess their performance using three recommendation models: K-nearest neighbours (KNN), shallow neural network, and BERT4Rec. Our findings suggest that pretrained audio representations exhibit significant performance variability between traditional MIR tasks and MRS, indicating that valuable aspects of musical information captured by backend models may differ depending on the task. This study establishes a foundation for further exploration of pretrained audio representations to enhance music recommendation systems.
While performance of many text classification tasks has been recently improved due to Pre-trained Language Models (PLMs), in this paper we show that they still suffer from a performance gap when the underlying distribution of topics changes. For example, a genre classifier trained on \textit{political} topics often fails when tested on documents about \textit{sport} or \textit{medicine}. In this work, we quantify this phenomenon empirically with a large corpus and a large set of topics. Consequently, we verify that domain transfer remains challenging both for classic PLMs, such as BERT, and for modern large models, such as GPT-3. We also suggest and successfully test a possible remedy: after augmenting the training dataset with topically-controlled synthetic texts, the F1 score improves by up to 50\% for some topics, nearing on-topic training results, while others show little to no improvement. While our empirical results focus on genre classification, our methodology is applicable to other classification tasks such as gender, authorship, or sentiment classification. The code and data to replicate the experiments are available at https://github.com/dminus1/genre
In this paper, we study whether music source separation can be used as a pre-training strategy for music representation learning, targeted at music classification tasks. To this end, we first pre-train U-Net networks under various music source separation objectives, such as the isolation of vocal or instrumental sources from a musical piece; afterwards, we attach a classification network to the pre-trained U-Net and jointly finetune the whole network. The features learned by the separation network are also propagated to the tail network through a convolutional feature adaptation module. Experimental results in two widely used and publicly available datasets indicate that pre-training the U-Nets with a music source separation objective can improve performance compared to both training the whole network from scratch and using the tail network as a standalone in two music classification tasks, music auto-tagging and music genre classification. We also show that our proposed framework can be successfully integrated into both convolutional and Transformer-based backends, highlighting its modularity.
Multimodal movie genre classification has always been regarded as a demanding multi-label classification task due to the diversity of multimodal data such as posters, plot summaries, trailers and metadata. Although existing works have made great progress in modeling and combining each modality, they still face three issues: 1) unutilized group relations in metadata, 2) unreliable attention allocation, and 3) indiscriminative fused features. Given that the knowledge graph has been proven to contain rich information, we present a novel framework that exploits the knowledge graph from various perspectives to address the above problems. As a preparation, the metadata is processed into a domain knowledge graph. A translate model for knowledge graph embedding is adopted to capture the relations between entities. Firstly we retrieve the relevant embedding from the knowledge graph by utilizing group relations in metadata and then integrate it with other modalities. Next, we introduce an Attention Teacher module for reliable attention allocation based on self-supervised learning. It learns the distribution of the knowledge graph and produces rational attention weights. Finally, a Genre-Centroid Anchored Contrastive Learning module is proposed to strengthen the discriminative ability of fused features. The embedding space of anchors is initialized from the genre entities in the knowledge graph. To verify the effectiveness of our framework, we collect a larger and more challenging dataset named MM-IMDb 2.0 compared with the MM-IMDb dataset. The experimental results on two datasets demonstrate that our model is superior to the state-of-the-art methods. We will release the code in the near future.
Art forms such as movies and television (TV) dramas are reflections of the real world, which have attracted much attention from the multimodal learning community recently. However, existing corpora in this domain share three limitations: (1) annotated in a scene-oriented fashion, they ignore the coherence within plots; (2) their text lacks empathy and seldom mentions situational context; (3) their video clips fail to cover long-form relationship due to short duration. To address these fundamental issues, using 1,106 TV drama episodes and 24,875 informative plot-focused sentences written by professionals, with the help of 449 human annotators, we constructed PTVD, the first plot-oriented multimodal dataset in the TV domain. It is also the first non-English dataset of its kind. Additionally, PTVD contains more than 26 million bullet screen comments (BSCs), powering large-scale pre-training. Next, aiming to open-source a strong baseline for follow-up works, we developed the multimodal algorithm that attacks different cinema/TV modelling problems with a unified architecture. Extensive experiments on three cognitive-inspired tasks yielded a number of novel observations (some of them being quite counter-intuition), further validating the value of PTVD in promoting multimodal research. The dataset and codes are released at \url{https://ptvd.github.io/}.
Contrastive learning constitutes an emerging branch of self-supervised learning that leverages large amounts of unlabeled data, by learning a latent space, where pairs of different views of the same sample are associated. In this paper, we propose musical source association as a pair generation strategy in the context of contrastive music representation learning. To this end, we modify COLA, a widely used contrastive learning audio framework, to learn to associate a song excerpt with a stochastically selected and automatically extracted vocal or instrumental source. We further introduce a novel modification to the contrastive loss to incorporate information about the existence or absence of specific sources. Our experimental evaluation in three different downstream tasks (music auto-tagging, instrument classification and music genre classification) using the publicly available Magna-Tag-A-Tune (MTAT) as a source dataset yields competitive results to existing literature methods, as well as faster network convergence. The results also show that this pre-training method can be steered towards specific features, according to the selected musical source, while also being dependent on the quality of the separated sources.
Rating a video based on its content is an important step for classifying video age categories. Movie content rating and TV show rating are the two most common rating systems established by professional committees. However, manually reviewing and evaluating scene/film content by a committee is a tedious work and it becomes increasingly difficult with the ever-growing amount of online video content. As such, a desirable solution is to use computer vision based video content analysis techniques to automate the evaluation process. In this paper, related works are summarized for action recognition, multi-modal learning, movie genre classification, and sensitive content detection in the context of content moderation and movie content rating. The project page is available at https://github.com/fcakyon/content-moderation-deep-learning.
Recently, massive architectures based on Convolutional Neural Network (CNN) and self-attention mechanisms have become necessary for audio classification. While these techniques are state-of-the-art, these works' effectiveness can only be guaranteed with huge computational costs and parameters, large amounts of data augmentation, transfer from large datasets and some other tricks. By utilizing the lightweight nature of audio, we propose an efficient network structure called Paired Inverse Pyramid Structure (PIP) and a network called Paired Inverse Pyramid Structure MLP Network (PIPMN). The PIPMN reaches 96\% of Environmental Sound Classification (ESC) accuracy on the UrbanSound8K dataset and 93.2\% of Music Genre Classification (MGC) on the GTAZN dataset, with only 1 million parameters. Both of the results are achieved without data augmentation or model transfer. Public code is available at: https://github.com/JNAIC/PIPMN
The advent of hyper-scale and general-purpose pre-trained models is shifting the paradigm of building task-specific models for target tasks. In the field of audio research, task-agnostic pre-trained models with high transferability and adaptability have achieved state-of-the-art performances through fine-tuning for downstream tasks. Nevertheless, re-training all the parameters of these massive models entails an enormous amount of time and cost, along with a huge carbon footprint. To overcome these limitations, the present study explores and applies efficient transfer learning methods in the audio domain. We also propose an integrated parameter-efficient tuning (IPET) framework by aggregating the embedding prompt (a prompt-based learning approach), and the adapter (an effective transfer learning method). We demonstrate the efficacy of the proposed framework using two backbone pre-trained audio models with different characteristics: the audio spectrogram transformer and wav2vec 2.0. The proposed IPET framework exhibits remarkable performance compared to fine-tuning method with fewer trainable parameters in four downstream tasks: sound event classification, music genre classification, keyword spotting, and speaker verification. Furthermore, the authors identify and analyze the shortcomings of the IPET framework, providing lessons and research directions for parameter efficient tuning in the audio domain.
Transfer learning (TL) approaches have shown promising results when handling tasks with limited training data. However, considerable memory and computational resources are often required for fine-tuning pre-trained neural networks with target domain data. In this work, we introduce a novel method for leveraging pre-trained models for low-resource (music) classification based on the concept of Neural Model Reprogramming (NMR). NMR aims at re-purposing a pre-trained model from a source domain to a target domain by modifying the input of a frozen pre-trained model. In addition to the known, input-independent, reprogramming method, we propose an advanced reprogramming paradigm: Input-dependent NMR, to increase adaptability to complex input data such as musical audio. Experimental results suggest that a neural model pre-trained on large-scale datasets can successfully perform music genre classification by using this reprogramming method. The two proposed Input-dependent NMR TL methods outperform fine-tuning-based TL methods on a small genre classification dataset.
Machine learning with hierarchical quantum circuits, usually referred to as Quantum Convolutional Neural Networks (QCNNs), is a promising prospect for near-term quantum computing. The QCNN is a circuit model inspired by the architecture of Convolutional Neural Networks (CNNs). CNNs are successful because they do not need manual feature design and can learn high-level features from raw data. Neural Architecture Search (NAS) builds on this success by learning network architecture and achieves state-of-the-art performance. However, applying NAS to QCNNs presents unique challenges due to the lack of a well-defined search space. In this work, we propose a novel framework for representing QCNN architectures using techniques from NAS, which enables search space design and architecture search. Using this framework, we generate a family of popular QCNNs, those resembling reverse binary trees. We then evaluate this family of models on a music genre classification dataset, GTZAN, to justify the importance of circuit architecture. Furthermore, we employ a genetic algorithm to perform Quantum Phase Recognition (QPR) as an example of architecture search with our representation. This work provides a way to improve model performance without increasing complexity and to jump around the cost landscape to avoid barren plateaus. Finally, we implement the framework as an open-source Python package to enable dynamic QCNN creation and facilitate QCNN search space design for NAS.
Longform media such as movies have complex narrative structures, with events spanning a rich variety of ambient visual scenes. Domain specific challenges associated with visual scenes in movies include transitions, person coverage, and a wide array of real-life and fictional scenarios. Existing visual scene datasets in movies have limited taxonomies and don't consider the visual scene transition within movie clips. In this work, we address the problem of visual scene recognition in movies by first automatically curating a new and extensive movie-centric taxonomy of 179 scene labels derived from movie scripts and auxiliary web-based video datasets. Instead of manual annotations which can be expensive, we use CLIP to weakly label 1.12 million shots from 32K movie clips based on our proposed taxonomy. We provide baseline visual models trained on the weakly labeled dataset called MovieCLIP and evaluate them on an independent dataset verified by human raters. We show that leveraging features from models pretrained on MovieCLIP benefits downstream tasks such as multi-label scene and genre classification of web videos and movie trailers.
In this paper, we study the transferability of ImageNet spatial and Kinetics spatio-temporal representations to multi-label Movie Trailer Genre Classification (MTGC). In particular, we present an extensive evaluation of the transferability of ConvNet and Transformer models pretrained on ImageNet and Kinetics to Trailers12k, a new manually-curated movie trailer dataset composed of 12,000 videos labeled with 10 different genres and associated metadata. We analyze different aspects that can influence transferability, such as frame rate, input video extension, and spatio-temporal modeling. In order to reduce the spatio-temporal structure gap between ImageNet/Kinetics and Trailers12k, we propose Dual Image and Video Transformer Architecture (DIViTA), which performs shot detection so as to segment the trailer into highly correlated clips, providing a more cohesive input for pretrained backbones and improving transferability (a 1.83% increase for ImageNet and 3.75% for Kinetics). Our results demonstrate that representations learned on either ImageNet or Kinetics are comparatively transferable to Trailers12k. Moreover, both datasets provide complementary information that can be combined to improve classification performance (a 2.91% gain compared to the top single pretraining). Interestingly, using lightweight ConvNets as pretrained backbones resulted in only a 3.46% drop in classification performance compared with the top Transformer while requiring only 11.82% of its parameters and 0.81% of its FLOPS.
Imbalanced music genre classification is a crucial task in the Music Information Retrieval (MIR) field for identifying the long-tail, data-poor genre based on the related music audio segments, which is very prevalent in real-world scenarios. Most of the existing models are designed for class-balanced music datasets, resulting in poor performance in accuracy and generalization when identifying the music genres at the tail of the distribution. Inspired by the success of introducing Multi-instance Learning (MIL) in various classification tasks, we propose a novel mechanism named Multi-instance Attention (MATT) to boost the performance for identifying tail classes. Specifically, we first construct the bag-level datasets by generating the album-artist pair bags. Second, we leverage neural networks to encode the music audio segments. Finally, under the guidance of a multi-instance attention mechanism, the neural network-based models could select the most informative genre to match the given music segment. Comprehensive experimental results on a large-scale music genre benchmark dataset with long-tail distribution demonstrate MATT significantly outperforms other state-of-the-art baselines.
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.
Due to the increased demand for music streaming/recommender services and the recent developments of music information retrieval frameworks, Music Genre Classification (MGC) has attracted the community's attention. However, convolutional-based approaches are known to lack the ability to efficiently encode and localize temporal features. In this paper, we study the broadcast-based neural networks aiming to improve the localization and generalizability under a small set of parameters (about 180k) and investigate twelve variants of broadcast networks discussing the effect of block configuration, pooling method, activation function, normalization mechanism, label smoothing, channel interdependency, LSTM block inclusion, and variants of inception schemes. Our computational experiments using relevant datasets such as GTZAN, Extended Ballroom, HOMBURG, and Free Music Archive (FMA) show state-of-the-art classification accuracies in Music Genre Classification. Our approach offers insights and the potential to enable compact and generalizable broadcast networks for music and audio classification.
Large pre-trained neural networks are ubiquitous and critical to the success of many downstream tasks in natural language processing and computer vision. However, within the field of web information retrieval, there is a stark contrast in the lack of similarly flexible and powerful pre-trained models that can properly parse webpages. Consequently, we believe that common machine learning tasks like content extraction and information mining from webpages have low-hanging gains that yet remain untapped. We aim to close the gap by introducing an agnostic deep graph neural network feature extractor that can ingest webpage structures, pre-train self-supervised on massive unlabeled data, and fine-tune to arbitrary tasks on webpages effectually. Finally, we show that our pre-trained model achieves state-of-the-art results using multiple datasets on two very different benchmarks: webpage boilerplate removal and genre classification, thus lending support to its potential application in diverse downstream tasks.