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.
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.
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.
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.
Masked Autoencoders is a simple yet powerful self-supervised learning method. However, it learns representations indirectly by reconstructing masked input patches. Several methods learn representations directly by predicting representations of masked patches; however, we think using all patches to encode training signal representations is suboptimal. We propose a new method, Masked Modeling Duo (M2D), that learns representations directly while obtaining training signals using only masked patches. In the M2D, the online network encodes visible patches and predicts masked patch representations, and the target network, a momentum encoder, encodes masked patches. To better predict target representations, the online network should model the input well, while the target network should also model it well to agree with online predictions. Then the learned representations should better model the input. We validated the M2D by learning general-purpose audio representations, and M2D set new state-of-the-art performance on tasks such as UrbanSound8K, VoxCeleb1, AudioSet20K, GTZAN, and SpeechCommandsV2. We additionally validate the effectiveness of M2D for images using ImageNet-1K in the appendix.
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.
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.
Although deep Neural Networks (DNNs) have achieved tremendous success in audio classification tasks, their uncertainty calibration are still under-explored. A well-calibrated model should be accurate when it is certain about its prediction and indicate high uncertainty when it is likely to be inaccurate. In this work, we investigate the uncertainty calibration for deep audio classifiers. In particular, we empirically study the performance of popular calibration methods: (i) Monte Carlo Dropout, (ii) ensemble, (iii) focal loss, and (iv) spectral-normalized Gaussian process (SNGP), on audio classification datasets. To this end, we evaluate (i-iv) for the tasks of environment sound and music genre classification. Results indicate that uncalibrated deep audio classifiers may be over-confident, and SNGP performs the best and is very efficient on the two datasets of this paper.
Along with the evolution of music technology, a large number of styles, or "subgenres," of Electronic Dance Music(EDM) have emerged in recent years. While the classification task of distinguishing between EDM and non-EDM has been often studied in the context of music genre classification, little work has been done on the more challenging EDM subgenre classification. The state-of-art model is based on extremely randomized trees and could be improved by deep learning methods. In this paper, we extend the state-of-art music auto-tagging model "short-chunkCNN+Resnet" to EDM subgenre classification, with the addition of two mid-level tempo-related feature representations, called the Fourier tempogram and autocorrelation tempogram. And, we explore two fusion strategies, early fusion and late fusion, to aggregate the two types of tempograms. We evaluate the proposed models using a large dataset consisting of 75,000 songs for 30 different EDM subgenres, and show that the adoption of deep learning models and tempo features indeed leads to higher classification accuracy.
In this study, we proposed a new end-to-end convolutional neural network, called MS-SincResNet, for music genre classification. MS-SincResNet appends 1D multi-scale SincNet (MS-SincNet) to 2D ResNet as the first convolutional layer in an attempt to jointly learn 1D kernels and 2D kernels during the training stage. First, an input music signal is divided into a number of fixed-duration (3 seconds in this study) music clips, and the raw waveform of each music clip is fed into 1D MS-SincNet filter learning module to obtain three-channel 2D representations. The learned representations carry rich timbral, harmonic, and percussive characteristics comparing with spectrograms, harmonic spectrograms, percussive spectrograms and Mel-spectrograms. ResNet is then used to extract discriminative embeddings from these 2D representations. The spatial pyramid pooling (SPP) module is further used to enhance the feature discriminability, in terms of both time and frequency aspects, to obtain the classification label of each music clip. Finally, the voting strategy is applied to summarize the classification results from all 3-second music clips. In our experimental results, we demonstrate that the proposed MS-SincResNet outperforms the baseline SincNet and many well-known hand-crafted features. Considering individual 2D representation, MS-SincResNet also yields competitive results with the state-of-the-art methods on the GTZAN dataset and the ISMIR2004 dataset. The code is available at https://github.com/PeiChunChang/MS-SincResNet
We demonstrate that language models pre-trained on codified (discretely-encoded) music audio learn representations that are useful for downstream MIR tasks. Specifically, we explore representations from Jukebox (Dhariwal et al. 2020): a music generation system containing a language model trained on codified audio from 1M songs. To determine if Jukebox's representations contain useful information for MIR, we use them as input features to train shallow models on several MIR tasks. Relative to representations from conventional MIR models which are pre-trained on tagging, we find that using representations from Jukebox as input features yields 30% stronger performance on average across four MIR tasks: tagging, genre classification, emotion recognition, and key detection. For key detection, we observe that representations from Jukebox are considerably stronger than those from models pre-trained on tagging, suggesting that pre-training via codified audio language modeling may address blind spots in conventional approaches. We interpret the strength of Jukebox's representations as evidence that modeling audio instead of tags provides richer representations for MIR.
Music genres allow to categorize musical items that share common characteristics. Although these categories are not mutually exclusive, most related research is traditionally focused on classifying tracks into a single class. Furthermore, these categories (e.g., Pop, Rock) tend to be too broad for certain applications. In this work we aim to expand this task by categorizing musical items into multiple and fine-grained labels, using three different data modalities: audio, text, and images. To this end we present MuMu, a new dataset of more than 31k albums classified into 250 genre classes. For every album we have collected the cover image, text reviews, and audio tracks. Additionally, we propose an approach for multi-label genre classification based on the combination of feature embeddings learned with state-of-the-art deep learning methodologies. Experiments show major differences between modalities, which not only introduce new baselines for multi-label genre classification, but also suggest that combining them yields improved results.
Music Genre Classification is the problem of associating genre-related labels to digitized music tracks. It has applications in the organization of commercial and personal music collections. Often, music tracks are described as a set of timbre-inspired sound textures. In shallow-learning systems, the total number of sound textures per track is usually too high, and texture downsampling is necessary to make training tractable. Although previous work has solved this by linear downsampling, no extensive work has been done to evaluate how texture selection benefits genre classification in the context of the bag of frames track descriptions. In this paper, we evaluate the impact of frame selection on automatic music genre classification in a bag of frames scenario. We also present a novel texture selector based on K-Means aimed to identify diverse sound textures within each track. We evaluated texture selection in diverse datasets, four different feature sets, as well as its relationship to a univariate feature selection strategy. The results show that frame selection leads to significant improvement over the single vector baseline on datasets consisting of full-length tracks, regardless of the feature set. Results also indicate that the K-Means texture selector achieves significant improvements over the baseline, using fewer textures per track than the commonly used linear downsampling. The results also suggest that texture selection is complementary to the feature selection strategy evaluated. Our qualitative analysis indicates that texture variety within classes benefits model generalization. Our analysis shows that selecting specific audio excerpts can improve classification performance, and it can be done automatically.
Music genre recognition based on visual representation has been successfully explored over the last years. Recently, there has been increasing interest in attempting convolutional neural networks (CNNs) to achieve the task. However, most of existing methods employ the mature CNN structures proposed in image recognition without any modification, which results in the learning features that are not adequate for music genre classification. Faced with the challenge of this issue, we fully exploit the low-level information from spectrograms of audios and develop a novel CNN architecture in this paper. The proposed CNN architecture takes the long contextual information into considerations, which transfers more suitable information for the decision-making layer. Various experiments on several benchmark datasets, including GTZAN, Ballroom, and Extended Ballroom, have verified the excellent performances of the proposed neural network. Codes and model will be available at "ttps://github.com/CaifengLiu/music-genre-classification".
Music genre classification, especially using lyrics alone, remains a challenging topic in Music Information Retrieval. In this study we apply recurrent neural network models to classify a large dataset of intact song lyrics. As lyrics exhibit a hierarchical layer structure - in which words combine to form lines, lines form segments, and segments form a complete song - we adapt a hierarchical attention network (HAN) to exploit these layers and in addition learn the importance of the words, lines, and segments. We test the model over a 117-genre dataset and a reduced 20-genre dataset. Experimental results show that the HAN outperforms both non-neural models and simpler neural models, whilst also classifying over a higher number of genres than previous research. Through the learning process we can also visualise which words or lines in a song the model believes are important to classifying the genre. As a result the HAN provides insights, from a computational perspective, into lyrical structure and language features that differentiate musical genres.
The ConditionaL Neural Networks (CLNN) and the Masked ConditionaL Neural Networks (MCLNN) exploit the nature of multi-dimensional temporal signals. The CLNN captures the conditional temporal influence between the frames in a window and the mask in the MCLNN enforces a systematic sparseness that follows a filterbank-like pattern over the network links. The mask induces the network to learn about time-frequency representations in bands, allowing the network to sustain frequency shifts. Additionally, the mask in the MCLNN automates the exploration of a range of feature combinations, usually done through an exhaustive manual search. We have evaluated the MCLNN performance using the Ballroom and Homburg datasets of music genres. MCLNN has achieved accuracies that are competitive to state-of-the-art handcrafted attempts in addition to models based on Convolutional Neural Networks.
Music genre classification is one example of content-based analysis of music signals. Traditionally, human-engineered features were used to automatize this task and 61% accuracy has been achieved in the 10-genre classification. However, it's still below the 70% accuracy that humans could achieve in the same task. Here, we propose a new method that combines knowledge of human perception study in music genre classification and the neurophysiology of the auditory system. The method works by training a simple convolutional neural network (CNN) to classify a short segment of the music signal. Then, the genre of a music is determined by splitting it into short segments and then combining CNN's predictions from all short segments. After training, this method achieves human-level (70%) accuracy and the filters learned in the CNN resemble the spectrotemporal receptive field (STRF) in the auditory system.