International audience—For intelligent systems to make best use of the audio modality, it is important that they can recognize not just speech and music, which have been researched as specific tasks, but also general sounds in everyday environments. To stimulate research in this field we conducted a public research challenge: the IEEE Audio and Acoustic Signal Processing Technical Committee challenge on Detection and Classification of Acoustic Scenes and Events (DCASE). In this paper, we report on the state of the art in automatically classifying audio scenes, and automatically detecting and classifying audio events. We survey prior work as well as the state of the art represented by the submissions to the challenge from various research groups. We also provide detail on the organization of the challenge, so that our experience as challenge hosts may be useful to those organizing challenges in similar domains. We created new audio datasets and baseline systems for the challenge; these, as well as some submitted systems, are publicly available under open licenses, to serve as benchmarks for further research in general-purpose machine listening

We present a supervised neural network model for polyphonic piano music transcription. The architecture of the proposed model is analogous to speech recognition systems and comprises an acoustic model and a music language model. The acoustic model is a neural network used for estimating the probabilities of pitches in a frame of audio. The language model is a recurrent neural network that models the correlations between pitch combinations over time. The proposed model is general and can be used to transcribe polyphonic music without imposing any constraints on the polyphony. The acoustic and language model predictions are combined using a probabilistic graphical model. Inference over the output variables is performed using the beam search algorithm. We perform two sets of experiments. We investigate various neural network architectures for the acoustic models and also investigate the effect of combining acoustic and music language model predictions using the proposed architecture. We compare performance of the neural network based acoustic models with two popular unsupervised acoustic models. Results show that convolutional neural network acoustic models yields the best performance across all evaluation metrics. We also observe improved performance with the application of the music language models. Finally, we present an efficient variant of beam search that improves performance and reduces runtimes by an order of magnitude, making the model suitable for real-time applications.

Public evaluation campaigns and datasets promote\ud active development in target research areas, allowing direct\ud comparison of algorithms. The second edition of the challenge\ud on Detection and Classification of Acoustic Scenes and Events\ud (DCASE 2016) has offered such an opportunity for development\ud of state-of-the-art methods, and succeeded in drawing together a\ud large number of participants from academic and industrial backgrounds.\ud In this paper, we report on the tasks and outcomes of\ud the DCASE 2016 challenge. The challenge comprised four tasks:\ud acoustic scene classification, sound event detection in synthetic\ud audio, sound event detection in real-life audio, and domestic\ud audio tagging. We present in detail each task and analyse the\ud submitted systems in terms of design and performance. We\ud observe the emergence of deep learning as the most popular\ud classification method, replacing the traditional approaches based\ud on Gaussian mixture models and support vector machines. By\ud contrast, feature representations have not changed substantially\ud throughout the years, as mel frequency-based representations\ud predominate in all tasks. The datasets created for and used in\ud DCASE 2016 are publicly available and are a valuable resource\ud for further research

This is the unspecified version of the paper.This version of the publication may differ from the final published version. Abstract Automatic music transcription is considered by many to be a key enabling technology in music signal processing. However, the performance of transcription systems is still significantly below that of a human expert, and accuracies reported in recent years seem to have reached a limit, although the field is still very active. In this paper we analyse limitations of current methods and identify promising directions for future research. Current transcription methods use general purpose models which are unable to capture the rich diversity found in music signals. One way to overcome the limited performance of transcription systems is to tailor algorithms to specific use-cases. Semi-automatic approaches are another way of achieving a more reliable transcription. Also, the wealth of musical scores and corresponding audio data now available are a rich potential source of training data, via forced alignment of audio to scores, but large scale utilisation of such data has yet to be attempted. Other promising approaches include the integration of information from multiple algorithms and different musical aspects. Permanent repository link

This paper describes a newly-launched public evaluation challenge on acoustic scene classification and detection of sound events within a scene. Systems dealing with such tasks are far from exhibiting human-like performance and robustness. Undermining factors are numerous: the extreme variability of sources of interest possibly interfering, the presence of complex background noise as well as room effects like reverberation. The proposed challenge is an attempt to help the research community move forward in defining and studying the aforementioned tasks. Apart from the challenge description, this paper provides an overview of systems submitted to the challenge as well as a detailed evaluation of the results achieved by those systems.

No abstract

This is the unspecified version of the paper.This version of the publication may differ from the final published version. A method for automatic transcription of polyphonic music is proposed in this work that models the temporal evolution of musical tones. The model extends the shift-invariant probabilistic latent component analysis method by supporting the use of spectral templates that correspond to sound states such as attack, sustain, and decay. The order of these templates is controlled using hidden Markov model-based temporal constraints. In addition, the model can exploit multiple templates per pitch and instrument source. The shift-invariant aspect of the model makes it suitable for music signals that exhibit frequency modulations or tuning changes. Pitch-wise hidden Markov models are also utilized in a postprocessing step for note tracking. For training, sound state templates were extracted for various orchestral instruments using isolated note samples. The proposed transcription system was tested on multiple-instrument recordings from various datasets. Experimental results show that the proposed model is superior to a non-temporally constrained model and also outperforms various state-of-the-art transcription systems for the same experiment. Permanent repository link

Spectrograms -time-frequency representations of audio signals -have found widespread use in neural network-based spoofing detection. While deep models are trained on the fullband spectrum of the signal, we argue that not all frequency bands are useful for these tasks. In this paper, we systematically investigate the impact of different subbands and their importance on replay spoofing detection on two benchmark datasets: ASVspoof 2017 v2.0 and ASVspoof 2019 PA. We propose a joint subband modelling framework that employs n different sub-networks to learn subband specific features. These are later combined and passed to a classifier and the whole network weights are updated during training. Our findings on the ASVspoof 2017 dataset suggest that the most discriminative information appears to be in the first and the last 1 kHz frequency bands, and the joint model trained on these two subbands shows the best performance outperforming the baselines by a large margin. However, these findings do not generalise on the ASVspoof 2019 PA dataset. This suggests that the datasets available for training these models do not reflect real world replay conditions suggesting a need for careful design of datasets for training replay spoofing countermeasures.