Tristan Carsault

Recently, the field of musical co-creativity has gained some momentum. In this context, our goal is twofold: to develop an intelligent listening and predictive module of chord sequences, and to propose an adapted evaluation of the associated Music Information Retrieval (MIR) tasks that are the real-time extraction of musical chord labels from a live audio stream and the prediction of a possible continuation of the extracted symbolic sequence. Indeed, this application case invites us to raise questions about the evaluation processes and methodology that are currently applied to chord-based MIR models. In this paper, we focus on musical chords since these mid-level features are frequently used to describe harmonic progressions in Western music. In the case of chords, there exists some strong inherent hierarchical and functional relationships. However, most of the research in the field of MIR focuses mainly on the performance of chord-based statistical models, without considering music-based evaluation or learning. Indeed, usual evaluations are based on a binary qualification of the classification outputs (right chord predicted versus wrong chord predicted). Therefore, we present a specifically-tailored chord analyser to measure the performances of chord-based models in terms of functional qualification of the classification outputs (by taking into account the harmonic function of the chords). Then, in order to introduce musical knowledge into the learning process for the automatic chord extraction task, we propose a specific musical distance for comparing predicted and labeled chords. Finally, we conduct investigations into the impact of including high-level metadata in chord sequence prediction learning (such as information on key or downbeat position). We show that a model can obtain better performances in terms of accuracy or perplexity, but output biased results. At the same time, a model with a lower accuracy score can output errors with more musical meaning. Therefore, performing a goal-oriented evaluation allows a better understanding of the results and a more adapted design of MIR models.

This paper describes a statistically-principled semi-supervised method of automatic chord estimation (ACE) that can make effective use of music signals regardless of the availability of chord annotations. The typical approach to ACE is to train a deep classification model (neural chord estimator) in a supervised manner by using only annotated music signals. In this discriminative approach, prior knowledge about chord label sequences (model output) has scarcely been taken into account. In contrast, we propose a unified generative and discriminative approach in the framework of amortized variational inference. More specifically, we formulate a deep generative model that represents the generative process of chroma vectors (observed variables) from discrete labels and continuous features (latent variables), which are assumed to follow a Markov model favoring self-transitions and a standard Gaussian distribution, respectively. Given chroma vectors as observed data, the posterior distributions of the latent labels and features are computed approximately by using deep classification and recognition models, respectively. These three models form a variational autoencoder and can be trained jointly in a semi-supervised manner. The experimental results show that the regularization of the classification model based on the Markov prior of chord labels and the generative model of chroma vectors improved the performance of ACE even under the supervised condition. The semi-supervised learning using additional non-annotated data can further improve the performance.

Recent researches on Automatic Chord Extraction (ACE) have focused on the improvement of models based on machine learning. However, most models still fail to take into account the prior knowledge underlying the labeling alphabets (chord labels). Furthermore, recent works have shown that ACE performances are converging towards a glass ceiling. Therefore, this prompts the need to focus on other aspects of the task, such as the introduction of musical knowledge in the representation, the improvement of the models towards more complex chord alphabets and the development of more adapted evaluation methods. In this paper, we propose to exploit specific properties and relationships between chord labels in order to improve the learning of statistical ACE models. Hence, we analyze the interdependence of the representations of chords and their associated distances, the precision of the chord alphabets, and the impact of the reduction of the alphabet before or after training of the model. Furthermore, we propose new training losses based on musical theory. We show that these improve the results of ACE systems based on Convolutional Neural Networks. By performing an in-depth analysis of our results, we uncover a set of related insights on ACE tasks based on statistical models, and also formalize the musical meaning of some classification errors.