Generating the motion of orchestral conductors from a given piece of symphony music is a challenging task since it requires a model to learn semantic music features and capture the underlying distribution of real conducting motion. Prior works have applied Generative Adversarial Networks (GAN) to this task, but the promising diffusion model, which recently showed its advantages in terms of both training stability and output quality, has not been exploited in this context. This paper presents Diffusion-Conductor, a novel DDIM-based approach for music-driven conducting motion generation, which integrates the diffusion model to a two-stage learning framework. We further propose a random masking strategy to improve the feature robustness, and use a pair of geometric loss functions to impose additional regularizations and increase motion diversity. We also design several novel metrics, including Frechet Gesture Distance (FGD) and Beat Consistency Score (BC) for a more comprehensive evaluation of the generated motion. Experimental results demonstrate the advantages of our model.
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ACM/IEEE第23屆模型驅動工程語言和系統國際會議，是模型驅動軟件和系統工程的首要會議系列，由ACM-SIGSOFT和IEEE-TCSE支持組織。自1998年以來，模型涵蓋了建模的各個方面，從語言和方法到工具和應用程序。模特的參加者來自不同的背景，包括研究人員、學者、工程師和工業專業人士。MODELS 2019是一個論壇，參與者可以圍繞建模和模型驅動的軟件和系統交流前沿研究成果和創新實踐經驗。今年的版本將為建模社區提供進一步推進建模基礎的機會，并在網絡物理系統、嵌入式系統、社會技術系統、云計算、大數據、機器學習、安全、開源等新興領域提出建模的創新應用以及可持續性。
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We propose different methods for alternative representation and visual augmentation of sheet music that help users gain an overview of general structure, repeating patterns, and the similarity of segments. To this end, we explored mapping the overall similarity between sections or bars to colors. For these mappings, we use dimensionality reduction or clustering to assign similar segments to similar colors and vice versa. To provide a better overview, we further designed simplified music notation representations, including hierarchical and compressed encodings. These overviews allow users to display whole pieces more compactly on a single screen without clutter and to find and navigate to distant segments more quickly. Our preliminary evaluation with guitarists and tablature shows that our design supports users in tasks such as analyzing structure, finding repetitions, and determining the similarity of specific segments to others.
The objective of the sound source localization task is to enable machines to detect the location of sound-making objects within a visual scene. While the audio modality provides spatial cues to locate the sound source, existing approaches only use audio as an auxiliary role to compare spatial regions of the visual modality. Humans, on the other hand, utilize both audio and visual modalities as spatial cues to locate sound sources. In this paper, we propose an audio-visual spatial integration network that integrates spatial cues from both modalities to mimic human behavior when detecting sound-making objects. Additionally, we introduce a recursive attention network to mimic human behavior of iterative focusing on objects, resulting in more accurate attention regions. To effectively encode spatial information from both modalities, we propose audio-visual pair matching loss and spatial region alignment loss. By utilizing the spatial cues of audio-visual modalities and recursively focusing objects, our method can perform more robust sound source localization. Comprehensive experimental results on the Flickr SoundNet and VGG-Sound Source datasets demonstrate the superiority of our proposed method over existing approaches. Our code is available at: //github.com/VisualAIKHU/SIRA-SSL
This paper describes the development of a detailed 3D geometric model of an acoustical guitar. Modeling an instrument is a sophisticated task considering the individual parts and their complex shapes. The geometry of the parts visible from the outside can be measured using appropriate tools, but it is very difficult to measure the details of the internal parts like bracing, heels, and other features by hand through the sound hole. Otherwise, it would be necessary to disassemble the guitar to measure the precise position and dimensions of the parts inside it. Reassembling the guitar could result in improper functioning. To avoid damaging the instrument by disassembling or taking inaccurate measurements through the sound hole, a computer tomography (CT) scan of the guitar body was performed. Using this method, cross-sectional images of the guitar body in all the three dimensions were extracted with 1 mm spacing between adjacent images. In total, approximately 2000 images were generated and used in developing the geometric model of the guitar. The 3D model will be further used to develop a vibro-acoustic simulation model of the guitar
Although audio-visual representation has been proved to be applicable in many downstream tasks, the representation of dancing videos, which is more specific and always accompanied by music with complex auditory contents, remains challenging and uninvestigated. Considering the intrinsic alignment between the cadent movement of dancer and music rhythm, we introduce MuDaR, a novel Music-Dance Representation learning framework to perform the synchronization of music and dance rhythms both in explicit and implicit ways. Specifically, we derive the dance rhythms based on visual appearance and motion cues inspired by the music rhythm analysis. Then the visual rhythms are temporally aligned with the music counterparts, which are extracted by the amplitude of sound intensity. Meanwhile, we exploit the implicit coherence of rhythms implied in audio and visual streams by contrastive learning. The model learns the joint embedding by predicting the temporal consistency between audio-visual pairs. The music-dance representation, together with the capability of detecting audio and visual rhythms, can further be applied to three downstream tasks: (a) dance classification, (b) music-dance retrieval, and (c) music-dance retargeting. Extensive experiments demonstrate that our proposed framework outperforms other self-supervised methods by a large margin.
Audio-visual segmentation (AVS) is a complex task that involves accurately segmenting the corresponding sounding object based on audio-visual queries. Successful audio-visual learning requires two essential components: 1) an unbiased dataset with high-quality pixel-level multi-class labels, and 2) a model capable of effectively linking audio information with its corresponding visual object. However, these two requirements are only partially addressed by current methods, with training sets containing biased audio-visual data, and models that generalise poorly beyond this biased training set. In this work, we propose a new strategy to build cost-effective and relatively unbiased audio-visual semantic segmentation benchmarks. Our strategy, called Visual Post-production (VPO), explores the observation that it is not necessary to have explicit audio-visual pairs extracted from single video sources to build such benchmarks. We also refine the previously proposed AVSBench to transform it into the audio-visual semantic segmentation benchmark AVSBench-Single+. Furthermore, this paper introduces a new pixel-wise audio-visual contrastive learning method to enable a better generalisation of the model beyond the training set. We verify the validity of the VPO strategy by showing that state-of-the-art (SOTA) models trained with datasets built by matching audio and visual data from different sources or with datasets containing audio and visual data from the same video source produce almost the same accuracy. Then, using the proposed VPO benchmarks and AVSBench-Single+, we show that our method produces more accurate audio-visual semantic segmentation than SOTA models. Code and dataset will be available.
Solver competitions play a prominent role in assessing and advancing the state of the art for solving many problems in AI and beyond. Notably, in many areas of AI, competitions have had substantial impact in guiding research and applications for many years, and for a solver to be ranked highly in a competition carries considerable weight. But to which extent can we expect competition results to generalise to sets of problem instances different from those used in a particular competition? This is the question we investigate here, using statistical resampling techniques. We show that the rankings resulting from the standard interpretation of competition results can be very sensitive to even minor changes in the benchmark instance set used as the basis for assessment and can therefore not be expected to carry over to other samples from the same underlying instance distribution. To address this problem, we introduce a novel approach to statistically meaningful analysis of competition results based on resampling performance data. Our approach produces confidence intervals of competition scores as well as statistically robust solver rankings with bounded error. Applied to recent SAT, AI planning and computer vision competitions, our analysis reveals frequent statistical ties in solver performance as well as some inversions of ranks compared to the official results based on simple scoring.
Towards sufficient music searching, it is vital to form a complete set of labels for each song. However, current solutions fail to resolve it as they cannot produce diverse enough mappings to make up for the information missed by the gold labels. Based on the observation that such missing information may already be presented in user comments, we propose to study the automated music labeling in an essential but under-explored setting, where the model is required to harvest more diverse and valid labels from the users' comments given limited gold labels. To this end, we design an iterative framework (DiVa) to harvest more $\underline{\text{Di}}$verse and $\underline{\text{Va}}$lid labels from user comments for music. The framework makes a classifier able to form complete sets of labels for songs via pseudo-labels inferred from pre-trained classifiers and a novel joint score function. The experiment on a densely annotated testing set reveals the superiority of the Diva over state-of-the-art solutions in producing more diverse labels missed by the gold labels. We hope our work can inspire future research on automated music labeling.
We provide a generalisation of Kripke semantics for Petr Hajek's Basic Logic and prove soundness and completeness of the same with respect to our semantics. We find this semantics easily specialises to the linearly-ordered Kripke frames for Godel-Dummett logic, which BL properly contains. Our soundness, deduction theorem and completeness arguments further strengthen this analogy. This paper extends the insights of our previous paper, "A Kripke Semantics for Intuitionistic Lukasiewicz logic," to the case of Hajeks' BL.
Video captioning is a challenging task that requires a deep understanding of visual scenes. State-of-the-art methods generate captions using either scene-level or object-level information but without explicitly modeling object interactions. Thus, they often fail to make visually grounded predictions, and are sensitive to spurious correlations. In this paper, we propose a novel spatio-temporal graph model for video captioning that exploits object interactions in space and time. Our model builds interpretable links and is able to provide explicit visual grounding. To avoid unstable performance caused by the variable number of objects, we further propose an object-aware knowledge distillation mechanism, in which local object information is used to regularize global scene features. We demonstrate the efficacy of our approach through extensive experiments on two benchmarks, showing our approach yields competitive performance with interpretable predictions.
Deep Convolutional Neural Networks have pushed the state-of-the art for semantic segmentation provided that a large amount of images together with pixel-wise annotations is available. Data collection is expensive and a solution to alleviate it is to use transfer learning. This reduces the amount of annotated data required for the network training but it does not get rid of this heavy processing step. We propose a method of transfer learning without annotations on the target task for datasets with redundant content and distinct pixel distributions. Our method takes advantage of the approximate content alignment of the images between two datasets when the approximation error prevents the reuse of annotation from one dataset to another. Given the annotations for only one dataset, we train a first network in a supervised manner. This network autonomously learns to generate deep data representations relevant to the semantic segmentation. Then the images in the new dataset, we train a new network to generate a deep data representation that matches the one from the first network on the previous dataset. The training consists in a regression between feature maps and does not require any annotations on the new dataset. We show that this method reaches performances similar to a classic transfer learning on the PASCAL VOC dataset with synthetic transformations.
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