Localization, Characterization and Recognition of Singing Voices Lise Regnier

Localization, Characterization and Recognition of Singing Voices Lise Regnier To cite this version: Lise Regnier. Localization, Characterization and Recognition of Singing Voices. Signal and Image Processing. Université Pierre et Marie Curie - Paris VI, 2012. English. tel-00687475v2 HAL Id: tel-00687475 https://tel.archives-ouvertes.fr/tel-00687475v2 Submitted on 14 Feb 2013 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. THESE DE DOCTORAT DE L’UNIVERSITE PIERRE ET MARIE CURIE Spécialité Acoustique, Traitement du signal et Informatique appliqués à la Musique (ATIAM) Ecole Doctorale (EDITE) Présentée par Mme.Lise Regnier Pour obtenir le grade de DOCTEUR de l’UNIVERSITÉ PIERRE ET MARIE CURIE Sujet de la thèse : Localization, Characterization and Recognition of Singing Voices Soutenue le : 8 Mars 2012 Devant le jury composé de : Mr. Xavier Rodet Directeur de thèse Mr. Geoffroy Peeters Encadrant de thèse Mme. Emilia Gomez Rapporteur Mr. Sylvain Marchand Rapporteur Mr. Dan Ellis Examinateur Mr. Olivier Adam Examinateur __________________________________________________________________________________________ Université Pierre & Marie Curie - Paris 6 Tél. Secrétariat : 01 42 34 68 35 Fax : 01 42 34 68 40 Bureau d’accueil, inscription des doctorants et base de Tél. pour les étudiants de A à EL : 01 42 34 69 54 données Tél. pour les étudiants de EM à MON : 01 42 34 68 41 Esc G, 2ème étage Tél. pour les étudiants de MOO à Z : 01 42 34 68 51 15 rue de l’école de médecine E-mail : [email protected] 75270-PARIS CEDEX 06 2 Abstract This dissertation is concerned with the problem of describing the singing voice within the audio signal of a song. This work is motivated by the fact that the lead vocal is the element that attracts the attention of most listeners. For this reason it is common for music listeners to organize and browse music collections using information related to the singing voice such as the singer name. Our research concentrates on the three major problems of music information retrieval: the localization of the source to be described (i.e. the recognition of the elements corresponding to the singing voice in the signal of a mixture of instruments), the search of pertinent features to describe the singing voice, and finally the development of pattern recognition methods based on these features to identify the singer. For this purpose we propose a set of novel features computed on the temporal variations of the fundamental frequency of the sung melody. These features, which aim to describe the vibrato and the portamento, are obtained with the aid of a dedicated model. In practice, these features are computed on the time-varying frequency of partials obtained using the sinusoidal model. In the first experiment we show that partials corresponding to the singing voice can be accurately differentiated from the partials produced by other instruments using decisions based on the parameters of the vibrato and the portamento. Once the partials emitted by the singer are identified, the segments of the song containing singing can be directly localized. To improve the recognition of the partials emitted by the singer we propose to group partials that are related harmonically. Partials are clustered according to their degree of similarity. This similarity is computed using a set of CASA cues including their temporal frequency variations (i.e. the vibrato and the portamento). The clusters of harmonically related partials corresponding to the singing voice are identified using the vocal vibrato and the portamento parameters. Groups of vocal partials can then be re-synthesized to isolate the voice. The result of the partial grouping can also be used to transcribe the sung melody. We then propose to go further with these features and study if the vibrato and portamento charac- teristics can be considered as a part of the singers’ signature. Previous works on singer identification describe audio signals using features extracted on the short-term amplitude spectrum. The latter features aim to characterize the timbre of the sound, which, in the case of singing, is related to the vocal tract of the singer. The features we develop in this document capture long-term information related to the intonation of the singer, which is relevant to the style and the technique of the singer. We propose a method to combine these two complementary descriptions of the singing voice to increase the recognition rate of singer identification. In addition we evaluate the robustness of each type of feature against a set of variations. We show the singing voice is a highly variable instrument. To obtain a rep- resentative model of a singer’s voice it is thus necessary to build models using a large set of examples 3 4 covering the full tessitura of a singer. In addition, we show that features extracted directly from the partials are more robust to the presence of an instrumental accompaniment than features derived from the amplitude spectrum. Acknowledgments I could not have gone this far without the support and the help of many people who deserve my thanks. My first debt of gratitude must go to my advisor Geoffroy Peeters, for his mentorship over the last three years. I deeply thank him for all the things he taught me and the good advices he gave me throughout the course of this research. I especially appreciated the confidence he put in me and the fact he always gave me the freedom to make my own path. Many thanks also to Xavier Rodet for offering me the opportunity to work with the wonderful “sound analysis and synthesis team”. I would like to thank him for the insightful discussions about the processing of the singing voice he provided and for his enthusiasm about this topic. I wish to thank the members of my PhD committee, Emilia Gomez, Sylvain Marchand, Dan Ellis, Olivier Adam for their valuables comments. I want to thank the past and present members of the Sound Analysis and Synthesis team: Marcelo Caetano, Gilles Degotex, Thomas Helie, Thomas Hezard, Pierre Lanchantin, Marco Luini, Nicolas Obin, Helene Papadopoulos, Mathieu Ramona, Axel Roebel, Christophe Veaux. Their experience has been of immense help to me through this project. I want to thank especially Damien Tardieu and Christophe Charbuillet, with whom I shared my office, they provided me idea, feedbacks and support almost daily during few years. They are many other people from IRCAM I would like to cite but a detailed list would be too long. I have to thank to the members of the IT department (without their help I would have lost several hours of work), the people from the administration (who took care of all non-scientific works), all the others PhD students and researchers (with whom it was always a pleasure to talk about research and many other things). A special thank goes to my great friends, Tifianie Bouchara, Gaetan Parseihian, Emilien Ghomi, I met during the ATIAM master and who started their doctoral studies with me. I would like to thank my parents, who have always encourage and support me for everything I have achieved. They have instilled in me a love of learning that has only grown over the years. Last but not the least I would like to thank Alvaro for the support he gives me in every aspect of my life but above all for making me laugh every day. 5 6 Contents 1 Introduction 11 1 Structure of the document................................ 12 2 Outlines......................................... 13 2 Introduction- French Version 15 1 Introduction....................................... 15 2 Résumé étendu par chapitre............................... 17 3 Reminder of classification techniques involving combination of information 33 1 Supervised pattern recognition............................. 34 1.1 Features transformation and selection..................... 34 1.2 Classifiers architecture............................. 36 1.2.1 Generative approach: GMM..................... 37 1.2.2 Discriminative approach: SVM................... 38 1.2.3 Instance-based approach: k-NN................... 40 1.3 Performance of classification.......................... 41 1.3.1 Measure of performance....................... 42 1.4 Comparison of classification performances.................. 44 2 Combination of information for classification problems................ 45 2.1 Levels of combination............................. 46 2.2 Schemes for combination of classifiers decisions............... 47 2.2.1 Parallel combination......................... 48 2.2.2 Sequential combination....................... 49 2.3 Trainable .vs. non-trainable combiners..................... 50 3 Conclusions....................................... 51 4 Singing voice: production, models and features 53 1 Singing voice production................................ 53 1.1 Vocal production................................ 54 1.2 Some specificities of the singing production.................. 55 1.2.1 Formants tuning........................... 55 1.2.2 Singing formant........................... 55 1.2.3 Vocal vibrato............................. 56 7 8 CONTENTS 1.2.4

Load more