Below is a selected list of publications, alongside supplementary material.
A comprehensive list is available on my Google Scholar profile.
This article explains how to apply time–frequency scattering, a convolutional operator extracting modulations in the time–frequency domain at different rates and scales, to the re-synthesis and manipulation of audio textures.
In the context of automatic speech recognition and acoustic event detection, an adaptive procedure named per-channel energy normalization (PCEN) has recently shown to outperform the pointwise logarithm of mel-frequency spectrogram (logmelspec) as an acoustic frontend. This letter investigates the adequacy of PCEN for spectrogram-based pattern recognition in far-field noisy recordings, both from theoretical and practical standpoints. First, we apply PCEN on various datasets of natural acoustic environments and find empirically that it Gaussianizes distributions of magnitudes while decorrelating frequency bands. Second, we describe the asymptotic regimes of each component in PCEN: temporal integration, gain control, and dynamic range compression. Third, we give practical advice for adapting PCEN parameters to the temporal properties of the noise to be mitigated, the signal to be enhanced, and the choice of time-frequency representation. As it converts a large class of real-world soundscapes into additive white Gaussian noise, PCEN is a computationally efficient frontend for robust detection and classification of acoustic events in heterogeneous environments.
In time series classification and regression, signals are typically mapped into some intermediate representation used for constructing models. Since the underlying task is often insensitive to time shifts, these representations are required to be time-shift invariant. We introduce the joint time-frequency scattering transform, a time-shift invariant representation that characterizes the multiscale energy distribution of a signal in time and frequency. It is computed through wavelet convolutions and modulus non-linearities and may, therefore, be implemented as a deep convolutional neural network whose filters are not learned but calculated from wavelets. We consider the progression from mel-spectrograms to time scattering and joint time-frequency scattering transforms, illustrating the relationship between increased discriminability and refinements of convolutional network architectures. The suitability of the joint time-frequency scattering transform for time-shift invariant characterization of time series is demonstrated through applications to chirp signals and audio synthesis experiments. The proposed transform also obtains state-of-the-art results on several audio classification tasks, outperforming time scattering transforms and achieving accuracies comparable to those of fully learned networks.
Early detection of sleep arousal in polysomnographic (PSG) signals is crucial for monitoring or diagnosing sleep disorders and reducing the risk of further complications, including heart disease and blood pressure fluctuations. Approach: In this paper, we present a new automatic detector of non-apnea arousal regions in multichannel PSG recordings. This detector cascades four different modules: a second-order scattering transform (ST) with Morlet wavelets; depthwise-separable convolutional layers; bidirectional long short-term memory (BiLSTM) layers; and dense layers. While the first two are shared across all channels, the latter two operate in a multichannel formulation. Following a deep learning paradigm, the whole architecture is trained in an end-to-end fashion in order to optimize two objectives: the detection of arousal onset and offset, and the classification of the type of arousal. Main results and Significance: The novelty of the approach is three-fold: it is the first use of a hybrid ST-BiLSTM network with biomedical signals; it captures frequency information lower (0.1 Hz) than the detection sampling rate (0.5 Hz); and it requires no explicit mechanism to overcome class imbalance in the data. In the follow-up phase of the 2018 PhysioNet/CinC Challenge the proposed architecture achieved a state-of-the-art area under the precision-recall curve (AUPRC) of 0.50 on the hidden test data, tied for the second-highest official result overall.
Beyond the scope of thermal conduction, Joseph Fourier’s treatise on the Analytical Theory of Heat (1822) profoundly altered our understanding of acoustic waves. It posits that any function of unit period can be decomposed into a sum of sinusoids, whose respective contributions represent some essential property of the underlying periodic phenomenon. In acoustics, such a decomposition reveals the resonant modes of a freely vibrating string. The introduction of Fourier series thus opened new research avenues on the modeling of musical timbre—a topic that was to become of crucial importance in the 1960s with the advent of computer-generated sounds. This article proposes to revisit the scientific legacy of Joseph Fourier through the lens of computer music research. We first discuss how the Fourier series marked a paradigm shift in our understanding of acoustics, supplanting the theory of consonance of harmonics in the Pythagorean monochord. Then, we highlight the utility of Fourier’s paradigm via three practical problems in analysis–synthesis: the imitation of musical instruments, frequency transposition, and the generation of audio textures. Interestingly, each of these problems involves a different perspective on time–frequency duality, and stimulates a multidisciplinary interplay between research and creation that is still ongoing.
Vibratos, tremolos, trills, and flutter-tongue are techniques frequently found in vocal and instrumental music. A common feature of these techniques is the periodic modulation in the time–frequency domain. We propose a representation based on time–frequency scattering to model the interclass variability for fine discrimination of these periodic modulations. Time–frequency scattering is an instance of the scattering transform, an approach for building invariant, stable, and informative signal representations. The proposed representation is calculated around the wavelet subband of maximal acoustic energy, rather than over all the wavelet bands. To demonstrate the feasibility of this approach, we build a system that computes the representation as input to a machine learning classifier. Whereas previously published datasets for playing technique analysis focus primarily on techniques recorded in isolation, for ecological validity, we create a new dataset to evaluate the system. The dataset, named CBF-periDB, contains full-length expert performances on the Chinese bamboo flute that have been thoroughly annotated by the players themselves. We report F-measures of 99% for flutter-tongue, 82% for trill, 69% for vibrato, and 51% for tremolo detection, and provide explanatory visualisations of scattering coefficients for each of these techniques.
The expressive variability in producing a musical note conveys information essential to the modeling of orchestration and style. As such, it plays a crucial role in computer-assisted browsing of massive digital music corpora. Yet, although the automatic recognition of a musical instrument from the recording of a single “ordinary” note is considered a solved problem, automatic identification of instrumental playing technique (IPT) remains largely underdeveloped. We benchmark machine listening systems for query-by-example browsing among 143 extended IPTs for 16 instruments, amounting to 469 triplets of instrument, mute, and technique. We identify and discuss three necessary conditions for significantly outperforming the traditional mel-frequency cepstral coefficient (MFCC) baseline: the addition of second-order scattering coefficients to account for amplitude modulation, the incorporation of long-range temporal dependencies, and metric learning using large-margin nearest neighbors (LMNN) to reduce intra-class variability. Evaluating on the Studio On Line (SOL) dataset, we obtain a precision at rank 5 of 99.7% for instrument recognition (baseline at 89.0%) and of 61.0% for IPT recognition (baseline at 44.5%). We interpret this gain through a qualitative assessment of practical usability and visualization using nonlinear dimensionality reduction.
Musical performance combines a wide range of pitches, nuances, and expressive techniques. Audio-based classification of musical instruments thus requires to build signal representations that are invariant to such transformations. This article investigates the construction of learned convolutional architectures for instrument recognition, given a limited amount of annotated training data. In this context, we benchmark three different weight sharing strategies for deep convolutional networks in the time-frequency domain: temporal kernels; time-frequency kernels; and a linear combination of time-frequency kernels which are one octave apart, akin to a Shepard pitch spiral. We provide an acoustical interpretation of these strategies within the source-filter framework of quasi-harmonic sounds with a fixed spectral envelope, which are archetypal of musical notes. The best classification accuracy is obtained by hybridizing all three convolutional layers into a single deep learning architecture.
We present a new representation of harmonic sounds that linearizes the dynamics of pitch and spectral envelope, while remaining stable to deformations in the time–frequency plane. It is an instance of the scattering transform, a generic operator which cascades wavelet convolutions and modulus nonlinearities. It is derived from the pitch spiral, in that convolutions are successively performed in time, log-frequency, and octave index. We give a closed-form approximation of spiral scattering coefficients for a nonstationary generalization of the harmonic source–filter model.
We introduce a scattering representation for the analysis and classification of sounds. It is locally translation-invariant, stable to deformations in time and frequency, and has the ability to capture harmonic structures. The scattering representation can be interpreted as a convolutional neural network which cascades a wavelet transform in time and along a harmonic spiral. We study its application for the analysis of the deformations of the source–filter model.
We introduce the joint time–frequency scattering transform, a time shift invariant descriptor of time–frequency structure for audio classification. It is obtained by applying a two-dimensional wavelet transform in time and log-frequency to a time–frequency wavelet scalogram. We show that this descriptor successfully characterizes complex time–frequency phenomena such as time-varying filters and frequency modulated excitations. State-of-the-art results are achieved for signal reconstruction and phone segment classification on the TIMIT dataset.