The goal of Audio-Visual Segmentation (AVS) is to localize and segment the sounding source objects from the video frames. Researchers working on AVS suffer from limited datasets because hand-crafted annotation is expensive. Recent works attempt to overcome the challenge of limited data by leveraging the segmentation foundation model, SAM, prompting it with audio to enhance its ability to segment sounding source objects. While this approach alleviates the model's burden on understanding visual modality by utilizing pre-trained knowledge of SAM, it does not address the fundamental challenge of the limited dataset for learning audio-visual relationships. To address these limitations, we propose \textbf{AV2T-SAM}, a novel framework that bridges audio features with the text embedding space of pre-trained text-prompted SAM. Our method leverages multimodal correspondence learned from rich text-image paired datasets to enhance audio-visual alignment. Furthermore, we introduce a novel feature, $\mathbf{\textit{\textbf{f}}_{CLIP} \odot \textit{\textbf{f}}_{CLAP}}$, which emphasizes shared semantics of audio and visual modalities while filtering irrelevant noise. Experiments on the AVSBench dataset demonstrate state-of-the-art performance on both datasets of AVSBench. Our approach outperforms existing methods by effectively utilizing pretrained segmentation models and cross-modal semantic alignment.

Expressive speech synthesis aims to generate speech that captures a wide range of para-linguistic features, including emotion and articulation, though current research primarily emphasizes emotional aspects over the nuanced articulatory features mastered by professional voice actors. Inspired by this, we explore expressive speech synthesis through the lens of articulatory phonetics. Specifically, we define a framework with three dimensions: Glottalization, Tenseness, and Resonance (GTR), to guide the synthesis at the voice production level. With this framework, we record a high-quality speech dataset named GTR-Voice, featuring 20 Chinese sentences articulated by a professional voice actor across 125 distinct GTR combinations. We verify the framework and GTR annotations through automatic classification and listening tests, and demonstrate precise controllability along the GTR dimensions on two fine-tuned expressive TTS models. We open-source the dataset and TTS models.

The neural semi-Markov Conditional Random Field (semi-CRF) framework has demonstrated promise for event-based piano transcription. In this framework, all events (notes or pedals) are represented as closed intervals tied to specific event types. The neural semi-CRF approach requires an interval scoring matrix that assigns a score for every candidate interval. However, designing an efficient and expressive architecture for scoring intervals is not trivial. In this paper, we introduce a simple method for scoring intervals using scaled inner product operations that resemble how attention scoring is done in transformers. We show theoretically that, due to the special structure from encoding the non-overlapping intervals, under a mild condition, the inner product operations are expressive enough to represent an ideal scoring matrix that can yield the correct transcription result. We then demonstrate that an encoder-only non-hierarchical transformer backbone, operating only on a low-time-resolution feature map, is capable of transcribing piano notes and pedals with high accuracy and time precision. The experiment shows that our approach achieves the new state-of-the-art performance across all subtasks in terms of the F1 measure on the Maestro dataset.

The rapid advancement of AI-generated singing voices, which now closely mimic natural human singing and align seamlessly with musical scores, has led to heightened concerns for artists and the music industry. Unlike spoken voice, singing voice presents unique challenges due to its musical nature and the presence of strong background music, making singing voice deepfake detection (SVDD) a specialized field requiring focused attention. To promote SVDD research, we recently proposed the "SVDD Challenge," the very first research challenge focusing on SVDD for lab-controlled and in-the-wild bonafide and deepfake singing voice recordings. The challenge will be held in conjunction with the 2024 IEEE Spoken Language Technology Workshop (SLT 2024).

Multi-pitch estimation is a decades-long research problem involving the detection of pitch activity associated with concurrent musical events within multi-instrument mixtures. Supervised learning techniques have demonstrated solid performance on more narrow characterizations of the task, but suffer from limitations concerning the shortage of large-scale and diverse polyphonic music datasets with multi-pitch annotations. We present a suite of self-supervised learning objectives for multi-pitch estimation, which encourage the concentration of support around harmonics, invariance to timbral transformations, and equivariance to geometric transformations. These objectives are sufficient to train an entirely convolutional autoencoder to produce multi-pitch salience-grams directly, without any fine-tuning. Despite training exclusively on a collection of synthetic single-note audio samples, our fully self-supervised framework generalizes to polyphonic music mixtures, and achieves performance comparable to supervised models trained on conventional multi-pitch datasets.

The rise of singing voice synthesis presents critical challenges to artists and industry stakeholders over unauthorized voice usage. Unlike synthesized speech, synthesized singing voices are typically released in songs containing strong background music that may hide synthesis artifacts. Additionally, singing voices present different acoustic and linguistic characteristics from speech utterances. These unique properties make singing voice deepfake detection a relevant but significantly different problem from synthetic speech detection. In this work, we propose the singing voice deepfake detection task. We first present SingFake, the first curated in-the-wild dataset consisting of 28.93 hours of bonafide and 29.40 hours of deepfake song clips in five languages from 40 singers. We provide a train/validation/test split where the test sets include various scenarios. We then use SingFake to evaluate four state-of-the-art speech countermeasure systems trained on speech utterances. We find these systems lag significantly behind their performance on speech test data. When trained on SingFake, either using separated vocal tracks or song mixtures, these systems show substantial improvement. However, our evaluations also identify challenges associated with unseen singers, communication codecs, languages, and musical contexts, calling for dedicated research into singing voice deepfake detection. The SingFake dataset and related resources are available at https://www.singfake.org/.

Non-linguistic filler words, such as "uh" or "um", are prevalent in spontaneous speech and serve as indicators for expressing hesitation or uncertainty. Previous works for detecting certain non-linguistic filler words are highly dependent on transcriptions from a well-established commercial automatic speech recognition (ASR) system. However, certain ASR systems are not universally accessible from many aspects, e.g., budget, target languages, and computational power. In this work, we investigate filler word detection system that does not depend on ASR systems. We show that, by using the structured state space sequence model (S4) and neural semi-Markov conditional random fields (semi-CRFs), we achieve an absolute F1 improvement of 6.4% (segment level) and 3.1% (event level) on the PodcastFillers dataset. We also conduct a qualitative analysis on the detected results to analyze the limitations of our proposed system.

Active speaker detection (ASD) systems are important modules for analyzing multi-talker conversations. They aim to detect which speakers or none are talking in a visual scene at any given time. Existing research on ASD does not agree on the definition of active speakers. We clarify the definition in this work and require synchronization between the audio and visual speaking activities. This clarification of definition is motivated by our extensive experiments, through which we discover that existing ASD methods fail in modeling the audio-visual synchronization and often classify unsynchronized videos as active speaking. To address this problem, we propose a cross-modal contrastive learning strategy and apply positional encoding in attention modules for supervised ASD models to leverage the synchronization cue. Experimental results suggest that our model can successfully detect unsynchronized speaking as not speaking, addressing the limitation of current models.

The online estimation of rhythmic information, such as beat positions, downbeat positions, and meter, is critical for many real-time music applications. Musical rhythm comprises complex hierarchical relationships across time, rendering its analysis intrinsically challenging and at times subjective. Furthermore, systems which attempt to estimate rhythmic information in real-time must be causal and must produce estimates quickly and efficiently. In this work, we introduce an online system for joint beat, downbeat, and meter tracking, which utilizes causal convolutional and recurrent layers, followed by a pair of sequential Monte Carlo particle filters applied during inference. The proposed system does not need to be primed with a time signature in order to perform downbeat tracking, and is instead able to estimate meter and adjust the predictions over time. Additionally, we propose an information gate strategy to significantly decrease the computational cost of particle filtering during the inference step, making the system much faster than previous sampling-based methods. Experiments on the GTZAN dataset, which is unseen during training, show that the system outperforms various online beat and downbeat tracking systems and achieves comparable performance to a baseline offline joint method.

The applications of short-termuser generated video(UGV),such as snapchat, youtube short-term videos, booms recently,raising lots of multimodal machine learning tasks. Amongthem, learning the correspondence between audio and vi-sual information from videos is a challenging one. Mostprevious work of theaudio-visual correspondence(AVC)learning only investigated on constrained videos or simplesettings, which may not fit the application of UGV. In thispaper, we proposed new principles for AVC and introduced anew framework to set sight on the themes of videos to facili-tate AVC learning. We also released the KWAI-AD-AudViscorpus which contained 85432 short advertisement videos(around 913 hours) made by users. We evaluated our pro-posed approach on this corpus and it was able to outperformthe baseline by 23.15% absolute differenc