This paper introduces briefly the history and growth of the Detection and Classification of Acoustic Scenes and Events (DCASE) challenge, workshop, research area and research community. Created in 2013 as a data evaluation challenge, DCASE has become a major research topic in the Audio and Acoustic Signal Processing area. Its success comes from a combination of factors: the challenge offers a large variety of tasks that are renewed each year; and the workshop offers a channel for dissemination of related work, engaging a young and dynamic community. At the same time, DCASE faces its own challenges, growing and expanding to different areas. One of the core principles of DCASE is open science and reproducibility: publicly available datasets, baseline systems, technical reports and workshop publications. While the DCASE challenge and workshop are independent of IEEE SPS, the challenge receives annual endorsement from the AASP TC, and the DCASE community contributes significantly to the ICASSP flagship conference and the success of SPS in many of its activities.

This paper introduces a curated dataset of urban scenes for audio-visual scene analysis which consists of carefully selected and recorded material. The data was recorded in multiple European cities, using the same equipment, in multiple locations for each scene, and is openly available. We also present a case study for audio-visual scene recognition and show that joint modeling of audio and visual modalities brings significant performance gain compared to state of the art uni-modal systems. Our approach obtained an 84.8% ac-curacy compared to 75.8% for the audio-only and 68.4% for the video-only equivalent systems.

Sound event localization and detection is a novel area of research that emerged from the combined interest of analyzing the acoustic scene in terms of the spatial and temporal activity of sounds of interest. This paper presents an overview of the first international evaluation on sound event localization and detection, organized as a task of the DCASE 2019 Challenge. A large-scale realistic dataset of spatialized sound events was generated for the challenge, to be used for training of learning-based approaches, and for evaluation of the submissions in an unlabeled subset. The overview presents in detail how the systems were evaluated and ranked and the characteristics of the best-performing systems. Common strategies in terms of input features, model architectures, training approaches, exploitation of prior knowledge, and data augmentation are discussed. Since ranking in the challenge was based on individually evaluating localization and event classification performance, part of the overview focuses on presenting metrics for the joint measurement of the two, together with a reevaluation of submissions using these new metrics. The new analysis reveals submissions that performed better on the joint task of detecting the correct type of event close to its original location than some of the submissions that were ranked higher in the challenge. Consequently, ranking of submissions which performed strongly when evaluated separately on detection or localization, but not jointly on both, was affected negatively.

This article proposes an active learning system for sound event detection (SED). It aims at maximizing the accuracy of a learned SED model with limited annotation effort. The proposed system analyzes an initially unlabeled audio dataset, from which it selects sound segments for manual annotation. The candidate segments are generated based on a proposed change point detection approach, and the selection is based on the principle of mismatch-first farthest-traversal. During the training of SED models, recordings are used as training inputs, preserving the long-term context for annotated segments. The proposed system clearly outperforms reference methods in the two datasets used for evaluation (TUT Rare Sound 2017 and TAU Spatial Sound 2019). Training with recordings as context outperforms training with only annotated segments. Mismatch-first farthest-traversal outperforms reference sample selection methods based on random sampling and uncertainty sampling. Remarkably, the required annotation effort can be greatly reduced on the dataset where target sound events are rare: by annotating only 2% of the training data, the achieved SED performance is similar to annotating all the training data.

Sound event detection is the task of identifying automatically the presence and temporal boundaries of sound events within an input audio stream. In the last years, deep learning methods have established themselves as the state-of-the-art approach for the task, using binary indicators during training to denote whether an event is active or inactive. However, such binary activity indicators do not fully describe the events, and estimating the envelope of the sounds could provide more precise modeling of their activity. This paper proposes to estimate the amplitude envelopes of target sound event classes in polyphonic mixtures. For training, we use the amplitude envelopes of the target sounds, calculated from mixture signals and, for comparison, from their isolated counterparts. The model is then used to perform envelope estimation and sound event detection. Results show that the envelope estimation allows good modeling of the sounds activity, with detection results comparable to current state-of-the art.

Each edition of the challenge on Detection and Classification of Acoustic Scenes and Events (DCASE) contained several tasks involving sound event detection in different setups. DCASE 2017 presented participants with three such tasks, each having specific datasets and detection requirements: Task 2, in which target sound events were very rare in both training and testing data, Task 3 having overlapping events annotated in real-life audio, and Task 4, in which only weakly labeled data were available for training. In this paper, we present three tasks, including the datasets and baseline systems, and analyze the challenge entries for each task. We observe the popularity of methods using deep neural networks, and the still widely used mel frequency-based representations, with only few approaches standing out as radically different. Analysis of the systems behavior reveals that task-specific optimization has a big role in producing good performance; however, often this optimization closely follows the ranking metric, and its maximization/minimization does not result in universally good performance. We also introduce the calculation of confidence intervals based on a jackknife resampling procedure to perform statistical analysis of the challenge results. The analysis indicates that while the 95% confidence intervals for many systems overlap, there are significant differences in performance between the top systems and the baseline for all tasks.

Public evaluation campaigns and datasets promote active development in target research areas, allowing direct comparison of algorithms. The second edition of the challenge on detection and classification of acoustic scenes and events (DCASE 2016) has offered such an opportunity for development of the state-of-the-art methods, and succeeded in drawing together a large number of participants from academic and industrial backgrounds. In this paper, we report on the tasks and outcomes of the DCASE 2016 challenge. The challenge comprised four tasks: acoustic scene classification, sound event detection in synthetic audio, sound event detection in real-life audio, and domestic audio tagging. We present each task in detail and analyze the submitted systems in terms of design and performance. We observe the emergence of deep learning as the most popular classification method, replacing the traditional approaches based on Gaussian mixture models and support vector machines. By contrast, feature representations have not changed substantially throughout the years, as mel frequency-based representations predominate in all tasks. The datasets created for and used in DCASE 2016 are publicly available and are a valuable resource for further research.

This paper proposes a novel active learning method to save annotation effort when preparing material to train sound event classifiers. K-medoids clustering is performed on unlabeled sound segments, and medoids of clusters are presented to annotators for labeling. The annotated label for a medoid is used to derive predicted labels for other cluster members. The obtained labels are used to build a classifier using supervised training. The accuracy of the resulted classifier is used to evaluate the performance of the proposed method. The evaluation made on a public environmental sound dataset shows that the proposed method outperforms reference methods (random sampling, certainty-based active learning and semi-supervised learning) with all simulated labeling budgets, the number of available labeling responses. Through all the experiments, the proposed method saves 50%-60% labeling budget to achieve the same accuracy, with respect to the best reference method.

Sound events often occur in unstructured environments where they exhibit wide variations in their frequency content and temporal structure. Convolutional neural networks (CNNs) are able to extract higher level features that are invariant to local spectral and temporal variations. Recurrent neural networks (RNNs) are powerful in learning the longer term temporal context in the audio signals. CNNs and RNNs as classifiers have recently shown improved performances over established methods in various sound recognition tasks. We combine these two approaches in a convolutional recurrent neural network (CRNN) and apply it on a polyphonic sound event detection task. We compare the performance of the proposed CRNN method with CNN, RNN, and other established methods, and observe a considerable improvement for four different datasets consisting of everyday sound events.

Methods for detection of overlapping sound events in audio involve matrix factorization approaches, often assigning separated components to event classes. We present a method that bypasses the supervised construction of class models. The method learns the components as a non-negative dictionary in a coupled matrix factorization problem, where the spectral representation and the class activity annotation of the audio signal share the activation matrix. In testing, the dictionaries are used to estimate directly the class activations. For dealing with large amount of training data, two methods are proposed for reducing the size of the dictionary. The methods were tested on a database of real life recordings, and outperformed previous approaches by over 10%.

In this paper, the use of multi label neural networks are proposed for detection of temporally overlapping sound events in realistic environments. Real-life sound recordings typically have many overlapping sound events, making it hard to recognize each event with the standard sound event detection methods. Frame-wise spectral-domain features are used as inputs to train a deep neural network for multi label classification in this work. The model is evaluated with recordings from realistic everyday environments and the obtained overall accuracy is 63.8%. The method is compared against a state-of-the-art method using non-negative matrix factorization as a pre-processing stage and hidden Markov models as a classifier. The proposed method improves the accuracy by 19% percentage points overall.

Sound event detection is addressed in the presence of overlapping sounds. Unsupervised sound source separation into streams is used as a preprocessing step to minimize the interference of overlapping events. This poses a problem in supervised model training, since there is no knowledge about which separated stream contains the targeted sound source. We propose two iterative approaches based on EM algorithm to select the most likely stream to contain the target sound: one by selecting always the most likely stream and another one by gradually eliminating the most unlikely streams from the training. The approaches were evaluated with a database containing recordings from various contexts, against the baseline system trained without applying stream selection. Both proposed approaches were found to give a reasonable increase of 8 percentage units in the detection accuracy.

A common problem of freely annotated or user contributed audio databases is the high variability of the labels, related to homonyms, synonyms, plurals, etc. Automatically re-labeling audio data based on audio similarity could offer a solution to this problem. This paper studies the relationship between audio and labels in a sound event database, by evaluating semantic similarity of labels of acoustically similar sound event instances. The assumption behind the study is that acoustically similar events are annotated with semantically similar labels. Indeed, for 43% of the tested data, there was at least one in ten acoustically nearest neighbors having a synonym as label, while the closest related term is on average one level higher or lower in the semantic hierarchy.

This paper proposes a method for separating the signals of individual musical instruments from monaural musical audio. The mixture signal is modeled as a sum of the spectra of individual musical sounds which are further represented as a product of excitations and filters. The excitations are restricted to harmonic spectra and their fundamental frequencies are estimated in advance using a multipitch estimator, whereas the filters are restricted to have smooth frequency responses by modeling them as a sum of elementary functions on Mel-frequency scale. A novel expectation-maximization (EM) algorithm is proposed which jointly learns the filter responses and organizes the excitations (musical notes) to filters (instruments). In simulations, the method achieved over 5 dB SNR improvement compared to the mixture signals when separating two or three musical instruments from each other. A slight further improvement was achieved by utilizing musical properties in the initialization of the algorithm.

This paper proposes an interpolating extension to hidden Markov models (HMMs), which allows more accurate modeling of natural sounds sources. The model is able to produce observations from distributions which are interpolated between discrete HMM states. The model uses Gaussian mixture state emission densities, and the interpolation is implemented by introducing interpolating states in which the mixture weights, means, and variances are interpolated from the discrete HMM state densities. We propose an algorithm extended from the Baum-Welch algorithm for estimating the parameters of the interpolating model. The model was evaluated in automatic instrument classification task, where it produced systematically better recognition accuracy than a baseline HMM recognition algorithm.