Paula Viana

CV
h-index11
4papers
17citations
Novelty61%
AI Score34

4 Papers

2.3ASJul 27, 2023Code
Emotion4MIDI: a Lyrics-based Emotion-Labeled Symbolic Music Dataset

Serkan Sulun, Pedro Oliveira, Paula Viana

We present a new large-scale emotion-labeled symbolic music dataset consisting of 12k MIDI songs. To create this dataset, we first trained emotion classification models on the GoEmotions dataset, achieving state-of-the-art results with a model half the size of the baseline. We then applied these models to lyrics from two large-scale MIDI datasets. Our dataset covers a wide range of fine-grained emotions, providing a valuable resource to explore the connection between music and emotions and, especially, to develop models that can generate music based on specific emotions. Our code for inference, trained models, and datasets are available online.

3.7CVOct 22, 2024Code
VEMOCLAP: A video emotion classification web application

Serkan Sulun, Paula Viana, Matthew E. P. Davies

We introduce VEMOCLAP: Video EMOtion Classifier using Pretrained features, the first readily available and open-source web application that analyzes the emotional content of any user-provided video. We improve our previous work, which exploits open-source pretrained models that work on video frames and audio, and then efficiently fuse the resulting pretrained features using multi-head cross-attention. Our approach increases the state-of-the-art classification accuracy on the Ekman-6 video emotion dataset by 4.3% and offers an online application for users to run our model on their own videos or YouTube videos. We invite the readers to try our application at serkansulun.com/app.

5.2CVOct 11, 2024
Movie Trailer Genre Classification Using Multimodal Pretrained Features

Serkan Sulun, Paula Viana, Matthew E. P. Davies

We introduce a novel method for movie genre classification, capitalizing on a diverse set of readily accessible pretrained models. These models extract high-level features related to visual scenery, objects, characters, text, speech, music, and audio effects. To intelligently fuse these pretrained features, we train small classifier models with low time and memory requirements. Employing the transformer model, our approach utilizes all video and audio frames of movie trailers without performing any temporal pooling, efficiently exploiting the correspondence between all elements, as opposed to the fixed and low number of frames typically used by traditional methods. Our approach fuses features originating from different tasks and modalities, with different dimensionalities, different temporal lengths, and complex dependencies as opposed to current approaches. Our method outperforms state-of-the-art movie genre classification models in terms of precision, recall, and mean average precision (mAP). To foster future research, we make the pretrained features for the entire MovieNet dataset, along with our genre classification code and the trained models, publicly available.

9.3SDFeb 14, 2025
Video Soundtrack Generation by Aligning Emotions and Temporal Boundaries

Serkan Sulun, Paula Viana, Matthew E. P. Davies

We introduce EMSYNC, a video-based symbolic music generation model that aligns music with a video's emotional content and temporal boundaries. It follows a two-stage framework, where a pretrained video emotion classifier extracts emotional features, and a conditional music generator produces MIDI sequences guided by both emotional and temporal cues. We introduce boundary offsets, a novel temporal conditioning mechanism that enables the model to anticipate and align musical chords with scene cuts. Unlike existing models, our approach retains event-based encoding, ensuring fine-grained timing control and expressive musical nuances. We also propose a mapping scheme to bridge the video emotion classifier, which produces discrete emotion categories, with the emotion-conditioned MIDI generator, which operates on continuous-valued valence-arousal inputs. In subjective listening tests, EMSYNC outperforms state-of-the-art models across all subjective metrics, for music theory-aware participants as well as the general listeners.