Beici Liang

According to our database, Beici Liang authored at least 9 papers between 2017 and 2021.

Collaborative distances:

• Dijkstra number of five.
• Erdős number of five.

2021

Large-scale singer recognition using deep metric learning: an experimental study.

Shichao Hu, Beici Liang, Zhouxuan Chen, Xiao Lu, Ethan Zhao, Simon Lui

Proceedings of the International Joint Conference on Neural Networks, 2021

Learning Audio Embeddings with User Listening Data for Content-Based Music Recommendation.

Ke Chen, Beici Liang, Xiaoshuan Ma, Minwei Gu

Proceedings of the IEEE International Conference on Acoustics, 2021

2020

Music Genre Classification Using Transfer Learning.

Beici Liang, Minwei Gu

Proceedings of the 3rd IEEE Conference on Multimedia Information Processing and Retrieval, 2020

Phase-Aware Music Super-Resolution Using Generative Adversarial Networks.

Shichao Hu, Bin Zhang, Beici Liang, Ethan Zhao, Simon Lui

Proceedings of the 21st Annual Conference of the International Speech Communication Association, 2020

2019

Transfer Learning for Piano Sustain-Pedal Detection.

Beici Liang, György Fazekas, Mark B. Sandler

Proceedings of the International Joint Conference on Neural Networks, 2019

Piano Sustain-pedal Detection Using Convolutional Neural Networks.

Beici Liang, György Fazekas, Mark B. Sandler

Proceedings of the IEEE International Conference on Acoustics, 2019

2018

Piano Legato-Pedal Onset Detection Based on a Sympathetic Resonance Measure.

Beici Liang, György Fazekas, Mark B. Sandler

Proceedings of the 26th European Signal Processing Conference, 2018

2017

Piano pedaller: a measurement system for classification and visualisation of piano pedalling techniques.

Beici Liang, György Fazekas, Andrew P. McPherson, Mark B. Sandler

Proceedings of the 17th International Conference on New Interfaces for Musical Expression, 2017

Recognition of Piano Pedalling Techniques Using Gesture Data.

Beici Liang, György Fazekas, Mark B. Sandler

Proceedings of the 12th International Audio Mostly Conference on Augmented and Participatory Sound and Music Experiences, 2017