Recognizing Musical Entities is important for Music Information Retrieval (MIR) since it can improve the performance of several tasks such as music recommendation, genre classification or artist similarity. However, most entity recognition systems in the music domain have concentrated on formal texts (e.g. artists' biographies, encyclopedic articles, etc.), ignoring rich and noisy user-generated content. In this work, we present a novel method to recognize musical entities in Twitter content generated by users following a classical music radio channel. Our approach takes advantage of both formal radio schedule and users' tweets to improve entity recognition. We instantiate several machine learning algorithms to perform entity recognition combining task-specific and corpus-based features. We also show how to improve recognition results by jointly considering formal and user-generated content
Music Information Retrieval (MIR) is an interdisciplinary field which borrows tools of several disciplines, such as signal processing, musicology, machine learning, psychology and many others, for extracting knowledge from musical objects (be them audio, texts, etc.) @cite_0 . In the last decade, several MIR tasks have benefited from NLP, such as sound and music recommendation @cite_23 , automatic summary of song review @cite_2 , artist similarity @cite_14 and genre classification @cite_6 .
@cite_14 @cite_6 @cite_0 @cite_23 @cite_2
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Music information retrieval (MIR) is an emerging research area that receives growing attention from both the research community and music industry. It addresses the problem of querying and retrieving certain types of music from large music data set. Classification is a fundamental problem in MIR. Many tasks in MIR can be naturally cast in a classification setting, such as genre classification, mood classification, artist recognition, instrument recognition, etc. Music annotation, a new research area in MIR that has attracted much attention in recent years, is also a classification problem in the general sense. Due to the importance of music classification in MIR research, rapid development of new methods, and lack of review papers on recent progress of the field, we provide a comprehensive review on audio-based classification in this paper and systematically summarize the state-of-the-art techniques for music classification. Specifically, we have stressed the difference in the features and the types of classifiers used for different classification tasks. This survey emphasizes on recent development of the techniques and discusses several open issues for future research. We introduce a dataset for facilitating audio-visual analysis of music performances. The dataset comprises 44 simple multi-instrument classical music pieces assembled from coordinated but separately recorded performances of individual tracks. For each piece, we provide the musical score in MIDI format, the audio recordings of the individual tracks, the audio and video recording of the assembled mixture, and ground-truth annotation files including frame-level and note-level transcriptions. We describe our methodology for the creation of the dataset, particularly highlighting our approaches to address the challenges involved in maintaining synchronization and expressiveness. We demonstrate the high quality of synchronization achieved with our proposed approach by comparing the dataset with existing widely used music audio datasets. We anticipate that the dataset will be useful for the development and evaluation of existing music information retrieval (MIR) tasks, as well as for novel multimodal tasks. We benchmark two existing MIR tasks (multipitch analysis and score-informed source separation) on the dataset and compare them with other existing music audio datasets. In addition, we consider two novel multimodal MIR tasks (visually informed multipitch analysis and polyphonic vibrato analysis) enabled by the dataset and provide evaluation measurements and baseline systems for future comparisons (from our recent work). Finally, we propose several emerging research directions that the dataset enables. This paper aims at leveraging microblogs to address two challenges in music information retrieval (MIR), similarity estimation between music artists and inferring typical listening patterns at different granularity levels (city, country, global). From two collections of several million microblogs, which we gathered over ten months, music-related information is extracted and statistically analyzed. We propose and evaluate four co-occurrence-based methods to compute artist similarity scores. Moreover, we derive and analyze culture-specific music listening patterns to investigate the diversity of listening behavior around the world. Advances in the science and technology of Music Information Retrieval (MIR) systems and algorithms are dependent on the development of rigorous measures of accuracy and performance such that meaningful comparisons among current and novel approaches can be made. This is the motivating principle driving the efforts of the International Music Information Retrieval Systems Evaluation Laboratory (IMIRSEL) and the annual Music Information Retrieval Evaluation eXchange (MIREX). Since it started in 2005, MIREX has fostered great advancements not only in many specific areas of MIR, but also in our general understanding of how MIR systems and algorithms are to be evaluated. This chapter outlines some of the major highlights of the past four years of MIREX evaluations, including its organizing principles, the selection of evaluation metrics, and the evolution of evaluation tasks. The chapter concludes with a brief introduction of how MIREX plans to expand into the future using a suite of Web 2.0 technologies to automated MIREX evaluations. Central to the field of MIR research is the evaluation of algorithms used to extract information from music data. We present mir_eval, an open source software library which provides a transparent and easy-to-use implementation of the most common metrics used to measure the performance of MIR algorithms. In this paper, we enumerate the metrics implemented by mir_eval and quantitatively compare each to existing implementations. When the scores reported by mir_eval differ substantially from the reference, we detail the differences in implementation. We also provide a brief overview of mir_eval’s architecture, design, and intended use. 1. EVALUATING MIR ALGORITHMS Much of the research in Music Information Retrieval (MIR) involves the development of systems that process raw music data to produce semantic information. The goal of these systems is frequently defined as attempting to duplicate the performance of a human listener given the same task [5]. A natural way to determine a system’s effectiveness might be for a human to study the output produced by the system and judge its correctness. However, this would yield only subjective ratings, and would also be extremely timeconsuming when evaluating a system’s output over a large corpus of music. Instead, objective metrics are developed to provide a well-defined way of computing a score which indicates each system’s output’s correctness. These metrics typically involve a heuristically-motivated comparison of the system’s output to a reference which is known to be correct. Over time, certain metrics have become standard for each ∗Please direct correspondence to craffel@gmail.com c © Colin Raffel, Brian McFee, Eric J. Humphrey, Justin Salamon, Oriol Nieto, Dawen Liang, Daniel P. W. Ellis. Licensed under a Creative Commons Attribution 4.0 International License (CC BY 4.0). Attribution: Colin Raffel, Brian McFee, Eric J. Humphrey, Justin Salamon, Oriol Nieto, Dawen Liang, Daniel P. W. Ellis. Content-based music information retrieval tasks are typically solved with a two-stage approach: features are extracted from music audio signals, and are then used as input to a regressor or classifier. These features can be engineered or learned from data. Although the former approach was dominant in the past, feature learning has started to receive more attention from the MIR community in recent years. Recent results in feature learning indicate that simple algorithms such as K-means can be very effective, sometimes surpassing more complicated approaches based on restricted Boltzmann machines, autoencoders or sparse coding. Furthermore, there has been increased interest in multiscale representations of music audio recently. Such representations are more versatile because music audio exhibits structure on multiple timescales, which are relevant for different MIR tasks to varying degrees. We develop and compare three approaches to multiscale audio feature learning using the spherical K-means algorithm. We evaluate them in an automatic tagging task and a similarity metric learning task on the Magnatagatune dataset. Retrieving short monophonic queries in music recordings is a challenging research problem in Music Information Retrieval (MIR). In jazz music, given a solo transcription, one retrieval task is to find the corresponding (potentially polyphonic) recording in a music collection. Many conventional systems approach such retrieval tasks by first extracting the predominant F0-trajectory from the recording, then quantizing the extracted trajectory to musical pitches and finally comparing the resulting pitch sequence to the monophonic query. In this paper, we introduce a data-driven approach that avoids the hard decisions involved in conventional approaches: Given pairs of time-frequency (TF) representations of full music recordings and TF representations of solo transcriptions, we use a DNN-based approach to learn a mapping for transforming a “polyphonic” TF representation into a “monophonic” TF representation. This transform can be considered as a kind of solo voice enhancement. We evaluate our approach within a jazz solo retrieval scenario and compare it to a state-of-the-art method for predominant melody extraction. This paper presents a method for recognizing musical instruments in user-generated videos. Musical instrument recognition from music signals is a well-known task in the music information retrieval (MIR) field, where current approaches rely on the analysis of the good-quality audio material. This work addresses a real-world scenario with several research challenges, i.e. the analysis of user-generated videos that are varied in terms of recording conditions and quality and may contain multiple instruments sounding simultaneously and background noise. Our approach does not only focus on the analysis of audio information, but we exploit the multimodal information embedded in the audio and visual domains. In order to do so, we develop a Convolutional Neural Network (CNN) architecture which combines learned representations from both modalities at a late fusion stage. Our approach is trained and evaluated on two large-scale video datasets: YouTube-8M and FCVID. The proposed architectures demonstrate state-of-the-art results in audio and video object recognition, provide additional robustness to missing modalities, and remains computationally cheap to train. We propose and demonstrate a simple method to explain the figure of merit (FoM) of a music information retrieval (MIR) system evaluated in a dataset, specifically, whether the FoM comes from the system using characteristics confounded with the “ground truth” of the dataset. Akin to the controlled experiments designed to test the supposed mathematical ability of the famous horse “Clever Hans,” we perform two experiments to show how three state-of-the-art MIR systems produce excellent FoM in spite of not using musical knowledge. This provides avenues for improving MIR systems, as well as their evaluation. We make available a reproducible research package so that others can apply the same method to evaluating other MIR systems. Musical genre and mood classification techniques combining lyric and audio features for Music Information Retrieval (MIR) have been studied widely in recent years. This paper investigates the performances of musical genre and mood classification using only lyric features. In this preliminary study, the Part-of-Speech (POS) feature is utilizes for classification of a collection of 600 songs. Ten musical genre and mood categories were selected respectively based on a summary from the literature. Experiments show that classification accuracies for mood categories outperform genres. We present a new technique for audio signal comparison based on tonal subsequence alignment and its application to detect cover versions (i.e., different performances of the same underlying musical piece). Cover song identification is a task whose popularity has increased in the music information retrieval (MIR) community along in the past, as it provides a direct and objective way to evaluate music similarity algorithms. This paper first presents a series of experiments carried out with two state-of-the-art methods for cover song identification. We have studied several components of these (such as chroma resolution and similarity, transposition, beat tracking or dynamic time warping constraints), in order to discover which characteristics would be desirable for a competitive cover song identifier. After analyzing many cross-validated results, the importance of these characteristics is discussed, and the best performing ones are finally applied to the newly proposed method. Multiple evaluations of this one confirm a large increase in identification accuracy when comparing it with alternative state-of-the-art approaches. This text offers a personal and very subjective view on the current situation of Music Information Research (MIR). Motivated by the desire to build systems with a somewhat deeper understanding of music than the ones we currently have, I try to sketch a number of challenges for the next decade of MIR research, grouped around six simple truths about music that are probably generally agreed on but often ignored in everyday research. Feature extraction is a crucial part of many MIR tasks. In this work, we present a system that can automatically extract relevant features from audio for a given task. The feature extraction system consists of a Deep Belief Network (DBN) on Discrete Fourier Transforms (DFTs) of the audio. We then use the activations of the trained network as inputs for a non-linear Support Vector Machine (SVM) classifier. In particular, we learned the features to solve the task of genre recognition. The learned features perform significantly better than MFCCs. Moreover, we obtain a classification accuracy of 84.3 on the Tzanetakis dataset, which compares favorably against state-of-the-art genre classifiers using frame-based features. We also applied these same features to the task of auto-tagging. The autotaggers trained with our features performed better than those that were trained with timbral and temporal features. The rise of digital music distribution has provided users with unprecedented access to vast song catalogs. In order to help users cope with large collections, music information retrieval systems have been developed to automatically analyze, index, and recommend music based on a user's preferences or search criteria. This dissertation proposes machine learning approaches to content-based, query-by-example search, and investigates applications in music information retrieval. The proposed methods automatically infer and optimize content-based similarity, fuse heterogeneous feature modalities, efficiently index and search under the optimized distance metric, and finally, generate sequential playlists for a specified context or style. Robust evaluation procedures are proposed to counteract issues of subjectivity and lack of explicit ground truth in music similarity and playlist generation. There has been an increasing attention on learning feature representations from the complex, high-dimensional audio data applied in various music information retrieval (MIR) problems. Unsupervised feature learning techniques, such as sparse coding and deep belief networks have been utilized to represent music information as a term-document structure comprising of elementary audio codewords. Despite the widespread use of such bag-of-frames (BoF) model, few attempts have been made to systematically compare different component settings. Moreover, whether techniques developed in the text retrieval community are applicable to audio codewords is poorly understood. To further our understanding of the BoF model, we present in this paper a comprehensive evaluation that compares a large number of BoF variants on three different MIR tasks, by considering different ways of low-level feature representation, codebook construction, codeword assignment, segment-level and song-level feature pooling, tf-idf term weighting, power normalization, and dimension reduction. Our evaluations lead to the following findings: 1) modeling music information by two levels of abstraction improves the result for difficult tasks such as predominant instrument recognition, 2) tf-idf weighting and power normalization improve system performance in general, 3) topic modeling methods such as latent Dirichlet allocation does not work for audio codewords. Many if not most audio features used in MIR research are inspired by work done in speech recognition and are variations on the spectrogram. Recently, much attention has been given to new representations of audio that are sparse and time-relative. These representations are efficient and able to avoid the time-frequency trade-off of a spectrogram. Yet little work with music streams has been conducted and these features remain mostly unused in the MIR community. In this paper we further explore the use of these features for musical signals. In particular, we investigate their use on realistic music examples (i.e. released commercial music) and their use as input features for supervised learning. Furthermore, we identify three specific issues related to these features which will need to be further addressed in order to obtain the full benefit for MIR applications. Many tasks in music information retrieval, such as recommendation, and playlist generation for online radio, fall naturally into the query-by-example setting, wherein a user queries the system by providing a song, and the system responds with a list of relevant or similar song recommendations. Such applications ultimately depend on the notion of similarity between items to produce high-quality results. Current state-of-the-art systems employ collaborative filter methods to represent musical items, effectively comparing items in terms of their constituent users. While collaborative filter techniques perform well when historical data is available for each item, their reliance on historical data impedes performance on novel or unpopular items. To combat this problem, practitioners rely on content-based similarity, which naturally extends to novel items, but is typically outperformed by collaborative filter methods. In this paper, we propose a method for optimizing content-based similarity by learning from a sample of collaborative filter data. The optimized content-based similarity metric can then be applied to answer queries on novel and unpopular items, while still maintaining high recommendation accuracy. The proposed system yields accurate and efficient representations of audio content, and experimental results show significant improvements in accuracy over competing content-based recommendation techniques. The amount of music information available on the Web is rapidly increasing. There is a pressing need for music information extraction. To extract useful information from natural language text, we must recognize music named entities first. This paper introduces a hybrid method to identify the Chinese named entities in music domain. Recently, machine learning approaches are frequently used to solve Name Entity Recognition (NER). So our method uses a Hidden Markov Model (HMM) as the underlying method. Since HMM has innate weaknesses, we incorporate it with rule-based method for pre-processing and post-processing. The combination of machine learning method and rule-based method results in a high precision recognition. And we improve both training and recognizing process of HMM for Music Named Entity Recognition (MNER). In this paper, a novel and convenient Musical Name Entity (MNE) tagging method to generate training data is proposed, which makes HMM method practically usable. In addition, we present an effective method of unknown words tagging in recognition. The experimental results show that our framework brings significant improvements for solving MNER. The literature on content-based music retrieval has largely finessed acoustic issues by using MIDI format music. This paper however considers content-based classification and retrieval of a typical (MPEG layer III) digital music archive. Two statistical techniques are investigated and appraised. Gaussian mixture modelling performs well with an accuracy of 92 on a music classification task. A tree-based vector quantization scheme offers marginally worse performance in a faster, scalable framework. Good results are also reported for music retrieval-by-similarity using the same techniques. Mel-frequency cepstral coefficients parameterize the audio well, though are slow to compute from the compressed domain. A new parameterization (MP3CEP), based on a partial decompression of MPEG layer III audio, is therefore proposed to facilitate music processing at user-interactive speeds. Overall, the techniques described provide useful tools in the management of a typical digital music library. Content-based music information retrieval tasks have traditionally been solved using engineered features and shallow processing architectures. In recent years, there has been increasing interest in using feature learning and deep architectures instead, thus reducing the required engineering effort and the need for prior knowledge. However, this new approach typically still relies on mid-level representations of music audio, e.g. spectrograms, instead of raw audio signals. In this paper, we investigate whether it is possible to apply feature learning directly to raw audio signals. We train convolutional neural networks using both approaches and compare their performance on an automatic tagging task. Although they do not outperform a spectrogram-based approach, the networks are able to autonomously discover frequency decompositions from raw audio, as well as phase-and translation-invariant feature representations.