In recent years, there has been growing focus on the study of automated recommender systems. Music recommendation systems serve as a prominent domain for such works, both from an academic and a commercial perspective. A fundamental aspect of music perception is that music is experienced in temporal context and in sequence. In this work we present DJ-MC, a novel reinforcement-learning framework for music recommendation that does not recommend songs individually but rather song sequences, or playlists, based on a model of preferences for both songs and song transitions. The model is learned online and is uniquely adapted for each listener. To reduce exploration time, DJ-MC exploits user feedback to initialize a model, which it subsequently updates by reinforcement. We evaluate our framework with human participants using both real song and playlist data. Our results indicate that DJ-MC's ability to recommend sequences of songs provides a significant improvement over more straightforward approaches, which do not take transitions into account.
Though not much work has attempted to model playlists directly, there has been substantial research on modeling similarity between artists and between songs. @cite_24 use semantic tags to learn a Gaussian process kernel function between pairs of songs. @cite_17 learn an embedding in a shared space of social tags, acoustic features and artist entities by optimizing an evaluation metric for various music retrieval tasks. @cite_3 model radio stations as probability distributions of items to be played, embedded in an inner-product space, using real playlist histories for training.
@cite_24 @cite_3 @cite_17
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We observed that for multimedia data – especially music collaborative similarity measures perform much better than similarity measures derived from content-based sound features. Our observation is based on a large scale evaluation with >250,000,000 collaborative data points crawled from the web and >190,000 songs annotated with content-based sound feature sets. A song mentioned in a playlist is regarded as one collaborative data point. In this paper we present a novel approach to bridging the performance gap between collaborative and contentbased similarity measures. In the initial training phase a model vector for each song is computed, based on collaborative data. Each vector consists of 200 overlapping unlabelled 'genres' or song clusters. Instead of using explicit numerical voting, we use implicit user profile data as collaborative data source, which is, for example, available as purchase histories in many large scale ecommerce applications. After the training phase, we used support vector machines based on content-based sound features to predict the collaborative model vectors. These predicted model vectors are finally used to compute the similarity between songs. We show that combining collaborative and content-based similarity measures can help to overcome the new item problem in e-commerce applications that offer a collaborative similarity recommender as service to their customers. 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. In the Internet music scene, where recommendation technology is key for navigating huge collections, large market players enjoy a considerable advantage. Accessing a wider pool of user feedback leads to an increasingly more accurate analysis of user tastes, effectively creating a "rich get richer" effect. This work aims at significantly lowering the entry barrier for creating music recommenders, through a paradigm coupling a public data source and a new collaborative filtering (CF) model. We claim that Internet radio stations form a readily available resource of abundant fresh human signals on music through their playlists, which are essentially cohesive sets of related tracks. In a way, our models rely on the knowledge of a diverse group of experts in lieu of the commonly used wisdom of crowds. Over several weeks, we aggregated publicly available playlists of thousands of Internet radio stations, resulting in a dataset encompassing millions of plays, and hundreds of thousands of tracks and artists. This provides the large scale ground data necessary to mitigate the cold start problem of new items at both mature and emerging services. Furthermore, we developed a new probabilistic CF model, tailored to the Internet radio resource. The success of the model was empirically validated on the collected dataset. Moreover, we tested the model at a cross-source transfer learning manner -- the same model trained on the Internet radio data was used to predict behavior of Yahoo! Music users. This demonstrates the ability to tap the Internet radio signals in other music recommendation setups. Based on encouraging empirical results, our hope is that the proposed paradigm will make quality music recommendation accessible to all interested parties in the community. In music auto-tagging, people develop models to automatically label a music clip with attributes such as instruments, styles or acoustic properties. Many of these tags are actually descriptors of local events in a music clip, rather than a holistic description of the whole clip. Localizing such tags in time can potentially innovate the way people retrieve and interact with music, but little work has been done to date due to the scarcity of labeled data with granularity specific enough to the frame level. Most labeled data for training a learning-based model for music auto-tagging are in the clip level, providing no cues when and how long these attributes appear in a music clip. To bridge this gap, we propose in this paper a convolutional neural network (CNN) architecture that is able to make accurate frame-level predictions of tags in unseen music clips by using only clip-level annotations in the training phase. Our approach is motivated by recent advances in computer vision for localizing visual objects, but we propose new designs of the CNN architecture to account for the temporal information of music and the variable duration of such local tags in time. We report extensive experiments to gain insights into the problem of event localization in music, and validate through experiments the effectiveness of the proposed approach. In addition to quantitative evaluations, we also present qualitative analyses showing the model can indeed learn certain characteristics of music tags.