Much of the appeal of music lies in its power to convey emotions moods and to evoke them in listeners. In consequence, the past decade witnessed a growing interest in modeling emotions from musical signals in the music information retrieval (MIR) community. In this article, we present a novel generative approach to music emotion modeling, with a specific focus on the valence-arousal (VA) dimension model of emotion. The presented generative model, called (AEG), better accounts for the subjectivity of emotion perception by the use of probability distributions. Specifically, it learns from the emotion annotations of multiple subjects a Gaussian mixture model in the VA space with prior constraints on the corresponding acoustic features of the training music pieces. Such a computational framework is technically sound, capable of learning in an online fashion, and thus applicable to a variety of applications, including user-independent (general) and user-dependent (personalized) emotion recognition and emotion-based music retrieval. We report evaluations of the aforementioned applications of AEG on a larger-scale emotion-annotated corpora, AMG1608, to demonstrate the effectiveness of AEG and to showcase how evaluations are conducted for research on emotion-based MIR. Directions of future work are also discussed.
As emotion perception is rarely dependent on a single music factor but a combination of them @cite_23 @cite_77 , algorithms used feature descriptors that characterize the loudness, timbre, pitch, rhythm, melody, harmony or lyrics of music @cite_15 @cite_31 @cite_64 @cite_22 . In particular, while it is usually easier to predict arousal using, for example, loudness and timbre features, the prediction of valence has been found more challenging @cite_31 @cite_54 @cite_68 . Cross cultural aspects of emotion perception have also been studied @cite_73 . To exploit the temporal continuity of emotion variation within a piece of music, techniques such as system identification @cite_18 , conditional random fields @cite_19 @cite_78 , hidden Markov models @cite_43 , deep recurrent neural networks @cite_60 , or dynamic probabilistic model @cite_46 have also been proposed. Various approaches and features for MER have been evaluated and compared using benchmarking datasets comprising over 1,000 Creative Commons licensed music pieces from the Free Music Archive, in the 2013 and 2014 MediaEval Emotion in Music' tasks @cite_11 @cite_30 .
@cite_30 @cite_31 @cite_64 @cite_18 @cite_22 @cite_73 @cite_78 @cite_60 @cite_46 @cite_54 @cite_77 @cite_19 @cite_43 @cite_23 @cite_15 @cite_68 @cite_11
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In this paper we describe our approach for the MediaEval's "Emotion in Music" task. Our method consists of deep Long-Short Term Memory Recurrent Neural Networks (LSTM-RNN) for dynamic Arousal and Valence regression, using acoustic and psychoacoustic features extracted from the songs that have been previously proven as effective for emotion prediction in music. Results on the challenge test demonstrate an excellent performance for Arousal estimation (r = 0.613 ± 0.278), but not for Valence (r = 0.026 ± 0.500). Issues regarding the quality of the test set annotations' reliability and distributions are indicated as plausible justifications for these results. By using a subset of the development set that was left out for performance estimation, we could determine that the performance of our approach may be underestimated for Valence (Arousal: r = 0.596 ± 0.386; Valence: r = 0.458 ± 0.551). Music as a form of art is intentionally composed to be emotionally expressive. The emotional features of music are invaluable for music indexing and recommendation. In this paper we present a cross-comparison of automatic emotional analysis of music. We created a public dataset of Creative Commons licensed songs. Using valence and arousal model, the songs were annotated both in terms of the emotions that were expressed by the whole excerpt and dynamically with 1 Hz temporal resolution. Each song received 10 annotations on Amazon Mechanical Turk and the annotations were averaged to form a ground truth. Four different systems from three teams and the organizers were employed to tackle this problem in an open challenge. We compare their performances and discuss the best practices. While the effect of a larger feature set was not very apparent in the static emotion estimation, the combination of a comprehensive feature set and a recurrent neural network that models temporal dependencies has largely outperformed the other proposed methods for dynamic music emotion estimation. Music emotion recognition (MER) field rapidly expanded in the last decade. Many new methods and new audio features are developed to improve the performance of MER algorithms. However, it is very difficult to compare the performance of the new methods because of the data representation diversity and scarcity of publicly available data. In this paper, we address these problems by creating a data set and a benchmark for MER. The data set that we release, a MediaEval Database for Emotional Analysis in Music (DEAM), is the largest available data set of dynamic annotations (valence and arousal annotations for 1,802 songs and song excerpts licensed under Creative Commons with 2Hz time resolution). Using DEAM, we organized the ‘Emotion in Music’ task at MediaEval Multimedia Evaluation Campaign from 2013 to 2015. The benchmark attracted, in total, 21 active teams to participate in the challenge. We analyze the results of the benchmark: the winning algorithms and feature-sets. We also describe the design of the benchmark, the evaluation procedures and the data cleaning and transformations that we suggest. The results from the benchmark suggest that the recurrent neural network based approaches combined with large feature-sets work best for dynamic MER. Content-based retrieval has emerged in the face of content explosion as a promising approach to information access. In this paper, we focus on the challenging issue of recognizing the emotion content of music signals, or music emotion recognition (MER). Specifically, we formulate MER as a regression problem to predict the arousal and valence values (AV values) of each music sample directly. Associated with the AV values, each music sample becomes a point in the arousal-valence plane, so the users can efficiently retrieve the music sample by specifying a desired point in the emotion plane. Because no categorical taxonomy is used, the regression approach is free of the ambiguity inherent to conventional categorical approaches. To improve the performance, we apply principal component analysis to reduce the correlation between arousal and valence, and RReliefF to select important features. An extensive performance study is conducted to evaluate the accuracy of the regression approach for predicting AV values. The best performance evaluated in terms of the R 2 statistics reaches 58.3 for arousal and 28.1 for valence by employing support vector machine as the regressor. We also apply the regression approach to detect the emotion variation within a music selection and find the prediction accuracy superior to existing works. A group-wise MER scheme is also developed to address the subjectivity issue of emotion perception.