The behavior of users of music streaming services is investigated from the point of view of the temporal dimension of individual songs; specifically, the main object of the analysis is the point in time within a song at which users stop listening and start streaming another song ("skip"). The main contribution of this study is the ascertainment of a correlation between the distribution in time of skipping events and the musical structure of songs. It is also shown that such distribution is not only specific to the individual songs, but also independent of the cohort of users and, under stationary conditions, date of observation. Finally, user behavioral data is used to train a predictor of the musical structure of a song solely from its acoustic content; it is shown that the use of such data, available in large quantities to music streaming services, yields significant improvements in accuracy over the customary fashion of training this class of algorithms, in which only smaller amounts of hand-labeled data are available.
An alternative approach to deal with the aforementioned issues is the release of the algorithms themselves as open source software: MSAF @cite_4 is the leading effort in that regard within the Music Information Retrieval community, and couples that goal with an evaluation framework; the latter is in turn based on MIReval @cite_15 , a reference implementation of a large set of common music-specific IR evaluation metrics. The remainder of this paper makes use of the following algorithm implementations borrowed from MSAF : cnmf @cite_10 , foote @cite_2 , olda @cite_9 , scluster @cite_22 , sf @cite_19 . Furthermore, another reference algorithm is given by the The Echo Nest Analyzer, based on @cite_14 , whose results can be accessed through Spotify's public API.
@cite_14 @cite_4 @cite_22 @cite_9 @cite_19 @cite_2 @cite_15 @cite_10
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Automated creation of new music by listening is disclosed. A method to create new music may comprise listening to a plurality of music, learning from the plurality of music, and performing concatenative synthesis based on the listening and the learning to create the new music. The method may be performed on a computing device having an audio interface, such as a personal computer. Many approaches to analyzing the structure of a musical recording involve detecting sequential patterns within a selfsimilarity matrix derived from time-series features. Such patterns ideally capture repeated sequences, which then form the building blocks of large-scale structure. In this work, techniques from spectral graph theory are applied to analyze repeated patterns in musical recordings. The proposed method produces a low-dimensional encoding of repetition structure, and exposes the hierarchical relationships among structural components at differing levels of granularity. Finally, we demonstrate how to apply the proposed method to the task of music segmentation. This paper describes a supervised learning algorithm which optimizes a feature representation for temporally constrained clustering. The proposed method is applied to music segmentation, in which a song is partitioned into functional or locally homogeneous segments (e.g., verse or chorus). To facilitate Automatically inferring the structural properties of raw multimedia documents is essential in today's digitized society. Given its hierarchical and multi-faceted organization, musical pieces represent a challenge for current computational systems. In this article, we present a novel approach to music structure annotation based on the combination of structure features with time series similarity. Structure features encapsulate both local and global properties of a time series, and allow us to detect boundaries between homogeneous, novel, or repeated segments. Time series similarity is used to identify equivalent segments, corresponding to musically meaningful parts. Extensive tests with a total of five benchmark music collections and seven different human annotations show that the proposed approach is robust to different ground truth choices and parameter settings. Moreover, we see that it outperforms previous approaches evaluated under the same framework. The paper describes methods for automatically locating points of significant change in music or audio, by analyzing local self-similarity. This method can find individual note boundaries or even natural segment boundaries such as verse chorus or speech music transitions, even in the absence of cues such as silence. This approach uses the signal to model itself, and thus does not rely on particular acoustic cues nor requires training. We present a wide variety of applications, including indexing, segmenting, and beat tracking of music and audio. The method works well on a wide variety of audio sources. 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. We propose a novel and fast approach to discover structure in western popular music by using a specific type of matrix factorization that adds a convex constrain to obtain a decomposition that can be interpreted as a set of weighted cluster centroids. We show that these centroids capture the different sections of a musical piece (e.g. verse, chorus) in a more consistent and efficient way than classic non-negative matrix factorization. This technique is capable of identifying the boundaries of the sections and then grouping them into different clusters. Additionally, we evaluate this method on two different datasets and show that it is competitive compared to other music segmentation techniques, outperforming other matrix factorization methods.