EMIR: A novel emotion-based music retrieval system

Music is inherently expressive of emotion meaning and affects the mood of people. In this paper, we present a novel EMIR (Emotional Music Information Retrieval) System that uses latent emotion elements both in music and non-descriptive queries (NDQs) to detect implicit emotional association between users and music to enhance Music Information Retrieval (MIR). We try to understand the latent emotional intent of queries via machine learning for emotion classification and compare the performance of emotion detection approaches on different feature sets. For this purpose, we extract music emotion features from lyrics and social tags crawled from the Internet, label some for training and model them in high-dimensional emotion space and recognize latent emotion of users by query emotion analysis. The similarity between queries and music is computed by verified BM25 model

Information-theoretic measures of music listening behaviour

We present an information-theoretic approach to the mea- surement of users’ music listening behaviour and selection of music features. Existing ethnographic studies of mu- sic use have guided the design of music retrieval systems however are typically qualitative and exploratory in nature. We introduce the SPUD dataset, comprising 10, 000 hand- made playlists, with user and audio stream metadata. With this, we illustrate the use of entropy for analysing music listening behaviour, e.g. identifying when a user changed music retrieval system. We then develop an approach to identifying music features that reflect users’ criteria for playlist curation, rejecting features that are independent of user behaviour. The dataset and the code used to produce it are made available. The techniques described support a quantitative yet user-centred approach to the evaluation of music features and retrieval systems, without assuming objective ground truth labels

Information-theoretic measures of music listening behaviour

We present an information-theoretic approach to the mea- surement of users’ music listening behaviour and selection of music features. Existing ethnographic studies of mu- sic use have guided the design of music retrieval systems however are typically qualitative and exploratory in nature. We introduce the SPUD dataset, comprising 10, 000 hand- made playlists, with user and audio stream metadata. With this, we illustrate the use of entropy for analysing music listening behaviour, e.g. identifying when a user changed music retrieval system. We then develop an approach to identifying music features that reflect users’ criteria for playlist curation, rejecting features that are independent of user behaviour. The dataset and the code used to produce it are made available. The techniques described support a quantitative yet user-centred approach to the evaluation of music features and retrieval systems, without assuming objective ground truth labels

Music information retrieval: conceptuel framework, annotation and user behaviour

Understanding music is a process both based on and influenced by the knowledge and experience of the listener. Although content-based music retrieval has been given increasing attention in recent years, much of the research still focuses on bottom-up retrieval techniques. In order to make a music information retrieval system appealing and useful to the user, more effort should be spent on constructing systems that both operate directly on the encoding of the physical energy of music and are flexible with respect to users’ experiences. This thesis is based on a user-centred approach, taking into account the mutual relationship between music as an acoustic phenomenon and as an expressive phenomenon. The issues it addresses are: the lack of a conceptual framework, the shortage of annotated musical audio databases, the lack of understanding of the behaviour of system users and shortage of user-dependent knowledge with respect to high-level features of music. In the theoretical part of this thesis, a conceptual framework for content-based music information retrieval is defined. The proposed conceptual framework - the first of its kind - is conceived as a coordinating structure between the automatic description of low-level music content, and the description of high-level content by the system users. A general framework for the manual annotation of musical audio is outlined as well. A new methodology for the manual annotation of musical audio is introduced and tested in case studies. The results from these studies show that manually annotated music files can be of great help in the development of accurate analysis tools for music information retrieval. Empirical investigation is the foundation on which the aforementioned theoretical framework is built. Two elaborate studies involving different experimental issues are presented. In the first study, elements of signification related to spontaneous user behaviour are clarified. In the second study, a global profile of music information retrieval system users is given and their description of high-level content is discussed. This study has uncovered relationships between the users’ demographical background and their perception of expressive and structural features of music. Such a multi-level approach is exceptional as it included a large sample of the population of real users of interactive music systems. Tests have shown that the findings of this study are representative of the targeted population. Finally, the multi-purpose material provided by the theoretical background and the results from empirical investigations are put into practice in three music information retrieval applications: a prototype of a user interface based on a taxonomy, an annotated database of experimental findings and a prototype semantic user recommender system. Results are presented and discussed for all methods used. They show that, if reliably generated, the use of knowledge on users can significantly improve the quality of music content analysis. This thesis demonstrates that an informed knowledge of human approaches to music information retrieval provides valuable insights, which may be of particular assistance in the development of user-friendly, content-based access to digital music collections

Music Retrieval System Using Query-by-Humming

Music Information Retrieval (MIR) is a particular research area of great interest because there are various strategies to retrieve music. To retrieve music, it is important to find a similarity between the input query and the matching music. Several solutions have been proposed that are currently being used in the application domain(s) such as Query- by-Example (QBE) which takes a sample of an audio recording playing in the background and retrieves the result. However, there is no efficient approach to solve this problem in a Query-by-Humming (QBH) application. In a Query-by-Humming application, the aim is to retrieve music that is most similar to the hummed query in an efficient manner. In this paper, I shall discuss the different music information retrieval techniques and their system architectures. Moreover, I will discuss the Query-by-Humming approach and its various techniques that allow for a novel method for music retrieval. Lastly, we conclude that the proposed system was effective combined with the MIDI dataset and custom hummed queries that were recorded from a sample of people. Although, the MRR was measured at 0.82 – 0.90 for only 100 songs in the database, the retrieval time was very high. Therefore, improving the retrieval time and Deep Learning approaches are suggested for future work

Upbeat and quirky with a bit of a build: Interpretive repertories in creative music search

Pre-existing commercial music is widely used to accom-pany moving images in films, TV commercials and com-puter games. This process is known as music synchronisa-tion. Professionals are employed by rights holders and film makers to perform creative music searches on large catalogues to find appropriate pieces of music for syn-chronisation. This paper discusses a Discourse Analysis of thirty interview texts related to the process. Coded ex-amples are presented and discussed. Four interpretive repertoires are identified: the Musical Repertoire, the Soundtrack Repertoire, the Business Repertoire and the Cultural Repertoire. These ways of talking about music are adopted by all of the community regardless of their interest as Music Owner or Music User. Music is shown to have multi-variate and sometimes conflicting meanings within this community which are dynamic and negotiated. This is related to a theoretical feedback model of communication and meaning making which proposes that Owners and Users employ their own and shared ways of talking and thinking about music and its context to determine musical meaning. The value to the music information retrieval community is to inform system design from a user information needs perspective

Music Similarity Estimation

Music is a complicated form of communication, where creators and culture communicate and expose their individuality. After music digitalization took place, recommendation systems and other online services have become indispensable in the field of Music Information Retrieval (MIR). To build these systems and recommend the right choice of song to the user, classification of songs is required. In this paper, we propose an approach for finding similarity between music based on mid-level attributes like pitch, midi value corresponding to pitch, interval, contour and duration and applying text based classification techniques. Our system predicts jazz, metal and ragtime for western music. The experiment to predict the genre of music is conducted based on 450 music files and maximum accuracy achieved is 95.8% across different n-grams. We have also analyzed the Indian classical Carnatic music and are classifying them based on its raga. Our system predicts Sankarabharam, Mohanam and Sindhubhairavi ragas. The experiment to predict the raga of the song is conducted based on 95 music files and the maximum accuracy achieved is 90.3% across different n-grams. Performance evaluation is done by using the accuracy score of scikit-learn