Continuous dimensional emotion tracking in music

The size of easily-accessible libraries of digital music recordings is growing every day, and people need new and more intuitive ways of managing them, searching through them and discovering new music. Musical emotion is a method of classification that people use without thinking and it therefore could be used for enriching music libraries to make them more user-friendly, evaluating new pieces or even for discovering meaningful features for automatic composition. The field of Emotion in Music is not new: there has been a lot of work done in musicology, psychology, and other fields. However, automatic emotion prediction in music is still at its infancy and often lacks that transfer of knowledge from the other fields surrounding it. This dissertation explores automatic continuous dimensional emotion prediction in music and shows how various findings from other areas of Emotion and Music and Affective Computing can be translated and used for this task. There are four main contributions. Firstly, I describe a study that I conducted which focused on evaluation metrics used to present the results of continuous emotion prediction. So far, the field lacks consensus on which metrics to use, making the comparison of different approaches near impossible. In this study, I investigated people’s intuitively preferred evaluation metric, and, on the basis of the results, suggested some guidelines for the analysis of the results of continuous emotion recognition algorithms. I discovered that root-mean-squared error (RMSE) is significantly preferable to the other metrics explored for the one dimensional case, and it has similar preference ratings to correlation coefficient in the two dimensional case. Secondly, I investigated how various findings from the field of Emotion in Music can be used when building feature vectors for machine learning solutions to the problem. I suggest some novel feature vector representation techniques, testing them on several datasets and several machine learning models, showing the advantage they can bring. Some of the suggested feature representations can reduce RMSE by up to 19% when compared to the standard feature representation, and up to 10-fold improvement for non-squared correlation coefficient. Thirdly, I describe Continuous Conditional Random Fields and Continuous Conditional Neural Fields (CCNF) and introduce their use for the problem of continuous dimensional emotion recognition in music, comparing them with Support Vector Regression. These two models incorporate some of the temporal information that the standard bag-of-frames approaches lack, and are therefore capable of improving the results. CCNF can reduce RMSE by up to 20% when compared to Support Vector Regression, and can increase squared correlation for the valence axis by up to 40%. Finally, I describe a novel multi-modal approach to continuous dimensional music emotion recognition. The field so far has focused solely on acoustic analysis of songs, while in this dissertation I show how the separation of vocals and music and the analysis of lyrics can be used to improve the performance of such systems. The separation of music and vocals can improve the results by up to 10% with a stronger impact on arousal, when compared to a system that uses only acoustic analysis of the whole signal, and the addition of the analysis of lyrics can provide a similar improvement to the results of the valence model

Musemo: Express Musical Emotion Based on Neural Network

Department of Urban and Environmental Engineering (Convergence of Science and Arts)Music elicits emotional responses, which enable people to empathize with the emotional states induced by music, experience changes in their current feelings, receive comfort, and relieve stress (Juslin & Laukka, 2004). Music emotion recognition (MER) is a field of research that extracts emotions from music through various systems and methods. Interest in this field is increasing as researchers try to use it for psychiatric purposes. In order to extract emotions from music, MER requires music and emotion labels for each music. Many MER studies use emotion labels created by non-music-specific psychologists such as Russell???s circumplex model of affects (Russell, 1980) and Ekman???s six basic emotions (Ekman, 1999). However, Zentner, Grandjean, and Scherer suggest that emotions commonly used in music are subdivided into specific areas, rather than spread across the entire spectrum of emotions (Zentner, Grandjean, & Scherer, 2008). Thus, existing MER studies have difficulties with the emotion labels that are not widely agreed through musicians and listeners. This study proposes a musical emotion recognition model ???Musemo??? that follows the Geneva emotion music scale proposed by music psychologists based on a convolution neural network. We evaluate the accuracy of the model by varying the length of music samples used as input of Musemo and achieved RMSE (root mean squared error) performance of up to 14.91%. Also, we examine the correlation among emotion labels by reducing the Musemo???s emotion output vector to two dimensions through principal component analysis. Consequently, we can get results that are similar to the study that Vuoskoski and Eerola analyzed for the Geneva emotion music scale (Vuoskoski & Eerola, 2011). We hope that this study could be expanded to inform treatments to comfort those in need of psychological empathy in modern society.clos

Fusion of Learned Multi-Modal Representations and Dense Trajectories for Emotional Analysis in Videos

When designing a video affective content analysis algorithm, one of the most important steps is the selection of discriminative features for the effective representation of video segments. The majority of existing affective content analysis methods either use low-level audio-visual features or generate handcrafted higher level representations based on these low-level features. We propose in this work to use deep learning methods, in particular convolutional neural networks (CNNs), in order to automatically learn and extract mid-level representations from raw data. To this end, we exploit the audio and visual modality of videos by employing Mel-Frequency Cepstral Coefficients (MFCC) and color values in the HSV color space. We also incorporate dense trajectory based motion features in order to further enhance the performance of the analysis. By means of multi-class support vector machines (SVMs) and fusion mechanisms, music video clips are classified into one of four affective categories representing the four quadrants of the Valence-Arousal (VA) space. Results obtained on a subset of the DEAP dataset show (1) that higher level representations perform better than low-level features, and (2) that incorporating motion information leads to a notable performance gain, independently from the chosen representation

Stacked Convolutional and Recurrent Neural Networks for Music Emotion Recognition

This paper studies the emotion recognition from musical tracks in the 2-dimensional valence-arousal (V-A) emotional space. We propose a method based on convolutional (CNN) and recurrent neural networks (RNN), having significantly fewer parameters compared with the state-of-the-art method for the same task. We utilize one CNN layer followed by two branches of RNNs trained separately for arousal and valence. The method was evaluated using the 'MediaEval2015 emotion in music' dataset. We achieved an RMSE of 0.202 for arousal and 0.268 for valence, which is the best result reported on this dataset.Comment: Accepted for Sound and Music Computing (SMC 2017

Affective Music Information Retrieval

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 \emph{acoustic emotion Gaussians} (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.Comment: 40 pages, 18 figures, 5 tables, author versio

BigEAR: Inferring the Ambient and Emotional Correlates from Smartphone-based Acoustic Big Data

This paper presents a novel BigEAR big data framework that employs psychological audio processing chain (PAPC) to process smartphone-based acoustic big data collected when the user performs social conversations in naturalistic scenarios. The overarching goal of BigEAR is to identify moods of the wearer from various activities such as laughing, singing, crying, arguing, and sighing. These annotations are based on ground truth relevant for psychologists who intend to monitor/infer the social context of individuals coping with breast cancer. We pursued a case study on couples coping with breast cancer to know how the conversations affect emotional and social well being. In the state-of-the-art methods, psychologists and their team have to hear the audio recordings for making these inferences by subjective evaluations that not only are time-consuming and costly, but also demand manual data coding for thousands of audio files. The BigEAR framework automates the audio analysis. We computed the accuracy of BigEAR with respect to the ground truth obtained from a human rater. Our approach yielded overall average accuracy of 88.76% on real-world data from couples coping with breast cancer.Comment: 6 pages, 10 equations, 1 Table, 5 Figures, IEEE International Workshop on Big Data Analytics for Smart and Connected Health 2016, June 27, 2016, Washington DC, US