Retrieval and Annotation of Music Using Latent Semantic Models

PhDThis thesis investigates the use of latent semantic models for annotation and retrieval from collections of musical audio tracks. In particular latent semantic analysis (LSA) and aspect models (or probabilistic latent semantic analysis, pLSA) are used to index words in descriptions of music drawn from hundreds of thousands of social tags. A new discrete audio feature representation is introduced to encode musical characteristics of automatically-identified regions of interest within each track, using a vocabulary of audio muswords. Finally a joint aspect model is developed that can learn from both tagged and untagged tracks by indexing both conventional words and muswords. This model is used as the basis of a music search system that supports query by example and by keyword, and of a simple probabilistic machine annotation system. The models are evaluated by their performance in a variety of realistic retrieval and annotation tasks, motivated by applications including playlist generation, internet radio streaming, music recommendation and catalogue searchEngineering and Physical Sciences Research Counci

Statistical distribution of common audio features : encounters in a heavy-tailed universe

In the last few years some Music Information Retrieval (MIR) researchers have spotted important drawbacks in applying standard successful-in-monophonic algorithms to polyphonic music classification and similarity assessment. Noticeably, these so called “Bag-of-Frames” (BoF) algorithms share a common set of assumptions. These assumptions are substantiated in the belief that the numerical descriptions extracted from short-time audio excerpts (or frames) are enough to capture relevant information for the task at hand, that these frame-based audio descriptors are time independent, and that descriptor frames are well described by Gaussian statistics. Thus, if we want to improve current BoF algorithms we could: i) improve current audio descriptors, ii) include temporal information within algorithms working with polyphonic music, and iii) study and characterize the real statistical properties of these frame-based audio descriptors. From a literature review, we have detected that many works focus on the first two improvements, but surprisingly, there is a lack of research in the third one. Therefore, in this thesis we analyze and characterize the statistical distribution of common audio descriptors of timbre, tonal and loudness information. Contrary to what is usually assumed, our work shows that the studied descriptors are heavy-tailed distributed and thus, they do not belong to a Gaussian universe. This new knowledge led us to propose new algorithms that show improvements over the BoF approach in current MIR tasks such as genre classification, instrument detection, and automatic tagging of music. Furthermore, we also address new MIR tasks such as measuring the temporal evolution of Western popular music. Finally, we highlight some promising paths for future audio-content MIR research that will inhabit a heavy-tailed universe.En el campo de la extracción de información musical o Music Information Retrieval (MIR), los algoritmos llamados Bag-of-Frames (BoF) han sido aplicados con éxito en la clasificación y evaluación de similitud de señales de audio monofónicas. Por otra parte, investigaciones recientes han señalado problemas importantes a la hora de aplicar dichos algoritmos a señales de música polifónica. Estos algoritmos suponen que las descripciones numéricas extraídas de los fragmentos de audio de corta duración (o frames ) son capaces de capturar la información necesaria para la realización de las tareas planteadas, que el orden temporal de estos fragmentos de audio es irrelevante y que las descripciones extraídas de los segmentos de audio pueden ser correctamente descritas usando estadísticas Gaussianas. Por lo tanto, si se pretende mejorar los algoritmos BoF actuales se podría intentar: i) mejorar los descriptores de audio, ii) incluir información temporal en los algoritmos que trabajan con música polifónica y iii) estudiar y caracterizar las propiedades estadísticas reales de los descriptores de audio. La bibliografía actual sobre el tema refleja la existencia de un número considerable de trabajos centrados en las dos primeras opciones de mejora, pero sorprendentemente, hay una carencia de trabajos de investigación focalizados en la tercera opción. Por lo tanto, esta tesis se centra en el análisis y caracterización de la distribución estadística de descriptores de audio comúnmente utilizados para representar información tímbrica, tonal y de volumen. Al contrario de lo que se asume habitualmente, nuestro trabajo muestra que los descriptores de audio estudiados se distribuyen de acuerdo a una distribución de “cola pesada” y por lo tanto no pertenecen a un universo Gaussiano. Este descubrimiento nos permite proponer nuevos algoritmos que evidencian mejoras importantes sobre los algoritmos BoF actualmente utilizados en diversas tareas de MIR tales como clasificación de género, detección de instrumentos musicales y etiquetado automático de música. También nos permite proponer nuevas tareas tales como la medición de la evolución temporal de la música popular occidental. Finalmente, presentamos algunas prometedoras líneas de investigación para tareas de MIR ubicadas, a partir de ahora, en un universo de “cola pesada”.En l’àmbit de la extracció de la informació musical o Music Information Retrieval (MIR), els algorismes anomenats Bag-of-Frames (BoF) han estat aplicats amb èxit en la classificació i avaluació de similitud entre senyals monofòniques. D’altra banda, investigacions recents han assenyalat importants inconvenients a l’hora d’aplicar aquests mateixos algorismes en senyals de música polifònica. Aquests algorismes BoF suposen que les descripcions numèriques extretes dels fragments d’àudio de curta durada (frames) son suficients per capturar la informació rellevant per als algorismes, que els descriptors basats en els fragments son independents del temps i que l’estadística Gaussiana descriu correctament aquests descriptors. Per a millorar els algorismes BoF actuals doncs, es poden i) millorar els descriptors, ii) incorporar informació temporal dins els algorismes que treballen amb música polifònica i iii) estudiar i caracteritzar les propietats estadístiques reals d’aquests descriptors basats en fragments d’àudio. Sorprenentment, de la revisió bibliogràfica es desprèn que la majoria d’investigacions s’han centrat en els dos primers punts de millora mentre que hi ha una mancança quant a la recerca en l’àmbit del tercer punt. És per això que en aquesta tesi, s’analitza i caracteritza la distribució estadística dels descriptors més comuns de timbre, to i volum. El nostre treball mostra que contràriament al què s’assumeix, els descriptors no pertanyen a l’univers Gaussià sinó que es distribueixen segons una distribució de “cua pesada”. Aquest descobriment ens permet proposar nous algorismes que evidencien millores importants sobre els algorismes BoF utilitzats actualment en diferents tasques com la classificació del gènere, la detecció d’instruments musicals i l’etiquetatge automàtic de música. Ens permet també proposar noves tasques com la mesura de l’evolució temporal de la música popular occidental. Finalment, presentem algunes prometedores línies d’investigació per a tasques de MIR ubicades a partir d’ara en un univers de “cua pesada”

Music Artist Classification with WaveNet Classifier for Raw Waveform Audio Data

Models for music artist classification usually were operated in the frequency domain, in which the input audio samples are processed by the spectral transformation. The WaveNet architecture, originally designed for speech and music generation. In this paper, we propose an end-to-end architecture in the time domain for this task. A WaveNet classifier was introduced which directly models the features from a raw audio waveform. The WaveNet takes the waveform as the input and several downsampling layers are subsequent to discriminate which artist the input belongs to. In addition, the proposed method is applied to singer identification. The model achieving the best performance obtains an average F1 score of 0.854 on benchmark dataset of Artist20, which is a significant improvement over the related works. In order to show the effectiveness of feature learning of the proposed method, the bottleneck layer of the model is visualized.Comment: 12 page

DJ-MC: A Reinforcement-Learning Agent for Music Playlist Recommendation

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.Comment: -Updated to the most recent and completed version (to be presented at AAMAS 2015) -Updated author list. in Autonomous Agents and Multiagent Systems (AAMAS) 2015, Istanbul, Turkey, May 201

Automatic music genre classification

A dissertation submitted to the Faculty of Science, University of the Witwatersrand, in fulfillment of the requirements for the degree of Master of Science. 2014.No abstract provided

Feature Extraction for Music Information Retrieval

Copyright c © 2009 Jesper Højvang Jensen, except where otherwise stated

From raw audio to a seamless mix : creating an automated DJ system for drum and bass

We present the open-source implementation of the first fully automatic and comprehensive DJ system, able to generate seamless music mixes using songs from a given library much like a human DJ does. The proposed system is built on top of several enhanced music information retrieval (MIR) techniques, such as for beat tracking, downbeat tracking, and structural segmentation, to obtain an understanding of the musical structure. Leveraging the understanding of the music tracks offered by these state-of-the-art MIR techniques, the proposed system surpasses existing automatic DJ systems both in accuracy and completeness. To the best of our knowledge, it is the first fully integrated solution that takes all basic Wing best practices into account, from beat and downbeat matching to identification of suitable cue points, determining a suitable cross-fade profile and compiling an interesting playlist that trades off innovation with continuity. To make this possible, we focused on one specific sub-genre of electronic dance music, namely Drum and Bass. This allowed us to exploit genre-specific properties, resulting in a more robust performance and tailored mixing behavior. Evaluation on a corpus of 160 Drum and Bass songs and an additional hold-out set of 220 songs shows that the used MIR algorithms can annotate 91% of the songs with fully correct annotations (tempo, beats, downbeats, and structure for cue points). On these songs, the proposed song selection process and the implemented Wing techniques enable the system to generate mixes of high quality, as confirmed by a subjective user test in which 18 Drum and Bass fans participated