Perceptions and predictions of expertise in advanced musical learners

The aim of this article was to compare musicians' views on (a) the importance of musical skills and (b) the nature of expertise. Data were obtained from a specially devised web-based questionnaire completed by advanced musicians representing four musical genres (classical, popular, jazz, Scottish traditional) and varying degrees of professional musical experience (tertiary education music students, portfolio career musicians). Comparisons were made across musical genres (classical vs. other-than-classical), gender, age and professional status (student musicians vs. portfolio career musicians). Musicians' 'ideal' versus 'perceived' levels of musical skills and expertise were also compared and factors predicting musicians' self-reported level of skills and expertise were investigated. Findings suggest that the perception of expertise in advanced musical learners is a complex phenomenon that relates to each of four key variables (gender, age, musical genre and professional experience). The study also shows that discrepancies between advanced musicians' ideal and self-assessed levels of musical skills and expertise are closely related to gender and professional experience. Finally, characteristics that predict and account for variability in musicians' views and attitudes regarding musical expertise and self-assessments of personal expertise levels are highlighted. Results are viewed in the context of music learning and implications for music education are discussed

Sequential Complexity as a Descriptor for Musical Similarity

We propose string compressibility as a descriptor of temporal structure in audio, for the purpose of determining musical similarity. Our descriptors are based on computing track-wise compression rates of quantised audio features, using multiple temporal resolutions and quantisation granularities. To verify that our descriptors capture musically relevant information, we incorporate our descriptors into similarity rating prediction and song year prediction tasks. We base our evaluation on a dataset of 15500 track excerpts of Western popular music, for which we obtain 7800 web-sourced pairwise similarity ratings. To assess the agreement among similarity ratings, we perform an evaluation under controlled conditions, obtaining a rank correlation of 0.33 between intersected sets of ratings. Combined with bag-of-features descriptors, we obtain performance gains of 31.1% and 10.9% for similarity rating prediction and song year prediction. For both tasks, analysis of selected descriptors reveals that representing features at multiple time scales benefits prediction accuracy.Comment: 13 pages, 9 figures, 8 tables. Accepted versio

Predicting Audio Advertisement Quality

Online audio advertising is a particular form of advertising used abundantly in online music streaming services. In these platforms, which tend to host tens of thousands of unique audio advertisements (ads), providing high quality ads ensures a better user experience and results in longer user engagement. Therefore, the automatic assessment of these ads is an important step toward audio ads ranking and better audio ads creation. In this paper we propose one way to measure the quality of the audio ads using a proxy metric called Long Click Rate (LCR), which is defined by the amount of time a user engages with the follow-up display ad (that is shown while the audio ad is playing) divided by the impressions. We later focus on predicting the audio ad quality using only acoustic features such as harmony, rhythm, and timbre of the audio, extracted from the raw waveform. We discuss how the characteristics of the sound can be connected to concepts such as the clarity of the audio ad message, its trustworthiness, etc. Finally, we propose a new deep learning model for audio ad quality prediction, which outperforms the other discussed models trained on hand-crafted features. To the best of our knowledge, this is the first large-scale audio ad quality prediction study.Comment: WSDM '18 Proceedings of the Eleventh ACM International Conference on Web Search and Data Mining, 9 page

FMA: A Dataset For Music Analysis

We introduce the Free Music Archive (FMA), an open and easily accessible dataset suitable for evaluating several tasks in MIR, a field concerned with browsing, searching, and organizing large music collections. The community's growing interest in feature and end-to-end learning is however restrained by the limited availability of large audio datasets. The FMA aims to overcome this hurdle by providing 917 GiB and 343 days of Creative Commons-licensed audio from 106,574 tracks from 16,341 artists and 14,854 albums, arranged in a hierarchical taxonomy of 161 genres. It provides full-length and high-quality audio, pre-computed features, together with track- and user-level metadata, tags, and free-form text such as biographies. We here describe the dataset and how it was created, propose a train/validation/test split and three subsets, discuss some suitable MIR tasks, and evaluate some baselines for genre recognition. Code, data, and usage examples are available at https://github.com/mdeff/fmaComment: ISMIR 2017 camera-read

Current Challenges and Visions in Music Recommender Systems Research

Music recommender systems (MRS) have experienced a boom in recent years, thanks to the emergence and success of online streaming services, which nowadays make available almost all music in the world at the user's fingertip. While today's MRS considerably help users to find interesting music in these huge catalogs, MRS research is still facing substantial challenges. In particular when it comes to build, incorporate, and evaluate recommendation strategies that integrate information beyond simple user--item interactions or content-based descriptors, but dig deep into the very essence of listener needs, preferences, and intentions, MRS research becomes a big endeavor and related publications quite sparse. The purpose of this trends and survey article is twofold. We first identify and shed light on what we believe are the most pressing challenges MRS research is facing, from both academic and industry perspectives. We review the state of the art towards solving these challenges and discuss its limitations. Second, we detail possible future directions and visions we contemplate for the further evolution of the field. The article should therefore serve two purposes: giving the interested reader an overview of current challenges in MRS research and providing guidance for young researchers by identifying interesting, yet under-researched, directions in the field

Design and Evaluation of a Probabilistic Music Projection Interface

We describe the design and evaluation of a probabilistic interface for music exploration and casual playlist generation. Predicted subjective features, such as mood and genre, inferred from low-level audio features create a 34- dimensional feature space. We use a nonlinear dimensionality reduction algorithm to create 2D music maps of tracks, and augment these with visualisations of probabilistic mappings of selected features and their uncertainty. We evaluated the system in a longitudinal trial in users’ homes over several weeks. Users said they had fun with the interface and liked the casual nature of the playlist generation. Users preferred to generate playlists from a local neighbourhood of the map, rather than from a trajectory, using neighbourhood selection more than three times more often than path selection. Probabilistic highlighting of subjective features led to more focused exploration in mouse activity logs, and 6 of 8 users said they preferred the probabilistic highlighting mode

A Deep Representation for Invariance And Music Classification

Representations in the auditory cortex might be based on mechanisms similar to the visual ventral stream; modules for building invariance to transformations and multiple layers for compositionality and selectivity. In this paper we propose the use of such computational modules for extracting invariant and discriminative audio representations. Building on a theory of invariance in hierarchical architectures, we propose a novel, mid-level representation for acoustical signals, using the empirical distributions of projections on a set of templates and their transformations. Under the assumption that, by construction, this dictionary of templates is composed from similar classes, and samples the orbit of variance-inducing signal transformations (such as shift and scale), the resulting signature is theoretically guaranteed to be unique, invariant to transformations and stable to deformations. Modules of projection and pooling can then constitute layers of deep networks, for learning composite representations. We present the main theoretical and computational aspects of a framework for unsupervised learning of invariant audio representations, empirically evaluated on music genre classification.Comment: 5 pages, CBMM Memo No. 002, (to appear) IEEE 2014 International Conference on Acoustics, Speech, and Signal Processing (ICASSP 2014