Music, movies and meaning: communication in film-markers' search for pre-existing music, and the implications for music information retrieval

While the use of music to accompany moving images is widespread, the information behaviour, communicative practice and decision making by creative professionals within this area of the music industry is an under-researched area. This investigation discusses the use of music in films and advertising focusing on communication and meaning of the music and introduces a reflexive communication model. The model is discussed in relation to interviews with a sample of music professionals who search for and use music for their work. Key factors in this process include stakeholders, briefs, product knowledge and relevance. Searching by both content and context is important, although the final decision when matching music to picture is partly intuitive and determined by a range of stakeholders

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

Evaluating musical software using conceptual metaphors

An open challenge for interaction designers is to find ways of designing software to enhance the ability of novices to perform tasks that normally require specialized domain expertise. This challenge is particularly demanding in areas such as music analysis, where complex, abstract, domain-specific concepts and notations occur. One promising theoretical foundation for this work involves the identification of conceptual metaphors and image schemas, found by analyzing discourse. This kind of analysis has already been applied, with some success, both to musical concepts and, separately, to user interface design. The present work appears to be the first to combine these hitherto distinct bodies of research, with the aim of devising a general method for improving user interfaces for music. Some areas where this may require extensions to existing method are noted. This paper presents the results of an exploratory evaluation of Harmony Space, a tool for playing, analysing and learning about harmony. The evaluation uses conceptual metaphors and image schemas elicited from the dialogues of experienced musicians discussing the harmonic progressions in a piece of music. Examples of where the user interface supports the conceptual metaphors, and where support could be improved, are discussed. The potential use of audio output to support conceptual metaphors and image schemas is considered

People on Drugs: Credibility of User Statements in Health Communities

Online health communities are a valuable source of information for patients and physicians. However, such user-generated resources are often plagued by inaccuracies and misinformation. In this work we propose a method for automatically establishing the credibility of user-generated medical statements and the trustworthiness of their authors by exploiting linguistic cues and distant supervision from expert sources. To this end we introduce a probabilistic graphical model that jointly learns user trustworthiness, statement credibility, and language objectivity. We apply this methodology to the task of extracting rare or unknown side-effects of medical drugs --- this being one of the problems where large scale non-expert data has the potential to complement expert medical knowledge. We show that our method can reliably extract side-effects and filter out false statements, while identifying trustworthy users that are likely to contribute valuable medical information

Towards the disintermediation of creative music search: Analysing queries to determine important facets

Purpose: Creative professionals search for music to accompany moving images in films, advertising, television. Some larger music rights holders (record companies and music publishers) organise their catalogues to allow online searching. These digital libraries are organised by various subjective musical facets as well as by artist and title metadata. The purpose of this paper is to present an analysis of written queries relating to creative music search, contextualised and discussed within the findings of text analyses of a larger research project whose aim is to investigate meaning making in this search process. Method: A facet analysis of a collection of written music queries is discussed in relation to the organisation of the music in a selection of bespoke search engines. Results: Subjective facets, in particular Mood, are found to be highly important in query formation. Unusually, detailed Music Structural aspects are also key. Conclusions: These findings are discussed in relation to disintermediation of this process. It is suggested that there are barriers to this, both in terms of classification and also commercial / legal factors

Frontal brain asymmetries as effective parameters to assess the quality of audiovisual stimuli perception in adult and young cochlear implant users

How is music perceived by cochlear implant (CI) users? This question arises as "the next step" given the impressive performance obtained by these patients in language perception. Furthermore, how can music perception be evaluated beyond self-report rating, in order to obtain measurable data? To address this question, estimation of the frontal electroencephalographic (EEG) alpha activity imbalance, acquired through a 19-channel EEG cap, appears to be a suitable instrument to measure the approach/withdrawal (AW index) reaction to external stimuli. Specifically, a greater value of AW indicates an increased propensity to stimulus approach, and vice versa a lower one a tendency to withdraw from the stimulus. Additionally, due to prelingually and postlingually deafened pathology acquisition, children and adults, respectively, would probably differ in music perception. The aim of the present study was to investigate children and adult CI users, in unilateral (UCI) and bilateral (BCI) implantation conditions, during three experimental situations of music exposure (normal, distorted and mute). Additionally, a study of functional connectivity patterns within cerebral networks was performed to investigate functioning patterns in different experimental populations. As a general result, congruency among patterns between BCI patients and control (CTRL) subjects was seen, characterised by lowest values for the distorted condition (vs. normal and mute conditions) in the AW index and in the connectivity analysis. Additionally, the normal and distorted conditions were significantly different in CI and CTRL adults, and in CTRL children, but not in CI children. These results suggest a higher capacity of discrimination and approach motivation towards normal music in CTRL and BCI subjects, but not for UCI patients. Therefore, for perception of music CTRL and BCI participants appear more similar than UCI subjects, as estimated by measurable and not self-reported parameters

Conventions and mutual expectations — understanding sources for web genres

Genres can be understood in many different ways. They are often perceived as a primarily sociological construction, or, alternatively, as a stylostatistically observable objective characteristic of texts. The latter view is more common in the research field of information and language technology. These two views can be quite compatible and can inform each other; this present investigation discusses knowledge sources for studying genre variation and change by observing reader and author behaviour rather than performing analyses on the information objects themselves