Audio Content-Based Music Retrieval

The rapidly growing corpus of digital audio material requires novel retrieval strategies for exploring large music collections. Traditional retrieval strategies rely on metadata that describe the actual audio content in words. In the case that such textual descriptions are not available, one requires content-based retrieval strategies which only utilize the raw audio material. In this contribution, we discuss content-based retrieval strategies that follow the query-by-example paradigm: given an audio query, the task is to retrieve all documents that are somehow similar or related to the query from a music collection. Such strategies can be loosely classified according to their "specificity", which refers to the degree of similarity between the query and the database documents. Here, high specificity refers to a strict notion of similarity, whereas low specificity to a rather vague one. Furthermore, we introduce a second classification principle based on "granularity", where one distinguishes between fragment-level and document-level retrieval. Using a classification scheme based on specificity and granularity, we identify various classes of retrieval scenarios, which comprise "audio identification", "audio matching", and "version identification". For these three important classes, we give an overview of representative state-of-the-art approaches, which also illustrate the sometimes subtle but crucial differences between the retrieval scenarios. Finally, we give an outlook on a user-oriented retrieval system, which combines the various retrieval strategies in a unified framework

Signal processing methods for beat tracking, music segmentation, and audio retrieval

The goal of music information retrieval (MIR) is to develop novel strategies and techniques for organizing, exploring, accessing, and understanding music data in an efficient manner. The conversion of waveform-based audio data into semantically meaningful feature representations by the use of digital signal processing techniques is at the center of MIR and constitutes a difficult field of research because of the complexity and diversity of music signals. In this thesis, we introduce novel signal processing methods that allow for extracting musically meaningful information from audio signals. As main strategy, we exploit musical knowledge about the signals\u27 properties to derive feature representations that show a significant degree of robustness against musical variations but still exhibit a high musical expressiveness. We apply this general strategy to three different areas of MIR: Firstly, we introduce novel techniques for extracting tempo and beat information, where we particularly consider challenging music with changing tempo and soft note onsets. Secondly, we present novel algorithms for the automated segmentation and analysis of folk song field recordings, where one has to cope with significant fluctuations in intonation and tempo as well as recording artifacts. Thirdly, we explore a cross-version approach to content-based music retrieval based on the query-by-example paradigm. In all three areas, we focus on application scenarios where strong musical variations make the extraction of musically meaningful information a challenging task.Ziel der automatisierten Musikverarbeitung ist die Entwicklung neuer Strategien und Techniken zur effizienten Organisation großer Musiksammlungen. Ein Schwerpunkt liegt in der Anwendung von Methoden der digitalen Signalverarbeitung zur Umwandlung von Audiosignalen in musikalisch aussagekräftige Merkmalsdarstellungen. Große Herausforderungen bei dieser Aufgabe ergeben sich aus der Komplexität und Vielschichtigkeit der Musiksignale. In dieser Arbeit werden neuartige Methoden vorgestellt, mit deren Hilfe musikalisch interpretierbare Information aus Musiksignalen extrahiert werden kann. Hierbei besteht eine grundlegende Strategie in der konsequenten Ausnutzung musikalischen Vorwissens, um Merkmalsdarstellungen abzuleiten die zum einen ein hohes Maß an Robustheit gegenüber musikalischen Variationen und zum anderen eine hohe musikalische Ausdruckskraft besitzen. Dieses Prinzip wenden wir auf drei verschieden Aufgabenstellungen an: Erstens stellen wir neuartige Ansätze zur Extraktion von Tempo- und Beat-Information aus Audiosignalen vor, die insbesondere auf anspruchsvolle Szenarien mit wechselnden Tempo und weichen Notenanfängen angewendet werden. Zweitens tragen wir mit neuartigen Algorithmen zur Segmentierung und Analyse von Feldaufnahmen von Volksliedern unter Vorliegen großer Intonationsschwankungen bei. Drittens entwickeln wir effiziente Verfahren zur inhaltsbasierten Suche in großen Datenbeständen mit dem Ziel, verschiedene Interpretationen eines Musikstückes zu detektieren. In allen betrachteten Szenarien richten wir unser Augenmerk insbesondere auf die Fälle in denen auf Grund erheblicher musikalischer Variationen die Extraktion musikalisch aussagekräftiger Informationen eine große Herausforderung darstellt

Backing tracks/play-along materials: origins of several currently popular platforms and strategies for their use.

The objective of this research is to discuss if the use of backing tracks/play-along materials can be an effective method for musical development. For this end, I interviewed six influential musicians who answered particular questions in order to have a better understanding about the real-world scenario of the use of backing track materials. Based on their answers, I found that the learning engagement and/or musical development happen when specific strategies while using such materials are made

Avion 2007-06-19

https://commons.erau.edu/avion/2083/thumbnail.jp

Teacher confidence to facilitate children's musical learning and development in the Reception Year at school

The Reception year occupies a unique position in the English education continua, straddling two contrasting curricula approaches towards teaching and learning. This study sought to address the lack of research into music pedagogy and practice for this particular cohort. Responding to concerns of a reported decreasing visibility of music in the curriculum, this thesis explored teacher confidence in respect of musical learning and development of the children in the Reception class. Grounded in a circular theoretical framework, developed from the principles of hermeneutic philosophy, this small-scale mixed methods study adopted an explanatory sequential research design. Thus, questionnaire survey data served to provide a broad contextual frame in which to situate a more in-depth study proffered by participant interviews. A quasi-purposive sampling of a particular population of Reception teachers in the East of England provided the questionnaire respondents (n=39), whilst the interview participants (n=8) emerged as a `nested` subset in this mixed methods study. Findings evidence that some teachers are struggling to incorporate regular opportunities for music teaching and learning in the Reception curricula, due to: (1) internal as well as external constraints and challenges; (2) a bias toward the functional uses of music for extrinsic purposes - such as a vehicle to scaffold other learning - rather than for any intrinsic value; (3) a disconnect between strong personal and comparatively weak professional musical identities as expressed by most of the participants; (4) a reported lack of teacher confidence to develop children's musical learning within the EYFS framework due to poor levels of skills, knowledge and understanding with regard to musical pedagogical practices. These findings emerge at an opportune time to help inform policy and practice, as research in early childhood music education becomes more prevalent, further to the recent changes to the Ofsted framework (2019), as well as the forthcoming publication of the revised National Plan for Music Education (2020)

Can Music Increase Empathy? Interpreting Musical Experience Through the Empathizing–Systemizing (E-S) Theory: Implications for Autism

Recent research has provided evidence that musical interaction can promote empathy. Yet little is known about the underlying intrapersonal and social psychological processes that are involved when this occurs. For example, which types of music increase empathy and which types decrease it; what role, if any, does empathy play in determining individual differences in musical preference, perception, and performance; or, how do these psychological underpinnings help explain the musical experiences of people with autism spectrum conditions (ASC). To address these questions we employ the Empathizing–Systemizing (E-S) theory as a fruitful framework in which to understand these music-related phenomena. Specifically, we explore how individual differences in musical preference, perception, and performance can be explained by E-S theory. We provide examples from open-ended descriptions of strong musical experiences to demonstrate the ways in which empathy and music inter-relate. Importantly, we discuss the implications for the study of autism, and for how music therapists and clinicians can use music as a tool in their work with individuals diagnosed with ASC.

Interpersonal motor interactions shape multisensory representations of the peripersonal space

This perspective review focuses on the proposal that predictive multisensory integration occurring in one’s peripersonal space (PPS) supports individuals’ ability to efficiently interact with others, and that integrating sensorimotor signals from the interacting partners leads to the emergence of a shared representation of the PPS. To support this proposal, we first introduce the features of body and PPS representations that are relevant for interpersonal motor interactions. Then, we highlight the role of action planning and execution on the dynamic expansion of the PPS. We continue by presenting evidence of PPS modulations after tool use and review studies suggesting that PPS expansions may be accounted for by Bayesian sensory filtering through predictive coding. In the central section, we describe how this conceptual framework can be used to explain the mechanisms through which the PPS may be modulated by the actions of our interaction partner, in order to facilitate interpersonal coordination. Last, we discuss how this proposal may support recent evidence concerning PPS rigidity in Autism Spectrum Disorder (ASD) and its possible relationship with ASD individuals’ difficulties during interpersonal coordination. Future studies will need to clarify the mechanisms and neural underpinning of these dynamic, interpersonal modulations of the PPS

Creating music by listening

Thesis (Ph. D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2005.Includes bibliographical references (p. 127-139).Machines have the power and potential to make expressive music on their own. This thesis aims to computationally model the process of creating music using experience from listening to examples. Our unbiased signal-based solution models the life cycle of listening, composing, and performing, turning the machine into an active musician, instead of simply an instrument. We accomplish this through an analysis-synthesis technique by combined perceptual and structural modeling of the musical surface, which leads to a minimal data representation. We introduce a music cognition framework that results from the interaction of psychoacoustically grounded causal listening, a time-lag embedded feature representation, and perceptual similarity clustering. Our bottom-up analysis intends to be generic and uniform by recursively revealing metrical hierarchies and structures of pitch, rhythm, and timbre. Training is suggested for top-down un-biased supervision, and is demonstrated with the prediction of downbeat. This musical intelligence enables a range of original manipulations including song alignment, music restoration, cross-synthesis or song morphing, and ultimately the synthesis of original pieces.by Tristan Jehan.Ph.D