Learning Contextualized Music Semantics from Tags via a Siamese Network

Music information retrieval faces a challenge in modeling contextualized musical concepts formulated by a set of co-occurring tags. In this paper, we investigate the suitability of our recently proposed approach based on a Siamese neural network in fighting off this challenge. By means of tag features and probabilistic topic models, the network captures contextualized semantics from tags via unsupervised learning. This leads to a distributed semantics space and a potential solution to the out of vocabulary problem which has yet to be sufficiently addressed. We explore the nature of the resultant music-based semantics and address computational needs. We conduct experiments on three public music tag collections -namely, CAL500, MagTag5K and Million Song Dataset- and compare our approach to a number of state-of-the-art semantics learning approaches. Comparative results suggest that this approach outperforms previous approaches in terms of semantic priming and music tag completion.Comment: 20 pages. To appear in ACM TIST: Intelligent Music Systems and Application

Effective Music Tagging through Advanced Statistical Modeling

10.1145/1835449.1835555SIGIR 2010 Proceedings - 33rd Annual International ACM SIGIR Conference on Research and Development in Information Retrieval635-64

Learning Contextualized Semantics from Co-occurring Terms via a Siamese Architecture

One of the biggest challenges in Multimedia information retrieval and understanding is to bridge the semantic gap by properly modeling concept semantics in context. The presence of out of vocabulary (OOV) concepts exacerbates this difficulty. To address the semantic gap issues, we formulate a problem on learning contextualized semantics from descriptive terms and propose a novel Siamese architecture to model the contextualized semantics from descriptive terms. By means of pattern aggregation and probabilistic topic models, our Siamese architecture captures contextualized semantics from the co-occurring descriptive terms via unsupervised learning, which leads to a concept embedding space of the terms in context. Furthermore, the co-occurring OOV concepts can be easily represented in the learnt concept embedding space. The main properties of the concept embedding space are demonstrated via visualization. Using various settings in semantic priming, we have carried out a thorough evaluation by comparing our approach to a number of state-of-the-art methods on six annotation corpora in different domains, i.e., MagTag5K, CAL500 and Million Song Dataset in the music domain as well as Corel5K, LabelMe and SUNDatabase in the image domain. Experimental results on semantic priming suggest that our approach outperforms those state-of-the-art methods considerably in various aspects

Integrating content and semantic representations for music recommendation.

Music recommender systems are used by millions of people every day to discover new and exciting music. Central to making recommendations is the representation of each track, which may be used to calculate similarity. Content representations capture the musical and texture facets of each track, and semantic representations describe social and cultural information provided by listeners. This thesis is motivated by an analysis of the strengths and weaknesses of both content and semantic representations. Content representations can be available for all tracks in a collection, but provide poor recommendation quality. Semantic representations suffer from the cold-start problem and are not available for all tracks, but provide good recommendation quality when a strong representation is available. These observations highlight the need to integrate both content and semantic representations, and use the strengths of each to improve music recommendation quality and discovery. A bridge of the gap between content and semantic representations is achieved in this thesis through hybrid representation. Content texture representations are examined, and a new music-inspired texture representation is defined. This content is integrated with semantic tags directly, and through a mid-level pseudo-tag representation. The effect of these approaches is to increase the high quality discovery of tracks, and to allow users to uncover interesting novel recommendations. The challenge of evaluating music recommendations when many tracks are undertagged is addressed. Implicit and explicit feedback provided by users is exploited to define a new ground truth similarity measure, which accurately reflects how different recommendation methods perform. A user study is conducted to evaluate both this measure, and the performance of integrated representations for recommending strong novel recommendations

Modeling Concept Dynamics for Large Scale Music Search

10.1145/2348283.2348346SIGIR'12 - Proceedings of the International ACM SIGIR Conference on Research and Development in Information Retrieval455-46

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”