Using Generic Summarization to Improve Music Information Retrieval Tasks

In order to satisfy processing time constraints, many MIR tasks process only a segment of the whole music signal. This practice may lead to decreasing performance, since the most important information for the tasks may not be in those processed segments. In this paper, we leverage generic summarization algorithms, previously applied to text and speech summarization, to summarize items in music datasets. These algorithms build summaries, that are both concise and diverse, by selecting appropriate segments from the input signal which makes them good candidates to summarize music as well. We evaluate the summarization process on binary and multiclass music genre classification tasks, by comparing the performance obtained using summarized datasets against the performances obtained using continuous segments (which is the traditional method used for addressing the previously mentioned time constraints) and full songs of the same original dataset. We show that GRASSHOPPER, LexRank, LSA, MMR, and a Support Sets-based Centrality model improve classification performance when compared to selected 30-second baselines. We also show that summarized datasets lead to a classification performance whose difference is not statistically significant from using full songs. Furthermore, we make an argument stating the advantages of sharing summarized datasets for future MIR research.Comment: 24 pages, 10 tables; Submitted to IEEE/ACM Transactions on Audio, Speech and Language Processin

Deep Cross-Modal Correlation Learning for Audio and Lyrics in Music Retrieval

Deep cross-modal learning has successfully demonstrated excellent performance in cross-modal multimedia retrieval, with the aim of learning joint representations between different data modalities. Unfortunately, little research focuses on cross-modal correlation learning where temporal structures of different data modalities such as audio and lyrics should be taken into account. Stemming from the characteristic of temporal structures of music in nature, we are motivated to learn the deep sequential correlation between audio and lyrics. In this work, we propose a deep cross-modal correlation learning architecture involving two-branch deep neural networks for audio modality and text modality (lyrics). Data in different modalities are converted to the same canonical space where inter modal canonical correlation analysis is utilized as an objective function to calculate the similarity of temporal structures. This is the first study that uses deep architectures for learning the temporal correlation between audio and lyrics. A pre-trained Doc2Vec model followed by fully-connected layers is used to represent lyrics. Two significant contributions are made in the audio branch, as follows: i) We propose an end-to-end network to learn cross-modal correlation between audio and lyrics, where feature extraction and correlation learning are simultaneously performed and joint representation is learned by considering temporal structures. ii) As for feature extraction, we further represent an audio signal by a short sequence of local summaries (VGG16 features) and apply a recurrent neural network to compute a compact feature that better learns temporal structures of music audio. Experimental results, using audio to retrieve lyrics or using lyrics to retrieve audio, verify the effectiveness of the proposed deep correlation learning architectures in cross-modal music retrieval

On the Application of Generic Summarization Algorithms to Music

Several generic summarization algorithms were developed in the past and successfully applied in fields such as text and speech summarization. In this paper, we review and apply these algorithms to music. To evaluate this summarization's performance, we adopt an extrinsic approach: we compare a Fado Genre Classifier's performance using truncated contiguous clips against the summaries extracted with those algorithms on 2 different datasets. We show that Maximal Marginal Relevance (MMR), LexRank and Latent Semantic Analysis (LSA) all improve classification performance in both datasets used for testing.Comment: 12 pages, 1 table; Submitted to IEEE Signal Processing Letter

Proxemia y espacio dramático en el teatro pastoril del primer Lope de Vega

En el presente trabajo se analiza el modo en el que Lope de Vega se sirve de la proxemia a la hora de (re)crear el espacio dramático en el que transcurren los argumentos de sus primeras comedias pastoriles. El empleo que los actores hacen de las distancias en el escenario, unido a la gestualidad y el sonido (a veces real, a veces referido), evoca en la imaginación del espectador un espacio que, por otra parte, le es familiar, aunque sea conceptualmente, ya que son piezas pertenecientes a un género completamente codificado. Asimismo, el dramaturgo parece combinar estos efectos multisensoriales con el recurso a técnicas pictóricas, empleadas de manera destacada en el paisajismo, para crear una sensación de profundidad y perspectiva escénicas con las que seducir la mente del público. Aunque se prestará atención especial al empleo de estos recursos a la hora de (re)crear los espacios rústicos o naturales, por ser los primordiales, no se olvidarán los civiles o aldeanos, a pesar de que resultan anecdóticos en los argumentos de las obras analizadas.In this paper I analyze the way in which Lope de Vega uses proxemics when (re)creating the dramatic space where he locates the different plots of his early pastoral dramas. The way actors use distances onstage, combined with gestures and sound (sometimes real, others times referred) evokes in the audience's imagination a place that sounds familiar to them, maybe only conceptually, as we are dealing with a totally codified genre. Other than that, the playwright seems to combine these multisensorial effects with the use of pictorial techniques, prominently employed in landscape painting, in order to create a sense of spatial depth and stage perspective to seduce the mind of the audience. Even though I pay special attention to the use of all these resources when (re)creating rustic and natural locations, essential in these plays, civilian and village locations are also mentioned, even though they are incidental in the plots of the plays analyzed

El lindo don Diego, de Agustín Moreto, en la escena decimonónica

La comedia de Agustín Moreto que ha llegado con una mayor vitalidad hasta nuestros días es El lindo don Diego. Buena prueba de ello son los numerosos montajes, tanto profesionales como aficionados, que se le han dedicado en las últimas décadas. Su vigencia queda avalada por el hecho de que grupos privados sin ningún tipo de patrocinio apuesten por ella para comenzar su andadura en producciones ambiciosas de alto coste destinadas al circuito comercial, territorio casi ignoto en la actualidad para nuestro teatro áureo. Este es el caso, por ejemplo, de la compañía Darek Teatro, dirigida por el actor Fernando Conde, que la escogió, adaptada por Rafael Pérez Sierra, para poner en marcha su proyecto recorriendo los escenarios españoles a lo largo de dos años desde su estreno en el Teatro Calderón de Valladolid el 5 de abril de 2005

Diseño y proyección del espacio dramático en "Los amantes" de Andrés Rey de Artieda

This paper deals with the way in which the Valencian playwright Andrés Rey de Artieda designed the different dramatic spaces where the action of his only known play (entitled Los amantes) takes place. Written soon after 1577, it is a play very tied to the dramatic mechanisms of its time, since the literary component of the dramatic text clearly dominates the spectacular one. We are facing here a kind of drama based on the word and very little on the visual effect.Nevertheless, we can find in the text certain features of undeniable modernity, which is the matter that interested me when I decided to study it. My aim will be to demonstrate the dynamism with which the dramatic space changes occur throughout the plot in order to emphasize that Rey de Artieda was already familiarized with some of the innovations that will lead into the Spanish national theater only a few decades later.En el presente trabajo se analiza la manera en la que el dramaturgo valenciano Andrés Rey de Artieda diseñó los diferentes espacios dramáticos por los que transcurre la acción de su única pieza teatral conocida: Los amantes. Compuesta poco después de 1577, se trata de una obra deudora de los parámetros dramatúrgicos de su tiempo, pues el componente literario del texto dramático predomina claramente sobre el espectacular. Estamos ante un tipo de teatro fundamentado en la palabra y muy poco en lo visual.Sin embargo, ya se perciben en el texto ciertos rasgos de innegable modernidad, que es el asunto que me ha interesado a la hora de acercarme a él. Mi objetivo será demostrar el dinamismo con el que se producen los cambios de espacio dramático a lo largo de la trama argumental para subrayar que Rey de Artieda tenía ya asumidas algunas de las innovaciones que desembocarán en el teatro nacional español unas décadas más tarde

Current-driven skyrmion motion along disordered magnetic tracks

The motion of skyrmions along ferromagnetic strips driven by current pulses is theoretically analyzed by means of micromagnetic simulations. Analytical expressions describing the skyrmion dynamics during and after the current pulse are obtained from an extended rigid skyrmion model, and its predictions are compared with full micromagnetic simulations for perfect samples with a remarkable agreement. The dynamics along realistic samples with random disorder is also studied by both models. Our analysis describes the relevant ingredients behind the current-driven skyrmion dynamics, and it is expected to be useful to understand recent and future experimental.Comment: Micromagnetic simulations and analytical expressions describing the dynamics of skyrmions under current-pulses along realistic strip

Metodologías en iniciación a la creación arquitectónica. Encadenamiento docente entre Expresión Gráfica y Proyectos Arquitectónicos

La comunicación pretende exponer las reflexiones metodológicas y organizativas de las experiencias docentes desarrolladas con estudiantes de primer curso de arquitectura de la Escuela Técnica Superior de Arquitectura de Madrid, y de la Escuela Politécnica Superior del Ceu San Pablo, a los que he tenido la oportunidad de impartir docencia en asignaturas de dibujo y con posterioridad de proyectos. Se manifestará la ligazón existente entre una docencia del proyectar vinculada a una docencia del dibujar, y la reflexión del escalonamiento docente necesario para que el aprendizaje sea procesual, en objetivos, metodología y ejercitaciones. Se puede demostrar que aquellos alumnos que han sido ejercitados en competencias y capacidades que con posterioridad son recuperadas para iniciar el siguiente nivel educativo, multiplican sus capacidades de aprendizaje. En la mayoría de los casos, en el inicio de los primeros cursos y niveles de las asignaturas del Área de Proyectos Arquitectónicos se suelen obviar los conocimientos asimilados en las asignaturas del Área de Expresión Gráfica Arquitectónica, lo que implica un desconcierto en el aprendizaje, y una merma de las capacidades previamente adquiridas, concluyendo en un retroceso en la respuesta de los alumnos a las primeras solicitaciones de creación arquitectónica