Anna Aljanaki

Yan-Martin Tamm, Anna Aljanaki

Over the years, Music Information Retrieval (MIR) research community has released various models pretrained on large amounts of music data. Transfer learning showcases the proven effectiveness of pretrained backend models for a broad spectrum of downstream tasks, including auto-tagging and genre classification. However, MIR papers generally do not explore the efficiency of pretrained models for Music Recommender Systems (MRS). In addition, the Recommender Systems community tends to favour traditional end-to-end neural network training. Our research addresses this gap and evaluates the performance of nine pretrained backend models (MusicFM, Music2Vec, MERT, EncodecMAE, Jukebox, MusiCNN, MULE, MuQ and MuQ-MuLan) in the context of MRS. We assess them using five recommendation approaches: K-Nearest Neighbours (KNN), Shallow Neural Network, Contrastive Multi-Modal projection, a Hybrid model, and BERT4Rec both for the hot and cold-start scenarios. Our findings suggest that pretrained audio representations exhibit significant performance disparity between traditional MIR tasks and both hot and cold music recommendations, indicating that valuable aspects of musical information captured by backend models may differ depending on the task. This study establishes a foundation for further exploration of pretrained audio representations to enhance music recommendation systems.

Yan-Martin Tamm, Gregor Meehan, Vojtěch Nekl et al.

The item cold-start problem poses a fundamental challenge for music recommendation: newly added tracks lack the interaction history that collaborative filtering (CF) requires. Existing approaches often address this problem by learning mappings from content features such as audio, text, and metadata to the CF latent space. However, previous works either omit artist information or treat it as just another input modality, missing the fundamental hierarchy of artists and items. Since most new tracks come from artists with previous history available, we frame cold-start track recommendation as 'semi-cold' by leveraging the rich collaborative signal that exists at the artist level. We show that artist-aware methods can more than double Recall and NDCG compared to content-only baselines, and propose ACARec, an attention-based architecture that generates CF embeddings for new tracks by attending over the artist's existing catalog. We show that our approach has notable advantages in predicting user preferences for new tracks, especially for new artist discovery and more accurate estimation of cold item popularity.

Carlos Cancino-Chacón, Silvan Peter, Shreyan Chowdhury et al.

A piece of music can be expressively performed, or interpreted, in a variety of ways. With the help of an online questionnaire, the Con Espressione Game, we collected some 1,500 descriptions of expressive character relating to 45 performances of 9 excerpts from classical piano pieces, played by different famous pianists. More specifically, listeners were asked to describe, using freely chosen words (preferably: adjectives), how they perceive the expressive character of the different performances. In this paper, we offer a first account of this new data resource for expressive performance research, and provide an exploratory analysis, addressing three main questions: (1) how similarly do different listeners describe a performance of a piece? (2) what are the main dimensions (or axes) for expressive character emerging from this?; and (3) how do measurable parameters of a performance (e.g., tempo, dynamics) and mid- and high-level features that can be predicted by machine learning models (e.g., articulation, arousal) relate to these expressive dimensions? The dataset that we publish along with this paper was enriched by adding hand-corrected score-to-performance alignments, as well as descriptive audio features such as tempo and dynamics curves.

Eric P. Nichols, Stefano Kalonaris, Gianluca Micchi et al.

We propose a system for contrapuntal music generation based on a Neural Machine Translation (NMT) paradigm. We consider Baroque counterpoint and are interested in modeling the interaction between any two given parts as a mapping between a given source material and an appropriate target material. Like in translation, the former imposes some constraints on the latter, but doesn't define it completely. We collate and edit a bespoke dataset of Baroque pieces, use it to train an attention-based neural network model, and evaluate the generated output via BLEU score and musicological analysis. We show that our model is able to respond with some idiomatic trademarks, such as imitation and appropriate rhythmic offset, although it falls short of having learned stylistically correct contrapuntal motion (e.g., avoidance of parallel fifths) or stricter imitative rules, such as canon.

Anna Aljanaki, Gerhard Widmer

For the tasks of automatic music emotion recognition, genre recognition, music recommendation it is helpful to be able to extract mode from any section of a musical piece as a perceived amount of major or minor mode (majorness) inside that section, perceived as a whole (one or several melodies and any harmony present). In this paper we take a data-driven approach (modeling directly from data without giving an explicit definition or explicitly programming an algorithm) towards modeling this property. We collect annotations from musicians and show that majorness can be understood by musicians in an intuitive way. We model this property from the data using deep learning.

Anna Aljanaki, Mohammad Soleymani

Musical features and descriptors could be coarsely divided into three levels of complexity. The bottom level contains the basic building blocks of music, e.g., chords, beats and timbre. The middle level contains concepts that emerge from combining the basic blocks: tonal and rhythmic stability, harmonic and rhythmic complexity, etc. High-level descriptors (genre, mood, expressive style) are usually modeled using the lower level ones. The features belonging to the middle level can both improve automatic recognition of high-level descriptors, and provide new music retrieval possibilities. Mid-level features are subjective and usually lack clear definitions. However, they are very important for human perception of music, and on some of them people can reach high agreement, even though defining them and therefore, designing a hand-crafted feature extractor for them can be difficult. In this paper, we derive the mid-level descriptors from data. We collect and release a dataset\footnote{https://osf.io/5aupt/} of 5000 songs annotated by musicians with seven mid-level descriptors, namely, melodiousness, tonal and rhythmic stability, modality, rhythmic complexity, dissonance and articulation. We then compare several approaches to predicting these descriptors from spectrograms using deep-learning. We also demonstrate the usefulness of these mid-level features using music emotion recognition as an application.