Elena V. Epure

Karim M. Ibrahim, Elena V. Epure, Geoffroy Peeters et al.

As music has become more available especially on music streaming platforms, people have started to have distinct preferences to fit to their varying listening situations, also known as context. Hence, there has been a growing interest in considering the user's situation when recommending music to users. Previous works have proposed user-aware autotaggers to infer situation-related tags from music content and user's global listening preferences. However, in a practical music retrieval system, the autotagger could be only used by assuming that the context class is explicitly provided by the user. In this work, for designing a fully automatised music retrieval system, we propose to disambiguate the user's listening information from their stream data. Namely, we propose a system which can generate a situational playlist for a user at a certain time 1) by leveraging user-aware music autotaggers, and 2) by automatically inferring the user's situation from stream data (e.g. device, network) and user's general profile information (e.g. age). Experiments show that such a context-aware personalized music retrieval system is feasible, but the performance decreases in the case of new users, new tracks or when the number of context classes increases.

Elena V. Epure, Romain Hennequin

We conducted a human subject study of named entity recognition on a noisy corpus of conversational music recommendation queries, with many irregular and novel named entities. We evaluated the human NER linguistic behaviour in these challenging conditions and compared it with the most common NER systems nowadays, fine-tuned transformers. Our goal was to learn about the task to guide the design of better evaluation methods and NER algorithms. The results showed that NER in our context was quite hard for both human and algorithms under a strict evaluation schema; humans had higher precision, while the model higher recall because of entity exposure especially during pre-training; and entity types had different error patterns (e.g. frequent typing errors for artists). The released corpus goes beyond predefined frames of interaction and can support future work in conversational music recommendation.

Noé Durandard, Viet-Anh Tran, Gaspard Michel et al.

The automatic annotation of direct speech (AADS) in written text has been often used in computational narrative understanding. Methods based on either rules or deep neural networks have been explored, in particular for English or German languages. Yet, for French, our target language, not many works exist. Our goal is to create a unified framework to design and evaluate AADS models in French. For this, we consolidated the largest-to-date French narrative dataset annotated with DS per word; we adapted various baselines for sequence labelling or from AADS in other languages; and we designed and conducted an extensive evaluation focused on generalisation. Results show that the task still requires substantial efforts and emphasise characteristics of each baseline. Although this framework could be improved, it is a step further to encourage more research on the topic.

Gaspard Michel, Elena V. Epure, Romain Hennequin et al.

Humans naturally attribute utterances of direct speech to their speaker in literary works. When attributing quotes, we process contextual information but also access mental representations of characters that we build and revise throughout the narrative. Recent methods to automatically attribute such utterances have explored simulating human logic with deterministic rules or learning new implicit rules with neural networks when processing contextual information. However, these systems inherently lack \textit{character} representations, which often leads to errors in more challenging examples of attribution: anaphoric and implicit quotes. In this work, we propose to augment a popular quotation attribution system, BookNLP, with character embeddings that encode global stylistic information of characters derived from an off-the-shelf stylometric model, Universal Authorship Representation (UAR). We create DramaCV (Code and data can be found at https://github.com/deezer/character_embeddings_qa ), a corpus of English drama plays from the 15th to 20th century that we automatically annotate for Authorship Verification of fictional characters utterances, and release two versions of UAR trained on DramaCV, that are tailored for literary characters analysis. Then, through an extensive evaluation on 28 novels, we show that combining BookNLP's contextual information with our proposed global character embeddings improves the identification of speakers for anaphoric and implicit quotes, reaching state-of-the-art performance.

Alessandro B. Melchiorre, Elena V. Epure, Shahed Masoudian et al.

Natural language interfaces offer a compelling approach for music recommendation, enabling users to express complex preferences conversationally. While Large Language Models (LLMs) show promise in this direction, their scalability in recommender systems is limited by high costs and latency. Retrieval-based approaches using smaller language models mitigate these issues but often rely on single-modal item representations, overlook long-term user preferences, and require full model retraining, posing challenges for real-world deployment. In this paper, we present JAM (Just Ask for Music), a lightweight and intuitive framework for natural language music recommendation. JAM models user-query-item interactions as vector translations in a shared latent space, inspired by knowledge graph embedding methods like TransE. To capture the complexity of music and user intent, JAM aggregates multimodal item features via cross-attention and sparse mixture-of-experts. We also introduce JAMSessions, a new dataset of over 100k user-query-item triples with anonymized user/item embeddings, uniquely combining conversational queries and user long-term preferences. Our results show that JAM provides accurate recommendations, produces intuitive representations suitable for practical use cases, and can be easily integrated with existing music recommendation stacks.

Gaspard Michel, Elena V. Epure, Romain Hennequin et al.

Recent approaches to automatically detect the speaker of an utterance of direct speech often disregard general information about characters in favor of local information found in the context, such as surrounding mentions of entities. In this work, we explore stylistic representations of characters built by encoding their quotes with off-the-shelf pretrained Authorship Verification models in a large corpus of English novels (the Project Dialogism Novel Corpus). Results suggest that the combination of stylistic and topical information captured in some of these models accurately distinguish characters among each other, but does not necessarily improve over semantic-only models when attributing quotes. However, these results vary across novels and more investigation of stylometric models particularly tailored for literary texts and the study of characters should be conducted.

Gaspard Michel, Elena V. Epure, Romain Hennequin et al.

Large Language Models (LLMs) have shown promising results in a variety of literary tasks, often using complex memorized details of narration and fictional characters. In this work, we evaluate the ability of Llama-3 at attributing utterances of direct-speech to their speaker in novels. The LLM shows impressive results on a corpus of 28 novels, surpassing published results with ChatGPT and encoder-based baselines by a large margin. We then validate these results by assessing the impact of book memorization and annotation contamination. We found that these types of memorization do not explain the large performance gain, making Llama-3 the new state-of-the-art for quotation attribution in English literature. We release publicly our code and data.

Darius Afchar, Alessandro B. Melchiorre, Markus Schedl et al.

The most common way to listen to recorded music nowadays is via streaming platforms which provide access to tens of millions of tracks. To assist users in effectively browsing these large catalogs, the integration of Music Recommender Systems (MRSs) has become essential. Current real-world MRSs are often quite complex and optimized for recommendation accuracy. They combine several building blocks based on collaborative filtering and content-based recommendation. This complexity can hinder the ability to explain recommendations to end users, which is particularly important for recommendations perceived as unexpected or inappropriate. While pure recommendation performance often correlates with user satisfaction, explainability has a positive impact on other factors such as trust and forgiveness, which are ultimately essential to maintain user loyalty. In this article, we discuss how explainability can be addressed in the context of MRSs. We provide perspectives on how explainability could improve music recommendation algorithms and enhance user experience. First, we review common dimensions and goals of recommenders' explainability and in general of eXplainable Artificial Intelligence (XAI), and elaborate on the extent to which these apply -- or need to be adapted -- to the specific characteristics of music consumption and recommendation. Then, we show how explainability components can be integrated within a MRS and in what form explanations can be provided. Since the evaluation of explanation quality is decoupled from pure accuracy-based evaluation criteria, we also discuss requirements and strategies for evaluating explanations of music recommendations. Finally, we describe the current challenges for introducing explainability within a large-scale industrial music recommender system and provide research perspectives.

Francisco B. Valero, Marion Baranes, Elena V. Epure

Podcasts have emerged as a massively consumed online content, notably due to wider accessibility of production means and scaled distribution through large streaming platforms. Categorization systems and information access technologies typically use topics as the primary way to organize or navigate podcast collections. However, annotating podcasts with topics is still quite problematic because the assigned editorial genres are broad, heterogeneous or misleading, or because of data challenges (e.g. short metadata text, noisy transcripts). Here, we assess the feasibility to discover relevant topics from podcast metadata, titles and descriptions, using topic modeling techniques for short text. We also propose a new strategy to leverage named entities (NEs), often present in podcast metadata, in a Non-negative Matrix Factorization (NMF) topic modeling framework. Our experiments on two existing datasets from Spotify and iTunes and Deezer, a new dataset from an online service providing a catalog of podcasts, show that our proposed document representation, NEiCE, leads to improved topic coherence over the baselines. We release the code for experimental reproducibility of the results.

Elena V. Epure, Romain Hennequin

Despite impressive results of language models for named entity recognition (NER), their generalization to varied textual genres, a growing entity type set, and new entities remains a challenge. Collecting thousands of annotations in each new case for training or fine-tuning is expensive and time-consuming. In contrast, humans can easily identify named entities given some simple instructions. Inspired by this, we challenge the reliance on large datasets and study pre-trained language models for NER in a meta-learning setup. First, we test named entity typing (NET) in a zero-shot transfer scenario. Then, we perform NER by giving few examples at inference. We propose a method to select seen and rare / unseen names when having access only to the pre-trained model and report results on these groups. The results show: auto-regressive language models as meta-learners can perform NET and NER fairly well especially for regular or seen names; name irregularity when often present for a certain entity type can become an effective exploitable cue; names with words foreign to the model have the most negative impact on results; the model seems to rely more on name than context cues in few-shot NER.

Elena V. Epure, Guillaume Salha, Manuel Moussallam et al.

The music genre perception expressed through human annotations of artists or albums varies significantly across language-bound cultures. These variations cannot be modeled as mere translations since we also need to account for cultural differences in the music genre perception. In this work, we study the feasibility of obtaining relevant cross-lingual, culture-specific music genre annotations based only on language-specific semantic representations, namely distributed concept embeddings and ontologies. Our study, focused on six languages, shows that unsupervised cross-lingual music genre annotation is feasible with high accuracy, especially when combining both types of representations. This approach of studying music genres is the most extensive to date and has many implications in musicology and music information retrieval. Besides, we introduce a new, domain-dependent cross-lingual corpus to benchmark state of the art multilingual pre-trained embedding models.

Elena V. Epure, Guillaume Salha, Romain Hennequin

Annotating music items with music genres is crucial for music recommendation and information retrieval, yet challenging given that music genres are subjective concepts. Recently, in order to explicitly consider this subjectivity, the annotation of music items was modeled as a translation task: predict for a music item its music genres within a target vocabulary or taxonomy (tag system) from a set of music genre tags originating from other tag systems. However, without a parallel corpus, previous solutions could not handle tag systems in other languages, being limited to the English-language only. Here, by learning multilingual music genre embeddings, we enable cross-lingual music genre translation without relying on a parallel corpus. First, we apply compositionality functions on pre-trained word embeddings to represent multi-word tags.Second, we adapt the tag representations to the music domain by leveraging multilingual music genres graphs with a modified retrofitting algorithm. Experiments show that our method: 1) is effective in translating music genres across tag systems in multiple languages (English, French and Spanish); 2) outperforms the previous baseline in an English-language multi-source translation task. We publicly release the new multilingual data and code.

Elena V. Epure, Anis Khlif, Romain Hennequin

Prevalent efforts have been put in automatically inferring genres of musical items. Yet, the propose solutions often rely on simplifications and fail to address the diversity and subjectivity of music genres. Accounting for these has, though, many benefits for aligning knowledge sources, integrating data and enriching musical items with tags. Here, we choose a new angle for the genre study by seeking to predict what would be the genres of musical items in a target tag system, knowing the genres assigned to them within source tag systems. We call this a translation task and identify three cases: 1) no common annotated corpus between source and target tag systems exists, 2) such a large corpus exists, 3) only few common annotations exist. We propose the related solutions: a knowledge-based translation modeled as taxonomy mapping, a statistical translation modeled with maximum likelihood logistic regression; a hybrid translation modeled with maximum a posteriori logistic regression with priors given by the knowledge-based translation. During evaluation, the solutions fit well the identified cases and the hybrid translation is systematically the most effective w.r.t. multilabel classification metrics. This is a first attempt to unify genre tag systems by leveraging both representation and interpretation diversity.