1. Tim Pohle, Peter Knees, Markus Schedl, Elias Pampalk, and Gerhard Widmer IEEE Transactions on Multimedia, Vol 9, No. 3, April 2007 Present by Yi-Tang Wang

2. Outline  Introduction  Audio-Based Similarity  Web-Based Similarity  Problem Modeling  Evaluation and Results  Conclusion & future work

3. Introduction  A novel music player interface using a wheel  Generating a circular playlist from personal repositories  Keeps on playing similar tracks  Not only audio-based similarity is used, but also text-based similarity

4. Audio-Based Similarity  MFCCs ( Mel frequency cepstral coefficients )  Discarding the higher-order MFCCs  beneficial for the ability to compare different frames, but possibly at the cost of discarding musically meaningful information.

5. Audio-Based Similarity  The wave file were downsampled to 22 kHz  19 MFCCs per frame  Ignoring the temporal order  Model the distribution of MFCC coefficients with Gaussian mixture model

6. Audio-Based Similarity  Similarity between music  Compute the distance between two GMM  Likelihood  computing the probability that the MFCCs of song A be generated by the model of B  Drawback: need to store all MFCC coefficients

7. Audio-Based Similarity  Sampling  Only store the GMM parameters, instead of storing MFCCs  Sample from one GMM  compute the likelihood given another GMM  Corresponds roughly to re-creating a song

8. Web-Based Similarity  Cultural, social, historical, and contextual aspects should be taken into account  WWW information  Query using artist’s name + ”music” with Google  50 top-ranked pages are retrieved  Remove all terms that - # of occur page < c  Such that about 10000 terms remain

9. Web-Based Similarity  Term frequency tf ta  a : artist, t : term  # of occurrences of t in documents related to a  Document Frequency df t  # of pages t occurred in  Term weight per artist  term frequency × inverse document frequency

10. Web-Based Similarity  Each artist is described by a vector of term weights  Apply cosine normalization on the vector  Euclidean distance is a simple similarity measure  In this paper, we use SOM as measure method

11. Web-Based Similarity - SOM  SOM － Self-organizing Maps  a subtype of artificial neural networks  It is trained using unsupervised learning  low dimensional representation of the training samples while preserving the topological properties of the input space  Using a rectangular 2-D grid in this paper for text-based similarity between songs

12. Web-Based Similarity - SOM  A SOM consists of units  A model vector in the high- dimensional input data space is assigned to each of the units.  model vectors which belong to units close to each other on the 2-D grid, are also close to each other in the data space.  Training to choose model vectors Unit

13. Web-Based Similarity - SOM  Batch-SOM algorithm  Initial  Randomly initialize the model vector  1 st step  for each data item x i, the Euclidean distance between x and each model vector is calculated  each data item x is assigned to the unit c i that represents it best.

14. Web-Based Similarity - SOM  2 nd step  neighborhood relationship between two units is usually defined by a Gaussian-like function  h jk = exp(-d jk 2 /r t 2 )  d jk = distance on the map, r t = neighborhood radius  r t decrease with each iteration (the adaptation strength decreases gradually)

15. Web-Based Similarity - SOM  Two artist is similar if they are mapped to same or adjacent units Newer experiments have actually shown that 6 × 6 grid might be better for this collection

16. Combining two approach  Adding a constant value to the audio-based distance matrix for all songs of dissimilar artists  Half of maximum audio-based distance  Adding Penalty to transitions between songs by dissimilar artist

17. Previous work  Audio-based similarity – Fluctuation Patterns  Using SOM only on audio-based data  Labeling SOM with information from www  A 3-D browsing system  P. Knees, M. Schedl, T. Pohle and G.Widmer, “An Innovative Three Dimensional User Interface for Exploring Music Collections Enriched with Meta- Information from the Web,” ACM MM’06

18. Problem Modeling  Map the playlist generation problem to Traveling Salesman Problem  The cities correspond to the tracks in collection  The distances are determined by the similarities between the tracks  Find a optimal route = producing a circular playlist

19. TSP Problem  Greedy Algorithm  All edges are examined in order of increasing length and add to the route properly  Minimum Spanning Tree  Found a minimum spanning tree and do DFS  Connecting the nodes in the order they are first visited  LKH  Lin-Kernighan algorithm proposed in 1971  Start with randomly generated tour  Deleting edges from the route and recombining the remaining tour fragments

20. TSP Problem  One-Dimensional SOM  Train a 1-D cyclic SOM  a circular playlist  As many units as tracks?  Recursive approach  Combining subtour in a greedy manner

22. Evaluation & Results  Collection 1  2545 tracks, 13 genres  A Cappella (4.4%), Acid Jazz (2.7%), Blues (2.5%), Bossa Nova (2.8%), Celtic (5.2%), Electronica (21.1%), Folk Rock (9.4%), Italian (5.6%), Jazz (5.3%), Metal (16.1%), Punk Rock (10.2%), Rap (12.9%), and Reggae (1.8%)  103 artists  for each artist, minimum - 8 tracks, maximum - 61 tracks

23. Evaluation & Results  Collection 2  3456 tracks, 7 genres  Classical (14.7%), Dance (15.0%), Hip-Hop (14.5%), Jazz (13.6%), Metal (14.9%), Pop (11.6%), and Punk (15.6%). The minimum number  339 artists  for each artist, minimum - 1 tracks, maximum - 317 tracks

24. Fluctuations Between Genres  A Cappella, Acid Jazz, Blues, Bossa Nova, Celtic, Electronica, Folk Rock, Italian, Jazz, Metal, Punk Rock, Rap, andReggae (collection 1)

25. Shannon Entropy  Estimate how locally coherent a playlist is  Count how many of n consecutive tracks belonged to each genre  n = 2…12  Typical album contains about 12 tracks  Average over the whole playlist  SOM yields better results on web-enhanced data than LKH on audio only data

26. Shannon Entropy

27. Long-Term Consistency  SOM algorithm on combined data

28. Long-Term Consistency  MinSpan algorithm on audio similarity data

29. Long-Term Consistency  Greedy algorithm on audio similarity data

30. Long-Term Consistency

31. User Study  10 test persons using the collection 2collection 2  Create a large playlist  Extract 10 seed tracks  Randomly choosing a start point  Selecting tracks at intervals of 3 degress  Generate two playlist  Adding the next nine tracks  Randomly choose from same genre

32. User Study  Users rate each playlist from 1 to 5  Summing up rating scores  Calculate the difference tsp i,j － gen i,j  i : playlist no., j : user

33. User Interface

34.  The user interface is very intuitive and its handling extremely easy  Apple’s iPod  Users’ opinion  A scanning function to skip 10 seconds when pressing  Genres containing only a few tracks are quite difficult to locate  Not usable when finding a specific track

35. Summary of Evaluation Result  all TSP algorithms provided better results with respect to our playlist evaluation criteria when using the web based extension  the combined similarity measure reduces the number of unexpected placements of tracks in the playlist

36. Summary of Evaluation Result  LKH and greedy algorithm  best small-scale genre entropy values  large-scale genre distributions are quite fragmented  SOM-based algorithm  highest entropy values  the least fragmented long-term genre distributions  MinSpan algorithm  in the middle field regarding the entropy values

37. Conclusion & future work  a new approach to conveniently access the music stored in mobile sound players  The whole collection is ordered in a circular playlist and thus accessible with only one input wheel  two different similarity measures — one relying on timbre information, the other on a combination of timbre and community metadata gathered from artist related web pages

38. Conclusion & future work  Problems to solve  Not possible to precisely select a desired piece  only tracks selectable that are representative for a region  zooming or hierarchical structuring techniques  The user does not know in advance which region on the wheel contains which style of music

39. Conclusion & future work  M. Schedl, T. Pohle, P. Knees, and G.Widmer, “Assigning and visualizing music genres by web-based co-occurrence analysis,” in Proc. 7 th Int. Conf. Music Information Retrieval (ISMIR’06), Victoria, Canada, Oct. 2006.

40. Thank You