A team of researchers from Graz University of Technology, Know-Center GmbH, Johannes Kepler University Linz, University of Innsbruck, Austria and University of Utrecht, the Netherlands, compared how accurate algorithm-generated music recommendations were for mainstream and non-mainstream music listeners. They used a dataset containing the listening histories of 4, users of the music streaming platform Last. Based on the artists music users' listened to most frequently, the authors used a computational model to predict how likely music users were to like the music recommended to them by four common music recommendation algorithms.
They found that listeners of mainstream music appeared to receive more accurate music recommendations than listeners of non-mainstream music. The authors then used an algorithm to categorise the non-mainstream music listeners in their sample based on the features of the music they most frequently listened to. You could not be signed in, please check and try again. Sign in with your library card Please enter your library card number. Search within In This Article 1. Context XX A.
Music Education C. Sound-Based Music A. Go to page:. Abstract and Keywords This article presents sound-based music, that is, music in which sounds, not notes, form the basic unit. All rights reserved. Sign in to annotate. Delete Cancel Save. Cancel Save. The relative lack of influence from spectral flux in the present study does not of course rule out its importance, but rather suggests that it is a descriptor whose impact may be driven more directly by component factors such as changes in the individual spectral factors discussed above.
This interpretation seems consistent with data using synthetic tones [ 81 ]. Furthermore, the powerful role of temporal changes in acoustic intensity for music perception e.
The second application of the work is specific to the question: how might one best consider timbre and its relation to affect in the context of music information retrieval MIR approaches to music recommender systems? Broadly, MIR is the large discipline in which computational information about music such as acoustic or structural information is used to identify similarities, relationships, and even genres, largely using analytical and machine learning techniques [ 34 ].
Music recommender systems apply such information together with social use and preference data taken with demographics and individual use histories, primarily to recommend new music to listen to or purchase such as with Amazon, iTunes, Spotify, or Shazam.
To this end, we require a process that is able to quickly and accurately model the features of musical timbre that influence perceptions of a particular user, especially in the context of the affective profile from a segment of music they have heard. Using chunks such as the five second windows indicated in the present study may allow more accurate and faster constructed individual-centered models that can be used in future personalized music recommender systems. In our future work, we plan to make such comparisons.
In conclusion, this study has demonstrated the occurrence, relevance, coherence and distinctiveness of perceptions of musical phrasing in sound-based music.
It shows clear roles of acoustic intensity and a range of timbral features therein. The results will form the basis of future empirical studies designed with applications to contexts such as electroacoustic composition and music recommender systems. Conceptualization: KO RD. Data curation: KO.
Funding acquisition: RD. Investigation: KO. Methodology: KO RD. Project administration: KO RD. Resources: KO RD. Software: RD YL. Supervision: RD. Validation: KO RD. Visualization: KO RD. Browse Subject Areas? Click through the PLOS taxonomy to find articles in your field. Abstract Phrasing facilitates the organization of auditory information and is central to speech and music.
Introduction Phrasing is important for structuring auditory streams and facilitates the organization of auditory information [ 1 , 2 ]. Perceptual segmentation of sound-based music The perceptual formation of multiple streams within an ongoing sound structure is often termed auditory scene analysis [ 2 ].
Perceptual segmentation of speech and its relevance to sound-based music Knowledge of language learning in the speech domain can inform our investigation of perceptual segmentation of sound-based music and musical phrasing.
Aim, design, and hypotheses The aim of the present study was to investigate whether musically untrained listeners could perceive phrases in the varied music presented, and if so, to determine the structural elements important for perception of musical phrasing in sound-based music in particular; music where pitch and rhythmic aspects as enunciated in instrumental note-based music are removed or reduced and transformed. Specifically, it was hypothesized that: Sound-based music and environmental sound does elicit phrase perceptions, and these are primarily associated with temporal changes in acoustic parameters of intensity and timbre.
Pauses in the continuity of music are important in segmentation of sound-based and note-based music, as they are in speech. Method 2. Stimuli and equipment Stimuli comprised six pre-recorded excerpts that ranged amongst sound-based music, instrumental note-based music, and environmental sound. The overall characteristics of the excerpt resemble noise, but in a naturalistic context.
A complete version is on compact disc in Dean [ 56 ]. This piece is primarily ambient in its composition with little obvious human agency or identifiable sound source. It has a strong narrative of hybrid combinations of human and animate sounds. This involves a single note-based musical instrument piano with obvious human agency and urgent repetitive rhythmic drive. An orchestral piece with multiple instruments and apparent human agency. Although this excerpt involves instruments, it is characterized by multi-instrument sound clusters and large glissandi that make it sound closer to noise-based music than prototypical orchestral note-based music.
The excerpt mostly lacks clear repetitive rhythms. Procedure Participants first read an experiment information sheet, gave written informed consent, completed a brief demographic questionnaire, and then received standardised instructions regarding the experiment. Acoustic analyses and statistical approach Three acoustic measures relevant for the three main features of intensity, timbre, and rhythm in the case of the Beethoven Waldstein Piano Sonata were obtained by means of acoustic analysis.
Results 3. Descriptions of perceived musical phrases It was clear that every participant could readily detect phrases in all stimulus items, though varying in mean duration as expected. Download: PPT.
Fig 1. Time-stamped phrase responses and acoustic time-series data. Table 1. Number of perceived phrases assigned to intensity, timbre, or rhythm categories. Table 2. Table 3. Description of predictors used in cox hazard models of perceived phrases. Table 4. Table 5. Models including additional spectral parameters As described in the Methods section above, a rational selection of spectral parameters was measured to supplement the routinely used spectral flatness, as potential predictors of perceived timbre and its impact on phrase perception.
Table 6. Summary of selected cox hazard models of perceived phrases using the whole-phrase global approach and additional spectral parameters. Table 7. Predictors in the selected cox hazard models of perceived phrases using the global approach and additional spectral parameters. Models of phrase perception The qualitative descriptors supported our intention of modeling the predictive influence of acoustic features upon perception of phrases.
Analyzing the role of several spectral descriptors As indicated in the Introduction, we did not assume that models of dissimilarity between short separated individual sounds the main form of timbral characterization studied to date would be immediately applicable to the circumstances of sound-based music, where sonic continuities predominate over separations.
Relations between perceptual segmentation of speech and music The conclusions just discussed are consistent with those from studies of perception of speech clauses and sentences, the analogue of musical phrases. Phrases in note-based music There is a large literature on segmentation of note-based, usually monophonic single stream proto-musical experimental sequences.
Potential implications The speech perception literature has at least one more implication. Supporting Information. S1 Data. Complete dataset. S1 Appendix. Qualitative descriptions and designated categories of perceived phrase responses. References 1. Perception of phrase structure in music. Human Brain Mapping. Bregman AS. Auditory scene analysis: The perceptual organization of sound. Cambridge, Mass.
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