improving music mood classification using lyrics, audio and social tags

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showed that combining lyrics with audio could reduce the demand on the length of audio data and at the same time still improve classification performances. These findings can help improve the effectiveness and efficiency of music mood classification systems and thus pave the way to making mood a practical and affordable access point in music digital libraries and repositories. 109
CHAPTER 9: CONCLUSIONS AND FUTURE RESEARCH 9.1 CONCLUSIONS Music mood is a newly emerging metadata type for music. Information scientists and researchers in the MIR community have a lot to learn from music psychology literature, from basic terminology to music mood categories. This research reviewed seminal works in the long history of music psychological studies on music and mood, and summarized fundamental points of view and their important implications for MIR research. Social tags are a rich resource for exploring users’ perspectives. As mood categories in music psychological models might lack the social context of today’s music listening environment, this research derived a set of mood categories from social tags using linguistic resources and human expertise. The resultant mood categories were compared to two representative models in music psychology. The results show there were common grounds between theoretical models and categories derived from empirical music listening data in real life. While the mood categories identified from social tags could still be partially supported by classic psychological models, they were more comprehensive and are more closely connected with the reality of music listening. There are two principal conclusions. First, if handled properly, social tags can be used to identify a set of reasonable mood categories that can both be supported by classical theories and reflect the reality of music listening. Second, theoretical models need to be modified to better fit today’s reality. This research exemplifies an approach of using empirical data to refine and adapt theoretical models to better fit the reality of users’ information behaviors. 110
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IMPROVING MUSIC MOOD CLASSIFICATION
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concatenation and late fusion (line
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ACKNOWLEDGMENTS I would have never
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TABLE OF CONTENTS LIST OF FIGURES .
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7.2.2 Best Hybrid Method ..........
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LIST OF TABLES Table 3.1 Mood categ
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music itself and creating the socia
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the ultimate judge. Thus ground tru
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The advantages have attracted resea
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Research Question 2: Which type(s)
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There are two popular approaches in
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1.4.1 Contributions to Methodology
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experimental datasets in music mood
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CHAPTER 2: LITERATURE REVIEW 2.1 MO
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hypothesizes that there are at leas
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2.2.3 What We Know about Music Mood
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encoding facial expressions, some o
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environment by real-life users. The
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1) Tempo: also called “rhythmic p
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previous research did, Bischoff et
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other. Stylistic features, borrowed
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2.5 SUMMARY This chapter provided a
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“evaluation” containing 492 wor
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which it is derived. For instance,
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3.3 COMPARISONS TO MUSIC PSYCHOLOGY
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In total, 20 of the 36 derived cate
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in today’s music listening enviro
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3.4 SUMMARY The identified categori
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CHAPTER 4: CLASSIFICATION EXPERIMEN
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accuracy = TP + TN TP + FN + FP + T
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Support Vector Machines (SVM), etc.
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4.3 SUMMARY This chapter described
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Table 5.1 Information of audio coll
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irrelevant parts such as HTML marku
Page 69 and 70: Starting from the dataset collected
Page 71 and 72: Table 5.3 Mood categories and song
Page 73 and 74: 1) a song has been tagged with one
Page 75 and 76: 5.2.2.4 Negative Samples Figure 5.1
Page 77 and 78: The patterns shown in this figure a
Page 79 and 80: CHAPTER 6: BEST LYRIC FEATURES This
Page 81 and 82: Liu (2006) identified discriminativ
Page 83 and 84: as feature values respectively. The
Page 85 and 86: 6.2.2 Linguistic Lyric Features In
Page 87 and 88: mixed with regard to its usefulness
Page 89 and 90: Table 6.2 Text stylistic features e
Page 91 and 92: 6.3 IMPLEMENTATION The Snowball ste
Page 93 and 94: shows the best combined feature set
Page 95 and 96: 6.4.3 Analysis of Text Stylistic Fe
Page 97 and 98: Figure 6.1 Distributions of “!”
Page 99 and 100: stylistic features appeared to be a
Page 101 and 102: Support Vector Machines (SVM) as it
Page 103 and 104: then compared to the feature concat
Page 105 and 106: According to the average accuracies
Page 107 and 108: systems and the audio-only system w
Page 109 and 110: Table 7.4 Accuracies of lyric and a
Page 111 and 112: 7.4.2 Top-Ranked Features Based on
Page 113 and 114: Again, these top-ranked features se
Page 115 and 116: However, some might argue that word
Page 117 and 118: Figure 8.1 shows a general trend th
Page 119: There are other interesting observa
Page 123 and 124: different strengths. Lyric-based sy
Page 125 and 126: close relationship with music mood.
Page 127 and 128: available, it is interesting to exp
Page 129 and 130: Byrd, D., & Crawford, T. (2002). Pr
Page 131 and 132: Hu, X., Sanghvi, V., Vong, B., On,
Page 133 and 134: McEnnis, D., McKay, C., Fujinaga, I
Page 135 and 136: Thayer, R. E. (1989). The Biopsycho
Page 137 and 138: 18. “music fade” at end of a se
Page 139 and 140: 48. Segment annotation plus specifi
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improving music mood classification using lyrics, audio and social tags

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