improving music mood classification using lyrics, audio and social tags

More documents

Recommendations

Info

Schoen, M., & Gatewood, E. L. (1927). The mood effects of music. In M. Schoen (Ed.), The Effects of Music (International Library of Psychology) Routledge, 1999. pp. 131-183. Schubert, E. (1996). Continuous response to music using a two dimensional emotion space. In Proceedings of the 4th International Conference of Music Perception and Cognition. pp. 263- 268. Scott, S., & Matwin, S. (1998). Text classification using WordNet hypernyms. In Proceedings of the COLING/ACL Workshop on Usage of WordNet in Natural Language Processing Systems, Aug. 16, Montreal, Canada, pp. 45-51. Sebastiani, F. (2002). Machine learning in automated text categorization. ACM Computing Surveys, 34(1): 1-47. Silla, C. N., Kaestner, C. A. A., & Koerich, A. L. (2007). Automatic music genre classification using ensemble of classifiers. In Proceedings of IEEE International Conference on Systems, Man and Cybernetics, pp. 1687 – 1692. Skowronek, J., McKinney, M. F., & van de Par, S. (2006). Ground truth for automatic music mood classification. In Proceedings of the 7th International Conference on Music Information Retrieval (ISMIR’06), Oct. 2006, Victoria, Canada. Retrieved from http://ismir2006.ismir.net/PAPERS/ISMIR06105_Paper.pdf on September 19, 2008. Sloboda, J. A., & Juslin, P. N. (2001). Psychological perspectives on music and emotion. In P. N. Juslin and J. A. Sloboda (Eds.), Music and Emotion: Theory and Research. New York: Oxford University Press, pp. 71-104. Stone, P. J. (1966). General Inquirer: a Computer Approach to Content Analysis. Cambridge: M.I.T. Press. Strapparava, C., & Valitutti, A. (2004). WordNet-Affect: an affective extension of WordNet. In Proceedings of the 4th International Conference on Language Resources and Evaluation (LREC’04). May 2004, Lisbon, Portugal, pp. 1083-1086 Subasic, P., & Huettner, A. (2001). Affect analysis of text using fuzzy semantic typing. IEEE Transactions on Fuzzy Systems, Special Issue, 9: 483–496. Symeonidis, P., Ruxanda, M., Nanopoulos, A., & Manolopoulos, Y. (2008). Ternary semantic analysis of social tags for personalized music recommendation. In Proceedings of the 9th International Conference on Music Information Retrieval (ISMIR’08), Sep. 2008, Pittsburgh, Pennsylvania, USA, pp.219-225. Tax, D. M. J., van Breukelen, M., Duin, R. P. W., & Kittler, J. (2000). Combining multiple classifiers by averaging or by multiplying. Pattern Recognition, 33: 1475-1485. 123
Thayer, R. E. (1989). The Biopsychology of Mood and Arousal. New York: Oxford University Press. Toutanova, K., Klein, D., Manning, C., & Singer, Y. (2003). Feature-rich Part-of-Speech tagging with a cyclic dependency network. In Proceedings of HLT-NAACL 2003, pp. 252-259. Trohidis, K., Tsoumakas, G., Kalliris, G., & Vlahavas, I. (2008). Multi-label classification of music into emotions. In Proceedings of the 9th International Conference on Music Information Retrieval (ISMIR’08), Sep. 2008, Philadelphia, Pennsylvania, USA, pp.325-330. Turney, P. (2002). Thumbs up or thumbs down? Semantic orientation applied to unsupervised classification of reviews. In Proceedings of the Association for Computational Linguistics (ACL), pp. 417–424. Tyler, P. (1996). Developing A Two-Dimensional Continuous Response Space for Emotions Perceived in Music. Doctoral dissertation. Florida State University. Tzanetakis, G. (2007). Marsyas submissions to MIREX 2007. Retrieved from http://www.musicir.org/mirex/2007/abs/AI_CC_GC_MC_AS_tzanetakis.pdf on September 20, 2008. Tzanetakis, G., & Cook, P. (2002). Musical genre classification of audio signals. IEEE Transactions on Speech and Audio Processing, 10(5): 293-302. Vignoli, F. (2004). Digital Music Interaction concepts: a user study. In Proceedings of the 5th International Conference on Music Information Retrieval (ISMIR’04). Barcelona, Spain. Retrieved from http://ismir2004.ismir.net/proceedings/p075-page-415-paper152.pdf on September 20, 2008. Wedin, L. (1972). A multidimensional study of perceptual-emotional qualities in music. Scandinavian Journal of Psychology, 13: 241–257. Whitman, B., & Smaragdis, P. (2002). Combining musical and cultural features for intelligent style detection. In Proceedings of the 3rd International Conference on Music Information Retrieval (ISMIR’02), Paris, France, pp. 47–52. Yang, D., & Lee, W. (2004). Disambiguating music emotion using software agents. In Proceedings of the 5th International Conference on Music Information Retrieval (ISMIR'04). Oct. 2004, Barcelona, Spain, pp. 52-58. Yang, Y.-H., Lin, Y.-C., Cheng, H.-T., Liao, I.-B., Ho, Y.-C., & Chen, H. H. (2008). Toward multi-modal music emotion classification. In Proceedings of Pacific Rim Conference on Multimedia (PCM’08), pp. 70-79. Yu, B. (2008). An evaluation of text classification methods for literary study, Literary and Linguistic Computing, 23(3): 327-343. 124
Page 1 and 2:
IMPROVING MUSIC MOOD CLASSIFICATION
Page 3 and 4:
concatenation and late fusion (line
Page 5 and 6:
ACKNOWLEDGMENTS I would have never
Page 7 and 8:
TABLE OF CONTENTS LIST OF FIGURES .
Page 9 and 10:
7.2.2 Best Hybrid Method ..........
Page 11 and 12:
LIST OF TABLES Table 3.1 Mood categ
Page 13 and 14:
music itself and creating the socia
Page 15 and 16:
the ultimate judge. Thus ground tru
Page 17 and 18:
The advantages have attracted resea
Page 19 and 20:
Research Question 2: Which type(s)
Page 21 and 22:
There are two popular approaches in
Page 23 and 24:
1.4.1 Contributions to Methodology
Page 25 and 26:
experimental datasets in music mood
Page 27 and 28:
CHAPTER 2: LITERATURE REVIEW 2.1 MO
Page 29 and 30:
hypothesizes that there are at leas
Page 31 and 32:
2.2.3 What We Know about Music Mood
Page 33 and 34:
encoding facial expressions, some o
Page 35 and 36:
environment by real-life users. The
Page 37 and 38:
1) Tempo: also called “rhythmic p
Page 39 and 40:
previous research did, Bischoff et
Page 41 and 42:
other. Stylistic features, borrowed
Page 43 and 44:
2.5 SUMMARY This chapter provided a
Page 45 and 46:
“evaluation” containing 492 wor
Page 47 and 48:
which it is derived. For instance,
Page 49 and 50:
3.3 COMPARISONS TO MUSIC PSYCHOLOGY
Page 51 and 52:
In total, 20 of the 36 derived cate
Page 53 and 54:
in today’s music listening enviro
Page 55 and 56:
3.4 SUMMARY The identified categori
Page 57 and 58:
CHAPTER 4: CLASSIFICATION EXPERIMEN
Page 59 and 60:
accuracy = TP + TN TP + FN + FP + T
Page 61 and 62:
Support Vector Machines (SVM), etc.
Page 63 and 64:
4.3 SUMMARY This chapter described
Page 65 and 66:
Table 5.1 Information of audio coll
Page 67 and 68:
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 and 120: There are other interesting observa
Page 121 and 122: CHAPTER 9: CONCLUSIONS AND FUTURE R
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: McEnnis, D., McKay, C., Fujinaga, I
Page 137 and 138: 18. “music fade” at end of a se
Page 139 and 140: 48. Segment annotation plus specifi
show all

improving music mood classification using lyrics, audio and social tags

Create successful ePaper yourself

Delete template?

Save as template?