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Popular music is a key cultural expression that has captured listeners' attention for ages. Many of the structural regularities underlying musical discourse are yet to be discovered and, accordingly, their historical evolution remains formally unknown. Here we unveil a number of patterns and metrics characterizing the generic usage of primary musical facets such as pitch, timbre, and loudness in contemporary western popular music. Many of these patterns and metrics have been consistently stable for a period of more than fifty years. However, we prove important changes or trends related to the restriction of pitch transitions, the homogenization of the timbral palette, and the growing loudness levels. This suggests that our perception of the new would be rooted on these changing characteristics. Hence, an old tune could perfectly sound novel and fashionable, provided that it consisted of common harmonic progressions, changed the instrumentation, and increased the average loudness.

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srep00521.pdf

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Popular music is a key cultural expression that has captured listeners' attention for ages. Many of the structural regularities underlying musical discourse are yet to be discovered and, accordingly, their historical evolution remain formally unknown. In this contribution we use tools and concepts from statistical physics and complex networks to study and quantify the evolution of western contemporary popular music. In it, we unveil a number of patterns and metrics characterizing the generic usage of primary musical facets such as pitch, timbre, and loudness. Moreover, we find many of these patterns and metrics to be consistently stable for a period of more than fifty years, thus pointing towards a great degree of conventionalism in this type of music. Nonetheless, we prove important changes or trends. These are related to the restriction of pitch transitions, the homogenization of the timbral palette, and the growing loudness levels. The obtained results suggest that our perception of new popular music would be largely rooted on these changing characteristics. Hence, an old tune could perfectly sound novel and fashionable, provided that it consisted of common harmonic progressions, changed the instrumentation, and increased the average loudness.

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Popular music is a key cultural expression that has captured listeners' attention for ages. Many of the structural regularities underlying musical discourse are yet to be discovered and, accordingly, their historical evolution remain formally unknown. In this contribution we use tools and concepts from statistical physics and complex networks to study and quantify the evolution of western contemporary popular music. In it, we unveil a number of patterns and metrics characterizing the generic usage of primary musical facets such as pitch, timbre, and loudness. Moreover, we find many of these patterns and metrics to be consistently stable for a period of more than fifty years, thus pointing towards a great degree of conventionalism in this type of music. Nonetheless, we prove important changes or trends. These are related to the restriction of pitch transitions, the homogenization of the timbral palette, and the growing loudness levels. The obtained results suggest that our perception of new popular music would be largely rooted on these changing characteristics. Hence, an old tune could perfectly sound novel and fashionable, provided that it consisted of common harmonic progressions, changed the instrumentation, and increased the average loudness.

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Locating boundaries between coherent and/or repetitive segments of a time series is a challenging problem pervading many scientific domains. In this paper we propose an unsupervised method for boundary detection, combining three basic principles: novelty, homogeneity, and repetition. In particular, the method uses what we call structure features, a representation encapsulating both local and global properties of a time series. We demonstrate the usefulness of our approach in detecting music structure boundaries, a task that has received much attention in recent years and for which exist several benchmark datasets and publicly available annotations. We find our method to significantly outperform the best accuracies published so far. Importantly, our boundary approach is generic, thus being applicable to a wide range of time series beyond the music and audio domains.

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AAAI12-247c.pdf

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Many sound-related applications use Mel-Frequency Cepstral Coefficients (MFCC) to describe audio timbral content. Most of the research efforts dealing with MFCCs have been focused on the study of different classification and clustering algorithms, the use of complementary audio descriptors, or the effect of different distance measures. The goal of this paper is to focus on the statistical properties of the MFCC descriptor itself. For that purpose, we use a simple encoding process that maps a short-time MFCC vector to a dictionary of binary code-words. We study and characterize the rank-frequency distribution of such MFCC code-words, considering speech, music, and environmental sound sources. We show that, regardless of the sound source, MFCC code-words follow a shifted power-law distribution. This implies that there are a few code-words that occur very frequently and many that happen rarely. We also observe that the inner structure of the most frequent code-words has characteristic patterns. For instance, close MFCC coefficients tend to have similar quantization values in the case of music signals. Finally, we study the rank-frequency distributions of individual music recordings and show that they present the same type of heavy-tailed distribution as found in the large-scale databases. This fact is exploited in two supervised semantic inference tasks: genre and instrument classification. In particular, we obtain similar classification results as the ones obtained by considering all frames in the recordings by just using 50 (properly selected) frames. Beyond this particular example, we believe that the fact that MFCC frames follow a power-law distribution could potentially have important implications for future audio-based applications.

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haro_etal_p895comp.pdf

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In this paper we compare the use of different musical representations for the task of version identification (i.e. retrieving alternative performances of the same musical piece). We automatically compute descriptors representing the melody and bass line using a state-of-the-art melody extraction algorithm, and compare them to a harmony-based descriptor. The similarity of descriptor sequences is computed using a dynamic programming algorithm based on nonlinear time series analysis which has been successfully used for version identification with harmony descriptors. After evaluating the accuracy of individual descriptors, we assess whether performance can be improved by descriptor fusion, for which we apply a classification approach, comparing different classification algorithms. We show that both melody and bass line descriptors carry useful information for version identification, and that combining them increases version detection accuracy. Whilst harmony remains the most reliable musical representation for version identification, we demonstrate how in some cases performance can be improved by combining it with melody and bass line descriptions. Finally, we identify some of the limitations of the proposed descriptor fusion approach, and discuss directions for future research.

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p887.pdf

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Este libro está dirigido a las personas que por razones profesionales o académicas tienen la necesidad de analizar datos de pacientes, con el motivo de realizar un diagnóstico o un pronóstico. Se explican en detalle las diversas técnicas estadísticas y de aprendizaje automatizado para su aplicación al análisis de datos clínicos. Además, el libro describe de forma estructurada, una serie de técnicas adaptadas y enfoques originales, basándose en la experiencia y colaboraciones del autor en este campo.

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