WiMIR Workshop 2019: Success!

We’re very pleased, again, to write to tell you that the WiMIR 2nd Annual Workshop was a resounding success!

Like last year, we wanted the WiMIR Workshop to  build upon the MIR community’s already strong support for diversity and inclusion. We had three main aims:

  • Encourage the discussion of proposed or unfinished work.
  • Amplify the scientific efforts of women in the field.
  • Create additional space for networking.

Thanks to support from Spotify and Pandora, we were able to offer the WiMIR Workshop as a free event, open to everyone!  The Workshop took place as a satellite event of ISMIR2019, at the amazing Aula Conference Centre in Delft.  We had just over 100 people attend, with twelve Project Guides.  Our topics ranged from doing research-at-scale to ethical frameworks for music technology, analysis of computer-generated folk music, and more.  We also had amazing catering and eight kinds of flavoured water – thanks Delft!

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The day was a bit more streamlined compared to last year – we focused more on group work with the Project Guides, and did not do a poster session.  We had a similar lunch session to last year, informally structured around topics like “Dealing with Sexism” and “Surviving Grad School”.  The lunch provided attendees with an opportunity to connect with new people and learn about topics that members in the field (especially those who are not women) don’t often discuss.

After lunch, the project groups started a deeper dive into their topic areas, with an eye to present at 4:30 pm and then conduct an hour-long science fair at 5:00.  You can see a Twitter thread of all the talks here, and look at the final presentation slides here!

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It was a lot of fun, and we got lots of excellent feedback – we’re looking forward to next year.

And, of course, the tweets:

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Thanks so much to everyone who helped out: The Aula Conference Centre staff, the ISMIR2019 volunteers & General Chairs, the ISMIR Board, WIMIR leadership and TU Delft!

We’ll see you next year in Montréal!

The WiMIR Workshop Organizers,

 

WiMIR Workshop 2019 Project Guides

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This is a list of Project Guides and their areas of interest for the 2019 WiMIR Workshop, which will take place on Sunday, 3rd November 2019 as a satellite event of ISMIR2019.  These folks will be leading the prototyping and early research investigations at the workshop.

This year’s Workshop is organized by Blair Kaneshiro (Stanford University), Katherine M. Kinnaird (Smith College), Thor Kell (Spotify), and Jordan B. L. Smith (Queen Mary University of London) and is made possible by generous sponsorship from Pandora and Spotify.

Planning to attend the WiMIR Workshop?
Read about the Project Guides and their work in detail below, and sign up to attend at https://forms.gle/mCEod8AvtqnBcMJz7

 

Amelie Anglade

Ryan Groves

Amélie Anglade and Ryan Groves:  Auto-BeatSaber: Generating New Content for VR Music Games

In this workshop we will dive into a specific problem at the intersection of music, gaming, and dance: the generation of a BeatSaber song level. BeatSaber is one of the most popular VR titles, in which the core of the gameplay is to rhythmically slice incoming boxes with light sabers to the sound of the beat. The game has sparked a huge community of modders who create their own choreographies to existing songs, as well as MIR-based tools (such as a MIDI converter or a BPM estimator) designed specifically to support level creation. The task of this workshop will be: how could we use machine learning to generate these choreographies automatically? Participants will have the opportunity to learn from our experience as Data Science & MIR consultants as we will share our own structured process for problem-solving in the music tech industry.

Dr. Amélie Anglade is a Music Information Retrieval and Data Science consultant. She completed her PhD at Queen Mary University of London, before moving to industry, initially taking on positions in R&D labs such as Sony CSL, Philips Research and CNRS, and then being employed as an MIR expert for Music Tech startups such as SoundCloud and frestyl. For the past 5 years she has further developed her expertise in music identification and discovery–assisting startups and larger companies in the AI and music or multimedia space as an independent consultant, researching, prototyping, and scaling up Machine Learning solutions for them. Additionally, Amélie is a contributor to the EU Commision as an independent technical expert in charge of reviewing proposals and ongoing EU projects. In her spare time she attends music hackathons (15+ so far), and is a teacher and mentor for women in the field of data science through multiple organizations.

Ryan Groves is an award-winning music researcher and veteran developer of intelligent music systems. He received his Master’s in Music Technology from McGill University. In 2016, his work on computational music theory was awarded the Best Paper at ISMIR. He also has extensive experience in industry, building musical products that leverage machine learning. As the former Director of R&D for Zya, he developed a musical messenger app that automatically sings your texts, called Ditty. Ditty won the Best Music App of 2015 by the Appy Awards. More recently, he co-founded Melodrive, where he and his team built the first artificially intelligent composer that could compose music in realtime and react to interactive scenarios such as games and VR experiences. He now works as a consultant and startup advisor in Berlin, with a focus on expanding the use cases of music and audio through the application of AI.

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Ashley Burgoyne: Cognitive MIR with the Eurovision Song Contest

When Duncan Laurence triumphed at the 2019 Eurovision Song Contest in Tel Aviv, it was the Netherlands’ first victory in the contest since 1975 – and perfect timing for the ISMIR conference! One of the most-watched and discussed broadcasts in Europe, data about the Song Contest are an excellent opportunity to link the patterns we can find using MIR tools in audio to real-world human behaviour. This workshop will show you how, and teach you techniques you can use wherever you want to use MIR to understand not just music but also people.

We will consider a number of questions. Every year, the bookmakers try to predict the contest winner: can MIR do better? The same songwriters write the songs for multiple countries each year: is there nonetheless a typical sound for each country’s entry? People assume that voting is politically rather than musically based, but recent research has called those assumptions into question: what does the music tell us? And can we link Eurovision tracks to what fans say on Twitter or direct experimentation about what they hear?

John Ashley Burgoyne is the Lecturer in Computational Musicology at the University of Amsterdam and part of the Music Cognition Group at the Institute for Logic, Language, and Computation. Dr Burgoyne teaches in both musicology and artificial intelligence and is especially interested in musicometrics: developing behavioural and audio models that are conceptually sound, reliable, and musicologically interpretable as music enters the digital humanities era. He was the leader of the Hooked on Music project, an online citizen science experiment to explore long-term musical memory that attracted more than 170,000 participants across more than 200 countries.

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Estefanía Cano and Jakob Abeßer: Learning about Music with MIR

What does John Coltrane have in common with Cannonball Adderley? What makes micro-timing in Brazilian samba unique? What are the tuning characteristics of the harpsichord? Which cues do musicians use to control ensemble intonation? The MIR community has been working for decades in developing reliable methods for research tasks such as beat tracking, melody estimation, chord detection, music tagging, among many others. While most of these methods are not yet perfect, they can certainly be useful tools when attempting to answer questions as the ones above. This holds true especially if computational analysis tools are combined with the experience from musicians, the insights from human listeners, and music knowledge.

This workshop will focus on exploring ways in which we can gain new knowledge about music by combining available MIR techniques and human musical expertise. Instead of focusing on improving MIR methods or in proposing new ways to solve MIR tasks, we want to use this workshop as a platform to brainstorm new questions about the various aspects of music. We want to revisit old questions and propose new alternatives to address them. We want to look back at previous projects and studies, and use the lessons we learned to improve the way we address questions today.

Estefanía Cano is a research scientist at the Semantic Music Technologies group at Fraunhofer IDMT in Germany. Estefanía received her B.Sc. degree in electronic engineering from the Universidad Pontificia Bolivariana, Medellín- Colombia, in 2005, her B.A. degree in Music- Saxophone Performance from Universidad de Antioquia, Medellín-Colombia, in 2007, her M.Sc. degree in music engineering from the University of Miami, Florida, in 2009, and her Ph.D. degree in media technology from the Ilmenau University of Technology, Germany, in 2014. In 2009, she joined the Semantic Music Technologies group at the Fraunhofer Institute for Digital Media Technology IDMT as a research scientist. In 2018, she joined the Social and Cognitive Computing Department at the Agency for Science, Technology and Research A*STAR in Singapore. Her research interests include sound source separation, music education, and computational musicology.

Jakob Abeßer studied computer engineering (Dipl.-Ing., 2008) and media technology (Dr.-Ing., 2014) at the Ilmenau University of Technology. Since 2008, he has been working in the field of semantic music processing at the Fraunhofer Institute for Digital Media Technologies (IDMT) in Ilmenau. In 2005 and 2010 he spent 2 stays abroad at the Université Paul Verlain in Metz, France and the Finnish Centre of Excellence in Interdisciplinary Music Research at the University of Jyväskylä in Finland. Between 2012 and 2017, he also worked as a doctoral researcher in the Jazzomat Research Project at the Franz Liszt School of Music in Weimar, developing methods for the computer- aided analysis of jazz improvisations. Since 2018 he is working as co-investigator of the research project “Informed Sound Activity Detection in Music Recordings” (ISAD) at Fraunhofer IDMT in collaboration with Prof. Dr. Meinard Müller from the International Audio Laboratories in Erlangen, Germany. His current research interests include music information retrieval, machine listening, music education, machine learning and deep learning.

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Matthew Davies and Sebastian Böck:  Building and Evaluating a Musical Audio Beat Tracking System

The task of musical audio beat tracking can be considered one the foundational problems in the music information retrieval community. In this workshop we seek to take a tour of the entire beat tracking pipeline by addressing the following steps: i) how to manually annotate ground truth ii) how to construct a lightweight beat tracking model using deep neural networks; iii) how to select appropriate musical material for training and testing; and iv) how to conduct evaluation in a musically meaningful way. In each of these areas, we seek to provide practical hands-on experience and acquired tacit knowledge concerning what works and also what doesn’t work. Throughout the workshop we will promote active participation and discussion with the aim of driving new research in beat tracking and fostering new collaborations.

Matthew Davies is a music information retrieval researcher with a background in digital signal processing. His main research interests include the analysis of rhythm in musical audio signals, evaluation methodology, creative music applications, and reproducible research. Since 2014, Matthew has coordinated the Sound and Music Computing Group in the Centre for Telecommunications and Multimedia at INESC TEC. From 2014-2018, he was an Associate Editor for the IEEE/ACM Transactions on Audio, Speech and Language Processing and coordinated the 4th Annual IEEE Signal Processing Cup. He was a keynote speaker at the 16th Rhythm Production and Perception Workshop, and General Chair of the 13th International Symposium on Computer Music Multidisciplinary Research.

Sebastian Böck received his diploma degree in electrical engineering from the Technical University in Munich in 2010 and his PhD in computer science from the Johannes Kepler University Linz in 2016. Within the MIR community he is probably best known for his machine learning-based algorithms, which pushed the performance of automatic beat tracking and other tasks into regions formerly only achievable by humans. Currently he is continuing his research at the Austrian Research Institute for Artificial Intelligence (OFAI) and the Technical University of Vienna.

Georgi Dzhambazov

Georgi Dzhambazov: Verse and Chorus Detection of Acoustic Cover Versions

Many MIR tasks have as a prerequisite the annotation of structural segments of a song. While cover versions usually retain most music aspects of the original song, there could be a completely new structure (sections appended/missing). In particular, covers with acoustic instrumental accompaniment are characterized by a predominant vocal line, whereby the accompaniment is occasionally missing or improvised. Therefore structure detection algorithms based solely on harmonic features are most likely not a sufficient solution.

In this hands-on-workshop, we will explore the problem of automatic segmentation and labeling of the verse and chorus sections for a given vocal cover version with acoustic accompaniment. Information about the original song (lyrics, chords, guitar tabs etc.) can be found online. Our goal is to come up with ideas/prototypes on how to approach the problem combining existing methods (e.g. vocal activity detection, chord recognition, lyrics-alignment) in new ways, rather than design something completely new. An industry database of vocal cover songs with acoustic accompaniment will be provided.

Georgi is an audio engineer at Smule. He holds a PhD on Music Information Retrieval from the Music Technology Group in Barcelona under the supervision of Xavier Serra. He worked on the topic of automatic alignment of lyrics. He has also experience in applied research on speech recognition and natural language processing. In 2017 he founded VoiceMagix – a company providing solutions for automatic analysis of singing voice.

For several years he is a WiMIR mentor and MIREX task captain.  His research interests are algorithms for the singing voice and speech and machine learning in general. He is currently mainly interested in initiatives aiming at bridging the gap between research in MIR and the music industry.

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Brian McFee:  Coping with Bias in Audio Embeddings

An appealing general approach to modeling problems across many domains is to first transform raw input data through an embedding function, which has been trained on a large (but potentially unrelated) collection of data. This results in a vector representation of each object, which can then be used as input to a simple classifier (e.g., a linear model) to solve some downstream task using a limited amount of data. This approach has been successfully demonstrated in image and video analysis, natural language processing, and is becoming increasingly popular in audio and musical content analysis. However, general-purpose embedding models have been known to encode and propagate implicit biases, which can have detrimental and disparate population-dependent effects.

In this project, we will conduct a preliminary study of embedding bias in MIR data. Using pre-trained audio embeddings and well-known MIR datasets, we will first attempt to quantify the extent to which embedding-based classification exhibits biased results across data sets and/or genres. We will then attempt to de-bias the embedding by adapting recently proposed methods from the natural language processing literature.

Brian McFee is Assistant Professor of Music Technology and Data Science New York University. He received the B.S. degree (2003) in Computer Science from the University of California, Santa Cruz, and M.S. (2008) and Ph.D. (2012) degrees in Computer Science and Engineering from the University of California, San Diego. His work lies at the intersection of machine learning and audio analysis. He is an active open source software developer, and the principal maintainer of the librosa package for audio analysis.

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Peter Sobot:  Software Engineering for Machine Learners (and Drummers) – Building Robust Applications with Audio Data  

Building machine learning systems is hard, but building systems that can scale can be even harder. In this workshop, we’ll discuss software engineering techniques to use when building machine learning systems, including methods to make your code easier to write, test, debug, and maintain. We’ll also build an audio sample classifier with these techniques using basic machine learning concepts, and discuss methods for deploying this system at scale. Finally, we’ll take the system to an extreme and use cloud computing to build a system that learns in response to user input.

Peter Sobot is a Staff Engineer at Spotify, where he works on recommendation products at massive scale, including the systems that power Discover Weekly.  His open-source software contributions range from low-level data tools to legendary internet-scale hacks like The Wub MachineHe has spoken at !!Con, Google Cloud Next, and Google Summit, and makes electronic music in his spare time.

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Bob Sturm: Computer-Guided Analysis of Computer-Generated Music Corpora

Various iterations of the folkrnn system (folkrnn.org) have generated over 100,000 transcriptions of “machine folk”, e.g., https://highnoongmt.wordpress.com/2018/01/05/volumes-1-20-of-folk-rnn-v1-transcriptions/, but manually looking through these takes a lot of time. In this project we will think about and implement some methods that can help one grasp characteristics of such collections, and find interesting bits. For instance, we can look for instances of plagiarism, find anomalous material, judge similarity in terms of pitches, meter, melodic contour, etc.

Bob L. Sturm is currently an Associate Professor in the Speech, Music and Hearing Division of the School of Electronic Engineering and Computer Science at the Royal Institute of Technology KTH, Sweden. Before that he was a Lecturer in Digital Media at the Centre for Digital Music, School of Electronic Engineering and Computer Science, Queen Mary University of London. His research interests include digital signal processing for sound and music signals, machine listening, evaluation, and algorithmic composition. He is also a musician.

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Chris Tralie: To What Extent Do Cyclic Inconsistencies Exist in Musical Preferences?

Music recommendation algorithms seek to rank a set of candidate songs in order of some estimated user preference.  It may be challenging to ascertain preferences from surveys, however, since Miller’s empirical “rule of 7” could be interpreted to suggest that humans lack the working memory to meaningfully rank much more than 7 items at a time.  To learn a longer list of preferences, then, one could consider presenting only a pair of alternatives at a time and aggregating these pairwise preferences into a global ranking. However, real pairwise rankings can lead to cyclic inconsistencies; that is, people often express that A > B and B > C, but also that C > A.  This is known as the “Condorcet Paradox.” Fortunately, there exists a topological pairwise rank aggregation technique, known as “HodgeRank,”[1] which can aggregate these rankings into the “most consistent” global order, while simultaneously quantifying the degree to which local (A > B > C > A) and global (A > B > C > … > A) exist.  In this workshop, we will first discuss these concepts in more detail, and then we will each listen to pairs of 15 second clips from a diverse corpus of music [2] and rank our preferences, and then apply HodgeRank to see how consistent we all are. We will also use metrics between rankings to show which people in our group have similar preferences.  Zooming out, we will also discuss some social psychology literature that correlates musical preferences to personality traits in music [2], and we will discuss concurrent ethical pitfalls that can emerge when collecting data and interpreting results in such studies.

[1] http://www.ams.org/publicoutreach/feature-column/fc-2012-12

[2] Rentfrow, Peter J., et al. “The song remains the same: A replication and extension of the MUSIC model.” Music Perception: An Interdisciplinary Journal 30.2 (2012): 161-185.

Christopher J. Tralie is a data science researcher working in applied geometry/topology and geometric signal processing. His work spans shape-based music structure analysis and cover song identification, video analysis, multimodal time series analysis, and geometry-aided data visualization. He received a B.S.E. from Princeton University 2011, a master’s at Duke University in 2013, and a Ph.D. in at Duke University in 2017, all in Electrical Engineering. His Ph.D. was primarily supported by an NSF Graduate Fellowship, and his dissertation is entitled “Geometric Multimedia Time Series.”  He then did a postdoc at Duke University in Mathematics and a postdoc at Johns Hopkins University in Complex Systems. He was awarded a Bass Instructional Teaching fellowship at Duke University, and he maintains an active interest in pedagogy and outreach, including longitudinal mentoring of underprivileged youths in STEAM education. He is currently a tenure track assistant professor at Ursinus College in the department of Mathematics and Computer Science. For more info, please visit http://www.ctralie.com.

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TJ Tsai: Generating Music by Superimposing and Adapting Existing Audio Tracks

There has been a lot of work in training models to generate novel music from scratch.  In this workshop, we will explore the possibility of generating music by taking a source audio track and enhancing it by superimposing other segments of existing audio material.  The specific task we will work on is to take a classical piano recording and to overlay techno beats/music in an aesthetically pleasing manner. We will brainstorm different ways to accomplish this task, develop some prototypes, and hopefully generate some new music by the end of the workshop!

Prof. TJ Tsai completed bachelor’s and master’s degrees in electrical engineering at Stanford University.  During college, he studied classical piano with George Barth and participated in the Stanford Jazz Orchestra and the chamber music program.  After graduating, he worked at SoundHound for a few years, and then went to UC Berkeley for his Ph.D. Since 2016 he has been a faculty member in the engineering department at Harvey Mudd College, a STEM-focused liberal arts college in Claremont, CA.

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Gissel Velarde and Andre Holzapfel:  Music Research for Good

In recent years, important advances in artificial intelligence (AI) led to different initiatives considering super-intelligence, its advantages, and dangers. The initiatives fostering beneficial AI include (i) conferences: the AI for Good Global Summit (running since 2017), The Beneficial artificial general intelligence conference (held in 2015, 2017 and 2019), (Iii) the establishment of organizations and projects like OpenAI, Partnership on AI, Google’s AI for Social good, or AI for Humanity from the Université de Montréal, and (iv) governments AI strategies. In last year’s ISMIR conference, our community dedicated a session to discuss ethics in MIR, and there are topics which are still to be addressed. During this workshop, we will review the state of AI for good. We will revisit the tentative ethical guidelines for MIR developers proposed by Holzapfel et. al (2018) and its alignment with guidelines from the IEEE Global Initiative on Ethics of Autonomous and Intelligent Systems (Chatila & Havens, 2019), and Ethics Guidelines for Trustworthy AI from the High-Level Expert Group on Artificial Intelligence [HEGAI] (2019).  We will use tools such as SWOAT (strengths, weaknesses, opportunities, and threats) analysis, business canvas, SCAMPER technique for creative thinking and Gantt charts. After a situational analysis, we will define goals, scope, stakeholders, risks, benefits, impact, and an action plan. Finally, we will elaborate ethics guidelines in music research to be proposed to our community for consideration.

Chatila, R., & Havens, J. C. (2019). The IEEE Global Initiative on Ethics of Autonomous and Intelligent Systems. In Robotics and Well-Being (pp. 11-16). Springer, Cham.

High-Level Expert Group on Artificial Intelligence (2019). Ethics guidelines for trustworthy AI. Retrieved from https://ec.europa.eu/digital-single-market/en/news/ethics-guidelines-trustworthy-ai

Holzapfel, A., Sturm, B.L. and Coeckelbergh, M., 2018. Ethical Dimensions of Music Information Retrieval Technology. Transactions of the International Society for Music Information Retrieval, 1(1), pp.44–55. DOI: http://doi.org/10.5334/tismir.13

Gissel Velarde is a computer scientist, engineer, pianist and composer. She holds a PhD degree from Aalborg University for her doctoral thesis “Convolutional methods for music analysis” supervised by David Meredith and Tillman Weyde. She participated as a research member of the European project, “Learning to Create” (Lrn2Cre8), a collaborative project within the Future and Emerging Technologies (FET) programme of the Seventh Framework Programme for Research of the European Commission. She was a machine learning lead at Moodagent and worked as a consultant for SONY Computer Science Laboratories.  She is a DAAD alumni and mentor of the WIMIR program.

Andre Holzapfel received M.Sc. and Ph.D. degrees in computer science from the University of Crete, Greece, and a second Ph.D. degree in music from the Centre of Advanced Music Studies (MIAM) in Istanbul, Turkey. He worked at several leading institutes in computer engineering as postdoctoral researcher, with a focus on rhythm analysis in music information retrieval. His field work in ethnomusicology was mainly conducted in Greece, with Cretan dance being the subject of his second dissertation. In 2016, he became Assistant Professor in Media Technology at the KTH Royal Institute of Technology in Stockholm, Sweden. Since then, his research subjects incorporate the computational analysis of human rhythmic behavior by means of sensor technology, and the investigation of ethical aspects of computational approaches to music.

Eva Zangerle

Eva Zangerle – Multi-Dimensional User Models for MIR

In music information retrieval scenarios (particularly, when it comes to personalization), users and their preferences are often modeled solely by their direct interactions with the system (e.g., songs listened to). However, a user’s perception and liking of recommended/retrieved tracks is dependent on a number of dimensions, which may include the (situational) context of the user (e.g., time, location or activity), the user’s intent, content descriptors and characteristics of tracks the users have listened to and also should be able to model the change of preference over time (short vs. long-term). Comprehensive models that capture these multiple dimensions, however, are hardly devised.

In the scope of this workshop, we aim to look into how users and their preferences (long- and short-term) can be modeled, the implications of such comprehensive user models on the underlying MIR algorithms and also, how we can evaluate the contribution and impact of such user models.

Eva Zangerle is a postdoctoral researcher at the University of Innsbruck at the research group for Databases and Information Systems (Department of Computer Science). She earned her master’s degree in Computer Science at the University of Innsbruck and subsequently pursued her Ph.D. from the University of Innsbruck in the field of recommender systems for collaborative social media platforms. Her main research interests are within the fields of social media analysis, recommender systems, and information retrieval. Over the last years, she has combined these three fields of research and investigated context-aware music recommender systems based on data retrieved from social media platforms aiming to exploit new sources of information for recommender systems. She was awarded a Postdoctoral Fellowship for Overseas Researchers from the Japan Society for the Promotion of Science allowing her to make a short-term research stay at the Ritsumeikan University in Kyoto.

WiMIR Workshop 2018: Modeling Repetition and Variation for MIR

Blog post by Iris Yuping Ren, Hendrik Vincent Koops, and Anja Volk.

(Materials are available at https://github.com/hvkoops/wimir2018)

Right after the main ISMIR2018 conference, the WiMIR workshop awaited. As planned, we gathered and formed a working group to tackle the problem of modeling repetition and variation in music for MIR, consisting of the following participants:

Participants
Anja Volk (Utrecht University) – Project Guide
Hendrik Vincent Koops (Utrecht University) – Project Guide
Iris Yuping Ren (Utrecht University) – Project Guide
Juan Pablo Bello (New York University)
Eric Nichols (Microsoft)
Jaehun Kim (Delft University)
Marcelo Rodriguez Lopez (Yousician)
Changhong Wang (Queen Mary University of London)
Jing Chen (Nanchang University)
Tejaswinee Kelkar (University of Oslo)

In the morning session, we first reflected on the background of repetitions and variations as central concepts in music observed by musicologists, and then the computational modeling thereof in Music Information Retrieval within different contexts. We discussed that there exists disagreement in annotations in many MIR tasks, such as automatic chord extraction and repeated pattern discovery. Comparable to many other subareas in machine learning and data science, we face complications brought by the unattainability of an absolute, all-encompassing ground truth annotation.

We then provided more detailed motivations and ideas on how to gather annotations on repetitions and variations in music. For example, one set of guidelines was:

Listen to the following pieces and annotate the salient melodic patterns with

  1. How relevant this pattern is to this piece
  2. One word to label the type of this pattern
  3. A short description on why you find it to be a pattern
  4. How difficult it was for you to decide whether it’s a pattern

Using the prepared materials, we had a very active discussion on topics such as: how to define the concepts for specific annotation tasks? How can we use tools such as wearable sensors, a wrist band for example, to help the annotation process?  How can we compare the annotations and annotation methods? (For more, please refer to the github link).

In the afternoon, after a very interesting and useful lunch breakout session, we started with the actual annotation process on the first page of the String Quartet No. 1 in F major, Op. 18, No. 1, Ludwig van Beethoven (1798 and 1800), Violin I. We provided the sheet music, midi and audio files. The participants used different tools to their liking to mark the repetitions and variations on the sheet music. During the annotations, there were already some interesting discussions in some subgroups: how repetitive the young Beethoven was!

In the second part of the afternoon, using the individual annotations, we began our exchange on the experience of the annotation process. We discussed how we can improve on the current designs of annotation processes and tools for annotation tasks, and how the annotated patterns could be used to design an automatic pattern discovery system. We concluded the day with a short presentation.

Throughout the day, we gained many new insights into what are the good and bad ways to create and employ annotations on repetitions and variations. We warmly thank the participants for a great a day of discussions, listening to music, and annotating repetitions and variations!


Iris Yuping Ren is a second year PhD candidate in the Information and Computing Sciences department, Utrecht University, under the supervision of dr. Anja Volk, dr. Wouter Swierstra and dr. Remco C. Veltkamp. She obtained Bachelor degrees in Statistics and Cultural Industry Management from Shandong University, Master degrees in Complex System Science from the University of Warwick and École Polytechnique, Computer and Electrical Engineering in the University of Rochester, and a diploma in violin performance from the Eastman Community Music School. Her current research has a focus on the computational modelling and statistical analysis of musical patterns in various corpora. She is comparing both generic and domain-specific approaches, such as data mining methods, times series analysis, machine learning based clustering and classification algorithms. To discover useful patterns in music, she makes use of functional programming languages to compute pattern transformations and similarity dimensions. Her research contributes to a computationally- and quantitatively-based understanding of music and algorithms. Music wise, she enjoys playing with local orchestra projects and sessions.

Hendrik Vincent Koops is a PhD candidate at Utrecht University under supervision of Dr. Anja Volk and Dr. Remco C. Veltkamp. Vincent holds degrees in Sound Design and Music Composition from the HKU University of the Arts Utrecht, and degrees in Artificial Intelligence from the Utrecht University. After a research internship at Carnegie Mellon University, he started his PhD in Music Information Retrieval. His PhD research concerns the computational modeling of variance in musical harmony. For example, he studied annotator subjectivity to better understand the amount of agreement we can expect among harmony annotators. Using data fusion methods, he investigated how to integrate multiple harmony annotations into a single, improved annotation. For a deep learning study, he created new features for chord-label personalization. Vincent’s research contributes to a better understanding of computational harmony analysis tasks, such as automatic chord estimation. Vincent is also active as a composer for film and small ensembles. Currently, he’s working towards work for a string quartet.

Anja Volk (Utrecht University), holds master degrees in both mathematics and musicology, and a PhD in the field of computational musicology. The results of her research have substantially contributed to areas such as music information retrieval, computational musicology,  music cognition, and mathematical music theory.  In 2016 she launched together with Amélie Anglade, Emilia Gómez and Blair Kaneshiro the Women in MIR (WIMIR) Mentoring Program.  She co-organized the launch of the Transactions of the International Society for Music Information Retrieval, the open access journal of the ISMIR society, and is serving as Editor-in-Chief for the journal’s first term. Anja received the Westerdijk Award 2018 from Utrecht University in recognition of her efforts on increasing diversity.

Start of Peer Mentoring Sign up

For all mentors of the WiMIR mentoring round 2019, we offer Peer Mentoring. In this blog post we would like to familiarize you with the Peer Mentoring sign-up procedure. This year we use Trello (explanations follow below), please note that the sign-up deadline is March 10th.

What is peer mentoring?

Peer mentoring provides mentors with the opportunity to discuss various career aspects with other mentors in the WiMIR program. Peer mentoring is meant to serve as a complement to the traditional mentoring program, in which mentor and mentee in any given pair typically have an unequal amount of experience in the field of MIR. In the case of peer mentoring, the two peers may have comparable amounts of experience, yet benefit from each other by bringing in various perspectives on MIR. For example, these perspectives may differ in terms of scholarly background, geographical affiliation, working environment, MIR subfield of expertise, experience with teaching and public outreach, technical skill set, mentoring practices, and more.

Our hope is that the peer mentoring program will contribute to reinforcing the cohesion of the MIR community at large, and in particular: across countries and continents, across scientific disciplines, and between academia and industry. Furthermore, we aim to frame this program within the core mission of WiMIR, that is, to increase the opportunities of women in the field of MIR. Therefore, we encourage WiMIR mentors of all genders to take part in the peer mentoring program, and adopt this communication channel as a facilitator of diversity and inclusion.

How does peer mentoring work?

The first stage of the peer mentoring program is for you to introduce yourself to the rest of the WiMIR mentors. The second stage is to read the profiles of other participants, rank them by order of preference, and send us the ranked list of your top choices. The third stage, once you are assigned a peer, is for you to connect with them through private electronic communication.

Why use Trello?

Last year, the interface for introducing oneself to other peer mentors, and selecting a peer, was a simple shared spreadsheet on Google Documents. This year, because of the rising number of participants, we have decided to migrate to another interface: Trello. This might seem like an iconoclastic choice given that, for those of you who already know Trello, it is primarily designed to be a tool for task management rather than team building. Yet, as it turns out, the streamlined drag-and-drop interface of a Trello board is actually perfect for us to collect the ranked list of preferences of each participant.

A Trello board consists of items (“cards”) which can be moved from one column (“list”) to another. In project management, cards are tasks and lists are states of completion. However, in our peer mentoring interface, we will be using cards to denote participants, and lists to denote preference. For the time being, there is a single Trello board, and it is only visible to us organizers. We kindly ask participants to fill in this Trello board via an email interface.

In an upcoming stage, we will duplicate this Trello board and send a different, private copy to every one of you. At that point, your role will be to browse through the Trello cards of other participants and rank the ones you want to meet.

How do I introduce myself to other mentors?

You can introduce yourself by creating your Trello card. Rather than giving global access to the entire Trello board, we propose that you use the email-to-board interface of Trello. This interface is lighter, more portable, and more accessible to people with disabilities than the visual interface.

Here is a link describing the email-to-board interface of Trello: https://help.trello.com/article/809-creating-cards-by-email

We particularly point your attention towards the “formatting tips” paragraph.

The subject of the email you will send will become the title of the Trello card.

For consistency, we ask everyone to title their Trello card with three elements, separated by spaces:

  1. The two-letter abbreviation of the country of affiliation
  2. Your full name.
  3. Some hashtags describing your own interests in MIR.

For example:

  • “US Vincent Lostanlen #academia #symbolic #timbre”
  • “NL Vincent Koops #academia #harmony #rhythm”
  • “US Blair Kaneshiro #industry #cognition #performance”
  • etc.

The list of recommended hashtags includes, but is not limited to:

  • #academia
  • #accessibility
  • #behavior
  • #business
  • #careers
  • #cognition
  • #corpora
  • #creation
  • #dance
  • #diversity
  • #ethics
  • #health
  • #indexing
  • #industry
  • #melody
  • #metadata
  • #methodologies
  • #performance
  • #recommendation
  • #rhythm
  • #semantic
  • #structure
  • #symbolic
  • #style
  • #teaching
  • #transcription
  • #timbre
  • #voice

You may include other hashtags in the email subject as you see fit. We highly recommend using the #academia and #industry hashtags, and at least two others in the list.

What to put on my Trello card?

In the email body, we ask mentors to include a small profile to their card that includes some biographical information, research interests, and reasons for wanting to participate in peer mentoring. A recommended outline is

  • Some biographical information
  • Current position(s)
  • Research interests and goals
  • Current research focus
  • Interests and pursuits outside of research
  • Projects you are currently working on
  • Your goals in peer mentoring 

As an example, below is the information on the card of Vincent Lostanlen.

– He/him. 26 years old
– a postdoc at NYU’s Music and Audio Research Lab
– visiting scholar from the Cornell Lab of Ornithology, working on bioacoustics
– research goal: MIR applications at the interaction between signal processing and deep learning
– current focus: contemporary music techniques, timbral and structural similarity
– outside of research: computer music designer for Florian Hecker
– open source: Kymatio, librosa, scattering.m

In addition to scientific topics, I would like to progress in my understanding of diversity and inclusion in MIR, ethical responsibility, and fostering links between research and creation.

I would prefer to establish contacts with peers in France or the UK.

Background: EngD Télécom Paristech 2013, MSc Ircam 2013, PhD applied math ENS 2017.

You can also write in prose if you prefer. Feel free to add as many details about yourself as you want.

What is the email address I should write to?

wimirpeermentors+ardgsv5nleozfdsnxnbx@boards.trello.com

Again, please make sure that the subject of the email contains your country of affiliation, your full name, and some hashtags of interest.

Deadline: Please make sure you email your Trello card by March 10th.

What if I want to connect with multiple mentors at once?

Although the peer mentoring program is designed to focus on one-to-one communication, we wish to point out that there is also a recommended communication channel for broadcasting messages to all mentors of the WiMIR program. This communication channel is the channel #wimir_mentors_ on the “MIR community” Slack workspace. Below is the link:

https://mircommunity.slack.com/messages/C9NJJ5R7B

Please note, however, that Slack restricts the history of this workspace to the most recent 10,000 messages. Thus, even though this channel is OK for short-lived announcements, it is not ideal for keeping track of the evolution of long-term projects.

Who are the Peer Mentoring Coordinators?

The Peer Mentoring Coordinators will help you find a suitable peer mentor: Hendrik Vincent Koops (Utrecht University) and Vincent Lostanlen (New York University). If you have questions, please contact them at the following email addresses: h.v.koops@gmail.com and vincent.lostanlen@nyu.edu

TL;DR if you are a WiMIR mentor in the 2019 round and want to join the peer mentoring program, please write an email to wimirpeermentors+ardgsv5nleozfdsnxnbx@boards.trello.com

with an email subject of the form “US Vincent Lostanlen #academia #symbolic #timbre” and personal information about yourself in the email body.

With our best wishes,

The Peer Mentoring Coordinators

Hendrik Vincent Koops and Vincent Lostanlen

WiMIR mentoring round 2019 kickoff

The fourth round of the WiMIR mentoring program is about to start,  mentors and mentees have been matched and introduced  to each other by the Mentoring Program Committee.  Participants come from Europe, North and South America,  Oceania and for the first time from Africa. Thanks everyone for contributing and keeping your commitment! Happy mentoring!

WiMIR mentoring 2019 participants

Mentoring Program Committee

  • Johanna Devaney, Brooklyn College, US
  • Ryan Groves, Melodrive, Germany
  • Blair Kaneshiro, Stanford University, US
  • Anja Volk, Utrecht University, the Netherlands

Peer Mentoring Coordinators

  • Hendrik Vincent Koops, Utrecht University, the Netherlands
  • Vincent Lostanlen, New York University, US

Our mentees reside in Australia, Austria, Belgium, Brazil, Denmark, France, Germany, Greece, India, Ireland, Italy, Netherlands, Nigeria, Norway, Singapore, South Korea, Spain, Taiwan, Turkey, United Kingdom, and United States. They represent a diverse field of interests and backgrounds, such as artificial intelligence, signal processing, natural language processing, musicology, applied mathematics, computer science, audio signal processing, psychoacoustics, human computer interactive performance, computational musicology, music perception and cognition, data science, complex system, acoustics, physics, machine learning, software engineering, ethnomusicology, composition, music therapy, neuroscience, and psychology.

We thank our generous mentors from Europe, North and South America, Asia and Oceania for dedicating their time to this program:

Kat Agres, IHPC (A*STAR), Singapore
Steinunn Arnardottir, Native Instruments GmbH, Germany
Thomas Arvanitidis, MUSIC Tribe, United Kingdom
Andreas Arzt, Johannes Kepler University, Austria
Ana M. Barbancho, Universidad de Málaga, Spain
Isabel Barbancho, Universidad de Malaga, Spain
Dogac Basaran, IRCAM, France
Christine Bauer, Johannes Kepler University Linz, Austria
Amy Beeston, University of Leeds, UK (Scotland)
Brian Bemman, Aalborg University, Denmark
Francesco Bigoni, Aalborg University – Copenhagen, Denmark
Rachel Bittner, Spotify, United States
Tom Butcher, Microsoft, USA
Marcelo Caetano, Freelance, Argentina
Mark Cartwright, Apple, UK
Doga Cavdir, CCRMA, Stanford University, United States
JOe Cheri Ross, Linkedin, India
Srikanth Cherla, Jukedeck, Sweden
Orchisama Das, Stanford University (CCRMA), United States
Matthew Davies, INESC TEC, Portugal
Andrew Demetriou, TU Delft, Netherlands
Chris Donahue, UC San Diego, US
Jonathan Driedger, Chordify, Germany/The Netherlands
Andrew Elmsley, Melodrive, Germany
Philippe Esling, IRCAM – Sorbonnes Universités, France
Sebastian Ewert, Waikato University, New Zealand
Ichiro Fujinaga, McGill University, Canada
Fabien Gouyon, Pandora, UK/Portugal
Ryan Groves, Melodrive Inc., Germany
Blair Kaneshiro, Stanford University, USA
Thor Kell, Spotify, United States
Peter Knees, TU Wien, Austria
Hendrik Vincent Koops, Utrecht University, Netherlands
Katerina Kosta, Jukedeck, United Kingdom
Nadine Kroher, MXX Music, Spain
Robin Laney, Open University, UK
Audrey Laplante, Université de Montréal, Canada
Alexander Lerch, Georgia Institute of Technology, USA
Mark Levy, New York University, United States
Michael Mandel, Brooklyn College, CUNY, USA
Ethan Manilow, Northwestern University, USA
Matthew McCallum, Gracenote, United States
Brian McFee, New York University, United States
Blai Meléndez-Catalán, UPF / BMAT, Spain
Gabriel Meseguer Brocal, Ircam, France
Meinard Mueller, International Audio Laboratories Erlangen, Germany
Néstor Nápoles López, McGill University, Canada
Eric Nichols, Microsoft, USA
Oriol Nieto, Pandora, USA
Sergio Oramas, Spotify, United Kingdom
Ritu Patil, Cummins college of engineering, India
Johan Pauwels, Queen Mary University of London, United Kingdom
Marcelo Queiroz, University of São Paulo, Brazil
Elio Quinton, Universal Music Group, United Kingdom
Colin Raffel, Google Brain, USA
Preeti Rao, IIT Bombay, India
Christopher Raphael, Indiana Univ., USA
Justin Salamon, New York University, USA
Andy Sarroff, iZotope, USA
Bertrand Scherrer, LANDR AUDIO INC., Canada
Sertan Şentürk, Pandora, Spain
Amina Shabbeer, Amazon, United States
Ajeet Singh, India
Joren Six, IPEM, Ghent University, Belgium
Jordan Smith, United Kingdom
Mohamed Sordo, Pandora, United States
Ajay Srinivasamurthy, Amazon Alexa, India, India
Bob Sturm, KTH, Sweden
Derek Tingle, IDAGIO, Germany
Christopher Tralie, Duke University, United States
Marcelo Tuller, INESC TEC, Portugal
Doug Turnbull, Ithaca College, United States
Makarand Velankar, MKSSS’S Cummins College of Engineering, Pune, India
Gissel Velarde, Moodagent, Denmark
Christof Weiss, International Audio Laboratories Erlangen, Germany
Chih-Wei Wu, Netflix, Inc., U.S.
Gus Xia, NYU Shanghai, USA/China

Sign-ups open for WiMIR mentoring round 2019

For preparing the fourth round of the Women in Music Information Retrieval (WiMIR) mentoring program, to begin in January 2019,  we kindly invite previous and new mentors and mentees to sign up  through the following signup forms:

Sign up to GET a mentor in 2019 here: http://bit.ly/2Ns8ulj

Sign up to BE a mentor in 2019 here: http://bit.ly/2Da6ZTZ

Signups close Nov 30, 2018. Mentor/mentee matches will be announced in January 2019.

The WiMIR mentoring program connects women students, postdocs, early-stage researchers, industry employees, and faculty to more senior women and men in MIR who are dedicated to increasing opportunities for women in the field. Mentors will share their experiences and offer guidance to support mentees in achieving and exceeding their goals and aspirations. The program offers to all mentors the option to pair up with a peer mentor for discussing relevant topics with a professional at a similar stage of their career.  By connecting individuals of different backgrounds and expertise, this program strengthens networks within the MIR community, both in academia and industry. 

Time commitment: four remote meetings between January and end of June 2019.

Who is eligible?

– Female undergraduates, graduate students, postdocs, early-stage researchers, industry employees, and faculty may sign up as mentees. 

– Graduate students, industry employees, researchers, and faculty of any gender may sign up as mentors. 

– Those meeting criteria for both mentor and mentee roles are welcome to sign up as both. 

Faculty: Please share this announcement with female undergraduates in your departments and labs who may be interested in participating. The mentoring program can help attracting newcomers at an early stage to the MIR field.

More information on the program

General information: https://wimir.wordpress.com/mentoring-program/ 

Report on the mentoring round in 2017:  http://bit.ly/2yuWS5i

Report on the mentoring round in 2018:  https://bit.ly/2P5pBG3

Questions? Email wimir-mentoring@ismir.net 

We look forward to your response and commitment to continuing the mentoring program!

The WiMIR Mentoring Program Committee

Johanna Devaney, Ryan Groves, Blair Kaneshiro, and Anja Volk