Representing Musical Genre: A State of the Art

By Jean-Julien Aucouturier, François Pachet. 2003

418 citations recorded by the source corpus.

Subfields: Cognitive Neuroscience, Computer Vision and Pattern Recognition, Signal Processing

View Paper: https://www.semanticscholar.org/paper/e352e3247cfecf9bbcc3955074c39e3654032a3a

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Citations in the corpus

Categories and Competition (2017, methodology): “Aucouturier and Pachet (2003) followed up by comparing various methods of music genre construction, both automated and human-based, and found little correspondence in the resulting category systems. Hsu (2006) studied the effects of genre labels on the box office success of films and observed that o”
Aggregate features and ADABOOST for music classification (2006, background): “A survey by Aucouturier and Pachet (2003) describes a number of popular features for music similarity and classification, and research continues (e.g. Bello et al. (2005), Pampalk et al. (2005)).”
Improving Timbre Similarity : How high’s the sky ? (2004, methodology): “Objective evaluation is also problematic, because of the choice of a ground truth to compare the measure to. In [ 1 ], we have projected our similarity measure on genre metadata to study its agreement to the class information, using the Fisher coefficient.”
Automatic genre classification of music content: a survey (2006, background): “They conclude that the classification results are hardly over the baseline, which seems to confirm the negative results of [16] suggesting the need for extramusical information.”
A Simple Method to Determine if a Music Information Retrieval System is a “Horse” (2014, background): ““Ground truth” in music genre recognition, music emotion recognition and music autotagging, for instance, has notorious ambiguity [4], [40]–[44].”
Are the Emotions Expressed in Music Genre-specific? An Audio-based Evaluation of Datasets Spanning Classical, Film, Pop and Mixed Genres (2011, background): “However, the genres themselves—also called musical styles in the analysis and history literature—are not easy to define, since no natural genre taxonomies exist and they are defined as cultural constructs rather than by any intrinsic musical properties (e.g. Aucouturier & Pachet, 2003).”