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TISMIR Journal Launch and Call for Papers

I am blogging some news related to a project I have been recently contributing.

It brings us great pleasure to announce the launch of the first issue of TISMIR, the Transactions of the International Society for Music Information Retrievalhttps://transactions.ismir.net/

TISMIR was established to complement the widely cited ISMIR conference proceedings and provide a vehicle for the dissemination of the highest quality and most substantial scientific research in MIR. TISMIR retains the Open Access model of the ISMIR Conference proceedings, providing rapid access, free of charge, to all journal content. In order to encourage reproducibility of the published research papers, we provide facilities for archiving the software and data used in the research. The TISMIR publication model avoids excessive cost to the authors or their institutions, with article charges being less than the ISMIR Conference registration fee.

The first issue contains an editorial introducing the journal, four research papers and one dataset paper:

Editorial: Introducing the Transactions of the International Society for Music Information Retrieval – Simon Dixon,  Emilia Gómez,  Anja Volk

Multimodal Deep Learning for Music Genre Classification – Sergio Oramas,  Francesco Barbieri,  Oriol Nieto,  Xavier Serra

Learning Audio–Sheet Music Correspondences for Cross-Modal Retrieval and Piece Identification – Matthias Dorfer,  Jan Hajič jr.,  Andreas Arzt,  Harald Frostel,  Gerhard Widmer

A New Curated Corpus of Historical Electronic Music: Collation, Data and Research Findings – Nick Collins,  Peter Manning,  Simone Tarsitani

A Case for Reproducibility in MIR: Replication of ‘A Highly Robust Audio Fingerprinting System’ – Joren Six,  Federica Bressan,  Marc Leman

Pop Music Highlighter: Marking the Emotion Keypoints – Yu-Siang Huang,  Szu-Yu Chou,  Yi-Hsuan Yang

Two more papers (one research paper and one overview paper) are in press.

Authors:  We look forward to receiving new submissions to the journal – please see the Call for Papers below.

Best Regards
Simon Dixon, Anja Volk and Emilia Gómez

Editors-in-chief, TISMIR

CALL FOR PAPERS

The ISMIR Board is happy to announce the launch of the Transactions of the International Society for Music Information Retrieval (TISMIR), the open-access journal of our community.

 

TISMIR (http://tismir.ismir.net) publishes novel scientific research in the field of Music Information Retrieval (MIR), an interdisciplinary research area concerned with processing, analysing, organising and accessing music information. We welcome submissions from a wide range of disciplines, including computer science, musicology, cognitive science, library & information science, machine learning, and electrical engineering.

 

TISMIR is established to complement the widely cited ISMIR conference proceedings and provide a vehicle for the dissemination of the highest quality and most substantial scientific research in MIR. TISMIR retains the Open Access model of the ISMIR Conference proceedings, providing rapid access, free of charge, to all journal content. In order to encourage reproducibility of the published research papers, we provide facilities for archiving the software and data used in the research. TISMIR is published in electronic-only format, making it possible to offer very low publication costs to authors’ institutions, while ensuring fully open access content. With this call for papers we invite submissions for the following article types:

Article types

Research articles must describe the outcomes and application of unpublished original research. These should make a substantial contribution to knowledge and understanding in the subject matter and should be supported by relevant experiments.

Overview articles should focus in detail on specific aspects of MIR research. Overview articles will provide a comprehensive review of a broad MIR research problem, a critical evaluation of proposed techniques and/or an analysis of challenges for future research. Papers should critically engage with the relevant body of extant literature.

Datasets should present novel efforts in data gathering and annotation that have a strong potential impact in the way MIR technologies are exploited and evaluated.

 

If the paper extends or combines the authors’ previously published research, it is expected that there is a significant novel contribution in the submission (as a rule of thumb, we would expect at  least 50% of the underlying work – the ideas, concepts, methods, results, analysis and discussion – to be new). In addition, if there is any overlapping textual material, it should be rewritten.

 

Review process

The journal operates a double-blind peer review process.  Review criteria include originality, consideration of previous work, methodology, clarity and reproducibility.

 

Publication frequency

The journal is published online as a continuous volume and issue throughout the year, following an open access policy. Articles are made available as soon as they are ready to ensure that there are no unnecessary delays in getting content publicly available.

 

Editorial team

Editors in Chief

Simon Dixon, School of Electronic Engineering and Computer Science, Queen Mary University of London, United Kingdom

Emilia Gómez, Music Technology Group, Universitat Pompeu Fabra, Barcelona, Spain

Anja Volk, Department of Information and Computing Sciences, Utrecht University, Netherlands

Editorial Board

Juan P. Bello, Department of Music and Performing Arts Professions, & Department of Electrical and Computer Engineering, New York University, United States

Arthur Flexer, Austrian Research Institute for Artificial Intelligence (OFAI), Austria

Fabien Gouyon, Pandora, United States

Xiao Hu, Faculty of Education, Division of Information & Technology Studies, University of Hong Kong

Olivier Lartillot, Department of Musicology, University of Oslo, Norway

Jin Ha Lee, Information School, University of Washington, United States

Meinard Mueller, International Audio Laboratories Erlangen, Germany

Geoffroy Peeters, Sound Analysis/Synthesis Team, UMR STMS IRCAM CNRS, France

Markus Schedl, Department of Computational Perception, Johannes Kepler University Linz, Austria

 

Reviewers: The editorial board counts on reviewers from the ISMIR community, who are crucial to the success of the journal. To become a reviewer, please register here http://tismir.ubiquitypress.com/author/register/reviewer/

Journal Manager

Tim Wakeford, Ubiquity Press, United Kingdom

Contact

tismir@ismir.net

 

Website

http://tismir.ismir.net/

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Vodafone, Sé Digital Andalucía y Emilia Gómez Gutiérrez, galardonados en los Premios Andaluces de las Telecomunicaciones

Noticia en La Vanguardia sobre los Premios Andaluces de Telecomunicaciones 2017, donde tuve la suerte de ser galardonada con un premio a la trayectoria profesional.

Se puede leer la noticia aquí.

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La coral virtual ja existeix i es crea a Barcelona

Article al diari Avui sobre la nostra recerca en tecnologies pel cant coral. Accessible aquí.

membres-bruckner-casas-universitat-pompeu_1810029134_41358661_651x366

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PhD and postdoc positions in my lab

There are some open PhD & postdoc positions for people interested in working in my lab. As the deadline as very tight, please contact me if interested!

Postdoc:

The catalan government is opening a call for post-doc researchers to join catalan universities. It is called Beatriu de Pinós program.

Requirements:

  • Have a PhD between 01/01/2009 and 31/12/2014 (even later)
  • Minimum of 2 years of postdoctoral experience outside Spain.
  • Not living in Spain more than 12 months in the lsat 3 years.

Conditions:

  • 2 years duration that can be extended 1 more year. Starting before January 1st 2018.
  • ~ 32.800 EUR / year + 6.000 EUR for supporting research

Deadline: 01/12/2016

More info here.

PhD: Our Department is a hosting institution within the INPhINIT “la Caixa” Fellowships Programme (57 grants), and there are several proposals supervised by MTG researchers, two of them co-supervised by me on the following topics:

Conditions and instructions for application are explained here and the deadline for applications in February 2nd.

 

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Women in Music IR – 2016

I am very happy to take part at the WiMIR community, a group of people within the International Society for Music Information Retrieval dedicated to promoting the role of, and increasing opportunities for, women in the MIR field. We meet to socialize, share information, and discuss in an informal setting, with the goal of building a community around women in our field.

For 2016, there are many things happening for the first time this year:

And this is only the start….. I am really happy to belong to this community 🙂

Do you like it? then join us!
IMG_2947Photo taken with ISMIR organizers at
WiMIR meeting in ISMIR2014, Taipei, Taiwan

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Paper on melodic similarity in flamenco now online

Our paper on melodic similarity is finally online! The paper is titled

Melodic Contour and Mid-Level Global Features Applied to the Analysis of Flamenco Cantes

This work focuses on the topic of melodic characterization and similarity in a specific musical repertoire: a cappella flamenco singing, more specifically in debla and martinete styles. We propose the combination of manual and automatic description. First, we use a state-of-the-art automatic transcription method to account for general melodic similarity from music recordings. Second, we define a specific set of representative mid-level melodic features, which are manually labelled by flamenco experts. Both approaches are then contrasted and combined into a global similarity measure. This similarity measure is assessed by inspecting the clusters obtained through phylogenetic algorithms and by relating similarity to categorization in terms of style. Finally, we discuss the advantage of combining automatic and expert annotations as well as the need to include repertoire-specific descriptions for meaningful melodic characterization in traditional music collections.

This is the result of a joint work of the COFLA group, where I am contributing with tecnologies for the automatic transcription and melody description of music recordings.

This is an example on how we compare flamenco tonás using melodic similarity and phylogenetic trees:

nnmr_a_1174717_f0007_b

And this is a video example of the type of styles we analyze in this paper, done by Nadine Kroher based on her work at the MTG:

You can read the full paper online:

http://www.tandfonline.com/doi/full/10.1080/09298215.2016.1174717

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FAST project: Acoustic and semantic technologies for intelligent music production and consumption

Yesterday I arrived from Paris, where I attended, as Advisory Board member, a meeting of the FAST Project (www.semanticaudio.ac.uk).

FAST-IMPACT stands for “Fusing Acoustic and Semantic Technologies for Intelligent Music Production and Consumption” and it is funded by EPRSC, Engineering and Physical Sciences Research Countil, UK with 5,199,944 £ (side note: OMG this is real funding, they should know at the new Spanish Agencia Estatal para la Investigación)

According to their web site, This five-year EPSRC project brings the very latest technologies to bear on the entire recorded music industry, end-to-end, producer to consumer, making the production process more fruitful, the consumption process more engaging, and the delivery and intermediation more automated and robust. It addresses three main premises:

(i) that Semantic Web technologies should be deployed throughout the content value chain from producer to consumer;

(ii) that advanced signal processing should be employed in the content production phases to extract “pure” features of perceptual significance and represent these in standard vocabularies;

(iii) that this combination of semantic technologies and content-derived metadata leads to advantages (and new products and services) at many points in the value chain, from recording studio to end-user (listener) devices and applications.

The project is leaded by Dr Mark Sandler, Queen Mary University of London, and include as project participants University of Nottingham (leaded by Dr. Steve Benford), University of Oxford (leaded by Dr. David Deroure), Abbey Road Studios, BBC R&D, The Internet Archives, Microsoft Research and Audiolaboratories Eerlangen.

The results for this first year are amazing, as it can bee seen on the web, in terms of publication, scientific and technological outcomes but more important, great and inspiring ideas!

I am honoured to be part of the advisory board with such excellent researchers and contribute to the Project as much as I can. Some photos of the meeting:

 

 

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Mujer, ciencia y tecnología

Recientemente he recibido bastantes noticias sobre mujeres en español e inglés, y he pensado ponerlas todas en un blog: https://womenict.wordpress.com/

I have recently got many news about women and technology in spanish and english and I decided to start a blog on that. Feel free to follow! https://womenict.wordpress.com/

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Media Monday

Last Monday I had the chance of speaking about my work and the PHENICX project at two different forums.

  • In the morning, I was interviewed at the program “Longitud de Onda”, Radio Clássica, Spanish National Radio (Radio Nacional de España):  “Cómo la tecnología nos acerca a la música clásica” – “How technology approaches us to classical music”
    You can hear the interview (in Spanish) at Min.16:20

¿Se imaginan que mientras asisten a un concierto pueden tener un programa de mano hecho a medida? Hoy hablamos de analizar la música para sacar provecho de esa información y diseñar programas o aplicaciones que hagan más accesible la música para todos.

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  • In the evening, I was interviewed at the TV program l’Illa de Robinson, El Punt Avui TV. I presented the PHENICX project and how technologies can change the way we experience classical music concerts. You can check the video here.

ElPuntAvuiTV

 

 

 

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CfP: Multimedia Technologies for Enriched Music Performance, Production, and Consumption

Publication: Jan. Mar. 2017
Submission deadline: Feb. 1st 2016

Screen Shot 2015-12-03 at 11.50.49

I am co-editing, together with my colleagues Cynthia Liem and George Tzanetakis,  a special issue on IEEE Multimedia related to music.

Internet access, mobile devices, social networks, and automated multimedia technologies enabling sophisticated information analysis and access have radically changed the ways in which people find entertainment, discover new interests, and generally express themselves online — seemingly without any physical or social barriers. Thanks to the increasing affordability of sensing, storage, and sharing, we note that information takes increasingly rich and hybrid multimedia forms, in which multimodal information streams co-occur in various social consumption settings.

This phenomenon also has enabled opportunities in the music domain. In music performance, novel opportunities for expression are found, exploiting (live) analysis and novel interaction mechanisms with musical data in multiple modalities. In music production, sophisticated multimedia data analysis techniques can both lead to more efficient and scalable workflows, as well as richer and better interfaces. In music consumption, the music data richness and its contextual and social embedding lead to novel consumer experiences stimulating music appreciation. Concerts turn into multimodal, multiperspective, and multilayer digital artifacts that can be easily explored, customized, personalized, (re)enjoyed and shared among various types of users; similar notions and opportunities hold for the consumption of general music recordings.

The goal of this special Issue is to gather state-of-the-art research on multimedia methods and technologies aimed at enriching music performance, production and consumption. We solicit novel, original work that is not published or under review elsewhere.

Topics of interest include, but are not limited to:

  • Processing of multimodal music data streams (e.g. audio, video, images, score, text, gesture…) for music performance, production and/or consumption
  • Multimedia content description and indexing for music performance, production and/or consumption
  • Multimedia information retrieval methods for music performance, production and/or consumption
  • Novel interaction mechanisms for music performance, production and/or consumption
  • Novel user interfaces for music performance, production and/or consumption
  • Novel user experience paradigms for music performance, production and/or consumption
  • Social networking and sharing for music performance, production and/or consumption
  • Digital mechanisms for remote music performers and audiences
  • Active listening, audience immersion, and inclusion of new music audiences
  • User-awareness, personalization and intent in music performance, production and/or consumption
  • Context-awareness and automatic context adaptation in music performance, production and/or consumption

Submission Guidelines

See www.computer.org/web/peer-review/magazines. Submissions should not exceed 6,500 words, with each table and figure counting for 200 words. Manuscripts should be submitted electronically (https://mc.manuscriptcentral.com/mm-cs), selecting this special issue option.

Guest Editors

Detailed call for papers

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