MediaEval 2016 - the C@merata task: Natural Language Queries Derived from Exam Papers, Articles and...

The C@merata task at MediaEval 2016: Natural Language Queries Derived

from Exam Papers, Articles and Other Sources against Classical Music Scores in MusicXML

Richard Sutcliffe, University of Essex

Cynthia Liem, Delft University of Technology

plus... Tom Collins, Lehigh University

Eduard Hovy, Carnegie-Mellon University Richard Lewis, Goldsmiths, University of London

Chris Fox, University of Essex Deane Root, University of Pittsburgh

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Outline Applications Task Design Passages and Divisions Query Types and Music Scores Evaluation Metrics 2016 Campaign Results Conclusions

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C@merata Task There is a series of 200 questions each year: • A short noun phrase in English referring to musical features in a score, • A short classical music score in MusicXML. Required Answer: • The location(s) in the score of the requested musical feature. We call each such location a passage.

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Applications Linking musical references to scores: [ah25] repeated crotchet chords [dc364lh] tonic triad of E major [ah26] giant unison G from the entire orchestra Allowing experts to search scores interactively using phrases: triplet quavers against a chord in the bass Helping students to learn music theory: perfect cadence brings up an example in a score ah: Hopkins, A. (1982). The Nine Symphonies of Beethoven. London: Pan Books. dc: Cooke, D. (1995). Bruckner, (Joseph) Anton. In S. Sadie (ed), New Grove Dictionary of Music and Musicians, Volume 3, Section 7. Music (p362-366). London, UK: Macmillan.

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Task Design There are 200 queries. We saw earlier that we have: Provided Question: • A short noun phrase in English referring to musical features in a score, • A short classical music score in MusicXML. Required Answer: • The location(s) in the score of the requested musical feature. We call each such location a passage.

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Passages and Divisions We specify a passage as follows:

• a time signature, • a divisions value • a start bar and beat • an end bar and beat Example:

[4/4,1,1:1-2:4] time signature is 4/4. divisions value is 1 so we count in crotchets (quarter notes) Passage starts in bar 1 before the first crotchet (i.e. 1:1) Passage ends in bar two after the fourth crotchet (i.e. 2:4) Thus passage consists of the two complete bars (measures) numbered one and two.

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What is a Divisions Value? The number of beats into which we divide a crotchet. A suitable value depends on what we wish to demarcate. Working in whole crotchets: Divisions = 1 Working in quavers: Divisions = 2 Working in quaver triplets: Divisions = 3 Working in semiquavers or quavers or triplet quavers: Divisions = 12 !! With Divisions = 12: one crotchet = 12 beats one quaver = 6 beats one quaver triplet = 4 beats one semiquaver = 3 beats Note: MusicXML uses the divisions concept and we got the idea from there.

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Q: C D E F D E C in semiquavers repeated after a semiquaver A: [ 4/4, 4, 1:2-1:16 ] Q: semiquaver F# in the treble against a crotchet C in the bass A: [ 4/4, 4, 4:13-4:13 ]

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Query Types In 2014 there were twelve types of query:

Type No Example simple_pitch 30 G5

simple_length 30 dotted quarter note pitch_and_length 30 D# crotchet

perf_spec 10 D sharp trill stave_spec 20 D4 in the right hand word_spec 5 word "Se" on an A flat

followed_by 30 crotchet followed by semibreve melodic_interval 19 melodic octave

harmonic_interval 11 harmonic major sixth cadence_spec 5 perfect cadence

triad_spec 5 tonic triad texture_spec 5 polyphony

All 200

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In 2015 there were eight types of query, each modified in various ways:

Type No Example

1_melod 40 D4 minim eighth note in measure 9

1_melod qualified by

perf, instr, clef, time, key

40

trill on a quaver A G# in the Cello part in measures 29-39

sixteenth note C# in the left hand half note E3 in 2/2

sixteenth note G in G minor in measures 1-5

n_melod 20

F# E G F# A Do Mi Do Sol Do Mi Sol Do in bars 1-20

twenty semiquavers five note melody in bars 1-10

n_melod qualified by


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two staccato quarter notes in the Violin 1 crotchet, crotchet rest, crotchet rest, crotchet, crotchet rest, crotchet,

crotchet, crotchet, crotchet, crotchet in the Timpani melodic octave leap in the bass clef in measures 70-80

G4 B4 E5 in 3/4 rising G minor arpeggio

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1_harm poss qualified by


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eighth note chord Bb, C, E chord of D minor in measures 109-110

harmonic minor sixth in the Violas dotted minim chord in the left hand

texture 6

monophonic passage homophony in measures 1-14 polyphony in measures 10-14 Alberti bass in measures 0-4

follow possibly qualified on

either or both sides by perf,

instr, clef, time, key

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quavers F4 E4 in the oboe followed by quavers E2 G#2 in the bass clef quarter note minor third followed by eighth note unison

C followed by mordent Bb chord C4 G4 C5 E5 then a quaver

three eighth notes in the Violin I followed by twelve sixteenth notes in the Violin II in measures 87-92

synch possibly qualified in

either or both parts by perf,


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four eighth notes against a half note crotchet D3 on the word “je” against a minim D2

four staccato quavers in the Violoncello against a minim chord Ab3 C4 F4 in the Harpsichord

All 200

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In 2016 there are five types of query: 1_melod, n_melod, 1_harm, n_harm and texture 1_melod to n_harm can be qualified by perf, instr, clef, time, key All can be linked by follow or synch

Type No Example

1_melod 4 A#1 in bars 44-59 quarter-note rest in measures 1-5

1_melod qualified by perf, instr, clef, time,

key 36

dotted quarter note D6 in the first violin solo C5 in the oboe in measures 32 onwards

flute dotted half note only against strings half note on the tonic in the bass clef

A4 sung to the word 'bow'

n_melod 15

two-note dotted rhythm in measures 1-24 eight note rising passage in quarter notes

repeated Bb4 whole note D4 D5 A5 D6 in sixteenth notes repeated twice

two tied dotted minims in bars 72-88

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n_melod qualified by perf, instr, clef, time,

key 45

dotted minims C B A in the Bass clef in bars 70-90 melodic interval of a minor 7th in the voice

rising arpeggio in the left hand in measures 1-10 five-note melody in the cello in measures 20-28

whole note rest, quarter note in the Violin 4 in measures 1-103

1_harm 17

7th triad in measures 1-3 Ia chord in bars 1-10

chord of C whole-note unison E2 E3 E4

chord III in bars 44-59

1_harm possibly qualified by perf,

instr, clef, time, key 23

chord of F#3, D4 and A4 in the lower three parts harmonic fifth in the oboe

harmonic octave in the bass clef harmonic perfect fourth between the Soprano and Alto in bars 1-9

cello and viola playing dotted minims an octave apart in bars 40-70

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n_harm 25

interrupted cadence A5 pedal in bars 116-138

authentic cadence in measures 14-18 plagal cadence in bars 134-138

three consecutive thirds in bars 1-43

n_harm possibly qualified by perf,

instr, clef, time, key 15

consecutive sixths between the Altos and Basses in measures 73-80 flute, oboe and bassoon in unison in measures 1-56

consecutive descending sixths in the left hand alternating fourths and fifths in the Oboe in bars 1-100

Soprano and Alto moving one step down together in measures 1-12

texture 20

all three violn parts in unison in measures 1-59 polyphony in measures 5-12

homophonic texture in measures 125-138 imitative texture in bars 1-18

counterpoint in bars 1-14 All 200

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Type No Example

follow possibly qualified on either or both sides by perf,


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C D E F D E C in semiquavers repeated after a semiquaver eighth-note twelfth followed by whole-note minor tenth between

Cello and Viola D C# in the right hand, then F A G Bb in semiquavers in the left

hand B flat in the cbass followed a quarter note later by B natural in the

cbass 5 B4s followed by a C5

synch possibly qualified in either or both parts by perf,


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quarter note E5 against a quarter note C#3 C#3 minim and E4 semibreve simultaneously

D3 in the bass at the same time as C5 in soprano 1 three-note chord in the harpsichord right hand against a two-note

chord in the harpsichord left hand in measures 45-52 A#3 in the piano and F#5 in the voice simultaneously

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Q: three-note chord in the harpsichord right hand against a two-note chord in the harpsichord left hand in measures 45-52 A: [ 3/4, 1, 45:3-45:3 ], [ 3/4, 1, 51:1-51:3 ]

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Q: imitation in the piano left hand and voice in measures 1-6 A: [ 4/4, 1, 1:2-3:4 ]

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Q: perfect cadence in measures 3-8 A: [ 4/4, 1, 5:1-6:1 ]

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2016 Scores

Work Staves Scoring Lang bach_2_part_invention_no1_bwv772 2 hpd Eng.

beethoven_piano_sonata_no2_m4 2 pf Amer. beethoven_piano_sonata_no5_m1 2 pf Eng.

chopin_prelude_op28_no15 2 pf Eng. scarlatti_sonata_k281 2 hpd Eng. scarlatti_sonata_k320 2 hpd Amer.

schubert_an_die_musik_d547 3 S, pf Amer. bach_chorale_bwv347 4 SATB Amer.

beethoven_str_quartet_op127_m1 4 2 vn, va, vc Eng. bennet_weep_o_mine_eyes 4 SATB Eng.

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handel_water_music_suite_air 4 2 vn, va, vc Amer.

palestrina_alma_redemptoris_mater 4 SATB Amer. schubert_str_quartet_no10_op125_d87_m3 4 2 vn, va, vc Eng.

morley_now_is_the_month_of_maying 5 SATTB Eng. weelkes_hark_all_ye_lovely_saints 5 SSATB Eng.

vivaldi_conc_4_vns_op3_no10_rv580 8 4 vn, 2 va, vc, db Amer. vivaldi_conc_vn_op6_no6_rv239_m1 8 3 vn, va, vc, db, hpd Amer.

mozart_symphony_no40_m4 10 fl, 2 ob, 2 bn, 2 hn, 2 vn, va, vc, db Eng.

beethoven_symphony_no3_m3 13 2 fl, 2 ob, 2 cl, 2 bs, 2 hn, 2 tpt, timp, 2 vn, va, vc, db, Amer.

handel_messiah_and_the_glory 18 fl, 2 ob, cl, bs, hn, tbn, tuba, SATB, hpd, 2 vn, va, vc, db Amer.

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Evaluation of a Returned Passage Passage is beat correct if it starts at exactly the correct beat (as specified by the divisions value) in the correct start bar and also ends at the correct beat in the end bar. - Useful for applications of results which are themselves automatic. Passage is measure correct if it starts in the bar where the requested feature starts and ends in the bar where the requested feature ends. - Sufficient in many cases for humans to use.

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Beat Precision (BP) is the number of beat correct passages returned by a system divided by the number of passages (correct or incorrect) returned. Beat Recall (BR) is the number of beat correct passages returned by a system divided by the total number of answer passages known to exist. Measure Precision (MP) is the number of measure correct passages returned by a system divided by the number of passages (correct or incorrect) returned. Measure Recall (MR) is the number of measure correct passages returned by a system divided by the total number of answer passages known to exist.

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Participants

Runtag Leader Affiliation Country DMUN Andreas Katsiavalos De Montfort University England

KIAM Marina Mytrova Keldysh Institute of Applied Mathematics Russia

OMDN Donncha Ó Maidín University of Limerick Ireland

UMFC Paweł Cyrta Fryderyk Chopin University of Music Poland

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2014 Results

Run BP BR BF MP MR MF CLAS01 0.713 0.904 0.797 0.764 0.967 0.854 DMUN01 0.372 0.712 0.489 0.409 0.784 0.538 DMUN02 0.380 0.748 0.504 0.417 0.820 0.553 DMUN03 0.440 0.868 0.584 0.462 0.910 0.613 LACG01 0.135 0.101 0.116 0.188 0.142 0.162 OMDN01 0.415 0.150 0.220 0.424 0.154 0.226 TCSL01 0.633 0.821 0.715 0.652 0.845 0.736 UNLP01 0.113 0.516 0.185 0.155 0.703 0.254 UNLP02 0.290 0.512 0.370 0.393 0.692 0.501

Maximum 0.713 0.904 0.797 0.764 0.967 0.854 Minimum 0.113 0.150 0.185 0.155 0.154 0.226 Average 0.420 0.654 0.483 0.460 0.734 0.534

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2015 Results

Run BP BR BF MP MR MF CLAS01 0.604 0.636 0.620 0.639 0.673 0.656 DMUN01 0.311 0.739 0.438 0.332 0.788 0.467 DMUN02 0.242 0.739 0.365 0.265 0.809 0.399 DMUN03 0.294 0.739 0.421 0.316 0.794 0.452 OMDN01 0.817 0.175 0.288 0.817 0.175 0.288 TNKG01 0.061 0.488 0.108 0.073 0.586 0.129 UNLP01 0.126 0.430 0.195 0.149 0.508 0.230


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2016 Results

Run BP BR BF MP MR MF DMUN01 0.420 0.038 0.070 0.640 0.058 0.106 KIAM01 0.194 0.011 0.021 0.613 0.035 0.066 OMDN01 0.042 0.004 0.007 0.511 0.044 0.081 UMFC01 0.012 0.038 0.018 0.022 0.073 0.034


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2014 Results by Question Type

Type BP BR BF MP MR MF simple_pitch 0.645 0.736 0.677 0.685 0.787 0.720 simple_length 0.780 0.846 0.810 0.830 0.906 0.864

pitch_and_length 0.662 0.726 0.644 0.719 0.803 0.710 perf_spec 0.339 0.547 0.339 0.350 0.582 0.352 stave_spec 0.408 0.682 0.508 0.432 0.732 0.540 word_spec 0.487 0.771 0.520 0.487 0.771 0.520

followed_by 0.291 0.518 0.278 0.351 0.716 0.355 melodic_interval 0.396 0.417 0.402 0.471 0.501 0.481

harmonic_interval 0.185 0.207 0.188 0.269 0.329 0.281 cadence_spec 0.071 0.141 0.093 0.171 0.297 0.214

triad_spec 0.081 0.125 0.095 0.124 0.171 0.138 texture_spec 0.060 0.109 0.075 0.072 0.141 0.092

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Type BP BR BF MP MR MF 1_melod 0.450 0.764 0.508 0.467 0.801 0.531 n_melod 0.216 0.378 0.249 0.236 0.472 0.276 1_harm 0.261 0.426 0.285 0.289 0.471 0.317 texture 0.000 0.000 0.000 0.143 0.061 0.086 follow 0.172 0.415 0.217 0.247 0.486 0.275 synch 0.193 0.373 0.178 0.235 0.425 0.208

perf qualified 0.359 0.552 0.230 0.362 0.578 0.236 instr qualified 0.426 0.488 0.308 0.440 0.522 0.326 clef qualified 0.329 0.588 0.342 0.339 0.615 0.355 time qualified 0.187 0.476 0.248 0.211 0.544 0.281 key qualified 0.143 0.089 0.110 0.291 0.357 0.300

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Type BP BR BF MP MR MF 1_melod 0.232 0.044 0.054 0.520 0.101 0.129 n_melod 0.125 0.016 0.028 0.384 0.051 0.086 1_harm 0.076 0.023 0.019 0.300 0.033 0.035 n_harm 0.063 0.007 0.013 0.128 0.032 0.030 texture 0.000 0.000 0.000 0.000 0.000 0.000 follow 0.317 0.047 0.078 0.458 0.076 0.126 synch 0.000 0.000 0.000 0.103 0.011 0.018

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Overall Conclusions We refined our ideas Some questions were chosen from real sources such as exam papers Questions got harder and hence more realistic This was difficult for participants!

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We finish with examples of three interesting and complex question types: against follow texture

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Q: dotted crotchet against quavers in the bass in bars 1-43 A: [ 3/4, 2, 9:3-9:5 ], [ 3/4, 2, 10:3-10:5 ], [ 3/4, 2, 11:3-11:5 ], [ 3/4, 2, 12:3-12:5 ]

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Q: dotted crotchet followed by D5 A: [ 3/4, 4, 9:5-9:12 ], [ 3/4, 4, 11:5-11:12 ]

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Q: two-part texture in bars 1-28 A: [ 3/4, 1, 9:2-28:3 ]

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The End

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Example Questions The following slides show some example scores and questions against them.

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Work: J.S. Bach, Das Wohltemperierte Klavier, Book 1, Prelude No. 2 in C minor BWV 847 Extract:

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Q: passage in common time A: [4/4,1,1:1-4:4] Q: interval of a melodic sixth A: [4/4,4,1:1-1:2], [4/4,4,1:8-1:9] [4/4,4,1:9-1:10], [4/4,4,2:1-2:2], [4/4,4,2:8-2:9], [4/4,4,2:9-2:10], [4/4,4,3:1-3:2], [4/4,4,3:8-3:9], [4/4,4,3:9-3:10] Q: second A: None, because a second is harmonic by default Q: C followed by Eb A: [4/4,4,1:5-1:6], [4/4,4,1:13-1:14], [4/4,4,4:1-4:2], [4/4,4,4:9-4:10] Q: C followed by Eb in the bass clef A: [4/4,4,4:1-4:2], [4/4,4,4:9-4:10] Q: semiquaver E natural / sixteenth note E natural A: [4/4,4,2:3-2:4]

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Work: J.S. Bach, Suite No. 3 in C Major for Cello, BWV 1009, Sarabande Extract:

Q: harmonic interval of a minor third A: [3/4,2,208:1-208:1] Q: minor third A: [3/4,2,208:1-208:1] (thirds are harmonic by default) Q: dotted quaver / dotted eighth note A: [3/4,4,206:5-206:7], [3/4,4,207:5-207:7], [3/4,4,208:5-208:7] Q: harmonic perfect fifth A: [3/4,1,206:1-206:1], [3/4,1,207:1-207:1], [3/4,4,208:5-208:7] (in last passage, C and G should be dotted but were not in the original) Q: simultaneous harmonic perfect fifth and harmonic eleventh A: [3/4,4,208:5-208:7] (same point, C and G are assumed dotted in this example)

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Work: J. Dowland, King of Denmark's Galliard, P 40 Extract:

Q: perfect cadence A: [3/4,1,3:3-4:3] (We are assuming the cadence continues until the end of the bar) Q: four consecutive quavers / four consecutive quarter notes A: [3/4,2,2:3-2:6] Q: dotted minim in the bass / dotted half note in the bass A: [3/4,1,2:1-2:3] Q: harmonic fourth A: [3/4,1,1:1-1:1], [3/4,1,1:2-1:3], [3/4,1,4:1-4:3] (Note that there are two instances in bar (measure) 1 because the chord is played twice)

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Work: J. Dowland, Pauana Dulandi, P 86 Extract:

Q: consecutive 5ths in the bass A: [4/4,1,2:1-2:4] Q: semibreve Bb in the treble clef / whole note Bb in the treble clef A: [4/4,1,1:1-1:4], [4/4,1,4:1-4:4] Q: octave followed two bars later by another octave A: [4/4,1,1:1-3:4] (assumed harmonic) Q: Vc triad A: [4/4,1,2:3-2:3]

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Work: G.F. Handel, Messiah, HG xlv, "And the Glory of the Lord" Extract:

Q: crotchet rest / quarter note rest A: [3/4,1,1:1-1:1] Q: dotted crotchet followed by three quavers / dotted quarter note followed by three eighth notes A: [3/4,1,5:1-5:3], [3/4,1,6:1-6:3] Q: four hemidemisemiquavers / four sixty-fourth notes A: [3/4,4,3:9-3:9] Q: three quavers in a row / three eighth notes in a row A: [3/4,2,5:4-5:6], [3/4,2,6:4-6:6]

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Work: G.F. Handel, Messiah, HG xlv, Overture Extract:

Q: D sharp crotchet / D sharp quarter note A: [4/4,1,22:1-22:1], [4/4,1,25:1-25:1] Q: D natural quaver / D natural eighth note A: [4/4,2,23:3-23:3], [4/4,2,24:4-24:4] Q: open VII triad in the first inversion A: [4/4,1,23:3-23:3] Q: melodic fourth in the bass clef A: [4/4,1,24:1-24:2]

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Work: D. Scarlatti, Keyboard Sonata in D minor, K 1 Extract:

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Q: eight staccato notes in succession A: [4/4,1,17:1-17:4] Q: augmented melodic fourth A: [4/4,2,19:3-19:4], [4/4,2,20:4-20:5] Q: third A: [4/4,4,17:13-17:13], [4/4,2,19:2-19:2], [4/4,2,19:4-19:4], [4/4,4,19:9-19:9], [4/4,4,20:9-20:9] (these are assumed to be harmonic and can thus be across parts) Q: a quaver, then a major third / an eighth note, then major third A: [4/4,2,19:1-19:2], [4/4,2,19:3-19:4] (third assumed to be harmonic and to follow the quaver immediately) Q: change from bass to treble clef A: [4/4,1,17:2p] (recall that this means the clef change is immediately after 17:2)

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Work: D. Scarlatti, Keyboard Sonata in D major, K 430 Extract:

Q: three fourths A: [3/8,2,56:1-56:3] (assumed consecutive) Q: treble clef F natural A: [3/8,2,62:2-62:2] Q: melodic octave A: [3/8,4,57:1-57:2], [3/8,4,57:2-57:6] (melodic must be stated, otherwise it is harmonic) Q: harmonic 5th followed by harmonic 4th A: [3/8,2,58:1-58:2], [3/8,2,62:1-62:2]

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Architecture of Baseline System We have built a very basic system to perform the task: 1. Analyse the input xml file and extract questions and score files 2. For each question: • Parse question using Stanford Parser • Determine question type (similar to normal QA) • Parse the score file using Music21 • Based on question type, search for answer passages in score 3. Write out answers to output xml file

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Linguistic Observations Queries are noun phrases Head noun group is the main feature (e.g. F#) PP modifiers qualify this (e.g. in the bass clef) A lot of terminology is used (e.g. semiquaver, soprano part, forte bar) Search based on query classification will work at least for simple examples.

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Summary We are trying to find ways to link natural language descriptions of music to musical scores. Starting with the C@merata task, we are working with very simple tasks to develop the technology. Then we will progress to more complex tasks which are of genuine interest to musicologists. In due course, we aim to tie passages in musicological texts such as in Grove Online to the corresponding music scores.

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Music Extracts symphony opening with a horn call over shimering strings Bruckner 4th Symphony http://www.youtube.com/watch?v=J8t1TzN0RRY Start: 0:00 End: 0:44 symphony closing with six unison chords Sibelius 5th Symphony http://www.youtube.com/watch?v=nkzrSZKA4cM Start: 9:36 End: 9:56 Nielsen 4th Symphony, Finale (shows two timpanists well) http://www.youtube.com/watch?v=yXDe1hj4HBo Start: 32:10 End: 32:48

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Extracts Not Used symphony opening with two octave descending arpeggio Beethoven 9th Symphony string quartet opening including double stopping on all four instruments Beethoven op 127 symphony featuring a battle between two timpanists Nielsen 4th Symphony, Finale (not so good) http://www.youtube.com/watch?v=sD9I-UiYfW8 Start: 6:30 End: 7:08

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Grove’s Dictionary of Music and Musicians • 1879-1889 George Grove, civil engineer, music administrator, writer and then Director of

Royal College of Music, wrote A Dictionary of Music and Musicians in four volumes. • 1904-910 Fuller Maitland edited the second edition - Grove's Dictionary of Music and

Musicians - in five volumes. • 1927 Henry Colles edited the third edition - in five volumes. • 1940 Henry Colles edited the fourth edition - in seven volumes. • 1954 Eric Blom edited the fifth edition - in nine volumes.

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• 1980 Stanlie Sadie edited the sixth edition - The New Grove Dictionary of Music and Musicians - in twenty volumes. Contained 22,500 articles and 16,500 biographies.

• 2001 Stanlie Sadie edited the seventh edition - in 29 volumes. This was also available online. • 2009 Deane Root was appointed editor of Grove Music Online. By this time it contained more

than 50,000 articles. Grove is now considered to be the most comprehensive and scholarly source of information on Western Classical Art Music which exists. It is used daily by musicians and musicologists worldwide.

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What might our queries be like in future? We will show some examples: • A natural language phrase describes a musical feature.

• A regular expression or other pattern could not capture it.

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Some Examples Q: 'horn call over shimmering strings'

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Some Examples Q: 'horn call over shimmering strings' A: Anton Bruckner, Symphony No. 4 "Romantic"

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Some Examples Q: 'horn call over shimmering strings' A: Anton Bruckner, Symphony No. 4 "Romantic" Q: 'movement ending with six stacatto chords for full orchestra'

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Some Examples Q: 'horn call over shimmering strings' A: Anton Bruckner, Symphony No. 4 "Romantic" Q: 'movement ending with six stacatto chords for full orchestra' A: Jean Sibelius, Symphony No. 5

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Some Examples Q: 'horn call over shimmering strings' A: Anton Bruckner, Symphony No. 4 "Romantic" Q: 'movement ending with six stacatto chords for full orchestra' A: Jean Sibelius, Symphony No. 5 Q: 'symphony featuring a battle between two timpanists'

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Some Examples Q: 'horn call over shimmering strings' A: Anton Bruckner, Symphony No. 4 "Romantic" Q: 'movement ending with six stacatto chords for full orchestra' A: Jean Sibelius, Symphony No. 5 Q: 'symphony featuring a battle between two timpanists' A: Carl Nielsen, Symphony No. 4 "The Inextinguishable"

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What are the Characteristics of these Queries? Not very long Not that specific ('over', 'featuring') Use musical terms ('horn', 'strings', 'stacatto', 'chords', 'full orchestra', 'symphony', 'timpani') Also use non-musical terms, interpreted in a musical way ('shimmering', 'battle')

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What are the Characteristics of these Queries? Not very long Not that specific ('over', 'featuring') Use musical terms ('horn', 'strings', 'stacatto', 'chords', 'full orchestra', 'symphony', 'timpani') Also use non-musical terms, interpreted in a musical way ('shimmering', 'battle') Nevertheless, experts can answer them!

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Table 4. Results for simple_pitch Questions

Run BP BR BF MP MR MF CLAS01 0.959 0.972 0.965 0.982 0.995 0.988 DMUN01 0.717 0.674 0.695 0.790 0.743 0.766 DMUN02 0.729 0.729 0.729 0.798 0.798 0.798 DMUN03 0.955 0.972 0.963 0.968 0.986 0.977 LACG01 0.000 0.000 0 0.200 0.028 0.049 OMDN01 0.000 0.000 0.000 0.000 0.000 0.000 TCSL01 0.959 0.963 0.961 0.982 0.986 0.984 UNLP01 0.422 0.789 0.550 0.478 0.894 0.623 UNLP02 0.422 0.789 0.550 0.478 0.894 0.623


64

Table 5. Results for simple_length Questions



65

Table 6. Results for pitch_and_length Questions



66

Table 7. Results for perf_spec Questions



67

Table 8. Results for stave_spec Questions



68

Table 9. Results for word_spec Questions



69

Table 10. Results for followed_by Questions



70

Table 11. Results for melodic_interval Questions



71

Table 12. Results for harmonic_interval Questions



72

Table 13. Results for cadence_spec Questions



73

Table 14. Results for triad_spec Questions



74

Table 15. Results for texture_spec Questions



Date post:	16-Apr-2017
Category:	Science
Upload:	multimediaeval
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