We report on the tempo induction contest organized during the International Conference on Music Information Retrieval (ISMIR 2004) held at the University Pompeu Fabra in Barcelona, Spain, in October 2004. The goal of this contest was to evaluate some state-of-the-art algorithms in the task of inducing the basic tempo (as a scalar, in beats per minute) from musical audio signals. To our knowledge, this is the first published large scale cross-validation of audio tempo induction algorithms. Participants were invited to submit algorithms to the contest organizer, in one of several allowed formats. No training data was provided. A total of 12 entries (representing the work of seven research teams) were evaluated, 11 of which are reported in this document. Results on the test set of 3199 instances were returned to the participants before they were made public. Anssi Klapuri's algorithm won the contest. This evaluation shows that tempo induction algorithms can reach over 80% accuracy for music with a constant tempo, if we do not insist on finding a specific metrical level. After the competition, the algorithms and results were analyzed in order to discover general lessons for the future development of tempo induction systems. One conclusion is that robust tempo induction entails the processing of frame features rather than that of onset lists. Further, we propose a new "redundant" approach to tempo induction, inspired by knowledge of human perceptual mechanisms, which combines multiple simpler methods using a voting mechanism. Machine emulation of human tempo induction is still an open issue. Many avenues for future work in audio tempo tracking are highlighted, as for instance the definition of the best rhythmic features and the most appropriate periodicity detection method. In order to stimulate further research, the contest results, annotations, evaluation software and part of the data are available at http://ismir2004.ismir.net/ISMIR-Contest.html

Abstract. An audio fingerprint is a compact content-based signature that summarizes an audio recording. Audio Fingerprinting technologies have attracted attention since they allow the identification of audio independently of its format and without the need of meta-data or watermark embedding. Other uses of fingerprinting include: integrity verification, watermark support and content-based audio retrieval. The different approaches to fingerprinting have been described with different rationales and terminology: Pattern matching, Multimedia (Music) Information Retrieval or Cryptography (Robust Hashing). In this paper, we review different techniques describing its functional blocks as parts of a common, unified framework.

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We study the topology of several music recommendation networks, which arise from relationships between artist, co-occurrence of songs in play lists or experts' recommendation. The analysis uncovers the emergence of complex network phenomena in these kinds of recommendation networks, built considering artists as nodes and their resemblance as links. We observe structural properties that provide some hints on navigation and possible optimizations on the design of music recommendation systems. Finally, the analysis derived from existing music knowledge sources provides a deeper understanding of the human music similarity perception.

We present the MusicSurfer, a metadata free system for the interaction with massive collections of music. MusicSurfer automatically extracts descriptions related to instrumentation, rhythm and harmony from music audio signals. Together with efficient similarity metrics, the descriptions allow navigation of multimillion track music collections in a flexible and efficient way without the need for metadata nor human ratings.