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This demonstration presents a music structure-based audio/visual interface for the navigation of very large scale music digital libraries. This work is a product of the Structural Analysis of Large Amounts of Music Information (SALAMI) project. © 2011 Authors.

Many solutions for the reuse and remixing of MIR methods and the tools implementing them have been introduced over recent years. Proposals for achieving the necessary interoperability have ranged from shared software libraries and interfaces, through common frameworks and portals, to standardised file formats and metadata. Each proposal shares the desire to reuse and combine repurposable components into assemblies (or "workflows") that can be used in novel and possibly more ambitious ways. Reuse and remixing also have great implications for the process of MIR research. The encapsulation of any algorithm and its operation - including inputs, parameters, and outputs - is fundamental to the repeatability and reproducibility of any experiment. This is desirable both for the open and reliable evaluation of algorithms (e.g. in MIREX) and for the advancement of MIR by building more effectively upon prior research. At present there is no clear best practice widely adopted throughout the community. Should this be considered a failure? Are there limits to interoperability unique to MIR, and how might they be overcome? In this paper we assess contemporary MIR solutions to these issues, aligning them with the emerging notion of Research Objects for reproducible research in other domains, and propose their adoption as a route to reuse in MIR. © 2012 International Society for Music Information Retrieval.

Music audio structure segmentation has been a task in the Music Information Retrieval Evaluation eXchange (MIREX) since 2009. In 2010, five algorithms were evaluated against two datasets (297 and 100 songs) with an almost exclusive focus on western popular music. A new annotated dataset significantly larger in size and with a more diverse range of musical styles became available in 2011. This new dataset comprises over 1,300 songs spanning pop, jazz, classical, and world music styles. The algorithms from the 2010 iteration of MIREX are re-evaluated against this new dataset. This paper presents a detailed analysis of these evaluation results in order to gain a better understanding of the current state-of-the-art in automatic structure segmentation. These expanded analyses focus on the interaction of algorithm performance and rankings with datasets, musical styles, and annotation level. Because the new dataset contains multiple annotations for each song, we also introduce a baseline for expected human performance for this task. © 2011 International Society for Music Information Retrieval.

This paper describes the design and creation of an unprecedentedly large database of over 2400 structural annotations of nearly 1400 musical recordings. The database is intended to be a test set for algorithms that will be used to analyze a much larger corpus of hundreds of thousands of recordings, as part of the Structural Analysis of Large Amounts of Musical Information (SALAMI) project. This paper describes the design goals of the database and the practical issues that were encountered during its creation. In particular, we discuss the selection of the recordings, the development of an annotation format and procedure that adapts work by Peeters and Deruty [10], and the management and execution of the project. We also summarize some of the properties of the resulting corpus of annotations, including average inter-annotator agreement. © 2011 International Society for Music Information Retrieval.