However, existing music datasets suffer from limited size, accessibility, and lack of audio resources.

Identifying fine-grained book genres is essential for enhancing user experience through efficient discovery, personalized recommendations, and improved reader engagement. At the same time, it provides publishers and marketers with valuable insights into consumer preferences and emerging market trends. While traditional genre classification methods predominantly rely on textual reviews or content analysis, the integration of additional modalities, such as book covers, blurbs, and metadata, offers richer contextual cues. However, the effectiveness of such multi-modal systems is often hindered by incomplete, noisy, or missing data across modalities. To address this, we propose IMAGINE (Intelligent Multi-modal Adaptive Genre Identification NEtwork), a framework designed to leverage multi-modal data while remaining robust to missing or unreliable information. IMAGINE learns modality-specific feature representations and adaptively prioritizes the most informative sources available at inference time. It further employs a hierarchical classification strategy, grounded in a curated taxonomy of book genres, to capture inter-genre relationships and support multi-label assignments reflective of real-world literary diversity. A key strength of IMAGINE is its adaptability: it maintains high predictive performance even when one modality, such as text or image, is unavailable. We also curated a large-scale hierarchical dataset that structures book genres into multiple levels of granularity, allowing for a more comprehensive evaluation. Experimental results demonstrate that IMAGINE outperformed strong baselines in various settings, with significant gains in scenarios involving incomplete modality-specific data.

This paper presents a comparative analysis of machine learning methodologies for automatic music genre classification. We evaluate the performance of classical classifiers, including Support Vector Machines (SVM) and ensemble methods, trained on a comprehensive set of hand-crafted audio features, against a Convolutional Neural Network (CNN) operating on Mel spectrograms. The study is conducted on the widely-used GTZAN dataset. Our findings demonstrate a noteworthy result: the SVM, leveraging domain-specific feature engineering, achieves superior classification accuracy compared to the end-to-end CNN model. We attribute this outcome to the data-constrained nature of the benchmark dataset, where the strong inductive bias of engineered features provides a regularization effect that mitigates the risk of overfitting inherent in high-capacity deep learning models. This work underscores the enduring relevance of traditional feature extraction in practical audio processing tasks and provides a critical perspective on the universal applicability of deep learning, especially for moderately sized datasets.

The introduction of ChatGPT has garnered significant attention within the NLP community and beyond. Previous studies have demonstrated ChatGPT's substantial advancements across various downstream NLP tasks, highlighting its adaptability and potential to revolutionize language-related applications. However, its capabilities and limitations in genre prediction remain unclear. This work analyzes three Large Language Models (LLMs) using the MovieLens-100K dataset to assess their genre prediction capabilities. Our findings show that ChatGPT, without fine-tuning, outperformed other LLMs, and fine-tuned ChatGPT performed best overall. We set up zero-shot and few-shot prompts using audio transcripts/subtitles from movie trailers in the MovieLens-100K dataset, covering 1682 movies of 18 genres, where each movie can have multiple genres. Additionally, we extended our study by extracting IMDb movie posters to utilize a Vision Language Model (VLM) with prompts for poster information. This fine-grained information was used to enhance existing LLM prompts. In conclusion, our study reveals ChatGPT's remarkable genre prediction capabilities, surpassing other language models. The integration of VLM further enhances our findings, showcasing ChatGPT's potential for content-related applications by incorporating visual information from movie posters.

Recommendation systems have become essential in modern music streaming platforms, shaping how users discover and engage with songs. One common approach in recommendation systems is collaborative filtering, which suggests content based on the preferences of users with similar listening patterns to the target user. However, this method is less effective on media where interactions are sparse. Music is one such medium, since the average user of a music streaming service will never listen to the vast majority of tracks. Due to this sparsity, there are several challenges that have to be addressed with other methods. This review examines the current state of research in addressing these challenges, with an emphasis on the role of content filtering in mitigating biases inherent in collaborative filtering approaches. We explore various methods of song classification for content filtering, including lyrical analysis using Large Language Models (LLMs) and audio signal processing techniques. Additionally, we discuss the potential conflicts between these different analysis methods and propose avenues for resolving such discrepancies.

Classifying music into separate genres is an important task, which helps listeners discover new tracks, allows streaming services to better adjust to user preferences, and allows labels and music stores to advertise new albums more effectively. As the accessibility and ease-of-use of digital audio workstations increases, so does the quantity of music available to the public; additionally, differences between genres are not always well defined and can be abstract, with numerous records representing widely varying combinations of genres. In this article, multiple preprocessing methods and approaches to model training are described and compared, accounting for the eclectic nature of today's music. A custom and manually labeled dataset of more than 18000 entries has been used to perform the experiments.

We present Myna, a simple yet effective approach for self-supervised musical representation learning. Built on a contrastive learning framework, Myna introduces two key innovations: (1) the use of a Vision Transformer (ViT) on mel-spectrograms as the backbone and (2) a novel data augmentation strategy, token masking, that masks 90 percent of spectrogram tokens. These innovations deliver both effectiveness and efficiency: (i) Token masking enables a significant increase in per-GPU batch size, from 48 or 120 in prior methods (CLMR, MULE) to 4096. (ii) By avoiding traditional augmentations, Myna retains pitch sensitivity, enhancing performance in tasks like key detection. (iii) The use of vertical patches allows the model to better capture critical features for key detection. Our hybrid model, Myna-22M-Hybrid, processes both 16x16 and 128x2 patches, achieving state-of-the-art results. Trained on a single GPU, it outperforms MULE (62M) on average and rivals MERT-95M, which was trained on 16 and 64 GPUs, respectively. Additionally, it surpasses MERT-95M-public, establishing itself as the best-performing model trained on publicly available data. We release our code and models to promote reproducibility and facilitate future research.

Music genres are shaped by both the stylistic features of songs and the cultural preferences of artists' audiences. Automatic classification of music genres using lyrics can be useful in several applications such as recommendation systems, playlist creation, and library organization. We present a multi-label, cross-lingual genre classification system based on multilingual sentence embeddings generated by sBERT. Using a bilingual Portuguese-English dataset with eight overlapping genres, we demonstrate the system's ability to train on lyrics in one language and predict genres in another. Our approach outperforms the baseline approach of translating lyrics and using a bag-of-words representation, improving the genrewise average F1-Score from 0.35 to 0.69. The classifier uses a one-vs-all architecture, enabling it to assign multiple genre labels to a single lyric. Experimental results reveal that dataset centralization notably improves cross-lingual performance. This approach offers a scalable solution for genre classification across underrepresented languages and cultural domains, advancing the capabilities of music information retrieval systems.

This study demonstrates that the modern generation of Large Language Models (LLMs, such as GPT-4) suffers from the same out-of-domain (OOD) performance gap observed in prior research on pre-trained Language Models (PLMs, such as BERT). We demonstrate this across two non-topical classification tasks: 1) genre classification and 2) generated text detection. Our results show that when demonstration examples for In-Context Learning (ICL) come from one domain (e.g., travel) and the system is tested on another domain (e.g., history), classification performance declines significantly. To address this, we introduce a method that controls which predictive indicators are used and which are excluded during classification. For the two tasks studied here, this ensures that topical features are omitted, while the model is guided to focus on stylistic rather than content-based attributes. This approach reduces the OOD gap by up to 20 percentage points in a few-shot setup. Straightforward Chain-of-Thought (CoT) methods, used as the baseline, prove insufficient, while our approach consistently enhances domain transfer performance.