In the training session held earlier this month, we finalized aspects of the annotation format and clarified the procedure to our structure annotators (SAs). Students left the session with 6 songs to annotate as a homework assignment. Having looked at the results, some aspects of everyone's annotations—for instance, the placement of boundaries, and the instrument labelling—were encouragingly consistent. Other aspects, less so: in particular, people's annotations for the piece of classical music were quite divergent! (See example annotation below for the first movement Haydn's Miracle Symphony, Symphony No. 96.) As a result, we decided that as the work begins in earnest, we should consider each genre of music (pop, jazz, classical, and world) separately, so that we can be more careful in agreeing on a consistent approach. In our first review, to be held next week, we will iron out the annotations for popular music.
In the previous post, we described the training as the "intro" of the SALAMI project. I'd like to keep going with this SALAMI-as-a-song analogy, but in hindsight we might call the earlier training session the slow introduction, since the reality is we're still vamping a bit. But main theme material is starting to coalesce, and we'll be testing out the first verse any day now. There just might not be any drums.