The provided contents by information retrieval (IR) systems can reflect the existing societal biases and stereotypes. Such biases in retrieval results can lead to further establishing and strengthening stereotypes in society and also in the systems. To facilitate the studies of gender bias in the retrieval results of IR systems, we introduce Gender Representation-Bias for Information Retrieval (Grep-BiasIR), a novel thoroughly-audited dataset consisting of 118 bias-sensitive neutral search queries. The set of queries covers a wide range of gender-related topics, for which a biased representation of genders in the search result can be considered as socially problematic. Each query is accompanied with one relevant and one non-relevant document, where the document is also provided in three variations of female, male, and neutral. The dataset is available at https://github.com/KlaraKrieg/GrepBiasIR.

We present the LFM-2b dataset containing the listening records of over 120,000 users of the music platform Last.fm. These users provide a total of more than two billion individual listening events that span a time range of over 15 years, from February 2005 until March 2020. These listening events refer to a total of 50 million distinct tracks of 5 million distinct artists. Beside the common metadata (i. e., artist and track name), LFM-2b contains additional information both regarding the users and items. This includes the demographic information of users, namely country, gender, and age, and the fine-grained genre and style of items together with the vector embeddings of their lyrics.

When we appreciate a piece of music, it is most naturally because of its content, including rhythmic, tonal, and timbral elements as well as its lyrics and semantics. This suggests that the human affinity for music is inherently content-driven. This kind of information is, however, still frequently neglected by mainstream recommendation models based on collaborative filtering that rely solely on user-item interactions to recommend items to users. A major reason for this neglect is the lack of standardized datasets that provide both collaborative and content information. The work at hand addresses this shortcoming by introducing Music4All-Onion, a large-scale, multi-modal music dataset. The dataset expands the Music4All dataset by including 26 additional audio, video, and metadata characteristics for 109,269 music pieces. In addition, it provides a set of 252,984,396 listening records of 119,140 users, extracted from the online music platform Last.fm, which allows leveraging user-item interactions as well. We organize distinct item content features in an onion model according to their semantics, and perform a comprehensive examination of the impact of different layers of this model (e.g., audio features, user-generated content, and derivative content) on content-driven music recommendation, demonstrating how various content features influence accuracy, novelty, and fairness of music recommendation systems. In summary, with Music4All-Onion, we seek to bridge the gap between collaborative filtering music recommender systems and content-centric music recommendation requirements.

We introduce Emotion-aware Music Tower Blocks (EmoMTB), an audiovisual interface to explore large music collections. It creates a musical landscape, by adopting the metaphor of a city, where similar songs are grouped into the same building and nearby buildings form neighborhoods of particular genres. In order to personalize the user experience, an underlying classifier monitors textual user-generated content, by predicting their emotional state and adapting the audiovisual elements of the interface accordingly. EmoMTB enables users to explore different musical styles either within their comfort zone or outside of it. Besides, tailoring the results of the recommender engine to match the affective state of the user, EmoMTB offers a unique way to discover and enjoy music. EmoMTB supports exploring a collection of circa half a million streamed songs using a regular smartphone as a control interface to navigate in the landscape.

Providing suitable recommendations is of vital importance to improve the user satisfaction of music recommender systems. Here, users often listen to the same track repeatedly and appreciate recommendations of the same song multiple times. Thus, accounting for users’ relistening behavior is critical for music recommender systems. In this paper, we describe a psychology-informed approach to model and predict music relistening behavior that is inspired by studies in music psychology, which relate music preferences to human memory. We adopt a well-established psychological theory of human cognition that models the operations of human memory, i.e., Adaptive Control of Thought—Rational (ACT-R). In contrast to prior work, which uses only the base-level component of ACT-R, we utilize five components of ACT-R, i.e., base-level, spreading, partial matching, valuation, and noise, to investigate the effect of five factors on music relistening behavior: (i) recency and frequency of prior exposure to tracks, (ii) co-occurrence of tracks, (iii) the similarity between tracks, (iv) familiarity with tracks, and (v) randomness in behavior. On a dataset of 1.7 million listening events from Last.fm, we evaluate the performance of our approach by sequentially predicting the next track(s) in user sessions. We find that recency and frequency of prior exposure to tracks is an effective predictor of relistening behavior. Besides, considering the co-occurrence of tracks and familiarity with tracks further improves performance in terms of R-precision. We hope that our work inspires future research on the merits of considering cognitive aspects of memory retrieval to model and predict complex user behavior.

Although recommender systems (RSs) play a crucial role in our society, previous studies have revealed that the performance of RSs may considerably differ between groups of individuals with different characteristics or from different demographics. In this case, a RS is considered to be unfair when it does not perform equally well for different groups of users. Considering the importance of RSs in the distribution and consumption of musical content worldwide, a careful evaluation of fairness in the context of music RSs is crucial. To this end, we first introduce LFM-2b, a novel large-scale real-world dataset of music listening records, comprising a subset to investigate bias of RSs regarding users’ demographics. We then define a notion of fairness based on the performance gap of a RS between the users with different demographics, and evaluate a variety of collaborative filtering algorithms in terms of accuracy and beyond-accuracy metrics to explore the fairness in the RS results toward a specific gender group. We observe the existence of significant discrepancies (unfairness) between the performance of algorithms across male and female user groups. Based on these discrepancies, we explore to what extent recommender algorithms lead to intensifying the underlying population bias in the final results. We also study the effect of a resampling strategy, commonly used as debiasing method , which yields slight improvements in the fairness measures of various algorithms while maintaining their accuracy and beyond-accuracy performance.