## 6 Extended Experiments
### Evaluation  
For our extended experiments, we kept the settings from the previous experiments and applied the same embedding methods as described in Section 4. In particular, the embedding methods were trained on the smaller training set \(\mathbb{D}_{1}\) (see Table 2) as before, and were then evaluated with the extended data set \(\mathbb{D}_{3}\), containing composers and genres of classical music that are not contained in the training set. The retrieval for a larger and more diverse data set obviously constitutes a harder task. For this reason, we can expect the retrieval results to decrease. Figure 6 shows the MAP evaluation results for different embedding dimensionalities \(K\) on the smaller test set \(\mathbb{D}_{2}\), as reported in the previous Section 5 (a) and on the extended data set \(\mathbb{D}_{3}\) (b). As expected, we see a decrease in retrieval quality for the larger data set. The results for the brute-force approach decrease from an MAP of 0.996 for \(\mathbb{D}_{2}\) to 0.924 for \(\mathbb{D}_{3}\). The results based on the embedding approaches decrease even more. In particular, the smaller dimensionalities result in an MAP of less than 0.6; e.g., for \(K=6\), the MAP is 0.441 and 0.500 for PCA and DNN, respectively. This confirms our assumption that the extended data set constitutes a harder task and leads to an increased probability for false negatives. One reason for the increased difficulty of the task is that there is a higher potential for \begin{table}
\begin{tabular}{l l l l l l} \hline \hline
**Composer** & **Piece** & **Genre** & **Versions** & **Dur** & \(\diameter\)**Dur** \\ \hline \multicolumn{6}{l}{Test set \(\mathbb{D}_{2}\), consisting of 12 different pieces (see Table 2)} & 330 & 16:13:37 & \\ \hline \multirow{4}{*}{[PERSON]} & Op. 83, Mov. 1 & piano concerto & 6 & 1:44:23 & 0:17:24 \\  & Op. 83, Mov. 2 & & 6 & 0:52:08 & 0:08:41 \\  & Op. 83, Mov. 3 & & 6 & 1:12:31 & 0:12:05 \\  & Op. 83, Mov. 4 & & 6 & 0:55:08 & 0:09:11 \\ \hline \multirow{4}{*}{[PERSON]} & Symphony No. 1, Mov. 1 & symphony & 5 & 1:15:16 & 0:15:03 \\  & Symphony No. 1, Mov. 2 & & 5 & 0:35:40 & 0:07:08 \\  & Symphony No. 1, Mov. 3 & & 5 & 0:54:42 & 0:10:56 \\  & Symphony No. 1, Mov. 4 & & 5 & 1:36:53 & 0:19:23 \\ \hline \multirow{4}{*}{[PERSON]} & KV 550, Mov. 1 & symphony & 5 & 0:35:40 & 0:07:08 \\  & KV 550, Mov. 2 & & 5 & 0:50:12 & 0:10:02 \\  & KV 550, Mov. 3 & & 5 & 0:20:10 & 0:04:02 \\  & KV 550, Mov. 4 & & 5 & 0:32:54 & 0:06:35 \\ \hline \multirow{4}{*}{[PERSON]} & Pict. at an Exhib., Promenade & character piece & 6 & 0:09:07 & 0:01:31 \\  & Pict. at an Exhib., No. 1 & (piano solo or & 6 & 0:14:50 & 0:02:28 \\  & Pict. at an Exhib., No. 2 & orchestral & 6 & 0:24:48 & 0:04:08 \\  & Pict. at an Exhib., No. 3 & arrangement & 6 & 0:06:49 & 0:01:08 \\  & Pict. at an Exhib., No. 4 & & 6 & 0:17:51 & 0:02:58 \\  & Pict. at an Exhib., No. 5 & & 6 & 0:07:39 & 0:01:16 \\  & Pict. at an Exhib., No. 6 & & 6 & 0:13:51 & 0:02:18 \\  & Pict. at an Exhib., No. 7 & & 6 & 0:08:13 & 0:01:22 \\  & Pict. at an Exhib., No. 8 & & 6 & 0:11:31 & 0:01:55 \\  & Pict. at an Exhib., No. 9 & & 6 & 0:20:18 & 0:03:23 \\  & Pict. at an Exhib., No. 10 & & 6 & 0:32:41 & 0:05:27 \\ \hline \multirow{4}{*}{[PERSON]} & Op. 54, Mov. 1 & piano concerto & 5 & 1:13:59 & 0:14:48 \\  & Op. 54, Mov. 2 & & 5 & 0:24:43 & 0:04:57 \\  & Op. 54, Mov. 3 & & 5 & 0:51:47 & 0:10:21 \\ \hline \multirow{4}{*}{[PERSON]} & Op. 23, Mov. 1 & piano concerto & 8 & 2:33:39 & 0:19:12 \\  & Op. 23, Mov. 2 & & 8 & 0:50:34 & 0:06:19 \\  & Op. 23, Mov. 3 & & 8 & 0:52:59 & 0:06:37 \\  & Op. 35, Mov. 1 & violin concerto & 6 & 1:47:27 & 0:17:54 \\  & Op. 35, Mov. 2 & & 6 & 0:38:30 & 0:06:25 \\  & Op. 35, Mov. 3 & & 6 & 0:54:06 & 0:09:01 \\ \hline \multicolumn{6}{l}{[PERSON]} & WWV 86 B, Act 1 & opera & 18 & 19:15:20 & 1:04:11 \\ \hline \multicolumn{6}{l}{\(\Sigma\)} & 535 & 59:49:56 \\ \hline \hline \end{tabular}
\end{table} 
Table 7: Extended data set \(\mathbb{D}_{3}\). This data set includes the test set \(\mathbb{D}_{2}\). Duration format hh:mm:sss.