## 5 Basic Experiments
### Training and Testing Data Sets  
In our experiments, we used audio recordings of Western classical music. In particular, we used pieces from three composers: Symphohies by [PERSON], Mazurkas by [PERSON], and pieces from [PERSON]'s _The Four Seasons_. These composers cover three different musical eras, namely the Baroque, Classical, and Romantic periods. Table 2 shows a list of the musical pieces underlying the recordings. For each musical piece, our database contains several versions that are performed by different orchestras, conductors, and soloists. To make our results comparable to prior work, we use audio data sets that are similar to the one used in the study by [PERSON] and [PERSON] [12]. The data sets comprise recordings of some of [PERSON]'s Mazurkas, which have been collected within the Mazurka Project [52].  
There are two disjoint sets: \(\mathbb{D}_{1}\) (357 recordings, 62,867 shingles) was used for training the dimensionality reduction methods, and \(\mathbb{D}_{2}\) (330 recordings, 52,332 shingles) was used for evaluating the retrieval quality based on the embedded shingles. Furthermore, circular chroma shifts were applied to the training set, which simulate musical transpositions and increase the number of shingles used for training by a factor of twelve. This process can be seen as a type of data augmentation. Both training  
\begin{table}
\begin{tabular}{c c c c c c c} \hline \hline  & **Composer** & **Piece** & **Genre** & **Versions** & **Dur** & \(\diameter\)**Dur** \\ \hline \multirow{8}{*}{[PERSON]} & \multirow{4}{*}{[PERSON]} & Op. 67, Mov. 1 & symphony & 10 & 1:12:07 & 0:07:13 \\  & & Op. 67, Mov. 2 & & 10 & 1:44:53 & 0:10:29 \\  & & Op. 67, Mov. 3 & & 10 & 1:02:53 & 0:06:17 \\  & & Op. 67, Mov. 4 & & 10 & 1:48:00 & 0:10:48 \\ \cline{2-7}  & \multirow{4}{*}{[PERSON]} & Op. 17, No. 4 & \multirow{2}{*}{mazurka} & 62 & 4:29:23 & 0:04:21 \\  & & Op. 24, No. 2 & & 64 & 2:26:38 & 0:02:17 \\  & & Op. 30, No. 2 & & 33 & 0:46:52 & 0:01:25 \\  & & Op. 63, No. 3 & & 86 & 3:05:06 & 0:02:09 \\  & & Op. 68, No. 3 & & 51 & 1:25:58 & 0:01:41 \\ \cline{2-7}  & \multirow{4}{*}{[PERSON]} & RV 315, Mov. 1 & violin concerto & 7 & 0:37:40 & 0:05:23 \\  & & RV 315, Mov. 2 & & 7 & 0:17:23 & 0:02:29 \\  & & RV 315, Mov. 3 & & 7 & 0:20:40 & 0:02:57 \\ \cline{2-7}  & \(\Sigma\) & & & 357 & 19:17:32 & \\ \hline \multirow{8}{*}{[PERSON]} & \multirow{4}{*}{[PERSON]} & Op. 55, Mov. 1 & symphony & 4 & 1:06:34 & 0:16:38 \\  & & Op. 55, Mov. 2 & & 4 & 1:02:52 & 0:15:43 \\  & & Op. 55, Mov. 3 & & 4 & 0:23:41 & 0:05:55 \\  & & Op. 55, Mov. 4 & & 4 & 0:46:07 & 0:11:32 \\ \cline{2-7}  & \multirow{4}{*}{[PERSON]} & Op. 7, No. 1 & \multirow{2}{*}{mazurka} & 53 & 2:01:15 & 0:02:17 \\  & & Op. 24, No. 1 & (piano solo) & 61 & 2:53:48 & 0:02:51 \\  & & Op. 33, No. 2 & & 67 & 2:40:38 & 0:02:24 \\  & & Op. 33, No. 3 & & 50 & 1:29:22 & 0:01:47 \\  & & Op. 68, No. 4 & & 62 & 2:33:58 & 0:02:29 \\ \cline{2-7}  & \multirow{4}{*}{[PERSON]} & RV 269, Mov. 1 & violin concerto & 7 & 0:24:17 & 0:03:28 \\  & & RV 269, Mov. 2 & & 7 & 0:20:20 & 0:02:54 \\  & & RV 269, Mov. 3 & & 7 & 0:30:46 & 0:04:24 \\ \cline{2-7}  & \(\Sigma\) & & & 330 & 16:13:37 & \\ \hline \hline \end{tabular}
\end{table}
Table 2: The music collections \(\mathbb{D}_{1}\) used for training and \(\mathbb{D}_{2}\) used for testing. Duration format hh:mm:ss.  
and test sets are musically related, as they contain the same composers and the same music genres. However, the musical pieces in both sets are different.