Mercurial > hg > soundsoftware-ismir-2012

--- a/Makefile	Fri Jun 29 15:59:56 2012 +0100
+++ /dev/null	Thu Jan 01 00:00:00 1970 +0000
@@ -1,7 +0,0 @@
-all: tutorial-out.pdf
-
-tutorial-out.pdf:	tutorial.pdf
-	cp tutorial.pdf tutorial-out.pdf
-
-tutorial.pdf: tutorial.tex
-	( echo x | xelatex tutorial ) && xelatex tutorial
--- a/cannam_dixon_plumbley_ismir2012_proceedings.rtf	Fri Jun 29 15:59:56 2012 +0100
+++ /dev/null	Thu Jan 01 00:00:00 1970 +0000
@@ -1,95 +0,0 @@
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-Tutorial 3}
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-Reusable software and reproducibility in music informatics research}
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-}
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-Chris Cannam (}{\cf1\b0\kerning1\hich\af8\langfe1033\dbch\af8\afs24\alang1033\ab\rtlch \ltrch\loch\fs24\lang1033
-Centre for Digital Music, }{\cf1\b0\kerning1\hich\af8\langfe1033\dbch\af8\afs24\alang1033\ab0\rtlch \ltrch\loch\fs24\lang1033
-Queen Mary University of London, UK)}
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-Simon Dixon (}{\cf1\b0\kerning1\hich\af8\langfe1033\dbch\af8\afs24\alang1033\ab\rtlch \ltrch\loch\fs24\lang1033
-Centre for Digital Music, }{\cf1\b0\kerning1\hich\af8\langfe1033\dbch\af8\afs24\alang1033\ab0\rtlch \ltrch\loch\fs24\lang1033
-Queen Mary University of London, UK)}
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-Mark D Plumbley (}{\cf1\b0\kerning1\hich\af8\langfe1033\dbch\af8\afs24\alang1033\ab\rtlch \ltrch\loch\fs24\lang1033
-Centre for Digital Music, }{\cf1\b0\kerning1\hich\af8\langfe1033\dbch\af8\afs24\alang1033\ab0\rtlch \ltrch\loch\fs24\lang1033
-Queen Mary University of London, UK)}
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-}
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-Abstract}
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-}
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-The need to develop and reuse software to process data is almost universal in music informatics research. Many methods, including most of those published at ISMIR, are developed in tandem with software implementations and some of them are too complex or too fundamentally software-based to be reproduced readily from a published paper alone. For this reason, it is helpful for sustainable research to have software and data published along with papers. In practice, however, non-publication of code and data is still the norm.\line \line In this tutorial }{\cf1\b0\kerning1\hich\af9\langfe2052\dbch\af9\afs24\alang1081\ab0\rtlch \ltrch\loch\fs24\lang2057
-we will}{\cf1\b0\kerning1\hich\af8\langfe1033\dbch\af8\afs24\alang1033\ab0\rtlch \ltrch\loch\fs24\lang1033
- discuss barriers to publication of software and data and present a hands-on session in which attendees will explore tools and methods to help overcome these barriers. The tutorial will rapidly cover the use of version control software, code hosting facilities, aspects of testing and provenance, and software licensing for publication. Examples will be drawn from the music and audio fields, and help will be provided by researcher-developers from the Centre for Digital Music (C4DM), Lu\u237\'eds Figueira and Steve Welburn. This tutorial will be of immediate interest to researchers within the music informatics community, and will also be highly relevant to research supervisors and research group leaders with an interest in policy and guidance.}
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-}
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-Biographies}
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-}
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-Chris Cannam is principal developer for the Sound Software }{\cf1\b0\kerning1\hich\af9\langfe2052\dbch\af9\afs24\alang1081\ab0\rtlch \ltrch\loch\fs24\lang2057
-project}{\cf1\b0\kerning1\hich\af9\langfe2052\dbch\af9\afs24\alang1081\ab0\rtlch \ltrch\loch\fs24\lang2057
-. His work with the C4DM includes the widely-used Sonic Visualiser audio analysis software.}
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-}
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-Dr Simon Dixon leads the Music Informatics area of C4DM and the Sound Data Management Training project. Among other responsibilities he is President-elect of ISMIR.}
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-}
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-Prof Mark D Plumbley is Director of C4DM. He leads the Sound Software project and coordinates the EPSRC Digital Music Research Network and the ICA Research Network.}
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-}
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-Acknowledgements}
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-Supported by the EPSRC through the SoundSoftware project (}{{\field{\*\fldinst HYPERLINK "http://soundsoftware.ac.uk/" }\b0\ab0{\fldrslt \cf2\ul\ulc0\langfe255\alang255\lang255\rtlch \ltrch\loch
-http://soundsoftware.ac.uk/}{\b0\ab0\rtlch \ltrch\loch
-}}) and by JISC through the Sound Data Management Training and Sustainable Management of Digital Music Research Data projects (}{{\field{\*\fldinst HYPERLINK "http://rdm.c4dm.eecs.qmul.ac.uk/" }\b0\ab0{\fldrslt \cf2\ul\ulc0\langfe255\alang255\lang255\rtlch \ltrch\loch
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-}}).}
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-}
-\par }
\ No newline at end of file
--- /dev/null	Thu Jan 01 00:00:00 1970 +0000
+++ b/ismir2012-proposal/Makefile	Fri Aug 31 13:30:20 2012 +0100
@@ -0,0 +1,7 @@
+all: tutorial-out.pdf
+
+tutorial-out.pdf:	tutorial.pdf
+	cp tutorial.pdf tutorial-out.pdf
+
+tutorial.pdf: tutorial.tex
+	( echo x | xelatex tutorial ) && xelatex tutorial
--- /dev/null	Thu Jan 01 00:00:00 1970 +0000
+++ b/ismir2012-proposal/cannam_dixon_plumbley_ismir2012_proceedings.rtf	Fri Aug 31 13:30:20 2012 +0100
@@ -0,0 +1,95 @@
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+Tutorial 3}
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+\par \pard\plain \s0\ql\nowidctlpar\ltrpar{\*\hyphen2\hyphlead2\hyphtrail2\hyphmax0}\cf0\kerning1\hich\af9\langfe2052\dbch\af9\afs24\alang1081\loch\f5\fs24\lang2057\ql\widctlpar\faauto\li0\ri0\lin0\rin0\fi0{\cf1\b\kerning1\hich\af8\langfe1033\dbch\af8\afs32\alang1033\ab\rtlch \ltrch\loch\fs32\lang1033
+Reusable software and reproducibility in music informatics research}
+\par \pard\plain \s0\ql\nowidctlpar\ltrpar{\*\hyphen2\hyphlead2\hyphtrail2\hyphmax0}\cf0\kerning1\hich\af9\langfe2052\dbch\af9\afs24\alang1081\loch\f5\fs24\lang2057\ql\widctlpar\faauto\li0\ri0\lin0\rin0\fi0{\rtlch \ltrch\loch
+}
+\par \pard\plain \s0\ql\nowidctlpar\ltrpar{\*\hyphen2\hyphlead2\hyphtrail2\hyphmax0}\cf0\kerning1\hich\af9\langfe2052\dbch\af9\afs24\alang1081\loch\f5\fs24\lang2057\ql\widctlpar\faauto\li0\ri0\lin0\rin0\fi0{\cf1\b\kerning1\hich\af8\langfe1033\dbch\af8\afs24\alang1033\ab\rtlch \ltrch\loch\fs24\lang1033
+Chris Cannam (}{\cf1\b0\kerning1\hich\af8\langfe1033\dbch\af8\afs24\alang1033\ab\rtlch \ltrch\loch\fs24\lang1033
+Centre for Digital Music, }{\cf1\b0\kerning1\hich\af8\langfe1033\dbch\af8\afs24\alang1033\ab0\rtlch \ltrch\loch\fs24\lang1033
+Queen Mary University of London, UK)}
+\par \pard\plain \s0\ql\nowidctlpar\ltrpar{\*\hyphen2\hyphlead2\hyphtrail2\hyphmax0}\cf0\kerning1\hich\af9\langfe2052\dbch\af9\afs24\alang1081\loch\f5\fs24\lang2057\ql\widctlpar\faauto\li0\ri0\lin0\rin0\fi0{\cf1\b\kerning1\hich\af8\langfe1033\dbch\af8\afs24\alang1033\ab\rtlch \ltrch\loch\fs24\lang1033
+Simon Dixon (}{\cf1\b0\kerning1\hich\af8\langfe1033\dbch\af8\afs24\alang1033\ab\rtlch \ltrch\loch\fs24\lang1033
+Centre for Digital Music, }{\cf1\b0\kerning1\hich\af8\langfe1033\dbch\af8\afs24\alang1033\ab0\rtlch \ltrch\loch\fs24\lang1033
+Queen Mary University of London, UK)}
+\par \pard\plain \s0\ql\nowidctlpar\ltrpar{\*\hyphen2\hyphlead2\hyphtrail2\hyphmax0}\cf0\kerning1\hich\af9\langfe2052\dbch\af9\afs24\alang1081\loch\f5\fs24\lang2057\ql\widctlpar\faauto\li0\ri0\lin0\rin0\fi0{\cf1\b\kerning1\hich\af8\langfe1033\dbch\af8\afs24\alang1033\ab\rtlch \ltrch\loch\fs24\lang1033
+Mark D Plumbley (}{\cf1\b0\kerning1\hich\af8\langfe1033\dbch\af8\afs24\alang1033\ab\rtlch \ltrch\loch\fs24\lang1033
+Centre for Digital Music, }{\cf1\b0\kerning1\hich\af8\langfe1033\dbch\af8\afs24\alang1033\ab0\rtlch \ltrch\loch\fs24\lang1033
+Queen Mary University of London, UK)}
+\par \pard\plain \s0\ql\nowidctlpar\ltrpar{\*\hyphen2\hyphlead2\hyphtrail2\hyphmax0}\cf0\kerning1\hich\af9\langfe2052\dbch\af9\afs24\alang1081\loch\f5\fs24\lang2057\ql\widctlpar\faauto\li0\ri0\lin0\rin0\fi0{\rtlch \ltrch\loch
+}
+\par \pard\plain \s0\ql\nowidctlpar\ltrpar{\*\hyphen2\hyphlead2\hyphtrail2\hyphmax0}\cf0\kerning1\hich\af9\langfe2052\dbch\af9\afs24\alang1081\loch\f5\fs24\lang2057\qj\widctlpar\faauto\li0\ri0\lin0\rin0\fi0{\cf1\b\kerning1\hich\af8\langfe1033\dbch\af8\afs24\alang1033\ab\rtlch \ltrch\loch\fs24\lang1033
+Abstract}
+\par \pard\plain \s0\ql\nowidctlpar\ltrpar{\*\hyphen2\hyphlead2\hyphtrail2\hyphmax0}\cf0\kerning1\hich\af9\langfe2052\dbch\af9\afs24\alang1081\loch\f5\fs24\lang2057\qj\widctlpar\faauto\li0\ri0\lin0\rin0\fi0{\rtlch \ltrch\loch
+}
+\par \pard\plain \s0\ql\nowidctlpar\ltrpar{\*\hyphen2\hyphlead2\hyphtrail2\hyphmax0}\cf0\kerning1\hich\af9\langfe2052\dbch\af9\afs24\alang1081\loch\f5\fs24\lang2057\qj\widctlpar\faauto\li0\ri0\lin0\rin0\fi0{\cf1\b0\kerning1\hich\af8\langfe1033\dbch\af8\afs24\alang1033\ab0\rtlch \ltrch\loch\fs24\lang1033
+The need to develop and reuse software to process data is almost universal in music informatics research. Many methods, including most of those published at ISMIR, are developed in tandem with software implementations and some of them are too complex or too fundamentally software-based to be reproduced readily from a published paper alone. For this reason, it is helpful for sustainable research to have software and data published along with papers. In practice, however, non-publication of code and data is still the norm.\line \line In this tutorial }{\cf1\b0\kerning1\hich\af9\langfe2052\dbch\af9\afs24\alang1081\ab0\rtlch \ltrch\loch\fs24\lang2057
+we will}{\cf1\b0\kerning1\hich\af8\langfe1033\dbch\af8\afs24\alang1033\ab0\rtlch \ltrch\loch\fs24\lang1033
+ discuss barriers to publication of software and data and present a hands-on session in which attendees will explore tools and methods to help overcome these barriers. The tutorial will rapidly cover the use of version control software, code hosting facilities, aspects of testing and provenance, and software licensing for publication. Examples will be drawn from the music and audio fields, and help will be provided by researcher-developers from the Centre for Digital Music (C4DM), Lu\u237\'eds Figueira and Steve Welburn. This tutorial will be of immediate interest to researchers within the music informatics community, and will also be highly relevant to research supervisors and research group leaders with an interest in policy and guidance.}
+\par \pard\plain \s0\ql\nowidctlpar\ltrpar{\*\hyphen2\hyphlead2\hyphtrail2\hyphmax0}\cf0\kerning1\hich\af9\langfe2052\dbch\af9\afs24\alang1081\loch\f5\fs24\lang2057\qj\widctlpar\faauto\li0\ri0\lin0\rin0\fi0{\b0\ab0\rtlch \ltrch\loch
+}
+\par \pard\plain \s0\ql\nowidctlpar\ltrpar{\*\hyphen2\hyphlead2\hyphtrail2\hyphmax0}\cf0\kerning1\hich\af9\langfe2052\dbch\af9\afs24\alang1081\loch\f5\fs24\lang2057\qj\widctlpar\faauto\li0\ri0\lin0\rin0\fi0{\cf1\b\kerning1\hich\af8\langfe1033\dbch\af8\afs24\alang1033\ab\rtlch \ltrch\loch\fs24\lang1033
+Biographies}
+\par \pard\plain \s0\ql\nowidctlpar\ltrpar{\*\hyphen2\hyphlead2\hyphtrail2\hyphmax0}\cf0\kerning1\hich\af9\langfe2052\dbch\af9\afs24\alang1081\loch\f5\fs24\lang2057\qj\widctlpar\faauto\li0\ri0\lin0\rin0\fi0{\rtlch \ltrch\loch
+}
+\par \pard\plain \s0\ql\nowidctlpar\ltrpar{\*\hyphen2\hyphlead2\hyphtrail2\hyphmax0}\cf0\kerning1\hich\af9\langfe2052\dbch\af9\afs24\alang1081\loch\f5\fs24\lang2057\qj\widctlpar\faauto\li0\ri0\lin0\rin0\fi0{\cf1\b0\kerning1\hich\af9\langfe2052\dbch\af9\afs24\alang1081\ab0\rtlch \ltrch\loch\fs24\lang2057
+Chris Cannam is principal developer for the Sound Software }{\cf1\b0\kerning1\hich\af9\langfe2052\dbch\af9\afs24\alang1081\ab0\rtlch \ltrch\loch\fs24\lang2057
+project}{\cf1\b0\kerning1\hich\af9\langfe2052\dbch\af9\afs24\alang1081\ab0\rtlch \ltrch\loch\fs24\lang2057
+. His work with the C4DM includes the widely-used Sonic Visualiser audio analysis software.}
+\par \pard\plain \s0\ql\nowidctlpar\ltrpar{\*\hyphen2\hyphlead2\hyphtrail2\hyphmax0}\cf0\kerning1\hich\af9\langfe2052\dbch\af9\afs24\alang1081\loch\f5\fs24\lang2057\qj\widctlpar\faauto\li0\ri0\lin0\rin0\fi0{\b0\ab0\rtlch \ltrch\loch
+}
+\par \pard\plain \s0\ql\nowidctlpar\ltrpar{\*\hyphen2\hyphlead2\hyphtrail2\hyphmax0}\cf0\kerning1\hich\af9\langfe2052\dbch\af9\afs24\alang1081\loch\f5\fs24\lang2057\qj\widctlpar\faauto\li0\ri0\lin0\rin0\fi0{\cf1\b0\kerning1\hich\af9\langfe2052\dbch\af9\afs24\alang1081\ab0\rtlch \ltrch\loch\fs24\lang2057
+Dr Simon Dixon leads the Music Informatics area of C4DM and the Sound Data Management Training project. Among other responsibilities he is President-elect of ISMIR.}
+\par \pard\plain \s0\ql\nowidctlpar\ltrpar{\*\hyphen2\hyphlead2\hyphtrail2\hyphmax0}\cf0\kerning1\hich\af9\langfe2052\dbch\af9\afs24\alang1081\loch\f5\fs24\lang2057\qj\widctlpar\faauto\li0\ri0\lin0\rin0\fi0{\b0\ab0\rtlch \ltrch\loch
+}
+\par \pard\plain \s0\ql\nowidctlpar\ltrpar{\*\hyphen2\hyphlead2\hyphtrail2\hyphmax0}\cf0\kerning1\hich\af9\langfe2052\dbch\af9\afs24\alang1081\loch\f5\fs24\lang2057\qj\widctlpar\faauto\li0\ri0\lin0\rin0\fi0{\cf1\b0\kerning1\hich\af9\langfe2052\dbch\af9\afs24\alang1081\ab0\rtlch \ltrch\loch\fs24\lang2057
+Prof Mark D Plumbley is Director of C4DM. He leads the Sound Software project and coordinates the EPSRC Digital Music Research Network and the ICA Research Network.}
+\par \pard\plain \s0\ql\nowidctlpar\ltrpar{\*\hyphen2\hyphlead2\hyphtrail2\hyphmax0}\cf0\kerning1\hich\af9\langfe2052\dbch\af9\afs24\alang1081\loch\f5\fs24\lang2057\qj\widctlpar\faauto\li0\ri0\lin0\rin0\fi0{\b0\ab0\rtlch \ltrch\loch
+}
+\par \pard\plain \s0\ql\nowidctlpar\ltrpar{\*\hyphen2\hyphlead2\hyphtrail2\hyphmax0}\cf0\kerning1\hich\af9\langfe2052\dbch\af9\afs24\alang1081\loch\f5\fs24\lang2057\qj\widctlpar\faauto\li0\ri0\lin0\rin0\fi0{\b\ab\rtlch \ltrch\loch
+Acknowledgements}
+\par \pard\plain \s0\ql\nowidctlpar\ltrpar{\*\hyphen2\hyphlead2\hyphtrail2\hyphmax0}\cf0\kerning1\hich\af9\langfe2052\dbch\af9\afs24\alang1081\loch\f5\fs24\lang2057\qj\widctlpar\faauto\li0\ri0\lin0\rin0\fi0{\rtlch \ltrch\loch
+}
+\par \pard\plain \s0\ql\nowidctlpar\ltrpar{\*\hyphen2\hyphlead2\hyphtrail2\hyphmax0}\cf0\kerning1\hich\af9\langfe2052\dbch\af9\afs24\alang1081\loch\f5\fs24\lang2057\qj\widctlpar\faauto\li0\ri0\lin0\rin0\fi0{\b0\ab0\rtlch \ltrch\loch
+Supported by the EPSRC through the SoundSoftware project (}{{\field{\*\fldinst HYPERLINK "http://soundsoftware.ac.uk/" }\b0\ab0{\fldrslt \cf2\ul\ulc0\langfe255\alang255\lang255\rtlch \ltrch\loch
+http://soundsoftware.ac.uk/}{\b0\ab0\rtlch \ltrch\loch
+}}) and by JISC through the Sound Data Management Training and Sustainable Management of Digital Music Research Data projects (}{{\field{\*\fldinst HYPERLINK "http://rdm.c4dm.eecs.qmul.ac.uk/" }\b0\ab0{\fldrslt \cf2\ul\ulc0\langfe255\alang255\lang255\rtlch \ltrch\loch
+http://rdm.c4dm.eecs.qmul.ac.uk}{\b0\ab0\rtlch \ltrch\loch
+}}).}
+\par \pard\plain \s0\ql\nowidctlpar\ltrpar{\*\hyphen2\hyphlead2\hyphtrail2\hyphmax0}\cf0\kerning1\hich\af9\langfe2052\dbch\af9\afs24\alang1081\loch\f5\fs24\lang2057\qj\widctlpar\faauto\li0\ri0\lin0\rin0\fi0{\b0\ab0\rtlch \ltrch\loch
+}
+\par }
\ No newline at end of file
Binary file ismir2012-proposal/tutorial.pdf has changed
--- /dev/null	Thu Jan 01 00:00:00 1970 +0000
+++ b/ismir2012-proposal/tutorial.tex	Fri Aug 31 13:30:20 2012 +0100
@@ -0,0 +1,266 @@
+\documentclass{article}
+\usepackage{amsmath,graphicx}
+\onecolumn
+\raggedbottom
+
+%\oddsidemargin  -6.2truemm
+%\evensidemargin -6.2truemm
+
+\topmargin 0truept
+\headheight 0truept
+\headsep 0truept
+%\footheight 0truept
+%\footskip 0truept
+\textheight 229truemm
+%\textwidth 178truemm
+
+\title{ISMIR Tutorial Proposal}
+
+\author{Chris Cannam, Lu\'{i}s A. Figueira, Marco Fabiani,\\
+Mark D. Plumbley, and Simon Dixon\\
+Centre for Digital Music, Queen Mary University of London\\
+  {\tt \{firstname.lastname\}@eecs.qmul.ac.uk}}
+
+\begin{document}
+%
+\maketitle
+%
+
+\section{Title}
+
+{\bf Reusable software and reproducibility in music informatics research}
+
+\section{Motivation}
+
+The need to develop and reuse software to process data is almost
+universal in music informatics research.  Many methods, including most
+of those published at ISMIR, are developed in tandem with software
+implementations, and some of them are too complex or too fundamentally
+software-based to be reproduced readily from a published paper
+alone. For this reason, it is helpful for sustainable research to have
+software and data published along with papers.
+
+In practice, non-publication of code and data is still the norm and
+research software is commonly lost following publication of the
+associated methods.
+
+For the Sound Software project\footnote{\tt http://soundsoftware.ac.uk/} we
+carried out a survey of UK audio and music researchers in 2011. Of
+those respondents who reported both developing software during
+research and taking steps to reproducibility for their publications,
+only 35\% reported having in fact published any of their
+code. Respondents cited as obstacles to publication of code lack of
+time, copyright restrictions, and the potential for future commercial
+use. A broader study of research across several subject areas by the
+UK Research Information Network additionally identified lack of
+evidence of benefits, cultures of independence and competition, and
+quality concerns as inhibiting factors.
+
+We identified a number of barriers to the publication of software and
+data, including:
+
+\begin{itemize}
+\item lack of education in software development and consequently of
+  confidence that code is of publishable quality;
+\item lack of facilities and tools to enable collaborative development
+  and to support a familiarity with sharing and publishing code;
+\item  lack of incentive to distribute software and data;
+\item  reusability problems caused by platform incompatibilities.
+\end{itemize}
+
+During this tutorial we will discuss these problems, outline a
+possible course of action that researchers and research groups can
+take in order to mitigate each of these barriers, and present a
+practical, hands-on session in which attendees can familiarise
+themselves with some of the tools and methods involved and gain
+confidence with using them for their own work.
+
+\section{Outline of the tutorial content}
+
+This tutorial will be in three parts:
+\begin{itemize}
+\item An {\bf introduction and overview} discussing the motivation for
+  reusable software and data in research and providing an overview of
+  some methods, tools and facilities available to researchers for this
+  purpose;
+\item A {\bf hands-on session} in which attendees are encouraged to
+  try out some of these methods in code;
+\item A review and discussion of {\bf practical issues} in ensuring
+  that publication of data and code actually occurs, relevant also to
+  research group leaders.
+\end{itemize}
+
+\subsection{Introduction and overview}
+
+In the first part of the tutorial, we will first set out motivations
+for publishing software and code, and then discuss problems faced by
+researchers in trying to do so, taking into account their consequences
+for scientific rigour.
+
+We then give an overview of software tools, facilities and methods
+available for researchers to assist with collaborative development and
+software publication, including:
+
+\begin{itemize}
+\item Version control software: The concepts; practical advantages; overview of Mercurial, Git, Subversion; hosting facilities such as Github, Bitbucket, or (for UK researchers) our own code.soundsoftware.ac.uk;
+\item Unit testing and managing provenance and reproducibility for code;
+\item Data management: principles, repositories, and versioning;
+\item Software and data licences: commonly-used open-source licences;
+  pros and cons of GPL and BSD licensing schemes; Creative Commons
+\end{itemize}
+
+\subsection{Hands-on session}
+
+The second part of the tutorial will be a hands-on session in which
+attendees will get the opportunity to work through an example with
+real code.
+
+A ``toy'' music informatics programming problem will be presented, with
+sample code and data available, and attendees will pair up to:
+
+\begin{itemize}
+\item Implement it in Python or MATLAB/Octave (according to their
+  preference) using a very simple unit testing regime;
+\item Place the code under version control using a local repository in
+  a distributed version control system;
+\item Tag the code and make a record associating the software version
+  with its output data version;
+\item Tweak the algorithm and record the updated software and data
+  versions accordingly;
+\item Place the resulting software under a standard open-source
+  software licence;
+\item Follow a simple ``release procedure'' to produce a code and data
+  release.
+\end{itemize}
+
+\subsection{Practical issues}
+
+The third part of the tutorial will open out the discussion into the
+wider field of reproducible publication, and into areas of policy and
+actions that research groups and research leaders may wish to
+consider.
+
+This section will therefore cover:
+
+\begin{itemize}
+\item    Publication mechanisms for reproducible research:
+\begin{itemize}
+\item        Open-access journal papers;
+\item        Self-archiving;
+\item        Technical reports;
+\item        Copyright issues relating to journal or book publication;
+\item Mechanisms for associating software with the paper publication;
+\item Identifying specific versions of software or data with a
+  publication.
+\end{itemize}
+\item    Publication policies for research group leaders:
+\begin{itemize}
+\item        Why publish software and data?;
+\item        What software and data should be published, and when?
+\item        Institutional assistance with publication barriers;
+\item        The research community.
+\end{itemize}
+\end{itemize}
+
+\section{Intended and expected audience}
+
+The primary audience for this tutorial is researchers within the music
+informatics community who develop or reuse software and data during
+their day-to-day research.
+
+We believe that an overwhelming majority of material submitted to
+ISMIR requires software to be developed during research. Given results
+showing that most researchers are self-taught in software development,
+and in light of the reasons researchers report as to why they do not
+publish software, we think that a large proportion of the active
+researchers represented at ISMIR regardless of subject focus will find
+the material in our tutorial of interest.
+
+Our tutorial is also highly relevant to research supervisors and
+research group leaders, because of its implications in terms of both
+institutional and group policy and guidance for research students.
+
+\section{Short biography of the presenters}
+
+\subsection{Experience in this area}
+
+The presenters manage the Sound Software project and Sustainable Management of Digital
+Music Research Data project\footnote{\tt
+  http://rdm.c4dm.eecs.qmul.ac.uk/} in the Centre for Digital Music
+(C4DM) at Queen Mary University of London.
+
+The Sound Software project is an EPSRC-funded initiative to assist
+researchers to manage software code in a more sustainable manner,
+based at the C4DM but with the whole UK audio and music research
+community as its focus.
+
+The Sustainable Management of Digital Music Research Data project is a
+JISC-funded pilot data-management project focusing on data published
+by the C4DM.
+
+The presenters have extensive experience in audio and music research
+and software development, and have given workshops on sustainable
+software development in research at the C4DM and elsewhere in the UK.
+
+\subsection{The presenters}
+
+{\bf Chris Cannam} is the principal developer for the Sound Software
+project and code hosting site.\footnote{\tt
+  http://code.soundsoftware.ac.uk} He is a software developer with
+many years of commercial and open-source cross-platform development
+experience. While at C4DM he has developed software including the
+widely-used Sonic Visualiser audio analysis and visualisation
+application.
+
+{\bf Lu\'is Figueira} is a software developer with several years of
+experience with C/C++, Ruby on Rails, Scheme, Web technologies and
+databases. He has an MSc in Electrotechnical and Computer Engineering
+from Instituto Superior T\'ecnico in Lisbon, where he specialized in
+digital signal processing with a focus on speech synthesis.
+
+{\bf Dr Marco Fabiani} is a post-doctoral Research Assistant at C4DM
+working on the Sustainable Management of Digital Music Research Data
+project. He recently completed his PhD in Computer Science - Speech
+and Music Communication (KTH, Stockholm) with a thesis on interactive
+computer-based music performance, and has worked on topics including
+audio signal processing, music information retrieval, HCI, and sound
+perception.
+
+{\bf Prof Mark Plumbley} is Director of C4DM and leads the Sound
+Software initiative. His work in audio signal analysis includes beat
+tracking, music transcription, source separation and object coding,
+using techniques such as neural networks, independent component
+analysis, sparse representations and Bayesian modelling. He is Chair
+of the International Independent Component Analysis Steering
+Committee, a member of the IEEE Machine Learning in Signal Processing
+Technical Committee, and an Associate Editor for IEEE Transactions on
+Neural Networks. He leads the ICA Research Network and Digital Music
+Research Network.
+
+{\bf Dr Simon Dixon} leads the Music Informatics area of C4DM and the
+Sustainable Management of Digital Music Research Data project. His
+research interests cover various aspects of music informatics,
+including high-level music signal analysis and the representation of
+musical knowledge. He has been General Co-Chair of the Dagstuhl
+Seminar on Multimodal Music Processing and Computer Music Modeling and
+Retrieval, Programme Co-Chair for ISMIR 2007, and co-presenter of the
+ISMIR 2006 tutorial on Computational Rhythm Description.
+
+\section{Any special requirements}
+
+Attendees will be encouraged to bring and use laptops, so sufficient
+space and network capacity would be welcome.
+
+It would be nice to separate the three parts of the tutorial with
+coffee and biscuit breaks!
+
+\section{Contact information}
+
+Please contact Chris Cannam, {\tt chris.cannam@eecs.qmul.ac.uk}.
+
+\end{document}
+
+%%% Local Variables:
+%%% mode: latex
+%%% TeX-master: t
+%%% End:
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-\documentclass{article}
-\usepackage{amsmath,graphicx}
-\onecolumn
-\raggedbottom
-
-%\oddsidemargin  -6.2truemm
-%\evensidemargin -6.2truemm
-
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-%\textwidth 178truemm
-
-\title{ISMIR Tutorial Proposal}
-
-\author{Chris Cannam, Lu\'{i}s A. Figueira, Marco Fabiani,\\
-Mark D. Plumbley, and Simon Dixon\\
-Centre for Digital Music, Queen Mary University of London\\
-  {\tt \{firstname.lastname\}@eecs.qmul.ac.uk}}
-
-\begin{document}
-%
-\maketitle
-%
-
-\section{Title}
-
-{\bf Reusable software and reproducibility in music informatics research}
-
-\section{Motivation}
-
-The need to develop and reuse software to process data is almost
-universal in music informatics research.  Many methods, including most
-of those published at ISMIR, are developed in tandem with software
-implementations, and some of them are too complex or too fundamentally
-software-based to be reproduced readily from a published paper
-alone. For this reason, it is helpful for sustainable research to have
-software and data published along with papers.
-
-In practice, non-publication of code and data is still the norm and
-research software is commonly lost following publication of the
-associated methods.
-
-For the Sound Software project\footnote{\tt http://soundsoftware.ac.uk/} we
-carried out a survey of UK audio and music researchers in 2011. Of
-those respondents who reported both developing software during
-research and taking steps to reproducibility for their publications,
-only 35\% reported having in fact published any of their
-code. Respondents cited as obstacles to publication of code lack of
-time, copyright restrictions, and the potential for future commercial
-use. A broader study of research across several subject areas by the
-UK Research Information Network additionally identified lack of
-evidence of benefits, cultures of independence and competition, and
-quality concerns as inhibiting factors.
-
-We identified a number of barriers to the publication of software and
-data, including:
-
-\begin{itemize}
-\item lack of education in software development and consequently of
-  confidence that code is of publishable quality;
-\item lack of facilities and tools to enable collaborative development
-  and to support a familiarity with sharing and publishing code;
-\item  lack of incentive to distribute software and data;
-\item  reusability problems caused by platform incompatibilities.
-\end{itemize}
-
-During this tutorial we will discuss these problems, outline a
-possible course of action that researchers and research groups can
-take in order to mitigate each of these barriers, and present a
-practical, hands-on session in which attendees can familiarise
-themselves with some of the tools and methods involved and gain
-confidence with using them for their own work.
-
-\section{Outline of the tutorial content}
-
-This tutorial will be in three parts:
-\begin{itemize}
-\item An {\bf introduction and overview} discussing the motivation for
-  reusable software and data in research and providing an overview of
-  some methods, tools and facilities available to researchers for this
-  purpose;
-\item A {\bf hands-on session} in which attendees are encouraged to
-  try out some of these methods in code;
-\item A review and discussion of {\bf practical issues} in ensuring
-  that publication of data and code actually occurs, relevant also to
-  research group leaders.
-\end{itemize}
-
-\subsection{Introduction and overview}
-
-In the first part of the tutorial, we will first set out motivations
-for publishing software and code, and then discuss problems faced by
-researchers in trying to do so, taking into account their consequences
-for scientific rigour.
-
-We then give an overview of software tools, facilities and methods
-available for researchers to assist with collaborative development and
-software publication, including:
-
-\begin{itemize}
-\item Version control software: The concepts; practical advantages; overview of Mercurial, Git, Subversion; hosting facilities such as Github, Bitbucket, or (for UK researchers) our own code.soundsoftware.ac.uk;
-\item Unit testing and managing provenance and reproducibility for code;
-\item Data management: principles, repositories, and versioning;
-\item Software and data licences: commonly-used open-source licences;
-  pros and cons of GPL and BSD licensing schemes; Creative Commons
-\end{itemize}
-
-\subsection{Hands-on session}
-
-The second part of the tutorial will be a hands-on session in which
-attendees will get the opportunity to work through an example with
-real code.
-
-A ``toy'' music informatics programming problem will be presented, with
-sample code and data available, and attendees will pair up to:
-
-\begin{itemize}
-\item Implement it in Python or MATLAB/Octave (according to their
-  preference) using a very simple unit testing regime;
-\item Place the code under version control using a local repository in
-  a distributed version control system;
-\item Tag the code and make a record associating the software version
-  with its output data version;
-\item Tweak the algorithm and record the updated software and data
-  versions accordingly;
-\item Place the resulting software under a standard open-source
-  software licence;
-\item Follow a simple ``release procedure'' to produce a code and data
-  release.
-\end{itemize}
-
-\subsection{Practical issues}
-
-The third part of the tutorial will open out the discussion into the
-wider field of reproducible publication, and into areas of policy and
-actions that research groups and research leaders may wish to
-consider.
-
-This section will therefore cover:
-
-\begin{itemize}
-\item    Publication mechanisms for reproducible research:
-\begin{itemize}
-\item        Open-access journal papers;
-\item        Self-archiving;
-\item        Technical reports;
-\item        Copyright issues relating to journal or book publication;
-\item Mechanisms for associating software with the paper publication;
-\item Identifying specific versions of software or data with a
-  publication.
-\end{itemize}
-\item    Publication policies for research group leaders:
-\begin{itemize}
-\item        Why publish software and data?;
-\item        What software and data should be published, and when?
-\item        Institutional assistance with publication barriers;
-\item        The research community.
-\end{itemize}
-\end{itemize}
-
-\section{Intended and expected audience}
-
-The primary audience for this tutorial is researchers within the music
-informatics community who develop or reuse software and data during
-their day-to-day research.
-
-We believe that an overwhelming majority of material submitted to
-ISMIR requires software to be developed during research. Given results
-showing that most researchers are self-taught in software development,
-and in light of the reasons researchers report as to why they do not
-publish software, we think that a large proportion of the active
-researchers represented at ISMIR regardless of subject focus will find
-the material in our tutorial of interest.
-
-Our tutorial is also highly relevant to research supervisors and
-research group leaders, because of its implications in terms of both
-institutional and group policy and guidance for research students.
-
-\section{Short biography of the presenters}
-
-\subsection{Experience in this area}
-
-The presenters manage the Sound Software project and Sustainable Management of Digital
-Music Research Data project\footnote{\tt
-  http://rdm.c4dm.eecs.qmul.ac.uk/} in the Centre for Digital Music
-(C4DM) at Queen Mary University of London.
-
-The Sound Software project is an EPSRC-funded initiative to assist
-researchers to manage software code in a more sustainable manner,
-based at the C4DM but with the whole UK audio and music research
-community as its focus.
-
-The Sustainable Management of Digital Music Research Data project is a
-JISC-funded pilot data-management project focusing on data published
-by the C4DM.
-
-The presenters have extensive experience in audio and music research
-and software development, and have given workshops on sustainable
-software development in research at the C4DM and elsewhere in the UK.
-
-\subsection{The presenters}
-
-{\bf Chris Cannam} is the principal developer for the Sound Software
-project and code hosting site.\footnote{\tt
-  http://code.soundsoftware.ac.uk} He is a software developer with
-many years of commercial and open-source cross-platform development
-experience. While at C4DM he has developed software including the
-widely-used Sonic Visualiser audio analysis and visualisation
-application.
-
-{\bf Lu\'is Figueira} is a software developer with several years of
-experience with C/C++, Ruby on Rails, Scheme, Web technologies and
-databases. He has an MSc in Electrotechnical and Computer Engineering
-from Instituto Superior T\'ecnico in Lisbon, where he specialized in
-digital signal processing with a focus on speech synthesis.
-
-{\bf Dr Marco Fabiani} is a post-doctoral Research Assistant at C4DM
-working on the Sustainable Management of Digital Music Research Data
-project. He recently completed his PhD in Computer Science - Speech
-and Music Communication (KTH, Stockholm) with a thesis on interactive
-computer-based music performance, and has worked on topics including
-audio signal processing, music information retrieval, HCI, and sound
-perception.
-
-{\bf Prof Mark Plumbley} is Director of C4DM and leads the Sound
-Software initiative. His work in audio signal analysis includes beat
-tracking, music transcription, source separation and object coding,
-using techniques such as neural networks, independent component
-analysis, sparse representations and Bayesian modelling. He is Chair
-of the International Independent Component Analysis Steering
-Committee, a member of the IEEE Machine Learning in Signal Processing
-Technical Committee, and an Associate Editor for IEEE Transactions on
-Neural Networks. He leads the ICA Research Network and Digital Music
-Research Network.
-
-{\bf Dr Simon Dixon} leads the Music Informatics area of C4DM and the
-Sustainable Management of Digital Music Research Data project. His
-research interests cover various aspects of music informatics,
-including high-level music signal analysis and the representation of
-musical knowledge. He has been General Co-Chair of the Dagstuhl
-Seminar on Multimodal Music Processing and Computer Music Modeling and
-Retrieval, Programme Co-Chair for ISMIR 2007, and co-presenter of the
-ISMIR 2006 tutorial on Computational Rhythm Description.
-
-\section{Any special requirements}
-
-Attendees will be encouraged to bring and use laptops, so sufficient
-space and network capacity would be welcome.
-
-It would be nice to separate the three parts of the tutorial with
-coffee and biscuit breaks!
-
-\section{Contact information}
-
-Please contact Chris Cannam, {\tt chris.cannam@eecs.qmul.ac.uk}.
-
-\end{document}
-
-%%% Local Variables:
-%%% mode: latex
-%%% TeX-master: t
-%%% End: