Daily Papers

Most of the state-of-the-art automatic music transcription (AMT) models break down the main transcription task into sub-tasks such as onset prediction and offset prediction and train them with onset and offset labels. These predictions are then concatenated together and used as the input to train another model with the pitch labels to obtain the final transcription. We attempt to use only the pitch labels (together with spectrogram reconstruction loss) and explore how far this model can go without introducing supervised sub-tasks. In this paper, we do not aim at achieving state-of-the-art transcription accuracy, instead, we explore the effect that spectrogram reconstruction has on our AMT model. Our proposed model consists of two U-nets: the first U-net transcribes the spectrogram into a posteriorgram, and a second U-net transforms the posteriorgram back into a spectrogram. A reconstruction loss is applied between the original spectrogram and the reconstructed spectrogram to constrain the second U-net to focus only on reconstruction. We train our model on three different datasets: MAPS, MAESTRO, and MusicNet. Our experiments show that adding the reconstruction loss can generally improve the note-level transcription accuracy when compared to the same model without the reconstruction part. Moreover, it can also boost the frame-level precision to be higher than the state-of-the-art models. The feature maps learned by our U-net contain gridlike structures (not present in the baseline model) which implies that with the presence of the reconstruction loss, the model is probably trying to count along both the time and frequency axis, resulting in a higher note-level transcription accuracy.

Note-level Automatic Singing Voice Transcription (AST) converts singing recordings into note sequences, facilitating the automatic annotation of singing datasets for Singing Voice Synthesis (SVS) applications. Current AST methods, however, struggle with accuracy and robustness when used for practical annotation. This paper presents ROSVOT, the first robust AST model that serves SVS, incorporating a multi-scale framework that effectively captures coarse-grained note information and ensures fine-grained frame-level segmentation, coupled with an attention-based pitch decoder for reliable pitch prediction. We also established a comprehensive annotation-and-training pipeline for SVS to test the model in real-world settings. Experimental findings reveal that ROSVOT achieves state-of-the-art transcription accuracy with either clean or noisy inputs. Moreover, when trained on enlarged, automatically annotated datasets, the SVS model outperforms its baseline, affirming the capability for practical application. Audio samples are available at https://rosvot.github.io.

We introduce GAPS (Guitar-Aligned Performance Scores), a new dataset of classical guitar performances, and a benchmark guitar transcription model that achieves state-of-the-art performance on GuitarSet in both supervised and zero-shot settings. GAPS is the largest dataset of real guitar audio, containing 14 hours of freely available audio-score aligned pairs, recorded in diverse conditions by over 200 performers, together with high-resolution note-level MIDI alignments and performance videos. These enable us to train a state-of-the-art model for automatic transcription of solo guitar recordings which can generalise well to real world audio that is unseen during training.

An ideal music synthesizer should be both interactive and expressive, generating high-fidelity audio in realtime for arbitrary combinations of instruments and notes. Recent neural synthesizers have exhibited a tradeoff between domain-specific models that offer detailed control of only specific instruments, or raw waveform models that can train on any music but with minimal control and slow generation. In this work, we focus on a middle ground of neural synthesizers that can generate audio from MIDI sequences with arbitrary combinations of instruments in realtime. This enables training on a wide range of transcription datasets with a single model, which in turn offers note-level control of composition and instrumentation across a wide range of instruments. We use a simple two-stage process: MIDI to spectrograms with an encoder-decoder Transformer, then spectrograms to audio with a generative adversarial network (GAN) spectrogram inverter. We compare training the decoder as an autoregressive model and as a Denoising Diffusion Probabilistic Model (DDPM) and find that the DDPM approach is superior both qualitatively and as measured by audio reconstruction and Fr\'echet distance metrics. Given the interactivity and generality of this approach, we find this to be a promising first step towards interactive and expressive neural synthesis for arbitrary combinations of instruments and notes.

Automatic Music Transcription (AMT) has been recognized as a key enabling technology with a wide range of applications. Given the task's complexity, best results have typically been reported for systems focusing on specific settings, e.g. instrument-specific systems tend to yield improved results over instrument-agnostic methods. Similarly, higher accuracy can be obtained when only estimating frame-wise f_0 values and neglecting the harder note event detection. Despite their high accuracy, such specialized systems often cannot be deployed in the real-world. Storage and network constraints prohibit the use of multiple specialized models, while memory and run-time constraints limit their complexity. In this paper, we propose a lightweight neural network for musical instrument transcription, which supports polyphonic outputs and generalizes to a wide variety of instruments (including vocals). Our model is trained to jointly predict frame-wise onsets, multipitch and note activations, and we experimentally show that this multi-output structure improves the resulting frame-level note accuracy. Despite its simplicity, benchmark results show our system's note estimation to be substantially better than a comparable baseline, and its frame-level accuracy to be only marginally below those of specialized state-of-the-art AMT systems. With this work we hope to encourage the community to further investigate low-resource, instrument-agnostic AMT systems.

Recent breakthroughs in singing voice synthesis (SVS) have heightened the demand for high-quality annotated datasets, yet manual annotation remains prohibitively labor-intensive and resource-intensive. Existing automatic singing annotation (ASA) methods, however, primarily tackle isolated aspects of the annotation pipeline. To address this fundamental challenge, we present STARS, which is, to our knowledge, the first unified framework that simultaneously addresses singing transcription, alignment, and refined style annotation. Our framework delivers comprehensive multi-level annotations encompassing: (1) precise phoneme-audio alignment, (2) robust note transcription and temporal localization, (3) expressive vocal technique identification, and (4) global stylistic characterization including emotion and pace. The proposed architecture employs hierarchical acoustic feature processing across frame, word, phoneme, note, and sentence levels. The novel non-autoregressive local acoustic encoders enable structured hierarchical representation learning. Experimental validation confirms the framework's superior performance across multiple evaluation dimensions compared to existing annotation approaches. Furthermore, applications in SVS training demonstrate that models utilizing STARS-annotated data achieve significantly enhanced perceptual naturalness and precise style control. This work not only overcomes critical scalability challenges in the creation of singing datasets but also pioneers new methodologies for controllable singing voice synthesis. Audio samples are available at https://gwx314.github.io/stars-demo/.

Optical Music Recognition is a field that has progressed significantly, bringing accurate systems that transcribe effectively music scores into digital formats. Despite this, there are still several limitations that hinder OMR from achieving its full potential. Specifically, state of the art OMR still depends on multi-stage pipelines for performing full-page transcription, as well as it has only been demonstrated in monophonic cases, leaving behind very relevant engravings. In this work, we present the Sheet Music Transformer++, an end-to-end model that is able to transcribe full-page polyphonic music scores without the need of a previous Layout Analysis step. This is done thanks to an extensive curriculum learning-based pretraining with synthetic data generation. We conduct several experiments on a full-page extension of a public polyphonic transcription dataset. The experimental outcomes confirm that the model is competent at transcribing full-page pianoform scores, marking a noteworthy milestone in end-to-end OMR transcription.

Recently, symbolic music generation has become a focus of numerous deep learning research. Structure as an important part of music, contributes to improving the quality of music, and an increasing number of works start to study the hierarchical structure. In this study, we delve into the multi-level structures within music from macro-level and micro-level hierarchies. At the macro-level hierarchy, we conduct phrase segmentation algorithm to explore how phrases influence the overall development of music, and at the micro-level hierarchy, we design skeleton notes extraction strategy to explore how skeleton notes within each phrase guide the melody generation. Furthermore, we propose a novel Phrase-level Cross-Attention mechanism to capture the intrinsic relationship between macro-level hierarchy and micro-level hierarchy. Moreover, in response to the current lack of research on Chinese-style music, we construct our Small Tunes Dataset: a substantial collection of MIDI files comprising 10088 Small Tunes, a category of traditional Chinese Folk Songs. This dataset serves as the focus of our study. We generate Small Tunes songs utilizing the extracted skeleton notes as conditions, and experiment results indicate that our proposed model, Small Tunes Transformer, outperforms other state-of-the-art models. Besides, we design three novel objective evaluation metrics to evaluate music from both rhythm and melody dimensions.

Automatic Music Transcription (AMT), inferring musical notes from raw audio, is a challenging task at the core of music understanding. Unlike Automatic Speech Recognition (ASR), which typically focuses on the words of a single speaker, AMT often requires transcribing multiple instruments simultaneously, all while preserving fine-scale pitch and timing information. Further, many AMT datasets are "low-resource", as even expert musicians find music transcription difficult and time-consuming. Thus, prior work has focused on task-specific architectures, tailored to the individual instruments of each task. In this work, motivated by the promising results of sequence-to-sequence transfer learning for low-resource Natural Language Processing (NLP), we demonstrate that a general-purpose Transformer model can perform multi-task AMT, jointly transcribing arbitrary combinations of musical instruments across several transcription datasets. We show this unified training framework achieves high-quality transcription results across a range of datasets, dramatically improving performance for low-resource instruments (such as guitar), while preserving strong performance for abundant instruments (such as piano). Finally, by expanding the scope of AMT, we expose the need for more consistent evaluation metrics and better dataset alignment, and provide a strong baseline for this new direction of multi-task AMT.

The neural semi-Markov Conditional Random Field (semi-CRF) framework has demonstrated promise for event-based piano transcription. In this framework, all events (notes or pedals) are represented as closed time intervals tied to specific event types. The neural semi-CRF approach requires an interval scoring matrix that assigns a score for every candidate interval. However, designing an efficient and expressive architecture for scoring intervals is not trivial. This paper introduces a simple method for scoring intervals using scaled inner product operations that resemble how attention scoring is done in transformers. We show theoretically that, due to the special structure from encoding the non-overlapping intervals, under a mild condition, the inner product operations are expressive enough to represent an ideal scoring matrix that can yield the correct transcription result. We then demonstrate that an encoder-only structured non-hierarchical transformer backbone, operating only on a low-time-resolution feature map, is capable of transcribing piano notes and pedals with high accuracy and time precision. The experiment shows that our approach achieves the new state-of-the-art performance across all subtasks in terms of the F1 measure on the Maestro dataset.

Iterative RAG for multi-hop question answering faces challenges with lengthy contexts and the buildup of irrelevant information. This hinders a model's capacity to process and reason over retrieved content and limits performance. While recent methods focus on compressing retrieved information, they are either restricted to single-round RAG, require finetuning or lack scalability in iterative RAG. To address these challenges, we propose Notes Writing, a method that generates concise and relevant notes from retrieved documents at each step, thereby reducing noise and retaining only essential information. This indirectly increases the effective context length of Large Language Models (LLMs), enabling them to reason and plan more effectively while processing larger volumes of input text. Notes Writing is framework agnostic and can be integrated with different iterative RAG methods. We demonstrate its effectiveness with three iterative RAG methods, across two models and four evaluation datasets. Notes writing yields an average improvement of 15.6 percentage points overall, with minimal increase in output tokens.

Multi-instrument music transcription aims to convert polyphonic music recordings into musical scores assigned to each instrument. This task is challenging for modeling as it requires simultaneously identifying multiple instruments and transcribing their pitch and precise timing, and the lack of fully annotated data adds to the training difficulties. This paper introduces YourMT3+, a suite of models for enhanced multi-instrument music transcription based on the recent language token decoding approach of MT3. We enhance its encoder by adopting a hierarchical attention transformer in the time-frequency domain and integrating a mixture of experts. To address data limitations, we introduce a new multi-channel decoding method for training with incomplete annotations and propose intra- and cross-stem augmentation for dataset mixing. Our experiments demonstrate direct vocal transcription capabilities, eliminating the need for voice separation pre-processors. Benchmarks across ten public datasets show our models' competitiveness with, or superiority to, existing transcription models. Further testing on pop music recordings highlights the limitations of current models. Fully reproducible code and datasets are available with demos at https://github.com/mimbres/YourMT3.

We present FiloBass: a novel corpus of music scores and annotations which focuses on the important but often overlooked role of the double bass in jazz accompaniment. Inspired by recent work that sheds light on the role of the soloist, we offer a collection of 48 manually verified transcriptions of professional jazz bassists, comprising over 50,000 note events, which are based on the backing tracks used in the FiloSax dataset. For each recording we provide audio stems, scores, performance-aligned MIDI and associated metadata for beats, downbeats, chord symbols and markers for musical form. We then use FiloBass to enrich our understanding of jazz bass lines, by conducting a corpus-based musical analysis with a contrastive study of existing instructional methods. Together with the original FiloSax dataset, our work represents a significant step toward a fully annotated performance dataset for a jazz quartet setting. By illuminating the critical role of the bass in jazz, this work contributes to a more nuanced and comprehensive understanding of the genre.

Automatic music transcription (AMT) is the task of transcribing audio recordings into symbolic representations. Recently, neural network-based methods have been applied to AMT, and have achieved state-of-the-art results. However, many previous systems only detect the onset and offset of notes frame-wise, so the transcription resolution is limited to the frame hop size. There is a lack of research on using different strategies to encode onset and offset targets for training. In addition, previous AMT systems are sensitive to the misaligned onset and offset labels of audio recordings. Furthermore, there are limited researches on sustain pedal transcription on large-scale datasets. In this article, we propose a high-resolution AMT system trained by regressing precise onset and offset times of piano notes. At inference, we propose an algorithm to analytically calculate the precise onset and offset times of piano notes and pedal events. We show that our AMT system is robust to the misaligned onset and offset labels compared to previous systems. Our proposed system achieves an onset F1 of 96.72% on the MAESTRO dataset, outperforming previous onsets and frames system of 94.80%. Our system achieves a pedal onset F1 score of 91.86\%, which is the first benchmark result on the MAESTRO dataset. We have released the source code and checkpoints of our work at https://github.com/bytedance/piano_transcription.

Multitrack music transcription aims to transcribe a music audio input into the musical notes of multiple instruments simultaneously. It is a very challenging task that typically requires a more complex model to achieve satisfactory result. In addition, prior works mostly focus on transcriptions of regular instruments, however, neglecting vocals, which are usually the most important signal source if present in a piece of music. In this paper, we propose a novel deep neural network architecture, Perceiver TF, to model the time-frequency representation of audio input for multitrack transcription. Perceiver TF augments the Perceiver architecture by introducing a hierarchical expansion with an additional Transformer layer to model temporal coherence. Accordingly, our model inherits the benefits of Perceiver that posses better scalability, allowing it to well handle transcriptions of many instruments in a single model. In experiments, we train a Perceiver TF to model 12 instrument classes as well as vocal in a multi-task learning manner. Our result demonstrates that the proposed system outperforms the state-of-the-art counterparts (e.g., MT3 and SpecTNT) on various public datasets.

Most of the current supervised automatic music transcription (AMT) models lack the ability to generalize. This means that they have trouble transcribing real-world music recordings from diverse musical genres that are not presented in the labelled training data. In this paper, we propose a semi-supervised framework, ReconVAT, which solves this issue by leveraging the huge amount of available unlabelled music recordings. The proposed ReconVAT uses reconstruction loss and virtual adversarial training. When combined with existing U-net models for AMT, ReconVAT achieves competitive results on common benchmark datasets such as MAPS and MusicNet. For example, in the few-shot setting for the string part version of MusicNet, ReconVAT achieves F1-scores of 61.0% and 41.6% for the note-wise and note-with-offset-wise metrics respectively, which translates into an improvement of 22.2% and 62.5% compared to the supervised baseline model. Our proposed framework also demonstrates the potential of continual learning on new data, which could be useful in real-world applications whereby new data is constantly available.

The field of automatic music composition has seen great progress in the last few years, much of which can be attributed to advances in deep neural networks. There are numerous studies that present different strategies for generating sheet music from scratch. The inclusion of high-level musical characteristics (e.g., perceived emotional qualities), however, as conditions for controlling the generation output remains a challenge. In this paper, we present a novel approach for calculating the valence (the positivity or negativity of the perceived emotion) of a chord progression within a lead sheet, using pre-defined mood tags proposed by music experts. Based on this approach, we propose a novel strategy for conditional lead sheet generation that allows us to steer the music generation in terms of valence, phrasing, and time signature. Our approach is similar to a Neural Machine Translation (NMT) problem, as we include high-level conditions in the encoder part of the sequence-to-sequence architectures used (i.e., long-short term memory networks, and a Transformer network). We conducted experiments to thoroughly analyze these two architectures. The results show that the proposed strategy is able to generate lead sheets in a controllable manner, resulting in distributions of musical attributes similar to those of the training dataset. We also verified through a subjective listening test that our approach is effective in controlling the valence of a generated chord progression.

In this paper, we introduce Jointist, an instrument-aware multi-instrument framework that is capable of transcribing, recognizing, and separating multiple musical instruments from an audio clip. Jointist consists of the instrument recognition module that conditions the other modules: the transcription module that outputs instrument-specific piano rolls, and the source separation module that utilizes instrument information and transcription results. The instrument conditioning is designed for an explicit multi-instrument functionality while the connection between the transcription and source separation modules is for better transcription performance. Our challenging problem formulation makes the model highly useful in the real world given that modern popular music typically consists of multiple instruments. However, its novelty necessitates a new perspective on how to evaluate such a model. During the experiment, we assess the model from various aspects, providing a new evaluation perspective for multi-instrument transcription. We also argue that transcription models can be utilized as a preprocessing module for other music analysis tasks. In the experiment on several downstream tasks, the symbolic representation provided by our transcription model turned out to be helpful to spectrograms in solving downbeat detection, chord recognition, and key estimation.

This paper approaches the problem of separating the notes from a quantized symbolic music piece (e.g., a MIDI file) into multiple voices and staves. This is a fundamental part of the larger task of music score engraving (or score typesetting), which aims to produce readable musical scores for human performers. We focus on piano music and support homophonic voices, i.e., voices that can contain chords, and cross-staff voices, which are notably difficult tasks that have often been overlooked in previous research. We propose an end-to-end system based on graph neural networks that clusters notes that belong to the same chord and connects them with edges if they are part of a voice. Our results show clear and consistent improvements over a previous approach on two datasets of different styles. To aid the qualitative analysis of our results, we support the export in symbolic music formats and provide a direct visualization of our outputs graph over the musical score. All code and pre-trained models are available at https://github.com/CPJKU/piano_svsep

In the English speech-to-text (STT) machine learning task, acoustic models are conventionally trained on uncased Latin characters, and any necessary orthography (such as capitalization, punctuation, and denormalization of non-standard words) is imputed by separate post-processing models. This adds complexity and limits performance, as many formatting tasks benefit from semantic information present in the acoustic signal but absent in transcription. Here we propose a new STT task: end-to-end neural transcription with fully formatted text for target labels. We present baseline Conformer-based models trained on a corpus of 5,000 hours of professionally transcribed earnings calls, achieving a CER of 1.7. As a contribution to the STT research community, we release the corpus free for non-commercial use at https://datasets.kensho.com/datasets/scribe.

Guitar tablature transcription consists in deducing the string and the fret number on which each note should be played to reproduce the actual musical part. This assignment should lead to playable string-fret combinations throughout the entire track and, in general, preserve parsimonious motion between successive combinations. Throughout the history of guitar playing, specific chord fingerings have been developed across different musical styles that facilitate common idiomatic voicing combinations and motion between them. This paper presents a method for assigning guitar tablature notation to a given MIDI-based musical part (possibly consisting of multiple polyphonic tracks), i.e. no information about guitar-idiomatic expressional characteristics is involved (e.g. bending etc.) The current strategy is based on machine learning and requires a basic assumption about how much fingers can stretch on a fretboard; only standard 6-string guitar tuning is examined. The proposed method also examines the transcription of music pieces that was not meant to be played or could not possibly be played by a guitar (e.g. potentially a symphonic orchestra part), employing a rudimentary method for augmenting musical information and training/testing the system with artificial data. The results present interesting aspects about what the system can achieve when trained on the initial and augmented dataset, showing that the training with augmented data improves the performance even in simple, e.g. monophonic, cases. Results also indicate weaknesses and lead to useful conclusions about possible improvements.

The Charlie Parker Omnibook is a cornerstone of jazz music education, described by pianist Ethan Iverson as "the most important jazz education text ever published". In this work we propose a new transcription pipeline and explore the extent to which state of the art music technology is able to reconstruct these scores directly from the audio without human intervention. Our pipeline includes: a newly trained source separation model for saxophone, a new MIDI transcription model for solo saxophone and an adaptation of an existing MIDI-to-score method for monophonic instruments. To assess this pipeline we also provide an enhanced dataset of Charlie Parker transcriptions as score-audio pairs with accurate MIDI alignments and downbeat annotations. This represents a challenging new benchmark for automatic audio-to-score transcription that we hope will advance research into areas beyond transcribing audio-to-MIDI alone. Together, these form another step towards producing scores that musicians can use directly, without the need for onerous corrections or revisions. To facilitate future research, all model checkpoints and data are made available to download along with code for the transcription pipeline. Improvements in our modular pipeline could one day make the automatic transcription of complex jazz solos a routine possibility, thereby enriching the resources available for music education and preservation.

When used with deep learning, the symbolic music modality is often coupled with language model architectures. To do so, the music needs to be tokenized, i.e. converted into a sequence of discrete tokens. This can be achieved by different approaches, as music can be composed of simultaneous tracks, of simultaneous notes with several attributes. Until now, the proposed tokenizations rely on small vocabularies of tokens describing the note attributes and time events, resulting in fairly long token sequences, and a sub-optimal use of the embedding space of language models. Recent research has put efforts on reducing the overall sequence length by merging embeddings or combining tokens. In this paper, we show that Byte Pair Encoding, a compression technique widely used for natural language, significantly decreases the sequence length while increasing the vocabulary size. By doing so, we leverage the embedding capabilities of such models with more expressive tokens, resulting in both better results and faster inference in generation and classification tasks. The source code is shared on Github, along with a companion website. Finally, BPE is directly implemented in MidiTok, allowing the reader to easily benefit from this method.

This article motivates, describes, and presents the PBSCR dataset for studying composer recognition of classical piano music. Our goal was to design a dataset that facilitates large-scale research on composer recognition that is suitable for modern architectures and training practices. To achieve this goal, we utilize the abundance of sheet music images and rich metadata on IMSLP, use a previously proposed feature representation called a bootleg score to encode the location of noteheads relative to staff lines, and present the data in an extremely simple format (2D binary images) to encourage rapid exploration and iteration. The dataset itself contains 40,000 62x64 bootleg score images for a 9-class recognition task, 100,000 62x64 bootleg score images for a 100-class recognition task, and 29,310 unlabeled variable-length bootleg score images for pretraining. The labeled data is presented in a form that mirrors MNIST images, in order to make it extremely easy to visualize, manipulate, and train models in an efficient manner. We include relevant information to connect each bootleg score image with its underlying raw sheet music image, and we scrape, organize, and compile metadata from IMSLP on all piano works to facilitate multimodal research and allow for convenient linking to other datasets. We release baseline results in a supervised and low-shot setting for future works to compare against, and we discuss open research questions that the PBSCR data is especially well suited to facilitate research on.

Music performance synthesis aims to synthesize a musical score into a natural performance. In this paper, we borrow recent advances in text-to-speech synthesis and present the Deep Performer -- a novel system for score-to-audio music performance synthesis. Unlike speech, music often contains polyphony and long notes. Hence, we propose two new techniques for handling polyphonic inputs and providing a fine-grained conditioning in a transformer encoder-decoder model. To train our proposed system, we present a new violin dataset consisting of paired recordings and scores along with estimated alignments between them. We show that our proposed model can synthesize music with clear polyphony and harmonic structures. In a listening test, we achieve competitive quality against the baseline model, a conditional generative audio model, in terms of pitch accuracy, timbre and noise level. Moreover, our proposed model significantly outperforms the baseline on an existing piano dataset in overall quality.

Estimating the performance difficulty of a musical score is crucial in music education for adequately designing the learning curriculum of the students. Although the Music Information Retrieval community has recently shown interest in this task, existing approaches mainly use machine-readable scores, leaving the broader case of sheet music images unaddressed. Based on previous works involving sheet music images, we use a mid-level representation, bootleg score, describing notehead positions relative to staff lines coupled with a transformer model. This architecture is adapted to our task by introducing an encoding scheme that reduces the encoded sequence length to one-eighth of the original size. In terms of evaluation, we consider five datasets -- more than 7500 scores with up to 9 difficulty levels -- , two of them particularly compiled for this work. The results obtained when pretraining the scheme on the IMSLP corpus and fine-tuning it on the considered datasets prove the proposal's validity, achieving the best-performing model with a balanced accuracy of 40.34\% and a mean square error of 1.33. Finally, we provide access to our code, data, and models for transparency and reproducibility.

Generative models guided by text prompts are increasingly becoming more popular. However, no text-to-MIDI models currently exist, mostly due to the lack of a captioned MIDI dataset. This work aims to enable research that combines LLMs with symbolic music by presenting the first large-scale MIDI dataset with text captions that is openly available: MidiCaps. MIDI (Musical Instrument Digital Interface) files are a widely used format for encoding musical information. Their structured format captures the nuances of musical composition and has practical applications by music producers, composers, musicologists, as well as performers. Inspired by recent advancements in captioning techniques applied to various domains, we present a large-scale curated dataset of over 168k MIDI files accompanied by textual descriptions. Each MIDI caption succinctly describes the musical content, encompassing tempo, chord progression, time signature, instruments present, genre and mood; thereby facilitating multi-modal exploration and analysis. The dataset contains a mix of various genres, styles, and complexities, offering a rich source for training and evaluating models for tasks such as music information retrieval, music understanding and cross-modal translation. We provide detailed statistics about the dataset and have assessed the quality of the captions in an extensive listening study. We anticipate that this resource will stimulate further research in the intersection of music and natural language processing, fostering advancements in both fields.

State-of-the-art end-to-end Optical Music Recognition (OMR) has, to date, primarily been carried out using monophonic transcription techniques to handle complex score layouts, such as polyphony, often by resorting to simplifications or specific adaptations. Despite their efficacy, these approaches imply challenges related to scalability and limitations. This paper presents the Sheet Music Transformer, the first end-to-end OMR model designed to transcribe complex musical scores without relying solely on monophonic strategies. Our model employs a Transformer-based image-to-sequence framework that predicts score transcriptions in a standard digital music encoding format from input images. Our model has been tested on two polyphonic music datasets and has proven capable of handling these intricate music structures effectively. The experimental outcomes not only indicate the competence of the model, but also show that it is better than the state-of-the-art methods, thus contributing to advancements in end-to-end OMR transcription.

In this paper, we explore the application of Large Language Models (LLMs) to the pre-training of music. While the prevalent use of MIDI in music modeling is well-established, our findings suggest that LLMs are inherently more compatible with ABC Notation, which aligns more closely with their design and strengths, thereby enhancing the model's performance in musical composition. To address the challenges associated with misaligned measures from different tracks during generation, we propose the development of a Synchronized Multi-Track ABC Notation (SMT-ABC Notation), which aims to preserve coherence across multiple musical tracks. Our contributions include a series of models capable of handling up to 8192 tokens, covering 90\% of the symbolic music data in our training set. Furthermore, we explore the implications of the Symbolic Music Scaling Law (SMS Law) on model performance. The results indicate a promising direction for future research in music generation, offering extensive resources for community-led research through our open-source contributions.

We introduce the text-to-instrument task, which aims at generating sample-based musical instruments based on textual prompts. Accordingly, we propose InstrumentGen, a model that extends a text-prompted generative audio framework to condition on instrument family, source type, pitch (across an 88-key spectrum), velocity, and a joint text/audio embedding. Furthermore, we present a differentiable loss function to evaluate the intra-instrument timbral consistency of sample-based instruments. Our results establish a foundational text-to-instrument baseline, extending research in the domain of automatic sample-based instrument generation.

The rise of deep learning technologies has quickly advanced many fields, including that of generative music systems. There exist a number of systems that allow for the generation of good sounding short snippets, yet, these generated snippets often lack an overarching, longer-term structure. In this work, we propose CM-HRNN: a conditional melody generation model based on a hierarchical recurrent neural network. This model allows us to generate melodies with long-term structures based on given chord accompaniments. We also propose a novel, concise event-based representation to encode musical lead sheets while retaining the notes' relative position within the bar with respect to the musical meter. With this new data representation, the proposed architecture can simultaneously model the rhythmic, as well as the pitch structures in an effective way. Melodies generated by the proposed model were extensively evaluated in quantitative experiments as well as a user study to ensure the musical quality of the output as well as to evaluate if they contain repeating patterns. We also compared the system with the state-of-the-art AttentionRNN. This comparison shows that melodies generated by CM-HRNN contain more repeated patterns (i.e., higher compression ratio) and a lower tonal tension (i.e., more tonally concise). Results from our listening test indicate that CM-HRNN outperforms AttentionRNN in terms of long-term structure and overall rating.

The digitization of vocal music scores presents unique challenges that go beyond traditional Optical Music Recognition (OMR) and Optical Character Recognition (OCR), as it necessitates preserving the critical alignment between music notation and lyrics. This alignment is essential for proper interpretation and processing in practical applications. This paper introduces and formalizes, for the first time, the Aligned Music Notation and Lyrics Transcription (AMNLT) challenge, which addresses the complete transcription of vocal scores by jointly considering music symbols, lyrics, and their synchronization. We analyze different approaches to address this challenge, ranging from traditional divide-and-conquer methods that handle music and lyrics separately, to novel end-to-end solutions including direct transcription, unfolding mechanisms, and language modeling. To evaluate these methods, we introduce four datasets of Gregorian chants, comprising both real and synthetic sources, along with custom metrics specifically designed to assess both transcription and alignment accuracy. Our experimental results demonstrate that end-to-end approaches generally outperform heuristic methods in the alignment challenge, with language models showing particular promise in scenarios where sufficient training data is available. This work establishes the first comprehensive framework for AMNLT, providing both theoretical foundations and practical solutions for preserving and digitizing vocal music heritage.

We propose a weakly-supervised model for word-level mispronunciation detection in non-native (L2) English speech. To train this model, phonetically transcribed L2 speech is not required and we only need to mark mispronounced words. The lack of phonetic transcriptions for L2 speech means that the model has to learn only from a weak signal of word-level mispronunciations. Because of that and due to the limited amount of mispronounced L2 speech, the model is more likely to overfit. To limit this risk, we train it in a multi-task setup. In the first task, we estimate the probabilities of word-level mispronunciation. For the second task, we use a phoneme recognizer trained on phonetically transcribed L1 speech that is easily accessible and can be automatically annotated. Compared to state-of-the-art approaches, we improve the accuracy of detecting word-level pronunciation errors in AUC metric by 30% on the GUT Isle Corpus of L2 Polish speakers, and by 21.5% on the Isle Corpus of L2 German and Italian speakers.

Automatic music transcription (AMT) has achieved high accuracy for piano due to the availability of large, high-quality datasets such as MAESTRO and MAPS, but comparable datasets are not yet available for other instruments. In recent work, however, it has been demonstrated that aligning scores to transcription model activations can produce high quality AMT training data for instruments other than piano. Focusing on the guitar, we refine this approach to training on score data using a dataset of commercially available score-audio pairs. We propose the use of a high-resolution piano transcription model to train a new guitar transcription model. The resulting model obtains state-of-the-art transcription results on GuitarSet in a zero-shot context, improving on previously published methods.

Recent advances in automatic music transcription (AMT) have achieved highly accurate polyphonic piano transcription results by incorporating onset and offset detection. The existing literature, however, focuses mainly on the leverage of deep and complex models to achieve state-of-the-art (SOTA) accuracy, without understanding model behaviour. In this paper, we conduct a comprehensive examination of the Onsets-and-Frames AMT model, and pinpoint the essential components contributing to a strong AMT performance. This is achieved through exploitation of a modified additive attention mechanism. The experimental results suggest that the attention mechanism beyond a moderate temporal context does not benefit the model, and that rule-based post-processing is largely responsible for the SOTA performance. We also demonstrate that the onsets are the most significant attentive feature regardless of model complexity. The findings encourage AMT research to weigh more on both a robust onset detector and an effective post-processor.

Most music source separation systems require large collections of isolated sources for training, which can be difficult to obtain. In this work, we use musical scores, which are comparatively easy to obtain, as a weak label for training a source separation system. In contrast with previous score-informed separation approaches, our system does not require isolated sources, and score is used only as a training target, not required for inference. Our model consists of a separator that outputs a time-frequency mask for each instrument, and a transcriptor that acts as a critic, providing both temporal and frequency supervision to guide the learning of the separator. A harmonic mask constraint is introduced as another way of leveraging score information during training, and we propose two novel adversarial losses for additional fine-tuning of both the transcriptor and the separator. Results demonstrate that using score information outperforms temporal weak-labels, and adversarial structures lead to further improvements in both separation and transcription performance.

We introduce MusicLM, a model generating high-fidelity music from text descriptions such as "a calming violin melody backed by a distorted guitar riff". MusicLM casts the process of conditional music generation as a hierarchical sequence-to-sequence modeling task, and it generates music at 24 kHz that remains consistent over several minutes. Our experiments show that MusicLM outperforms previous systems both in audio quality and adherence to the text description. Moreover, we demonstrate that MusicLM can be conditioned on both text and a melody in that it can transform whistled and hummed melodies according to the style described in a text caption. To support future research, we publicly release MusicCaps, a dataset composed of 5.5k music-text pairs, with rich text descriptions provided by human experts.

Note-taking is a critical practice for capturing, organizing, and reflecting on information in both academic and professional settings. The recent success of large language models has accelerated the development of AI-assisted tools, yet existing solutions often struggle with efficiency. We present NoteBar, an AI-assisted note-taking tool that leverages persona information and efficient language models to automatically organize notes into multiple categories and better support user workflows. To support research and evaluation in this space, we further introduce a novel persona-conditioned dataset of 3,173 notes and 8,494 annotated concepts across 16 MBTI personas, offering both diversity and semantic richness for downstream tasks. Finally, we demonstrate that NoteBar can be deployed in a practical and cost-effective manner, enabling interactive use without reliance on heavy infrastructure. Together, NoteBar and its accompanying dataset provide a scalable and extensible foundation for advancing AI-assisted personal knowledge management.

In this paper, we address the challenge of Optical Music Recognition (OMR) for handwritten jazz lead sheets, a widely used musical score type that encodes melody and chords. The task is challenging due to the presence of chords, a score component not handled by existing OMR systems, and the high variability and quality issues associated with handwritten images. Our contribution is two-fold. We present a novel dataset consisting of 293 handwritten jazz lead sheets of 163 unique pieces, amounting to 2021 total staves aligned with Humdrum **kern and MusicXML ground truth scores. We also supply synthetic score images generated from the ground truth. The second contribution is the development of an OMR model for jazz lead sheets. We discuss specific tokenisation choices related to our kind of data, and the advantages of using synthetic scores and pretrained models. We publicly release all code, data, and models.

Recent directions in automatic speech recognition (ASR) research have shown that applying deep learning models from image recognition challenges in computer vision is beneficial. As automatic music transcription (AMT) is superficially similar to ASR, in the sense that methods often rely on transforming spectrograms to symbolic sequences of events (e.g. words or notes), deep learning should benefit AMT as well. In this work, we outline an online polyphonic pitch detection system that streams audio to MIDI by ConvLSTMs. Our system achieves state-of-the-art results on the 2007 MIREX multi-F0 development set, with an F-measure of 83\% on the bassoon, clarinet, flute, horn and oboe ensemble recording without requiring any musical language modelling or assumptions of instrument timbre.

Video has become a popular media form for information sharing and consumption. However, taking notes while watching a video requires significant time and effort. To address this, we propose a novel interactive system, NoTeeline, for taking real-time, personalized notes. NoTeeline lets users quickly jot down keypoints (micronotes), which are automatically expanded into full-fledged notes that capture the content of the user's micronotes and are consistent with the user's writing style. In a within-subjects study (N=12), we found that NoTeeline helps users create high-quality notes that capture the essence of their micronotes with a higher factual correctness (93.2%) while accurately reflecting their writing style. While using NoTeeline, participants experienced significantly reduced mental effort, captured satisfactory notes while writing 47% less text, and completed notetaking with 43.9% less time compared to a manual notetaking baseline.

We propose a method to recommend music for an input video while allowing a user to guide music selection with free-form natural language. A key challenge of this problem setting is that existing music video datasets provide the needed (video, music) training pairs, but lack text descriptions of the music. This work addresses this challenge with the following three contributions. First, we propose a text-synthesis approach that relies on an analogy-based prompting procedure to generate natural language music descriptions from a large-scale language model (BLOOM-176B) given pre-trained music tagger outputs and a small number of human text descriptions. Second, we use these synthesized music descriptions to train a new trimodal model, which fuses text and video input representations to query music samples. For training, we introduce a text dropout regularization mechanism which we show is critical to model performance. Our model design allows for the retrieved music audio to agree with the two input modalities by matching visual style depicted in the video and musical genre, mood, or instrumentation described in the natural language query. Third, to evaluate our approach, we collect a testing dataset for our problem by annotating a subset of 4k clips from the YT8M-MusicVideo dataset with natural language music descriptions which we make publicly available. We show that our approach can match or exceed the performance of prior methods on video-to-music retrieval while significantly improving retrieval accuracy when using text guidance.

We present Text2midi-InferAlign, a novel technique for improving symbolic music generation at inference time. Our method leverages text-to-audio alignment and music structural alignment rewards during inference to encourage the generated music to be consistent with the input caption. Specifically, we introduce two objectives scores: a text-audio consistency score that measures rhythmic alignment between the generated music and the original text caption, and a harmonic consistency score that penalizes generated music containing notes inconsistent with the key. By optimizing these alignment-based objectives during the generation process, our model produces symbolic music that is more closely tied to the input captions, thereby improving the overall quality and coherence of the generated compositions. Our approach can extend any existing autoregressive model without requiring further training or fine-tuning. We evaluate our work on top of Text2midi - an existing text-to-midi generation model, demonstrating significant improvements in both objective and subjective evaluation metrics.

In this paper we propose a novel generative approach, DiffRoll, to tackle automatic music transcription (AMT). Instead of treating AMT as a discriminative task in which the model is trained to convert spectrograms into piano rolls, we think of it as a conditional generative task where we train our model to generate realistic looking piano rolls from pure Gaussian noise conditioned on spectrograms. This new AMT formulation enables DiffRoll to transcribe, generate and even inpaint music. Due to the classifier-free nature, DiffRoll is also able to be trained on unpaired datasets where only piano rolls are available. Our experiments show that DiffRoll outperforms its discriminative counterpart by 19 percentage points (ppt.) and our ablation studies also indicate that it outperforms similar existing methods by 4.8 ppt. Source code and demonstration are available https://sony.github.io/DiffRoll/.

Automatic song writing aims to compose a song (lyric and/or melody) by machine, which is an interesting topic in both academia and industry. In automatic song writing, lyric-to-melody generation and melody-to-lyric generation are two important tasks, both of which usually suffer from the following challenges: 1) the paired lyric and melody data are limited, which affects the generation quality of the two tasks, considering a lot of paired training data are needed due to the weak correlation between lyric and melody; 2) Strict alignments are required between lyric and melody, which relies on specific alignment modeling. In this paper, we propose SongMASS to address the above challenges, which leverages masked sequence to sequence (MASS) pre-training and attention based alignment modeling for lyric-to-melody and melody-to-lyric generation. Specifically, 1) we extend the original sentence-level MASS pre-training to song level to better capture long contextual information in music, and use a separate encoder and decoder for each modality (lyric or melody); 2) we leverage sentence-level attention mask and token-level attention constraint during training to enhance the alignment between lyric and melody. During inference, we use a dynamic programming strategy to obtain the alignment between each word/syllable in lyric and note in melody. We pre-train SongMASS on unpaired lyric and melody datasets, and both objective and subjective evaluations demonstrate that SongMASS generates lyric and melody with significantly better quality than the baseline method without pre-training or alignment constraint.

Writing down lyrics for human consumption involves not only accurately capturing word sequences, but also incorporating punctuation and formatting for clarity and to convey contextual information. This includes song structure, emotional emphasis, and contrast between lead and background vocals. While automatic lyrics transcription (ALT) systems have advanced beyond producing unstructured strings of words and are able to draw on wider context, ALT benchmarks have not kept pace and continue to focus exclusively on words. To address this gap, we introduce Jam-ALT, a comprehensive lyrics transcription benchmark. The benchmark features a complete revision of the JamendoLyrics dataset, in adherence to industry standards for lyrics transcription and formatting, along with evaluation metrics designed to capture and assess the lyric-specific nuances, laying the foundation for improving the readability of lyrics. We apply the benchmark to recent transcription systems and present additional error analysis, as well as an experimental comparison with a classical music dataset.

Musical expression requires control of both what notes are played, and how they are performed. Conventional audio synthesizers provide detailed expressive controls, but at the cost of realism. Black-box neural audio synthesis and concatenative samplers can produce realistic audio, but have few mechanisms for control. In this work, we introduce MIDI-DDSP a hierarchical model of musical instruments that enables both realistic neural audio synthesis and detailed user control. Starting from interpretable Differentiable Digital Signal Processing (DDSP) synthesis parameters, we infer musical notes and high-level properties of their expressive performance (such as timbre, vibrato, dynamics, and articulation). This creates a 3-level hierarchy (notes, performance, synthesis) that affords individuals the option to intervene at each level, or utilize trained priors (performance given notes, synthesis given performance) for creative assistance. Through quantitative experiments and listening tests, we demonstrate that this hierarchy can reconstruct high-fidelity audio, accurately predict performance attributes for a note sequence, independently manipulate the attributes of a given performance, and as a complete system, generate realistic audio from a novel note sequence. By utilizing an interpretable hierarchy, with multiple levels of granularity, MIDI-DDSP opens the door to assistive tools to empower individuals across a diverse range of musical experience.

Music transcription plays a pivotal role in Music Information Retrieval (MIR), particularly for stringed instruments like the guitar, where symbolic music notations such as MIDI lack crucial playability information. This contribution introduces the Fretting-Transformer, an encoderdecoder model that utilizes a T5 transformer architecture to automate the transcription of MIDI sequences into guitar tablature. By framing the task as a symbolic translation problem, the model addresses key challenges, including string-fret ambiguity and physical playability. The proposed system leverages diverse datasets, including DadaGP, GuitarToday, and Leduc, with novel data pre-processing and tokenization strategies. We have developed metrics for tablature accuracy and playability to quantitatively evaluate the performance. The experimental results demonstrate that the Fretting-Transformer surpasses baseline methods like A* and commercial applications like Guitar Pro. The integration of context-sensitive processing and tuning/capo conditioning further enhances the model's performance, laying a robust foundation for future developments in automated guitar transcription.

In this paper, we propose and investigate the use of neural audio codec language models for the automatic generation of sample-based musical instruments based on text or reference audio prompts. Our approach extends a generative audio framework to condition on pitch across an 88-key spectrum, velocity, and a combined text/audio embedding. We identify maintaining timbral consistency within the generated instruments as a major challenge. To tackle this issue, we introduce three distinct conditioning schemes. We analyze our methods through objective metrics and human listening tests, demonstrating that our approach can produce compelling musical instruments. Specifically, we introduce a new objective metric to evaluate the timbral consistency of the generated instruments and adapt the average Contrastive Language-Audio Pretraining (CLAP) score for the text-to-instrument case, noting that its naive application is unsuitable for assessing this task. Our findings reveal a complex interplay between timbral consistency, the quality of generated samples, and their correspondence to the input prompt.

This paper introduces text2midi, an end-to-end model to generate MIDI files from textual descriptions. Leveraging the growing popularity of multimodal generative approaches, text2midi capitalizes on the extensive availability of textual data and the success of large language models (LLMs). Our end-to-end system harnesses the power of LLMs to generate symbolic music in the form of MIDI files. Specifically, we utilize a pretrained LLM encoder to process captions, which then condition an autoregressive transformer decoder to produce MIDI sequences that accurately reflect the provided descriptions. This intuitive and user-friendly method significantly streamlines the music creation process by allowing users to generate music pieces using text prompts. We conduct comprehensive empirical evaluations, incorporating both automated and human studies, that show our model generates MIDI files of high quality that are indeed controllable by text captions that may include music theory terms such as chords, keys, and tempo. We release the code and music samples on our demo page (https://github.com/AMAAI-Lab/Text2midi) for users to interact with text2midi.

This paper thoroughly analyses the effect of different input representations on polyphonic multi-instrument music transcription. We use our own GPU based spectrogram extraction tool, nnAudio, to investigate the influence of using a linear-frequency spectrogram, log-frequency spectrogram, Mel spectrogram, and constant-Q transform (CQT). Our results show that a 8.33% increase in transcription accuracy and a 9.39% reduction in error can be obtained by choosing the appropriate input representation (log-frequency spectrogram with STFT window length 4,096 and 2,048 frequency bins in the spectrogram) without changing the neural network design (single layer fully connected). Our experiments also show that Mel spectrogram is a compact representation for which we can reduce the number of frequency bins to only 512 while still keeping a relatively high music transcription accuracy.

We introduce NotaGen, a symbolic music generation model aiming to explore the potential of producing high-quality classical sheet music. Inspired by the success of Large Language Models (LLMs), NotaGen adopts pre-training, fine-tuning, and reinforcement learning paradigms (henceforth referred to as the LLM training paradigms). It is pre-trained on 1.6M pieces of music, and then fine-tuned on approximately 9K high-quality classical compositions conditioned on "period-composer-instrumentation" prompts. For reinforcement learning, we propose the CLaMP-DPO method, which further enhances generation quality and controllability without requiring human annotations or predefined rewards. Our experiments demonstrate the efficacy of CLaMP-DPO in symbolic music generation models with different architectures and encoding schemes. Furthermore, subjective A/B tests show that NotaGen outperforms baseline models against human compositions, greatly advancing musical aesthetics in symbolic music generation.The project homepage is https://electricalexis.github.io/notagen-demo.

While Large Language Models (LLMs) demonstrate impressive capabilities in text generation, we find that their ability has yet to be generalized to music, humanity's creative language. We introduce ChatMusician, an open-source LLM that integrates intrinsic musical abilities. It is based on continual pre-training and finetuning LLaMA2 on a text-compatible music representation, ABC notation, and the music is treated as a second language. ChatMusician can understand and generate music with a pure text tokenizer without any external multi-modal neural structures or tokenizers. Interestingly, endowing musical abilities does not harm language abilities, even achieving a slightly higher MMLU score. Our model is capable of composing well-structured, full-length music, conditioned on texts, chords, melodies, motifs, musical forms, etc, surpassing GPT-4 baseline. On our meticulously curated college-level music understanding benchmark, MusicTheoryBench, ChatMusician surpasses LLaMA2 and GPT-3.5 on zero-shot setting by a noticeable margin. Our work reveals that LLMs can be an excellent compressor for music, but there remains significant territory to be conquered. We release our 4B token music-language corpora MusicPile, the collected MusicTheoryBench, code, model and demo in GitHub.

Benefiting from large-scale datasets and pre-trained models, the field of generative models has recently gained significant momentum. However, most datasets for symbolic music are very small, which potentially limits the performance of data-driven multimodal models. An intuitive solution to this problem is to leverage pre-trained models from other modalities (e.g., natural language) to improve the performance of symbolic music-related multimodal tasks. In this paper, we carry out the first study of generating complete and semantically consistent symbolic music scores from text descriptions, and explore the efficacy of using publicly available checkpoints (i.e., BERT, GPT-2, and BART) for natural language processing in the task of text-to-music generation. Our experimental results show that the improvement from using pre-trained checkpoints is statistically significant in terms of BLEU score and edit distance similarity. We analyse the capabilities and limitations of our model to better understand the potential of language-music models.

The rapidly evolving multimodal Large Language Models (LLMs) urgently require new benchmarks to uniformly evaluate their performance on understanding and textually describing music. However, due to semantic gaps between Music Information Retrieval (MIR) algorithms and human understanding, discrepancies between professionals and the public, and low precision of annotations, existing music description datasets cannot serve as benchmarks. To this end, we present MuChin, the first open-source music description benchmark in Chinese colloquial language, designed to evaluate the performance of multimodal LLMs in understanding and describing music. We established the Caichong Music Annotation Platform (CaiMAP) that employs an innovative multi-person, multi-stage assurance method, and recruited both amateurs and professionals to ensure the precision of annotations and alignment with popular semantics. Utilizing this method, we built a dataset with multi-dimensional, high-precision music annotations, the Caichong Music Dataset (CaiMD), and carefully selected 1,000 high-quality entries to serve as the test set for MuChin. Based on MuChin, we analyzed the discrepancies between professionals and amateurs in terms of music description, and empirically demonstrated the effectiveness of annotated data for fine-tuning LLMs. Ultimately, we employed MuChin to evaluate existing music understanding models on their ability to provide colloquial descriptions of music. All data related to the benchmark, along with the scoring code and detailed appendices, have been open-sourced (https://github.com/CarlWangChina/MuChin/).

Existing text-to-music models can produce high-quality audio with great diversity. However, textual prompts alone cannot precisely control temporal musical features such as chords and rhythm of the generated music. To address this challenge, we introduce MusiConGen, a temporally-conditioned Transformer-based text-to-music model that builds upon the pretrained MusicGen framework. Our innovation lies in an efficient finetuning mechanism, tailored for consumer-grade GPUs, that integrates automatically-extracted rhythm and chords as the condition signal. During inference, the condition can either be musical features extracted from a reference audio signal, or be user-defined symbolic chord sequence, BPM, and textual prompts. Our performance evaluation on two datasets -- one derived from extracted features and the other from user-created inputs -- demonstrates that MusiConGen can generate realistic backing track music that aligns well with the specified conditions. We open-source the code and model checkpoints, and provide audio examples online, https://musicongen.github.io/musicongen_demo/.

We introduce Noise2Music, where a series of diffusion models is trained to generate high-quality 30-second music clips from text prompts. Two types of diffusion models, a generator model, which generates an intermediate representation conditioned on text, and a cascader model, which generates high-fidelity audio conditioned on the intermediate representation and possibly the text, are trained and utilized in succession to generate high-fidelity music. We explore two options for the intermediate representation, one using a spectrogram and the other using audio with lower fidelity. We find that the generated audio is not only able to faithfully reflect key elements of the text prompt such as genre, tempo, instruments, mood, and era, but goes beyond to ground fine-grained semantics of the prompt. Pretrained large language models play a key role in this story -- they are used to generate paired text for the audio of the training set and to extract embeddings of the text prompts ingested by the diffusion models. Generated examples: https://google-research.github.io/noise2music

We present SongComposer, an innovative LLM designed for song composition. It could understand and generate melodies and lyrics in symbolic song representations, by leveraging the capability of LLM. Existing music-related LLM treated the music as quantized audio signals, while such implicit encoding leads to inefficient encoding and poor flexibility. In contrast, we resort to symbolic song representation, the mature and efficient way humans designed for music, and enable LLM to explicitly compose songs like humans. In practice, we design a novel tuple design to format lyric and three note attributes (pitch, duration, and rest duration) in the melody, which guarantees the correct LLM understanding of musical symbols and realizes precise alignment between lyrics and melody. To impart basic music understanding to LLM, we carefully collected SongCompose-PT, a large-scale song pretraining dataset that includes lyrics, melodies, and paired lyrics-melodies in either Chinese or English. After adequate pre-training, 10K carefully crafted QA pairs are used to empower the LLM with the instruction-following capability and solve diverse tasks. With extensive experiments, SongComposer demonstrates superior performance in lyric-to-melody generation, melody-to-lyric generation, song continuation, and text-to-song creation, outperforming advanced LLMs like GPT-4.

Large-scale, weakly-supervised speech recognition models, such as Whisper, have demonstrated impressive results on speech recognition across domains and languages. However, their application to long audio transcription via buffered or sliding window approaches is prone to drifting, hallucination & repetition; and prohibits batched transcription due to their sequential nature. Further, timestamps corresponding each utterance are prone to inaccuracies and word-level timestamps are not available out-of-the-box. To overcome these challenges, we present WhisperX, a time-accurate speech recognition system with word-level timestamps utilising voice activity detection and forced phoneme alignment. In doing so, we demonstrate state-of-the-art performance on long-form transcription and word segmentation benchmarks. Additionally, we show that pre-segmenting audio with our proposed VAD Cut & Merge strategy improves transcription quality and enables a twelve-fold transcription speedup via batched inference.

Multilingual LLMs have achieved remarkable benchmark performance, but we find they continue to underperform on non-Latin script languages across contemporary LLM families. This discrepancy arises from the fact that LLMs are pretrained with orthographic scripts, which are dominated by Latin characters that obscure their shared phonology with non-Latin scripts. We propose leveraging phonemic transcriptions as complementary signals to induce script-invariant representations. Our study demonstrates that integrating phonemic signals improves performance across both non-Latin and Latin languages, with a particularly significant impact on closing the performance gap between the two. Through detailed experiments, we show that phonemic and orthographic scripts retrieve distinct examples for in-context learning (ICL). This motivates our proposed Mixed-ICL retrieval strategy, where further aggregation leads to our significant performance improvements for both Latin script languages (up to 12.6%) and non-Latin script languages (up to 15.1%) compared to randomized ICL retrieval.

Even with strong sequence models like Transformers, generating expressive piano performances with long-range musical structures remains challenging. Meanwhile, methods to compose well-structured melodies or lead sheets (melody + chords), i.e., simpler forms of music, gained more success. Observing the above, we devise a two-stage Transformer-based framework that Composes a lead sheet first, and then Embellishes it with accompaniment and expressive touches. Such a factorization also enables pretraining on non-piano data. Our objective and subjective experiments show that Compose & Embellish shrinks the gap in structureness between a current state of the art and real performances by half, and improves other musical aspects such as richness and coherence as well.

Developing a versatile deep neural network to model music audio is crucial in MIR. This task is challenging due to the intricate spectral variations inherent in music signals, which convey melody, harmonics, and timbres of diverse instruments. In this paper, we introduce Mel-RoFormer, a spectrogram-based model featuring two key designs: a novel Mel-band Projection module at the front-end to enhance the model's capability to capture informative features across multiple frequency bands, and interleaved RoPE Transformers to explicitly model the frequency and time dimensions as two separate sequences. We apply Mel-RoFormer to tackle two essential MIR tasks: vocal separation and vocal melody transcription, aimed at isolating singing voices from audio mixtures and transcribing their lead melodies, respectively. Despite their shared focus on singing signals, these tasks possess distinct optimization objectives. Instead of training a unified model, we adopt a two-step approach. Initially, we train a vocal separation model, which subsequently serves as a foundation model for fine-tuning for vocal melody transcription. Through extensive experiments conducted on benchmark datasets, we showcase that our models achieve state-of-the-art performance in both vocal separation and melody transcription tasks, underscoring the efficacy and versatility of Mel-RoFormer in modeling complex music audio signals.

This paper introduces effective design choices for text-to-music retrieval systems. An ideal text-based retrieval system would support various input queries such as pre-defined tags, unseen tags, and sentence-level descriptions. In reality, most previous works mainly focused on a single query type (tag or sentence) which may not generalize to another input type. Hence, we review recent text-based music retrieval systems using our proposed benchmark in two main aspects: input text representation and training objectives. Our findings enable a universal text-to-music retrieval system that achieves comparable retrieval performances in both tag- and sentence-level inputs. Furthermore, the proposed multimodal representation generalizes to 9 different downstream music classification tasks. We present the code and demo online.

Recent music generation methods based on transformers have a context window of up to a minute. The music generated by these methods is largely unstructured beyond the context window. With a longer context window, learning long-scale structures from musical data is a prohibitively challenging problem. This paper proposes integrating a text-to-music model with a large language model to generate music with form. The papers discusses the solutions to the challenges of such integration. The experimental results show that the proposed method can generate 2.5-minute-long music that is highly structured, strongly organized, and cohesive.

We demonstrate the efficacy of using intermediate representations from a single foundation model to enhance various music downstream tasks. We introduce SoniDo , a music foundation model (MFM) designed to extract hierarchical features from target music samples. By leveraging hierarchical intermediate features, SoniDo constrains the information granularity, leading to improved performance across various downstream tasks including both understanding and generative tasks. We specifically evaluated this approach on representative tasks such as music tagging, music transcription, music source separation, and music mixing. Our results reveal that the features extracted from foundation models provide valuable enhancements in training downstream task models. This highlights the capability of using features extracted from music foundation models as a booster for downstream tasks. Our approach not only benefits existing task-specific models but also supports music downstream tasks constrained by data scarcity. This paves the way for more effective and accessible music processing solutions.

Unlike melody extraction and other aspects of music transcription, research on playing technique detection is still in its early stages. Compared to existing work mostly focused on playing technique detection for individual single notes, we propose a general end-to-end method based on Sound Event Detection by FCN for musical instrument playing technique detection. In our case, we choose Erhu, a well-known Chinese bowed-stringed instrument, to experiment with our method. Because of the limitation of FCN, we present an algorithm to detect on variable length audio. The effectiveness of the proposed framework is tested on a new dataset, its categorization of techniques is similar to our training dataset. The highest accuracy of our 3 experiments on the new test set is 87.31%. Furthermore, we also evaluate the performance of the proposed framework on 10 real-world studio music (produced by midi) and 7 real-world recording samples to address the ability of generalization on our model.

Challenges in managing linguistic diversity and integrating various musical modalities are faced by current music information retrieval systems. These limitations reduce their effectiveness in a global, multimodal music environment. To address these issues, we introduce CLaMP 2, a system compatible with 101 languages that supports both ABC notation (a text-based musical notation format) and MIDI (Musical Instrument Digital Interface) for music information retrieval. CLaMP 2, pre-trained on 1.5 million ABC-MIDI-text triplets, includes a multilingual text encoder and a multimodal music encoder aligned via contrastive learning. By leveraging large language models, we obtain refined and consistent multilingual descriptions at scale, significantly reducing textual noise and balancing language distribution. Our experiments show that CLaMP 2 achieves state-of-the-art results in both multilingual semantic search and music classification across modalities, thus establishing a new standard for inclusive and global music information retrieval.

Learning musical structures and composition patterns is necessary for both music generation and understanding, but current methods do not make uniform use of learned features to generate and comprehend music simultaneously. In this paper, we propose PianoBART, a pre-trained model that uses BART for both symbolic piano music generation and understanding. We devise a multi-level object selection strategy for different pre-training tasks of PianoBART, which can prevent information leakage or loss and enhance learning ability. The musical semantics captured in pre-training are fine-tuned for music generation and understanding tasks. Experiments demonstrate that PianoBART efficiently learns musical patterns and achieves outstanding performance in generating high-quality coherent pieces and comprehending music. Our code and supplementary material are available at https://github.com/RS2002/PianoBart.

Prosody plays an important role in characterizing the style of a speaker or an emotion, but most non-parallel voice or emotion style transfer algorithms do not convert any prosody information. Two major components of prosody are pitch and rhythm. Disentangling the prosody information, particularly the rhythm component, from the speech is challenging because it involves breaking the synchrony between the input speech and the disentangled speech representation. As a result, most existing prosody style transfer algorithms would need to rely on some form of text transcriptions to identify the content information, which confines their application to high-resource languages only. Recently, SpeechSplit has made sizeable progress towards unsupervised prosody style transfer, but it is unable to extract high-level global prosody style in an unsupervised manner. In this paper, we propose AutoPST, which can disentangle global prosody style from speech without relying on any text transcriptions. AutoPST is an Autoencoder-based Prosody Style Transfer framework with a thorough rhythm removal module guided by the self-expressive representation learning. Experiments on different style transfer tasks show that AutoPST can effectively convert prosody that correctly reflects the styles of the target domains.

In this work, we introduce the Sheet Music Benchmark (SMB), a dataset of six hundred and eighty-five pages specifically designed to benchmark Optical Music Recognition (OMR) research. SMB encompasses a diverse array of musical textures, including monophony, pianoform, quartet, and others, all encoded in Common Western Modern Notation using the Humdrum **kern format. Alongside SMB, we introduce the OMR Normalized Edit Distance (OMR-NED), a new metric tailored explicitly for evaluating OMR performance. OMR-NED builds upon the widely-used Symbol Error Rate (SER), offering a fine-grained and detailed error analysis that covers individual musical elements such as note heads, beams, pitches, accidentals, and other critical notation features. The resulting numeric score provided by OMR-NED facilitates clear comparisons, enabling researchers and end-users alike to identify optimal OMR approaches. Our work thus addresses a long-standing gap in OMR evaluation, and we support our contributions with baseline experiments using standardized SMB dataset splits for training and assessing state-of-the-art methods.

The multimodal nature of music performance has driven increasing interest in data beyond the audio domain within the music information retrieval (MIR) community. This paper introduces PianoVAM, a comprehensive piano performance dataset that includes videos, audio, MIDI, hand landmarks, fingering labels, and rich metadata. The dataset was recorded using a Disklavier piano, capturing audio and MIDI from amateur pianists during their daily practice sessions, alongside synchronized top-view videos in realistic and varied performance conditions. Hand landmarks and fingering labels were extracted using a pretrained hand pose estimation model and a semi-automated fingering annotation algorithm. We discuss the challenges encountered during data collection and the alignment process across different modalities. Additionally, we describe our fingering annotation method based on hand landmarks extracted from videos. Finally, we present benchmarking results for both audio-only and audio-visual piano transcription using the PianoVAM dataset and discuss additional potential applications.

Indian classical music relies on a sophisticated microtonal system of 22 shrutis (pitch intervals), which provides expressive nuance beyond the 12-tone equal temperament system. Existing symbolic music processing tools fail to account for these microtonal distinctions and culturally specific raga grammars that govern melodic movement. We present ShrutiSense, a comprehensive symbolic pitch processing system designed for Indian classical music, addressing two critical tasks: (1) correcting westernized or corrupted pitch sequences, and (2) completing melodic sequences with missing values. Our approach employs complementary models for different tasks: a Shruti-aware finite-state transducer (FST) that performs contextual corrections within the 22-shruti framework and a grammar-constrained Shruti hidden Markov model (GC-SHMM) that incorporates raga-specific transition rules for contextual completions. Comprehensive evaluation on simulated data across five ragas demonstrates that ShrutiSense (FST model) achieves 91.3% shruti classification accuracy for correction tasks, with example sequences showing 86.7-90.0% accuracy at corruption levels of 0.2 to 0.4. The system exhibits robust performance under pitch noise up to +/-50 cents, maintaining consistent accuracy across ragas (90.7-91.8%), thus preserving the cultural authenticity of Indian classical music expression.

In recent years, deep learning techniques have been applied to music generation systems with promising results. However, one of the main challenges in this field has been the lack of annotated datasets, making it difficult for models to learn musical forms in compositions. To address this issue, we present TunesFormer, a Transformer-based melody generation system that is trained on a large dataset of 285,449 ABC tunes. By utilizing specific symbols commonly found in ABC notation to indicate section boundaries, TunesFormer can understand and generate melodies with given musical forms based on control codes. Our objective evaluations demonstrate the effectiveness of the control codes in achieving controlled musical forms, and subjective experiments show that the generated melodies are of comparable quality to human compositions. Our results also provide insights into the optimal placement of control codes and their impact on the generated melodies. TunesFormer presents a promising approach for generating melodies with desired musical forms through the use of deep learning techniques.

In the domain of symbolic music research, the progress of developing scalable systems has been notably hindered by the scarcity of available training data and the demand for models tailored to specific tasks. To address these issues, we propose MelodyT5, a novel unified framework that leverages an encoder-decoder architecture tailored for symbolic music processing in ABC notation. This framework challenges the conventional task-specific approach, considering various symbolic music tasks as score-to-score transformations. Consequently, it integrates seven melody-centric tasks, from generation to harmonization and segmentation, within a single model. Pre-trained on MelodyHub, a newly curated collection featuring over 261K unique melodies encoded in ABC notation and encompassing more than one million task instances, MelodyT5 demonstrates superior performance in symbolic music processing via multi-task transfer learning. Our findings highlight the efficacy of multi-task transfer learning in symbolic music processing, particularly for data-scarce tasks, challenging the prevailing task-specific paradigms and offering a comprehensive dataset and framework for future explorations in this domain.

Many applications of cross-modal music retrieval are related to connecting sheet music images to audio recordings. A typical and recent approach to this is to learn, via deep neural networks, a joint embedding space that correlates short fixed-size snippets of audio and sheet music by means of an appropriate similarity structure. However, two challenges that arise out of this strategy are the requirement of strongly aligned data to train the networks, and the inherent discrepancies of musical content between audio and sheet music snippets caused by local and global tempo differences. In this paper, we address these two shortcomings by designing a cross-modal recurrent network that learns joint embeddings that can summarize longer passages of corresponding audio and sheet music. The benefits of our method are that it only requires weakly aligned audio-sheet music pairs, as well as that the recurrent network handles the non-linearities caused by tempo variations between audio and sheet music. We conduct a number of experiments on synthetic and real piano data and scores, showing that our proposed recurrent method leads to more accurate retrieval in all possible configurations.

In this paper, we present AISHELL-3, a large-scale and high-fidelity multi-speaker Mandarin speech corpus which could be used to train multi-speaker Text-to-Speech (TTS) systems. The corpus contains roughly 85 hours of emotion-neutral recordings spoken by 218 native Chinese mandarin speakers. Their auxiliary attributes such as gender, age group and native accents are explicitly marked and provided in the corpus. Accordingly, transcripts in Chinese character-level and pinyin-level are provided along with the recordings. We present a baseline system that uses AISHELL-3 for multi-speaker Madarin speech synthesis. The multi-speaker speech synthesis system is an extension on Tacotron-2 where a speaker verification model and a corresponding loss regarding voice similarity are incorporated as the feedback constraint. We aim to use the presented corpus to build a robust synthesis model that is able to achieve zero-shot voice cloning. The system trained on this dataset also generalizes well on speakers that are never seen in the training process. Objective evaluation results from our experiments show that the proposed multi-speaker synthesis system achieves high voice similarity concerning both speaker embedding similarity and equal error rate measurement. The dataset, baseline system code and generated samples are available online.

The connection between music and lyrics is far beyond semantic bonds. Conceptual pairs in the two modalities such as rhythm and rhyme, note duration and syllabic stress, and structure correspondence, raise a compelling yet seldom-explored direction in the field of music information retrieval. In this paper, we present melody-lyrics matching (MLM), a new task which retrieves potential lyrics for a given symbolic melody from text sources. Rather than generating lyrics from scratch, MLM essentially exploits the relationships between melody and lyrics. We propose a self-supervised representation learning framework with contrastive alignment loss for melody and lyrics. This has the potential to leverage the abundance of existing songs with paired melody and lyrics. No alignment annotations are required. Additionally, we introduce sylphone, a novel representation for lyrics at syllable-level activated by phoneme identity and vowel stress. We demonstrate that our method can match melody with coherent and singable lyrics with empirical results and intuitive examples. We open source code and provide matching examples on the companion webpage: https://github.com/changhongw/mlm.

Despite progress in controllable symbolic music generation, data scarcity remains a challenge for certain control modalities. Composer-style music generation is a prime example, as only a few pieces per composer are available, limiting the modeling of both styles and fundamental music elements (e.g., melody, chord, rhythm). In this paper, we investigate how general music knowledge learned from a broad corpus can enhance the mastery of specific composer styles, with a focus on piano piece generation. Our approach follows a two-stage training paradigm. First, we pre-train a REMI-based music generation model on a large corpus of pop, folk, and classical music. Then, we fine-tune it on a small, human-verified dataset from four renowned composers, namely Bach, Mozart, Beethoven, and Chopin, using a lightweight adapter module to condition the model on style indicators. To evaluate the effectiveness of our approach, we conduct both objective and subjective evaluations on style accuracy and musicality. Experimental results demonstrate that our method outperforms ablations and baselines, achieving more precise composer-style modeling and better musical aesthetics. Additionally, we provide observations on how the model builds music concepts from the generality pre-training and refines its stylistic understanding through the mastery fine-tuning.

Sequence modeling has demonstrated state-of-the-art performance on natural language and document understanding tasks. However, it is challenging to correctly serialize tokens in form-like documents in practice due to their variety of layout patterns. We propose FormNet, a structure-aware sequence model to mitigate the suboptimal serialization of forms. First, we design Rich Attention that leverages the spatial relationship between tokens in a form for more precise attention score calculation. Second, we construct Super-Tokens for each word by embedding representations from their neighboring tokens through graph convolutions. FormNet therefore explicitly recovers local syntactic information that may have been lost during serialization. In experiments, FormNet outperforms existing methods with a more compact model size and less pre-training data, establishing new state-of-the-art performance on CORD, FUNSD and Payment benchmarks.

We explore how multimodal Large Language Models (mLLMs) can help researchers transcribe historical documents, extract relevant historical information, and construct datasets from historical sources. Specifically, we investigate the capabilities of mLLMs in performing (1) Optical Character Recognition (OCR), (2) OCR Post-Correction, and (3) Named Entity Recognition (NER) tasks on a set of city directories published in German between 1754 and 1870. First, we benchmark the off-the-shelf transcription accuracy of both mLLMs and conventional OCR models. We find that the best-performing mLLM model significantly outperforms conventional state-of-the-art OCR models and other frontier mLLMs. Second, we are the first to introduce multimodal post-correction of OCR output using mLLMs. We find that this novel approach leads to a drastic improvement in transcription accuracy and consistently produces highly accurate transcriptions (<1% CER), without any image pre-processing or model fine-tuning. Third, we demonstrate that mLLMs can efficiently recognize entities in transcriptions of historical documents and parse them into structured dataset formats. Our findings provide early evidence for the long-term potential of mLLMs to introduce a paradigm shift in the approaches to historical data collection and document transcription.

Large language models have shown significant capabilities across various domains, including symbolic music generation. However, leveraging these pre-trained models for controllable music arrangement tasks, each requiring different forms of musical information as control, remains a novel challenge. In this paper, we propose a unified sequence-to-sequence framework that enables the fine-tuning of a symbolic music language model for multiple multi-track arrangement tasks, including band arrangement, piano reduction, drum arrangement, and voice separation. Our experiments demonstrate that the proposed approach consistently achieves higher musical quality compared to task-specific baselines across all four tasks. Furthermore, through additional experiments on probing analysis, we show the pre-training phase equips the model with essential knowledge to understand musical conditions, which is hard to acquired solely through task-specific fine-tuning.

While recent generative models can produce engaging music, their utility is limited. The variation in the music is often left to chance, resulting in compositions that lack structure. Pieces extending beyond a minute can become incoherent or repetitive. This paper introduces an approach for generating structured, arbitrarily long musical pieces. Central to this approach is the creation of musical segments using a conditional generative model, with transitions between these segments. The generation of prompts that determine the high-level composition is distinct from the creation of finer, lower-level details. A large language model is then used to suggest the musical form.

We introduce VampNet, a masked acoustic token modeling approach to music synthesis, compression, inpainting, and variation. We use a variable masking schedule during training which allows us to sample coherent music from the model by applying a variety of masking approaches (called prompts) during inference. VampNet is non-autoregressive, leveraging a bidirectional transformer architecture that attends to all tokens in a forward pass. With just 36 sampling passes, VampNet can generate coherent high-fidelity musical waveforms. We show that by prompting VampNet in various ways, we can apply it to tasks like music compression, inpainting, outpainting, continuation, and looping with variation (vamping). Appropriately prompted, VampNet is capable of maintaining style, genre, instrumentation, and other high-level aspects of the music. This flexible prompting capability makes VampNet a powerful music co-creation tool. Code and audio samples are available online.

Controllable music generation remains a significant challenge, with existing methods often requiring model retraining or introducing audible artifacts. We introduce MusicRFM, a framework that adapts Recursive Feature Machines (RFMs) to enable fine-grained, interpretable control over frozen, pre-trained music models by directly steering their internal activations. RFMs analyze a model's internal gradients to produce interpretable "concept directions", or specific axes in the activation space that correspond to musical attributes like notes or chords. We first train lightweight RFM probes to discover these directions within MusicGen's hidden states; then, during inference, we inject them back into the model to guide the generation process in real-time without per-step optimization. We present advanced mechanisms for this control, including dynamic, time-varying schedules and methods for the simultaneous enforcement of multiple musical properties. Our method successfully navigates the trade-off between control and generation quality: we can increase the accuracy of generating a target musical note from 0.23 to 0.82, while text prompt adherence remains within approximately 0.02 of the unsteered baseline, demonstrating effective control with minimal impact on prompt fidelity. We release code to encourage further exploration on RFMs in the music domain.

Music foundation models possess impressive music generation capabilities. When people compose music, they may infuse their understanding of music into their work, by using notes and intervals to craft melodies, chords to build progressions, and tempo to create a rhythmic feel. To what extent is this true of music generation models? More specifically, are fundamental Western music theory concepts observable within the "inner workings" of these models? Recent work proposed leveraging latent audio representations from music generation models towards music information retrieval tasks (e.g. genre classification, emotion recognition), which suggests that high-level musical characteristics are encoded within these models. However, probing individual music theory concepts (e.g. tempo, pitch class, chord quality) remains under-explored. Thus, we introduce SynTheory, a synthetic MIDI and audio music theory dataset, consisting of tempos, time signatures, notes, intervals, scales, chords, and chord progressions concepts. We then propose a framework to probe for these music theory concepts in music foundation models (Jukebox and MusicGen) and assess how strongly they encode these concepts within their internal representations. Our findings suggest that music theory concepts are discernible within foundation models and that the degree to which they are detectable varies by model size and layer.

Multi-speaker automatic speech recognition (MS-ASR) faces significant challenges in transcribing overlapped speech, a task critical for applications like meeting transcription and conversational analysis. While serialized output training (SOT)-style methods serve as common solutions, they often discard absolute timing information, limiting their utility in time-sensitive scenarios. Leveraging recent advances in large language models (LLMs) for conversational audio processing, we propose a novel diarization-aware multi-speaker ASR system that integrates speaker diarization with LLM-based transcription. Our framework processes structured diarization inputs alongside frame-level speaker and semantic embeddings, enabling the LLM to generate segment-level transcriptions. Experiments demonstrate that the system achieves robust performance in multilingual dyadic conversations and excels in complex, high-overlap multi-speaker meeting scenarios. This work highlights the potential of LLMs as unified back-ends for joint speaker-aware segmentation and transcription.

Background: Clinical documentation represents a significant burden for healthcare providers, with physicians spending up to 2 hours daily on administrative tasks. Recent advances in large language models (LLMs) offer promising solutions, but privacy concerns and computational requirements limit their adoption in healthcare settings. Objective: To develop and evaluate a privacy-preserving, on-device medical transcription system using a fine-tuned Llama 3.2 1B model capable of generating structured medical notes from medical transcriptions while maintaining complete data sovereignty entirely in the browser. Methods: We fine-tuned a Llama 3.2 1B model using Parameter-Efficient Fine-Tuning (PEFT) with LoRA on 1,500 synthetic medical transcription-to-structured note pairs. The model was evaluated against the base Llama 3.2 1B on two datasets: 100 endocrinology transcripts and 140 modified ACI benchmark cases. Evaluation employed both statistical metrics (ROUGE, BERTScore, BLEURT) and LLM-as-judge assessments across multiple clinical quality dimensions. Results: The fine-tuned OnDevice model demonstrated substantial improvements over the base model. On the ACI benchmark, ROUGE-1 scores increased from 0.346 to 0.496, while BERTScore F1 improved from 0.832 to 0.866. Clinical quality assessments showed marked reduction in major hallucinations (from 85 to 35 cases) and enhanced factual correctness (2.81 to 3.54 on 5-point scale). Similar improvements were observed on the internal evaluation dataset, with composite scores increasing from 3.13 to 4.43 (+41.5%). Conclusions: Fine-tuning compact LLMs for medical transcription yields clinically meaningful improvements while enabling complete on-device browser deployment. This approach addresses key barriers to AI adoption in healthcare: privacy preservation, cost reduction, and accessibility for resource-constrained environments.

Current automatic lyrics transcription (ALT) benchmarks focus exclusively on word content and ignore the finer nuances of written lyrics including formatting and punctuation, which leads to a potential misalignment with the creative products of musicians and songwriters as well as listeners' experiences. For example, line breaks are important in conveying information about rhythm, emotional emphasis, rhyme, and high-level structure. To address this issue, we introduce Jam-ALT, a new lyrics transcription benchmark based on the JamendoLyrics dataset. Our contribution is twofold. Firstly, a complete revision of the transcripts, geared specifically towards ALT evaluation by following a newly created annotation guide that unifies the music industry's guidelines, covering aspects such as punctuation, line breaks, spelling, background vocals, and non-word sounds. Secondly, a suite of evaluation metrics designed, unlike the traditional word error rate, to capture such phenomena. We hope that the proposed benchmark contributes to the ALT task, enabling more precise and reliable assessments of transcription systems and enhancing the user experience in lyrics applications such as subtitle renderings for live captioning or karaoke.

Despite the remarkable progress in end-to-end Automatic Speech Recognition (ASR) engines, accurately transcribing dysarthric speech remains a major challenge. In this work, we proposed a two-stage framework for the Speech Accessibility Project Challenge at INTERSPEECH 2025, which combines cutting-edge speech recognition models with LLM-based generative error correction (GER). We assess different configurations of model scales and training strategies, incorporating specific hypothesis selection to improve transcription accuracy. Experiments on the Speech Accessibility Project dataset demonstrate the strength of our approach on structured and spontaneous speech, while highlighting challenges in single-word recognition. Through comprehensive analysis, we provide insights into the complementary roles of acoustic and linguistic modeling in dysarthric speech recognition

Melody harmonization has long been closely associated with chorales composed by Johann Sebastian Bach. Previous works rarely emphasised chorale generation conditioned on chord progressions, and there has been a lack of focus on assistive compositional tools. In this paper, we first designed a music representation that encoded chord symbols for chord conditioning, and then proposed DeepChoir, a melody harmonization system that can generate a four-part chorale for a given melody conditioned on a chord progression. With controllable harmonicity, users can control the extent of harmonicity for generated chorales. Experimental results reveal the effectiveness of the music representation and the controllability of DeepChoir.

With the development of diffusion models, text-guided image style transfer has demonstrated high-quality controllable synthesis results. However, the utilization of text for diverse music style transfer poses significant challenges, primarily due to the limited availability of matched audio-text datasets. Music, being an abstract and complex art form, exhibits variations and intricacies even within the same genre, thereby making accurate textual descriptions challenging. This paper presents a music style transfer approach that effectively captures musical attributes using minimal data. We introduce a novel time-varying textual inversion module to precisely capture mel-spectrogram features at different levels. During inference, we propose a bias-reduced stylization technique to obtain stable results. Experimental results demonstrate that our method can transfer the style of specific instruments, as well as incorporate natural sounds to compose melodies. Samples and source code are available at https://lsfhuihuiff.github.io/MusicTI/.

The development of large language models tailored for handling patients' clinical notes is often hindered by the limited accessibility and usability of these notes due to strict privacy regulations. To address these challenges, we first create synthetic large-scale clinical notes using publicly available case reports extracted from biomedical literature. We then use these synthetic notes to train our specialized clinical large language model, Asclepius. While Asclepius is trained on synthetic data, we assess its potential performance in real-world applications by evaluating it using real clinical notes. We benchmark Asclepius against several other large language models, including GPT-3.5-turbo and other open-source alternatives. To further validate our approach using synthetic notes, we also compare Asclepius with its variants trained on real clinical notes. Our findings convincingly demonstrate that synthetic clinical notes can serve as viable substitutes for real ones when constructing high-performing clinical language models. This conclusion is supported by detailed evaluations conducted by both GPT-4 and medical professionals. All resources including weights, codes, and data used in the development of Asclepius are made publicly accessible for future research.

We study the capabilities of generative autoregressive transformer models trained on large amounts of symbolic solo-piano transcriptions. After first pretraining on approximately 60,000 hours of music, we use a comparatively smaller, high-quality subset, to finetune models to produce musical continuations, perform symbolic classification tasks, and produce general-purpose contrastive MIDI embeddings by adapting the SimCLR framework to symbolic music. When evaluating piano continuation coherence, our generative model outperforms leading symbolic generation techniques and remains competitive with proprietary audio generation models. On MIR classification benchmarks, frozen representations from our contrastive model achieve state-of-the-art results in linear probe experiments, while direct finetuning demonstrates the generalizability of pretrained representations, often requiring only a few hundred labeled examples to specialize to downstream tasks.

The prosody of a spoken utterance, including features like stress, intonation and rhythm, can significantly affect the underlying semantics, and as a consequence can also affect its textual translation. Nevertheless, prosody is rarely studied within the context of speech-to-text translation (S2TT) systems. In particular, end-to-end (E2E) systems have been proposed as well-suited for prosody-aware translation because they have direct access to the speech signal when making translation decisions, but the understanding of whether this is successful in practice is still limited. A main challenge is the difficulty of evaluating prosody awareness in translation. To address this challenge, we introduce an evaluation methodology and a focused benchmark (named ContraProST) aimed at capturing a wide range of prosodic phenomena. Our methodology uses large language models and controllable text-to-speech (TTS) to generate contrastive examples. Through experiments in translating English speech into German, Spanish, and Japanese, we find that (a) S2TT models possess some internal representation of prosody, but the prosody signal is often not strong enough to affect the translations, (b) E2E systems outperform cascades of speech recognition and text translation systems, confirming their theoretical advantage in this regard, and (c) certain cascaded systems also capture prosodic information in the translation, but only to a lesser extent that depends on the particulars of the transcript's surface form.

Recently, the end-to-end approach that learns hierarchical representations from raw data using deep convolutional neural networks has been successfully explored in the image, text and speech domains. This approach was applied to musical signals as well but has been not fully explored yet. To this end, we propose sample-level deep convolutional neural networks which learn representations from very small grains of waveforms (e.g. 2 or 3 samples) beyond typical frame-level input representations. Our experiments show how deep architectures with sample-level filters improve the accuracy in music auto-tagging and they provide results comparable to previous state-of-the-art performances for the Magnatagatune dataset and Million Song Dataset. In addition, we visualize filters learned in a sample-level DCNN in each layer to identify hierarchically learned features and show that they are sensitive to log-scaled frequency along layer, such as mel-frequency spectrogram that is widely used in music classification systems.

In this paper, we consider a novel research problem: music-to-text synaesthesia. Different from the classical music tagging problem that classifies a music recording into pre-defined categories, music-to-text synaesthesia aims to generate descriptive texts from music recordings with the same sentiment for further understanding. As existing music-related datasets do not contain the semantic descriptions on music recordings, we collect a new dataset that contains 1,955 aligned pairs of classical music recordings and text descriptions. Based on this, we build a computational model to generate sentences that can describe the content of the music recording. To tackle the highly non-discriminative classical music, we design a group topology-preservation loss, which considers more samples as a group reference and preserves the relative topology among different samples. Extensive experimental results qualitatively and quantitatively demonstrate the effectiveness of our proposed model over five heuristics or pre-trained competitive methods and their variants on our collected dataset.

Music two-tower multimodal systems integrate audio and text modalities into a joint audio-text space, enabling direct comparison between songs and their corresponding labels. These systems enable new approaches for classification and retrieval, leveraging both modalities. Despite the promising results they have shown for zero-shot classification and retrieval tasks, closer inspection of the embeddings is needed. This paper evaluates the inherent zero-shot properties of joint audio-text spaces for the case-study of instrument recognition. We present an evaluation and analysis of two-tower systems for zero-shot instrument recognition and a detailed analysis of the properties of the pre-joint and joint embeddings spaces. Our findings suggest that audio encoders alone demonstrate good quality, while challenges remain within the text encoder or joint space projection. Specifically, two-tower systems exhibit sensitivity towards specific words, favoring generic prompts over musically informed ones. Despite the large size of textual encoders, they do not yet leverage additional textual context or infer instruments accurately from their descriptions. Lastly, a novel approach for quantifying the semantic meaningfulness of the textual space leveraging an instrument ontology is proposed. This method reveals deficiencies in the systems' understanding of instruments and provides evidence of the need for fine-tuning text encoders on musical data.

Music is characterized by complex hierarchical structures. Developing a comprehensive model to capture these structures has been a significant challenge in the field of Music Information Retrieval (MIR). Prior research has mainly focused on addressing individual tasks for specific hierarchical levels, rather than providing a unified approach. In this paper, we introduce a versatile, all-in-one model that jointly performs beat and downbeat tracking as well as functional structure segmentation and labeling. The model leverages source-separated spectrograms as inputs and employs dilated neighborhood attentions to capture temporal long-term dependencies, along with non-dilated attentions for local instrumental dependencies. Consequently, the proposed model achieves state-of-the-art performance in all four tasks on the Harmonix Set while maintaining a relatively lower number of parameters compared to recent state-of-the-art models. Furthermore, our ablation study demonstrates that the concurrent learning of beats, downbeats, and segments can lead to enhanced performance, with each task mutually benefiting from the others.

Roman Numeral analysis is the important task of identifying chords and their functional context in pieces of tonal music. This paper presents a new approach to automatic Roman Numeral analysis in symbolic music. While existing techniques rely on an intermediate lossy representation of the score, we propose a new method based on Graph Neural Networks (GNNs) that enable the direct description and processing of each individual note in the score. The proposed architecture can leverage notewise features and interdependencies between notes but yield onset-wise representation by virtue of our novel edge contraction algorithm. Our results demonstrate that ChordGNN outperforms existing state-of-the-art models, achieving higher accuracy in Roman Numeral analysis on the reference datasets. In addition, we investigate variants of our model using proposed techniques such as NADE, and post-processing of the chord predictions. The full source code for this work is available at https://github.com/manoskary/chordgnn

This paper makes several contributions to automatic lyrics transcription (ALT) research. Our main contribution is a novel variant of the Multistreaming Time-Delay Neural Network (MTDNN) architecture, called MSTRE-Net, which processes the temporal information using multiple streams in parallel with varying resolutions keeping the network more compact, and thus with a faster inference and an improved recognition rate than having identical TDNN streams. In addition, two novel preprocessing steps prior to training the acoustic model are proposed. First, we suggest using recordings from both monophonic and polyphonic domains during training the acoustic model. Second, we tag monophonic and polyphonic recordings with distinct labels for discriminating non-vocal silence and music instances during alignment. Moreover, we present a new test set with a considerably larger size and a higher musical variability compared to the existing datasets used in ALT literature, while maintaining the gender balance of the singers. Our best performing model sets the state-of-the-art in lyrics transcription by a large margin. For reproducibility, we publicly share the identifiers to retrieve the data used in this paper.

We present the Melody Guided Music Generation (MMGen) model, the first novel approach using melody to guide the music generation that, despite a pretty simple method and extremely limited resources, achieves excellent performance. Specifically, we first align the melody with audio waveforms and their associated descriptions using the multimodal alignment module. Subsequently, we condition the diffusion module on the learned melody representations. This allows MMGen to generate music that matches the style of the provided audio while also producing music that reflects the content of the given text description. To address the scarcity of high-quality data, we construct a multi-modal dataset, MusicSet, which includes melody, text, and audio, and will be made publicly available. We conduct extensive experiments which demonstrate the superiority of the proposed model both in terms of experimental metrics and actual performance quality.

End-to-end Speech Translation is hindered by a lack of available data resources. While most of them are based on documents, a sentence-level version is available, which is however single and static, potentially impeding the usefulness of the data. We propose a new data augmentation strategy, SegAugment, to address this issue by generating multiple alternative sentence-level versions of a dataset. Our method utilizes an Audio Segmentation system, which re-segments the speech of each document with different length constraints, after which we obtain the target text via alignment methods. Experiments demonstrate consistent gains across eight language pairs in MuST-C, with an average increase of 2.5 BLEU points, and up to 5 BLEU for low-resource scenarios in mTEDx. Furthermore, when combined with a strong system, SegAugment establishes new state-of-the-art results in MuST-C. Finally, we show that the proposed method can also successfully augment sentence-level datasets, and that it enables Speech Translation models to close the gap between the manual and automatic segmentation at inference time.

Deep learning has recently empowered and democratized generative modeling of images and text, with additional concurrent works exploring the possibility of generating more complex forms of data, such as audio. However, the high dimensionality, long-range dependencies, and lack of standardized datasets currently makes generative modeling of audio and music very challenging. We propose to model music as a series of discrete notes upon which we can use autoregressive natural language processing techniques for successful generative modeling. While previous works used similar pipelines on data such as sheet music and MIDI, we aim to extend such approaches to the under-studied medium of guitar tablature. Specifically, we develop the first work to our knowledge that models one specific genre as guitar tablature: heavy rock. Unlike other works in guitar tablature generation, we have a freely available public demo at https://huggingface.co/spaces/josuelmet/Metal_Music_Interpolator

Music relies heavily on repetition to build structure and meaning. Self-reference occurs on multiple timescales, from motifs to phrases to reusing of entire sections of music, such as in pieces with ABA structure. The Transformer (Vaswani et al., 2017), a sequence model based on self-attention, has achieved compelling results in many generation tasks that require maintaining long-range coherence. This suggests that self-attention might also be well-suited to modeling music. In musical composition and performance, however, relative timing is critically important. Existing approaches for representing relative positional information in the Transformer modulate attention based on pairwise distance (Shaw et al., 2018). This is impractical for long sequences such as musical compositions since their memory complexity for intermediate relative information is quadratic in the sequence length. We propose an algorithm that reduces their intermediate memory requirement to linear in the sequence length. This enables us to demonstrate that a Transformer with our modified relative attention mechanism can generate minute-long compositions (thousands of steps, four times the length modeled in Oore et al., 2018) with compelling structure, generate continuations that coherently elaborate on a given motif, and in a seq2seq setup generate accompaniments conditioned on melodies. We evaluate the Transformer with our relative attention mechanism on two datasets, JSB Chorales and Piano-e-Competition, and obtain state-of-the-art results on the latter.

We tackle the task of conditional music generation. We introduce MusicGen, a single Language Model (LM) that operates over several streams of compressed discrete music representation, i.e., tokens. Unlike prior work, MusicGen is comprised of a single-stage transformer LM together with efficient token interleaving patterns, which eliminates the need for cascading several models, e.g., hierarchically or upsampling. Following this approach, we demonstrate how MusicGen can generate high-quality samples, while being conditioned on textual description or melodic features, allowing better controls over the generated output. We conduct extensive empirical evaluation, considering both automatic and human studies, showing the proposed approach is superior to the evaluated baselines on a standard text-to-music benchmark. Through ablation studies, we shed light over the importance of each of the components comprising MusicGen. Music samples, code, and models are available at https://github.com/facebookresearch/audiocraft.

We present and release MIDI-GPT, a generative system based on the Transformer architecture that is designed for computer-assisted music composition workflows. MIDI-GPT supports the infilling of musical material at the track and bar level, and can condition generation on attributes including: instrument type, musical style, note density, polyphony level, and note duration. In order to integrate these features, we employ an alternative representation for musical material, creating a time-ordered sequence of musical events for each track and concatenating several tracks into a single sequence, rather than using a single time-ordered sequence where the musical events corresponding to different tracks are interleaved. We also propose a variation of our representation allowing for expressiveness. We present experimental results that demonstrate that MIDI-GPT is able to consistently avoid duplicating the musical material it was trained on, generate music that is stylistically similar to the training dataset, and that attribute controls allow enforcing various constraints on the generated material. We also outline several real-world applications of MIDI-GPT, including collaborations with industry partners that explore the integration and evaluation of MIDI-GPT into commercial products, as well as several artistic works produced using it.

Nowadays, humans are constantly exposed to music, whether through voluntary streaming services or incidental encounters during commercial breaks. Despite the abundance of music, certain pieces remain more memorable and often gain greater popularity. Inspired by this phenomenon, we focus on measuring and predicting music memorability. To achieve this, we collect a new music piece dataset with reliable memorability labels using a novel interactive experimental procedure. We then train baselines to predict and analyze music memorability, leveraging both interpretable features and audio mel-spectrograms as inputs. To the best of our knowledge, we are the first to explore music memorability using data-driven deep learning-based methods. Through a series of experiments and ablation studies, we demonstrate that while there is room for improvement, predicting music memorability with limited data is possible. Certain intrinsic elements, such as higher valence, arousal, and faster tempo, contribute to memorable music. As prediction techniques continue to evolve, real-life applications like music recommendation systems and music style transfer will undoubtedly benefit from this new area of research.

Advancements in deep neural networks have allowed automatic speech recognition (ASR) systems to attain human parity on several publicly available clean speech datasets. However, even state-of-the-art ASR systems experience performance degradation when confronted with adverse conditions, as a well-trained acoustic model is sensitive to variations in the speech domain, e.g., background noise. Intuitively, humans address this issue by relying on their linguistic knowledge: the meaning of ambiguous spoken terms is usually inferred from contextual cues thereby reducing the dependency on the auditory system. Inspired by this observation, we introduce the first open-source benchmark to utilize external large language models (LLMs) for ASR error correction, where N-best decoding hypotheses provide informative elements for true transcription prediction. This approach is a paradigm shift from the traditional language model rescoring strategy that can only select one candidate hypothesis as the output transcription. The proposed benchmark contains a novel dataset, HyPoradise (HP), encompassing more than 334,000 pairs of N-best hypotheses and corresponding accurate transcriptions across prevalent speech domains. Given this dataset, we examine three types of error correction techniques based on LLMs with varying amounts of labeled hypotheses-transcription pairs, which gains a significant word error rate (WER) reduction. Experimental evidence demonstrates the proposed technique achieves a breakthrough by surpassing the upper bound of traditional re-ranking based methods. More surprisingly, LLM with reasonable prompt and its generative capability can even correct those tokens that are missing in N-best list. We make our results publicly accessible for reproducible pipelines with released pre-trained models, thus providing a new evaluation paradigm for ASR error correction with LLMs.

Automatic transcriptions of consumer-generated multi-media content such as "Youtube" videos still exhibit high word error rates. Such data typically occupies a very broad domain, has been recorded in challenging conditions, with cheap hardware and a focus on the visual modality, and may have been post-processed or edited. In this paper, we extend our earlier work on adapting the acoustic model of a DNN-based speech recognition system to an RNN language model and show how both can be adapted to the objects and scenes that can be automatically detected in the video. We are working on a corpus of "how-to" videos from the web, and the idea is that an object that can be seen ("car"), or a scene that is being detected ("kitchen") can be used to condition both models on the "context" of the recording, thereby reducing perplexity and improving transcription. We achieve good improvements in both cases and compare and analyze the respective reductions in word error rate. We expect that our results can be used for any type of speech processing in which "context" information is available, for example in robotics, man-machine interaction, or when indexing large audio-visual archives, and should ultimately help to bring together the "video-to-text" and "speech-to-text" communities.

We introduce CLaMP: Contrastive Language-Music Pre-training, which learns cross-modal representations between natural language and symbolic music using a music encoder and a text encoder trained jointly with a contrastive loss. To pre-train CLaMP, we collected a large dataset of 1.4 million music-text pairs. It employed text dropout as a data augmentation technique and bar patching to efficiently represent music data which reduces sequence length to less than 10%. In addition, we developed a masked music model pre-training objective to enhance the music encoder's comprehension of musical context and structure. CLaMP integrates textual information to enable semantic search and zero-shot classification for symbolic music, surpassing the capabilities of previous models. To support the evaluation of semantic search and music classification, we publicly release WikiMusicText (WikiMT), a dataset of 1010 lead sheets in ABC notation, each accompanied by a title, artist, genre, and description. In comparison to state-of-the-art models that require fine-tuning, zero-shot CLaMP demonstrated comparable or superior performance on score-oriented datasets.

CLaMP 3 is a unified framework developed to address challenges of cross-modal and cross-lingual generalization in music information retrieval. Using contrastive learning, it aligns all major music modalities--including sheet music, performance signals, and audio recordings--with multilingual text in a shared representation space, enabling retrieval across unaligned modalities with text as a bridge. It features a multilingual text encoder adaptable to unseen languages, exhibiting strong cross-lingual generalization. Leveraging retrieval-augmented generation, we curated M4-RAG, a web-scale dataset consisting of 2.31 million music-text pairs. This dataset is enriched with detailed metadata that represents a wide array of global musical traditions. To advance future research, we release WikiMT-X, a benchmark comprising 1,000 triplets of sheet music, audio, and richly varied text descriptions. Experiments show that CLaMP 3 achieves state-of-the-art performance on multiple MIR tasks, significantly surpassing previous strong baselines and demonstrating excellent generalization in multimodal and multilingual music contexts.

Recent advances in audio-text large language models (LLMs) have opened new possibilities for music understanding and generation. However, existing benchmarks are limited in scope, often relying on simplified tasks or multi-choice evaluations that fail to reflect the complexity of real-world music analysis. We reinterpret a broad range of traditional MIR annotations as instruction-following formats and introduce CMI-Bench, a comprehensive music instruction following benchmark designed to evaluate audio-text LLMs on a diverse set of music information retrieval (MIR) tasks. These include genre classification, emotion regression, emotion tagging, instrument classification, pitch estimation, key detection, lyrics transcription, melody extraction, vocal technique recognition, instrument performance technique detection, music tagging, music captioning, and (down)beat tracking: reflecting core challenges in MIR research. Unlike previous benchmarks, CMI-Bench adopts standardized evaluation metrics consistent with previous state-of-the-art MIR models, ensuring direct comparability with supervised approaches. We provide an evaluation toolkit supporting all open-source audio-textual LLMs, including LTU, Qwen-audio, SALMONN, MusiLingo, etc. Experiment results reveal significant performance gaps between LLMs and supervised models, along with their culture, chronological and gender bias, highlighting the potential and limitations of current models in addressing MIR tasks. CMI-Bench establishes a unified foundation for evaluating music instruction following, driving progress in music-aware LLMs.

Recent advancements in large language models (LLMs) have demonstrated their remarkable capabilities across various language tasks. Inspired by the success of text-to-text translation refinement, this paper investigates how LLMs can improve the performance of speech translation by introducing a joint refinement process. Through the joint refinement of speech translation (ST) and automatic speech recognition (ASR) transcription via LLMs, the performance of the ST model is significantly improved in both training-free in-context learning and parameter-efficient fine-tuning scenarios. Additionally, we explore the effect of document-level context on refinement under the context-aware fine-tuning scenario. Experimental results on the MuST-C and CoVoST 2 datasets, which include seven translation tasks, demonstrate the effectiveness of the proposed approach using several popular LLMs including GPT-3.5-turbo, LLaMA3-8B, and Mistral-12B. Further analysis further suggests that jointly refining both transcription and translation yields better performance compared to refining translation alone. Meanwhile, incorporating document-level context significantly enhances refinement performance. We release our code and datasets on GitHub.

We introduce AudioLM, a framework for high-quality audio generation with long-term consistency. AudioLM maps the input audio to a sequence of discrete tokens and casts audio generation as a language modeling task in this representation space. We show how existing audio tokenizers provide different trade-offs between reconstruction quality and long-term structure, and we propose a hybrid tokenization scheme to achieve both objectives. Namely, we leverage the discretized activations of a masked language model pre-trained on audio to capture long-term structure and the discrete codes produced by a neural audio codec to achieve high-quality synthesis. By training on large corpora of raw audio waveforms, AudioLM learns to generate natural and coherent continuations given short prompts. When trained on speech, and without any transcript or annotation, AudioLM generates syntactically and semantically plausible speech continuations while also maintaining speaker identity and prosody for unseen speakers. Furthermore, we demonstrate how our approach extends beyond speech by generating coherent piano music continuations, despite being trained without any symbolic representation of music.

This paper introduces M2M Gen, a multi modal framework for generating background music tailored to Japanese manga. The key challenges in this task are the lack of an available dataset or a baseline. To address these challenges, we propose an automated music generation pipeline that produces background music for an input manga book. Initially, we use the dialogues in a manga to detect scene boundaries and perform emotion classification using the characters faces within a scene. Then, we use GPT4o to translate this low level scene information into a high level music directive. Conditioned on the scene information and the music directive, another instance of GPT 4o generates page level music captions to guide a text to music model. This produces music that is aligned with the mangas evolving narrative. The effectiveness of M2M Gen is confirmed through extensive subjective evaluations, showcasing its capability to generate higher quality, more relevant and consistent music that complements specific scenes when compared to our baselines.

Automatic lyrics transcription (ALT) remains a challenging task in the field of music information retrieval, despite great advances in automatic speech recognition (ASR) brought about by transformer-based architectures in recent years. One of the major challenges in ALT is the high amplitude of interfering audio signals relative to conventional ASR due to musical accompaniment. Recent advances in music source separation have enabled automatic extraction of high-quality separated vocals, which could potentially improve ALT performance. However, the effect of source separation has not been systematically investigated in order to establish best practices for its use. This work examines the impact of source separation on ALT using Whisper, a state-of-the-art open source ASR model. We evaluate Whisper's performance on original audio, separated vocals, and vocal stems across short-form and long-form transcription tasks. For short-form, we suggest a concatenation method that results in a consistent reduction in Word Error Rate (WER). For long-form, we propose an algorithm using source separation as a vocal activity detector to derive segment boundaries, which results in a consistent reduction in WER relative to Whisper's native long-form algorithm. Our approach achieves state-of-the-art results for an open source system on the Jam-ALT long-form ALT benchmark, without any training or fine-tuning. We also publish MUSDB-ALT, the first dataset of long-form lyric transcripts following the Jam-ALT guidelines for which vocal stems are publicly available.

Time-aligned lyrics can enrich the music listening experience by enabling karaoke, text-based song retrieval and intra-song navigation, and other applications. Compared to text-to-speech alignment, lyrics alignment remains highly challenging, despite many attempts to combine numerous sub-modules including vocal separation and detection in an effort to break down the problem. Furthermore, training required fine-grained annotations to be available in some form. Here, we present a novel system based on a modified Wave-U-Net architecture, which predicts character probabilities directly from raw audio using learnt multi-scale representations of the various signal components. There are no sub-modules whose interdependencies need to be optimized. Our training procedure is designed to work with weak, line-level annotations available in the real world. With a mean alignment error of 0.35s on a standard dataset our system outperforms the state-of-the-art by an order of magnitude.

We introduce an extensive new dataset of MIDI files, created by transcribing audio recordings of piano performances into their constituent notes. The data pipeline we use is multi-stage, employing a language model to autonomously crawl and score audio recordings from the internet based on their metadata, followed by a stage of pruning and segmentation using an audio classifier. The resulting dataset contains over one million distinct MIDI files, comprising roughly 100,000 hours of transcribed audio. We provide an in-depth analysis of our techniques, offering statistical insights, and investigate the content by extracting metadata tags, which we also provide. Dataset available at https://github.com/loubbrad/aria-midi.

A great number of deep learning based models have been recently proposed for automatic music composition. Among these models, the Transformer stands out as a prominent approach for generating expressive classical piano performance with a coherent structure of up to one minute. The model is powerful in that it learns abstractions of data on its own, without much human-imposed domain knowledge or constraints. In contrast with this general approach, this paper shows that Transformers can do even better for music modeling, when we improve the way a musical score is converted into the data fed to a Transformer model. In particular, we seek to impose a metrical structure in the input data, so that Transformers can be more easily aware of the beat-bar-phrase hierarchical structure in music. The new data representation maintains the flexibility of local tempo changes, and provides hurdles to control the rhythmic and harmonic structure of music. With this approach, we build a Pop Music Transformer that composes Pop piano music with better rhythmic structure than existing Transformer models.

Word embedding has become an essential means for text-based information retrieval. Typically, word embeddings are learned from large quantities of general and unstructured text data. However, in the domain of music, the word embedding may have difficulty understanding musical contexts or recognizing music-related entities like artists and tracks. To address this issue, we propose a new approach called Musical Word Embedding (MWE), which involves learning from various types of texts, including both everyday and music-related vocabulary. We integrate MWE into an audio-word joint representation framework for tagging and retrieving music, using words like tag, artist, and track that have different levels of musical specificity. Our experiments show that using a more specific musical word like track results in better retrieval performance, while using a less specific term like tag leads to better tagging performance. To balance this compromise, we suggest multi-prototype training that uses words with different levels of musical specificity jointly. We evaluate both word embedding and audio-word joint embedding on four tasks (tag rank prediction, music tagging, query-by-tag, and query-by-track) across two datasets (Million Song Dataset and MTG-Jamendo). Our findings show that the suggested MWE is more efficient and robust than the conventional word embedding.

Machine learning methods have proven useful in transcribing historical data. However, results from even highly accurate methods require manual verification and correction. Such manual review can be time-consuming and expensive, therefore the objective of this paper was to make it more efficient. Previously, we used machine learning to transcribe 2.3 million handwritten occupation codes from the Norwegian 1950 census with high accuracy (97%). We manually reviewed the 90,000 (3%) codes with the lowest model confidence. We allocated those 90,000 codes to human reviewers, who used our annotation tool to review the codes. To assess reviewer agreement, some codes were assigned to multiple reviewers. We then analyzed the review results to understand the relationship between accuracy improvements and effort. Additionally, we interviewed the reviewers to improve the workflow. The reviewers corrected 62.8% of the labels and agreed with the model label in 31.9% of cases. About 0.2% of the images could not be assigned a label, while for 5.1% the reviewers were uncertain, or they assigned an invalid label. 9,000 images were independently reviewed by multiple reviewers, resulting in an agreement of 86.43% and disagreement of 8.96%. We learned that our automatic transcription is biased towards the most frequent codes, with a higher degree of misclassification for the lowest frequency codes. Our interview findings show that the reviewers did internal quality control and found our custom tool well-suited. So, only one reviewer is needed, but they should report uncertainty.

Depression is a common mental disorder. Automatic depression detection tools using speech, enabled by machine learning, help early screening of depression. This paper addresses two limitations that may hinder the clinical implementations of such tools: noise resulting from segment-level labelling and a lack of model interpretability. We propose a bi-modal speech-level transformer to avoid segment-level labelling and introduce a hierarchical interpretation approach to provide both speech-level and sentence-level interpretations, based on gradient-weighted attention maps derived from all attention layers to track interactions between input features. We show that the proposed model outperforms a model that learns at a segment level (p=0.854, r=0.947, F1=0.947 compared to p=0.732, r=0.808, F1=0.768). For model interpretation, using one true positive sample, we show which sentences within a given speech are most relevant to depression detection; and which text tokens and Mel-spectrogram regions within these sentences are most relevant to depression detection. These interpretations allow clinicians to verify the validity of predictions made by depression detection tools, promoting their clinical implementations.

We present the contribution of the Unbabel team to the WMT 2020 Shared Task on Metrics. We intend to participate on the segment-level, document-level and system-level tracks on all language pairs, as well as the 'QE as a Metric' track. Accordingly, we illustrate results of our models in these tracks with reference to test sets from the previous year. Our submissions build upon the recently proposed COMET framework: We train several estimator models to regress on different human-generated quality scores and a novel ranking model trained on relative ranks obtained from Direct Assessments. We also propose a simple technique for converting segment-level predictions into a document-level score. Overall, our systems achieve strong results for all language pairs on previous test sets and in many cases set a new state-of-the-art.

The Guzheng is a kind of traditional Chinese instruments with diverse playing techniques. Instrument playing techniques (IPT) play an important role in musical performance. However, most of the existing works for IPT detection show low efficiency for variable-length audio and provide no assurance in the generalization as they rely on a single sound bank for training and testing. In this study, we propose an end-to-end Guzheng playing technique detection system using Fully Convolutional Networks that can be applied to variable-length audio. Because each Guzheng playing technique is applied to a note, a dedicated onset detector is trained to divide an audio into several notes and its predictions are fused with frame-wise IPT predictions. During fusion, we add the IPT predictions frame by frame inside each note and get the IPT with the highest probability within each note as the final output of that note. We create a new dataset named GZ_IsoTech from multiple sound banks and real-world recordings for Guzheng performance analysis. Our approach achieves 87.97% in frame-level accuracy and 80.76% in note-level F1-score, outperforming existing works by a large margin, which indicates the effectiveness of our proposed method in IPT detection.

Multimodal Large Language Models (MLLMs) have achieved remarkable visual reasoning abilities in natural images, text-rich documents, and graphic designs. However, their ability to interpret music sheets remains underexplored. To bridge this gap, we introduce MusiXQA, the first comprehensive dataset for evaluating and advancing MLLMs in music sheet understanding. MusiXQA features high-quality synthetic music sheets generated via MusiXTeX, with structured annotations covering note pitch and duration, chords, clefs, key/time signatures, and text, enabling diverse visual QA tasks. Through extensive evaluations, we reveal significant limitations of current state-of-the-art MLLMs in this domain. Beyond benchmarking, we developed Phi-3-MusiX, an MLLM fine-tuned on our dataset, achieving significant performance gains over GPT-based methods. The proposed dataset and model establish a foundation for future advances in MLLMs for music sheet understanding. Code, data, and model will be released upon acceptance.

In language modeling based music generation, a generated waveform is represented by a sequence of hierarchical token stacks that can be decoded either in an auto-regressive manner or in parallel, depending on the codebook patterns. In particular, flattening the codebooks represents the highest quality decoding strategy, while being notoriously slow. To this end, we propose a novel stack-and-delay style of decoding strategy to improve upon the flat pattern decoding where generation speed is four times faster as opposed to vanilla flat decoding. This brings the inference time close to that of the delay decoding strategy, and allows for faster inference on GPU for small batch sizes. For the same inference efficiency budget as the delay pattern, we show that the proposed approach performs better in objective evaluations, almost closing the gap with the flat pattern in terms of quality. The results are corroborated by subjective evaluations which show that samples generated by the new model are slightly more often preferred to samples generated by the competing model given the same text prompts.

With recent advancements in text-to-audio and text-to-music based on latent diffusion models, the quality of generated content has been reaching new heights. The controllability of musical aspects, however, has not been explicitly explored in text-to-music systems yet. In this paper, we present Mustango, a music-domain-knowledge-inspired text-to-music system based on diffusion, that expands the Tango text-to-audio model. Mustango aims to control the generated music, not only with general text captions, but from more rich captions that could include specific instructions related to chords, beats, tempo, and key. As part of Mustango, we propose MuNet, a Music-Domain-Knowledge-Informed UNet sub-module to integrate these music-specific features, which we predict from the text prompt, as well as the general text embedding, into the diffusion denoising process. To overcome the limited availability of open datasets of music with text captions, we propose a novel data augmentation method that includes altering the harmonic, rhythmic, and dynamic aspects of music audio and using state-of-the-art Music Information Retrieval methods to extract the music features which will then be appended to the existing descriptions in text format. We release the resulting MusicBench dataset which contains over 52K instances and includes music-theory-based descriptions in the caption text. Through extensive experiments, we show that the quality of the music generated by Mustango is state-of-the-art, and the controllability through music-specific text prompts greatly outperforms other models in terms of desired chords, beat, key, and tempo, on multiple datasets.

Subword tokenization has been widely successful in text-based natural language processing (NLP) tasks with Transformer-based models. As Transformer models become increasingly popular in symbolic music-related studies, it is imperative to investigate the efficacy of subword tokenization in the symbolic music domain. In this paper, we explore subword tokenization techniques, such as byte-pair encoding (BPE), in symbolic music generation and its impact on the overall structure of generated songs. Our experiments are based on three types of MIDI datasets: single track-melody only, multi-track with a single instrument, and multi-track and multi-instrument. We apply subword tokenization on post-musical tokenization schemes and find that it enables the generation of longer songs at the same time and improves the overall structure of the generated music in terms of objective metrics like structure indicator (SI), Pitch Class Entropy, etc. We also compare two subword tokenization methods, BPE and Unigram, and observe that both methods lead to consistent improvements. Our study suggests that subword tokenization is a promising technique for symbolic music generation and may have broader implications for music composition, particularly in cases involving complex data such as multi-track songs.

This paper proposes singing voice synthesis (SVS) based on frame-level sequence-to-sequence models considering vocal timing deviation. In SVS, it is essential to synchronize the timing of singing with temporal structures represented by scores, taking into account that there are differences between actual vocal timing and note start timing. In many SVS systems including our previous work, phoneme-level score features are converted into frame-level ones on the basis of phoneme boundaries obtained by external aligners to take into account vocal timing deviations. Therefore, the sound quality is affected by the aligner accuracy in this system. To alleviate this problem, we introduce an attention mechanism with frame-level features. In the proposed system, the attention mechanism absorbs alignment errors in phoneme boundaries. Additionally, we evaluate the system with pseudo-phoneme-boundaries defined by heuristic rules based on musical scores when there is no aligner. The experimental results show the effectiveness of the proposed system.

Recent advances in large language models have led to renewed interest in natural language processing in healthcare using the free text of clinical notes. One distinguishing characteristic of clinical notes is their long time span over multiple long documents. The unique structure of clinical notes creates a new design choice: when the context length for a language model predictor is limited, which part of clinical notes should we choose as the input? Existing studies either choose the inputs with domain knowledge or simply truncate them. We propose a framework to analyze the sections with high predictive power. Using MIMIC-III, we show that: 1) predictive power distribution is different between nursing notes and discharge notes and 2) combining different types of notes could improve performance when the context length is large. Our findings suggest that a carefully selected sampling function could enable more efficient information extraction from clinical notes.

Music generation has attracted growing interest with the advancement of deep generative models. However, generating music conditioned on textual descriptions, known as text-to-music, remains challenging due to the complexity of musical structures and high sampling rate requirements. Despite the task's significance, prevailing generative models exhibit limitations in music quality, computational efficiency, and generalization. This paper introduces JEN-1, a universal high-fidelity model for text-to-music generation. JEN-1 is a diffusion model incorporating both autoregressive and non-autoregressive training. Through in-context learning, JEN-1 performs various generation tasks including text-guided music generation, music inpainting, and continuation. Evaluations demonstrate JEN-1's superior performance over state-of-the-art methods in text-music alignment and music quality while maintaining computational efficiency. Our demos are available at http://futureverse.com/research/jen/demos/jen1

High-level musical qualities (such as emotion) are often abstract, subjective, and hard to quantify. Given these difficulties, it is not easy to learn good feature representations with supervised learning techniques, either because of the insufficiency of labels, or the subjectiveness (and hence large variance) in human-annotated labels. In this paper, we present a framework that can learn high-level feature representations with a limited amount of data, by first modelling their corresponding quantifiable low-level attributes. We refer to our proposed framework as Music FaderNets, which is inspired by the fact that low-level attributes can be continuously manipulated by separate "sliding faders" through feature disentanglement and latent regularization techniques. High-level features are then inferred from the low-level representations through semi-supervised clustering using Gaussian Mixture Variational Autoencoders (GM-VAEs). Using arousal as an example of a high-level feature, we show that the "faders" of our model are disentangled and change linearly w.r.t. the modelled low-level attributes of the generated output music. Furthermore, we demonstrate that the model successfully learns the intrinsic relationship between arousal and its corresponding low-level attributes (rhythm and note density), with only 1% of the training set being labelled. Finally, using the learnt high-level feature representations, we explore the application of our framework in style transfer tasks across different arousal states. The effectiveness of this approach is verified through a subjective listening test.

We introduce LyricWhiz, a robust, multilingual, and zero-shot automatic lyrics transcription method achieving state-of-the-art performance on various lyrics transcription datasets, even in challenging genres such as rock and metal. Our novel, training-free approach utilizes Whisper, a weakly supervised robust speech recognition model, and GPT-4, today's most performant chat-based large language model. In the proposed method, Whisper functions as the "ear" by transcribing the audio, while GPT-4 serves as the "brain," acting as an annotator with a strong performance for contextualized output selection and correction. Our experiments show that LyricWhiz significantly reduces Word Error Rate compared to existing methods in English and can effectively transcribe lyrics across multiple languages. Furthermore, we use LyricWhiz to create the first publicly available, large-scale, multilingual lyrics transcription dataset with a CC-BY-NC-SA copyright license, based on MTG-Jamendo, and offer a human-annotated subset for noise level estimation and evaluation. We anticipate that our proposed method and dataset will advance the development of multilingual lyrics transcription, a challenging and emerging task.

Automatic chord recognition (ACR) via deep learning models has gradually achieved promising recognition accuracy, yet two key challenges remain. First, prior work has primarily focused on audio-domain ACR, while symbolic music (e.g., score) ACR has received limited attention due to data scarcity. Second, existing methods still overlook strategies that are aligned with human music analytical practices. To address these challenges, we make two contributions: (1) we introduce POP909-CL, an enhanced version of POP909 dataset with tempo-aligned content and human-corrected labels of chords, beats, keys, and time signatures; and (2) We propose BACHI, a symbolic chord recognition model that decomposes the task into different decision steps, namely boundary detection and iterative ranking of chord root, quality, and bass (inversion). This mechanism mirrors the human ear-training practices. Experiments demonstrate that BACHI achieves state-of-the-art chord recognition performance on both classical and pop music benchmarks, with ablation studies validating the effectiveness of each module.

Phoneme boundary detection plays an essential first step for a variety of speech processing applications such as speaker diarization, speech science, keyword spotting, etc. In this work, we propose a neural architecture coupled with a parameterized structured loss function to learn segmental representations for the task of phoneme boundary detection. First, we evaluated our model when the spoken phonemes were not given as input. Results on the TIMIT and Buckeye corpora suggest that the proposed model is superior to the baseline models and reaches state-of-the-art performance in terms of F1 and R-value. We further explore the use of phonetic transcription as additional supervision and show this yields minor improvements in performance but substantially better convergence rates. We additionally evaluate the model on a Hebrew corpus and demonstrate such phonetic supervision can be beneficial in a multi-lingual setting.

Currently, the prevalence of online handwriting has spurred a critical need for effective retrieval systems to accurately search relevant handwriting instances from specific writers, known as online writer retrieval. Despite the growing demand, this field suffers from a scarcity of well-established methodologies and public large-scale datasets. This paper tackles these challenges with a focus on Chinese handwritten phrases. First, we propose DOLPHIN, a novel retrieval model designed to enhance handwriting representations through synergistic temporal-frequency analysis. For frequency feature learning, we propose the HFGA block, which performs gated cross-attention between the vanilla temporal handwriting sequence and its high-frequency sub-bands to amplify salient writing details. For temporal feature learning, we propose the CAIR block, tailored to promote channel interaction and reduce channel redundancy. Second, to address data deficit, we introduce OLIWER, a large-scale online writer retrieval dataset encompassing over 670,000 Chinese handwritten phrases from 1,731 individuals. Through extensive evaluations, we demonstrate the superior performance of DOLPHIN over existing methods. In addition, we explore cross-domain writer retrieval and reveal the pivotal role of increasing feature alignment in bridging the distributional gap between different handwriting data. Our findings emphasize the significance of point sampling frequency and pressure features in improving handwriting representation quality and retrieval performance. Code and dataset are available at https://github.com/SCUT-DLVCLab/DOLPHIN.