Optical music recognition (OMR) transcribes music scores into digital formats. While the field has advanced significantly on monophonic and piano-form scores, multi-part score transcription remains underexplored, largely due to the absence of a suitable dataset.
arXiv:2609.05662v1 Announce Type: cross Abstract: Full-page end-to-end Optical Music Recognition seeks to transcribe entire music pages directly into symbolic notation, avoiding the limitations of tr...
arXiv:2607. 05769v1 Announce Type: cross Abstract: We propose a novel pipeline, Legato 2, for extracting symbolic notation and semantic knowledge from images of sheet music.
Optical Music Recognition (OMR) has seen major progress in model design, with end-to-end methods now capable of recognising notation at all levels of complexity. However, the impact of this progress has been limited by the visual domains of available training datasets, which are largely born-digital.
arXiv:2608. 06165v1 Announce Type: cross Abstract: Existing audio-to-score (A2S) systems primarily focus on classical music, and the application to popular music remains underexplored.
Generalizable Audio-to-Score (A2S) transcription is fundamentally constrained by the severe scarcity of high-quality, real-world paired data. Relying solely on existing human-annotated datasets often...
TUTTI is a new pre‑training framework for audio‑to‑score transcription that uses a large, fully synthetic multi‑instrument dataset generated by a symbolic music model. The approach trains a standard Transformer encoder‑decoder on these synthetic audio‑score pairs, producing a stronger foundational representation than single‑instrument training. When fine‑tuned on real datasets, TUTTI surpasses prior methods, achieving state‑of‑the‑art results and demonstrating strong cross‑instrument transferability.
This paper investigates instrument classification using solo sheet music images rather than audio. It converts images into sequences of musical words via bootleg score representation and treats the task as text classification, training AWD‑LSTM, GPT‑2, and RoBERTa models on IMSLP data for eight instruments. Pretraining on unlabeled data and fine‑tuning improves RoBERTa’s accuracy from 34.5% to 42.9%, and two proposed data‑augmentation methods raise accuracy by an additional 15%.
arXiv:2607. 00777v1 Announce Type: cross Abstract: Recognizing jazz standards from audio is a challenging form of tune-level music retrieval: different performances of the same standard may vary in tempo, key, arrangement, instrumentation, improvisational content, and even whether the head melody is present.
TTM-Bench is a framework designed to benchmark text-to-music systems by establishing a common protocol for reproducible evaluation. It measures performance along two axes: musical-content alignment—assessed through semantic, genre, and musical-descriptor agreement scores against a shared musical specification—and computational efficiency, which includes generation latency, real-time factor, resource usage for local models, and cost for hosted services. A preliminary case study using TTM-Bench shows that higher alignment does not necessarily mean lower computational demands, underscoring the need for distinct, interpretable metrics.
arXiv:2607. 08756v1 Announce Type: cross Abstract: We present MulTTiPop, a dataset of pop music segments and their associated multitrack MIDI recordings for the evaluation of automatic music transcription models.
arXiv:2601.11262v2 Announce Type: replace-cross Abstract: Music Cover Retrieval, also known as Version Identification, aims to recognize distinct renditions of the same underlying musical work, a tas...
arXiv:2512. 02652v2 Announce Type: replace-cross Abstract: Existing methods for expressive music performance rendering, a conditional generation task that aims to generate a human-like performance from a symbolic score, rely on supervised learning over small labeled datasets, which limits scaling of both data volume and model size, despite the availability of vast unlabeled music, as in vision and language.