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.
By Jianhuai Hu, Yashan Wang, Shangda Wu, Zhancheng Guo, Shijie Liang, Wuna Meng, Chuanqi Yang, Xiaobing Li, Feng Yu, Maosong Sun
SpanSynth-Edit is a flow‑matching model that enables MIDI‑guided synthesis and editing of multi‑instrument audio mixtures using low‑frame‑rate scalar‑quantised latents. It encodes instrument‑labelled note lifecycles as unordered event sets, pools them into a conditioning vector per audio‑latent frame, and uses contextual audio for instrument‑specific timbre guidance. The model supports editing by resynthesising target regions from revised MIDI and demonstrates competitive performance on single‑ and multi‑instrument benchmarks, including within‑frame onset control.
By Sungkyun Chang, Keshav Bhandari, Simon Dixon, Emmanouil Benetos
We present MulTTiPop, a dataset of pop music segments and their associated multitrack MIDI recordings for the evaluation of automatic music transcription models. MulTTiPop contains 572 segments of popular music totaling 3.
arXiv:2409. 14086v2 Announce Type: replace-cross Abstract: There have been several studies on automatically generating piano covers, and recent advancements in deep learning have enabled the creation of more sophisticated covers.
By Kazuma Komiya, Yoshihisa Fukuhara
arXiv:2606. 24307v1 Announce Type: cross Abstract: Interactive music and live performance relies on real-time human expression, but modern generative music AI remains largely absent from this domain due to its prohibitive inference latency and offline rendering paradigm.
By Baisen Wang, Chenxi Bao, Qisong Han