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Lack of large-scale note-level labeled data is the major obstacle to singing transcription from polyphonic music. We address the issue by using pseudo labels from vocal pitch estimation models given unlabeled data. The proposed method first converts the frame-level pseudo labels to note-level through pitch and rhythm quantization steps. Then, it further improves the label quality through self-training in a teacher-student framework.

In this paper, we introduce score difficulty classification as a subtask of music information retrieval (MIR), which may be used in music education technologies, for personalised curriculum generation, and score retrieval. We introduce a novel dataset for our task, Mikrokosmos-difficulty, containing 147 piano pieces in symbolic representation and the corresponding difficulty labels derived by its composer Béla Bartók and the publishers. As part of our methodology, we propose piano technique feature representations based on different piano fingering algorithms.

The prominent strategical approaches regarding the problem of guitar tablature transcription rely either on fingering patterns encoding or on the extraction of string-related audio features. The current work combines the two aforementioned strategies in an explicit manner by employing two discrete components for string-fret classification. It extends older few-sample modeling strategies by introducing various adaptation schemes for the first stage of audio processing, taking advantage of the inharmonic characteristics of guitar sound.

Lyrics transcription of polyphonic music is challenging not only because the singing vocals are corrupted by the background music, but also because the background music and the singing style vary across music genres, such as pop, metal, and hip hop, which affects lyrics intelligibility of the song in different ways. In this work, we propose to transcribe the lyrics of polyphonic music using a novel genre-conditioned network.

Conventional music structure analysis algorithms aim to divide a song into segments and to group them with abstract labels (e.g., ‘A’, ‘B’, and ‘C’). However, explicitly identifying the function of each segment (e.g., ‘verse’ or ‘chorus’) is rarely attempted, but has many applications. We introduce a multi-task deep learning framework to model these structural semantic labels directly from audio by estimating "verseness," "chorusness," and so forth, as a function of time.

Experiments to understand the sensorimotor neural interactions in the human cortical speech system support the existence of a bidirectional flow of interactions between the auditory and motor regions. Their key function is to enable the brain to ‘learn’ how to control the vocal tract for speech production. This idea is the impetus for the recently proposed "MirrorNet", a constrained autoencoder architecture.

Most of existing audio fingerprinting systems have limitations to be used for high-specific audio retrieval at scale. In this work, we generate a low-dimensional representation from a short unit segment of audio, and couple this fingerprint with a fast maximum inner-product search. To this end, we present a contrastive learning framework that derives from the segment-level search objective. Each update in training uses a batch consisting of a set of pseudo labels, randomly selected original samples, and their augmented replicas.

The identification of structural differences between a music performance and the score is a challenging yet integral step of audio-to-score alignment, an important subtask of music signal processing. We present a novel method to detect such differences between the score and performance for a given piece of music using progressively dilated convolutional neural networks. Our method incorporates varying dilation rates at different layers to capture both short-term and long-term context, and can be employed successfully in the presence of limited annotated data.

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.