The lack of publicly available high-quality and accurately labeled datasets has long been a major bottleneck for singing voice synthesis (SVS). To tackle this problem, we present M4Singer, a free-to-use Multi-style, Multi-singer Mandarin singing collection with elaborately annotated Musical scores as well as its benchmarks. Specifically, 1) we construct and release a large high-quality Chinese singing voice corpus, which is recorded by 20 professional singers, covering 700 Chinese pop songs as well as all the four SATB types (i.e., soprano, alto, tenor, and bass); 2) we take extensive efforts to manually compose the musical scores for each recorded song, which is necessary to the study of the prosody modeling for SVS. 3) To facilitate the use and demonstrate the quality of M4Singer, we conduct four different benchmark experiments: score-based SVS, controllable singing voice (CSV), singing voice conversion (SVC) and automatic music transcription (AMT). Audio samples can be found at http://m4singer.github.io.

Many spectral unmixing methods rely on the non-negative decomposition of spectral data onto a dictionary of spectral templates.

Automatic drum transcription (ADT) is traditionally formulated as a discriminative task to predict drum events from audio spectrograms. In this work, we redefine ADT as a conditional generative task and introduce Noise-to-Notes (N2N), a framework leveraging diffusion modeling to transform audio-conditioned Gaussian noise into drum events with associated velocities. This generative diffusion approach offers distinct advantages, including a flexible speed-accuracy trade-off and strong inpainting capabilities. However, the generation of binary onset and continuous velocity values presents a challenge for diffusion models, and to overcome this, we introduce an Annealed Pseudo-Huber loss to facilitate effective joint optimization. Finally, to augment low-level spectrogram features, we propose incorporating features extracted from music foundation models (MFMs), which capture high-level semantic information and enhance robustness to out-of-domain drum audio. Experimental results demonstrate that including MFM features significantly improves robustness and N2N establishes a new state-of-the-art performance across multiple ADT benchmarks.

Multi-Pitch Estimation (MPE) continues to be a sought after capability of Music Information Retrieval (MIR) systems, and is critical for many applications and downstream tasks involving pitch, including music transcription. However, existing methods are largely based on supervised learning, and there are significant challenges in collecting annotated data for the task. Recently, self-supervised techniques exploiting intrinsic properties of pitch and harmonic signals have shown promise for both monophonic and polyphonic pitch estimation, but these still remain inferior to supervised methods. In this work, we extend the classic supervised MPE paradigm by incorporating several self-supervised objectives based on pitch-invariant and pitch-equivariant properties. This joint training results in a substantial improvement under closed training conditions, which naturally suggests that applying the same objectives to a broader collection of data will yield further improvements. However, in doing so we uncover a phenomenon whereby our model simultaneously overfits to the supervised data while degenerating on data used for self-supervision only. We demonstrate and investigate this and offer our insights on the underlying problem.

This paper presents , an interactive music piece for a human pianist and a computer-controlled piano that integrates real-time automatic music transcription into a score-driven framework. Unlike previous approaches that primarily focus on improvisation-based interactions, our work establishes a balanced framework that combines composed structure with dynamic interaction. Through real-time automatic transcription as its core mechanism, the computer interprets and responds to the human performer's input in real time, creating a musical dialogue that balances compositional intent with live interaction while incorporating elements of unpredictability. In this paper, we present the development process from composition to premiere performance, including technical implementation, rehearsal process, and performance considerations.

Music exists in various modalities, such as score images, symbolic scores, MIDI, and audio. Translations between each modality are established as core tasks of music information retrieval, such as automatic music transcription (audio-to-MIDI) and optical music recognition (score image to symbolic score). However, most past work on multimodal translation trains specialized models on individual translation tasks. In this paper, we propose a unified approach, where we train a general-purpose model on many translation tasks simultaneously. Two key factors make this unified approach viable: a new large-scale dataset and the tokenization of each modality. Firstly, we propose a new dataset that consists of more than 1,300 hours of paired audio-score image data collected from YouTube videos, which is an order of magnitude larger than any existing music modal translation datasets. Secondly, our unified tokenization framework discretizes score images, audio, MIDI, and MusicXML into a sequence of tokens, enabling a single encoder-decoder Transformer to tackle multiple cross-modal translation as one coherent sequence-to-sequence task. Experimental results confirm that our unified multitask model improves upon single-task baselines in several key areas, notably reducing the symbol error rate for optical music recognition from 24.58% to a state-of-the-art 13.67%, while similarly substantial improvements are observed across the other translation tasks. Notably, our approach achieves the first successful score-image-conditioned audio generation, marking a significant breakthrough in cross-modal music generation.

Automatic music transcription (AMT) is the problem of analyzing an audio recording of a musical piece and detecting notes that are being played. AMT is a challenging problem, particularly when it comes to polyphonic music. The goal of AMT is to produce a score representation of a music piece, by analyzing a sound signal containing multiple notes played simultaneously. In this work, we design a processing pipeline that can transform classical piano audio files in .wav format into a music score representation. The features from the audio signals are extracted using the constant-Q transform, and the resulting coefficients are used as an input to the convolutional neural network (CNN) model.

We present a new probabilistic model for transcribing piano music from audio to a symbolic form. Our model reflects the process by which discrete musical events give rise to acoustic signals that are then superimposed to produce the observed data. As a result, the inference procedure for our model naturally resolves the source separation problem introduced by the the piano's polyphony. In order to adapt to the properties of a new instrument or acoustic environment being transcribed, we learn recording-specific spectral profiles and temporal envelopes in an unsupervised fashion. Our system outperforms the best published approaches on a standard piano transcription task, achieving a 10.6% relative gain in note onset F