First provide a summary of the paper, and then address the following criteria: Quality, clarity, originality and significance. Quality and originality: The main claims of the authors make intuitive sense. Specifically, figure 1 presents a generative model which separates note onsets from activation and spectral information. This is in keeping with the physics of a piano, where a pianist initiates a note onset by sending the hammer in free-flight. Those harmonics change over time based both on decay and on the piano's physical dampers.

Expressive performance rendering (EPR) and automatic piano transcription (APT) are fundamental yet inverse tasks in music information retrieval: EPR generates expressive performances from symbolic scores, while APT recovers scores from performances. Despite their dual nature, prior work has addressed them independently. In this paper we propose a unified framework that jointly models EPR and APT by disentangling note-level score content and global performance style representations from both paired and unpaired data. Our framework is built on a transformer-based sequence-to-sequence architecture and is trained using only sequence-aligned data, without requiring fine-grained note-level alignment. To automate the rendering process while ensuring stylistic compatibility with the score, we introduce an independent diffusion-based performance style recommendation module that generates style embeddings directly from score content. This modular component supports both style transfer and flexible rendering across a range of expressive styles. Experimental results from both objective and subjective evaluations demonstrate that our framework achieves competitive performance on EPR and APT tasks, while enabling effective content-style disentanglement, reliable style transfer, and stylistically appropriate rendering. Demos are available at https://jointpianist.github.io/epr-apt/

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.

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.

Advances in neural network design and the availability of large-scale labeled datasets have driven major improvements in piano transcription. Existing approaches target either offline applications, with no restrictions on computational demands, or online transcription, with delays of 128-320 ms. However, most real-time musical applications require latencies below 30 ms. In this work, we investigate whether and how the current state-of-the-art online transcription model can be adapted for real-time piano transcription. Specifically, we eliminate all non-causal processing, and reduce computational load through shared computations across core model components and variations in model size. Additionally, we explore different pre- and postprocessing strategies, and related label encoding schemes, and discuss their suitability for real-time transcription. Evaluating the adaptions on the MAESTRO dataset, we find a drop in transcription accuracy due to strictly causal processing as well as a tradeoff between the preprocessing latency and prediction accuracy. We release our system as a baseline to support researchers in designing models towards minimum latency real-time transcription.

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. Central to the success of deep learning as a paradigm has been the datasets used to train neural networks. With the rapid technical advancements and ever-increasing availability of computational power, music has become a popular target for deep learning research, and deep learning in turn has had a notable impact on the study and creation of musical works (Briot et al., 2019). The progress of music-oriented deep learning depends heavily on access to diverse, well-structured datasets. Music is inherently structured and can be represented computationally in a variety of forms (Wiggins, 2016). In this work, we focus on symbolic representations of music, such as MIDI (Musical Instrument Digital Interface), which are widely used for encoding, analyzing, and facilitating the generation of musical compositions by both humans and machines (Ji et al., 2023).

Diffusion models have been widely used in the generative domain due to their convincing performance in modeling complex data distributions. Moreover, they have shown competitive results on discriminative tasks, such as image segmentation. While diffusion models have also been explored for automatic music transcription, their performance has yet to reach a competitive level. In this paper, we focus on discrete diffusion model's refinement capabilities and present a novel architecture for piano transcription. Our model utilizes Neighborhood Attention layers as the denoising module, gradually predicting the target high-resolution piano roll, conditioned on the finetuned features of a pretrained acoustic model. To further enhance refinement, we devise a novel strategy which applies distinct transition states during training and inference stage of discrete diffusion models. Experiments on the MAESTRO dataset show that our approach outperforms previous diffusion-based piano transcription models and the baseline model in terms of F1 score. Our code is available in https://github.com/hanshounsu/d3rm.

Automatic Music Transcription (AMT), aiming to get musical notes from raw audio, typically uses frame-level systems with piano-roll outputs or language model (LM)-based systems with note-level predictions. However, frame-level systems require manual thresholding, while the LM-based systems struggle with long sequences. In this paper, we propose a hybrid method combining pre-trained roll-based encoders with an LM decoder to leverage the strengths of both methods. Besides, our approach employs a hierarchical prediction strategy, first predicting onset and pitch, then velocity, and finally offset. The hierarchical prediction strategy reduces computational costs by breaking down long sequences into different hierarchies. Evaluated on two benchmark roll-based encoders, our method outperforms traditional piano-roll outputs 0.01 and 0.022 in onset-offset-velocity F1 score, demonstrating its potential as a performance-enhancing plug-in for arbitrary roll-based music transcription encoder.