Emotions are fundamental to the creation and perception of music performances. However, achieving human-like expression and emotion through machine learning models for performance rendering remains a challenging task. In this work, we present SyMuPe, a novel framework for developing and training affective and controllable symbolic piano performance models. Our flagship model, PianoFlow, uses conditional flow matching trained to solve diverse multi-mask performance inpainting tasks. By design, it supports both unconditional generation and infilling of music performance features. For training, we use a curated, cleaned dataset of 2,968 hours of aligned musical scores and expressive MIDI performances. For text and emotion control, we integrate a piano performance emotion classifier and tune PianoFlow with the emotion-weighted Flan-T5 text embeddings provided as conditional inputs. Objective and subjective evaluations against transformer-based baselines and existing models show that PianoFlow not only outperforms other approaches, but also achieves performance quality comparable to that of human-recorded and transcribed MIDI samples. For emotion control, we present and analyze samples generated under different text conditioning scenarios. The developed model can be integrated into interactive applications, contributing to the creation of more accessible and engaging music performance systems.

Estimating piano dynamic from audio recordings is a fundamental challenge in computational music analysis. In this paper, we propose an efficient multi-task network that jointly predicts dynamic levels, change points, beats, and downbeats from a shared latent representation. These four targets form the metrical structure of dynamics in the music score. Inspired by recent vocal dynamic research, we use a multi-scale network as the backbone, which takes Bark-scale specific loudness as the input feature. Compared to log-Mel as input, this reduces model size from 14.7 M to 0.5 M, enabling long sequential input. We use a 60-second audio length in audio segmentation, which doubled the length of beat tracking commonly used. Evaluated on the public MazurkaBL dataset, our model achieves state-of-the-art results across all tasks. This work sets a new benchmark for piano dynamic estimation and delivers a powerful and compact tool, paving the way for large-scale, resource-efficient analysis of musical expression.

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/

Generating expressive audio performances from music scores requires models to capture both instrument acoustics and human interpretation. Traditional music performance synthesis pipelines follow a two-stage approach, first generating expressive performance MIDI from a score, then synthesising the MIDI into audio. However, the synthesis models often struggle to generalise across diverse MIDI sources, musical styles, and recording environments. To address these challenges, we propose MIDI-VALLE, a neural codec language model adapted from the VALLE framework, which was originally designed for zero-shot personalised text-to-speech (TTS) synthesis. For performance MIDI-to-audio synthesis, we improve the architecture to condition on a reference audio performance and its corresponding MIDI. Unlike previous TTS-based systems that rely on piano rolls, MIDI-VALLE encodes both MIDI and audio as discrete tokens, facilitating a more consistent and robust modelling of piano performances. Furthermore, the model's generalisation ability is enhanced by training on an extensive and diverse piano performance dataset. Evaluation results show that MIDI-VALLE significantly outperforms a state-of-the-art baseline, achieving over 75% lower Frechet Audio Distance on the ATEPP and Maestro datasets. In the listening test, MIDI-VALLE received 202 votes compared to 58 for the baseline, demonstrating improved synthesis quality and generalisation across diverse performance MIDI inputs.

The creativity of classical music arises not only from composers who craft the musical sheets but also from performers who interpret the static notations with expressive nuances. This paper addresses the challenge of generating classical piano performances from scratch, aiming to emulate the dual roles of composer and pianist in the creative process. We introduce the Expressive Compound Word (ECP) representation, which effectively captures both the metrical structure and expressive nuances of classical performances. Building on this, we propose the Expressive Music Variational AutoEncoder (XMVAE), a model featuring two branches: a Vector Quantized Variational AutoEncoder (VQ-VAE) branch that generates score-related content, representing the Composer, and a vanilla VAE branch that produces expressive details, fulfilling the role of Pianist. These branches are jointly trained with similar Seq2Seq architectures, leveraging a multiscale encoder to capture beat-level contextual information and an orthogonal Transformer decoder for efficient compound tokens decoding. Both objective and subjective evaluations demonstrate that XMVAE generates classical performances with superior musical quality compared to state-of-the-art models. Furthermore, pretraining the Composer branch on extra musical score datasets contribute to a significant performance gain.

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).

We present PANDORA, a novel diffusion-based policy learning framework designed specifically for dexterous robotic piano performance. Our approach employs a conditional U-Net architecture enhanced with FiLM-based global conditioning, which iteratively denoises noisy action sequences into smooth, high-dimensional trajectories. To achieve precise key execution coupled with expressive musical performance, we design a composite reward function that integrates task-specific accuracy, audio fidelity, and high-level semantic feedback from a large language model (LLM) oracle. The LLM oracle assesses musical expressiveness and stylistic nuances, enabling dynamic, hand-specific reward adjustments. Further augmented by a residual inverse-kinematics refinement policy, PANDORA achieves state-of-the-art performance in the ROBOPIANIST environment, significantly outperforming baselines in both precision and expressiveness. Ablation studies validate the critical contributions of diffusion-based denoising and LLM-driven semantic feedback in enhancing robotic musicianship. Videos available at: https://taco-group.github.io/PANDORA

Recent advances in machine learning have paved the way for the development of musical and entertainment robots. However, human-robot cooperative instrument playing remains a challenge, particularly due to the intricate motor coordination and temporal synchronization. In this paper, we propose a theoretical framework for human-robot cooperative piano playing based on non-verbal cues. First, we present a music improvisation model that employs a recurrent neural network (RNN) to predict appropriate chord progressions based on the human's melodic input. Second, we propose a behavior-adaptive controller to facilitate seamless temporal synchronization, allowing the cobot to generate harmonious acoustics. The collaboration takes into account the bidirectional information flow between the human and robot. We have developed an entropy-based system to assess the quality of cooperation by analyzing the impact of different communication modalities during human-robot collaboration. Experiments demonstrate that our RNN-based improvisation can achieve a 93\% accuracy rate. Meanwhile, with the MPC adaptive controller, the robot could respond to the human teammate in homophony performances with real-time accompaniment. Our designed framework has been validated to be effective in allowing humans and robots to work collaboratively in the artistic piano-playing task.

Recently, artificial intelligence techniques for education have been received increasing attentions, while it still remains an open problem to design the effective music instrument instructing systems. Although key presses can be directly derived from sheet music, the transitional movements among key presses require more extensive guidance in piano performance. In this work, we construct a piano-hand motion generation benchmark to guide hand movements and fingerings for piano playing. To this end, we collect an annotated dataset, PianoMotion10M, consisting of 116 hours of piano playing videos from a bird's-eye view with 10 million annotated hand poses. We also introduce a powerful baseline model that generates hand motions from piano audios through a position predictor and a position-guided gesture generator. Furthermore, a series of evaluation metrics are designed to assess the performance of the baseline model, including motion similarity, smoothness, positional accuracy of left and right hands, and overall fidelity of movement distribution. Despite that piano key presses with respect to music scores or audios are already accessible, PianoMotion10M aims to provide guidance on piano fingering for instruction purposes.

Semantic embeddings play a crucial role in natural language-based information retrieval. Embedding models represent words and contexts as vectors whose spatial configuration is derived from the distribution of words in large text corpora. While such representations are generally very powerful, they might fail to account for fine-grained domain-specific nuances. In this article, we investigate this uncertainty for the domain of characterizations of expressive piano performance. Using a music research dataset of free text performance characterizations and a follow-up study sorting the annotations into clusters, we derive a ground truth for a domain-specific semantic similarity structure. We test five embedding models and their similarity structure for correspondence with the ground truth. We further assess the effects of contextualizing prompts, hubness reduction, cross-modal similarity, and k-means clustering. The quality of embedding models shows great variability with respect to this task; more general models perform better than domain-adapted ones and the best model configurations reach human-level agreement.