This paper presents a methodology for inserting phrases in Arabic poems to conform to a specific rhythm using ByT5, a byte-level multilingual transformer-based model. Our work discusses a rule-based grapheme-to-beat transformation tailored for extracting the rhythm from fully diacritized Arabic script. Our approach employs a conditional denoising objective to fine-tune ByT5, where the model reconstructs masked words to match a target rhythm. We adopt a curriculum learning strategy, pre-training on a general Arabic dataset before fine-tuning on poetic dataset, and explore cross-lingual transfer from English to Arabic. Experimental results demonstrate that our models achieve high rhythmic alignment while maintaining semantic coherence. The proposed model has the potential to be used in co-creative applications in the process of composing classical Arabic poems.

Whereas chord transcription has received considerable attention during the past couple of decades, far less work has been devoted to transcribing and encoding the rhythmic patterns that occur in a song. The topic is especially relevant for instruments such as the rhythm guitar, which is typically played by strumming rhythmic patterns that repeat and vary over time. However, in many cases one cannot objectively define a single "right" rhythmic pattern for a given song section. To create a dataset with well-defined ground-truth labels, we asked expert musicians to transcribe the rhythmic patterns in 410 popular songs and record cover versions where the guitar tracks followed those transcriptions. To transcribe the strums and their corresponding rhythmic patterns, we propose a three-step framework. Firstly, we perform approximate stem separation to extract the guitar part from the polyphonic mixture. Secondly, we detect individual strums within the separated guitar audio, using a pre-trained foundation model (MERT) as a backbone. Finally, we carry out a pattern-decoding process in which the transcribed sequence of guitar strums is represented by patterns drawn from an expert-curated vocabulary. We show that it is possible to transcribe the rhythmic patterns of the guitar track in polyphonic music with quite high accuracy, producing a representation that is human-readable and includes automatically detected bar lines and time signature markers. We perform ablation studies and error analysis and propose a set of evaluation metrics to assess the accuracy and readability of the predicted rhythmic pattern sequence.

Beat and downbeat tracking, jointly referred to as Meter Tracking, is a fundamental task in Music Information Retrieval (MIR). Deep learning models have far surpassed traditional signal processing and classical machine learning approaches in this domain, particularly for Western (Eurogenetic) genres, where large annotated datasets are widely available. These systems, however, perform less reliably on underrepresented musical traditions. Carnatic music, a rich tradition from the Indian subcontinent, is renowned for its rhythmic intricacy and unique metrical structures (tālas). The most notable prior work on meter tracking in this context employed probabilistic Dynamic Bayesian Networks (DBNs). The performance of state-of-the-art (SOTA) deep learning models on Carnatic music, however, remains largely unexplored. In this study, we evaluate two models for meter tracking in Carnatic music: the Temporal Convolutional Network (TCN), a lightweight architecture that has been successfully adapted for Latin rhythms, and Beat This!, a transformer-based model designed for broad stylistic coverage without the need for post-processing. Replicating the experimental setup of the DBN baseline on the Carnatic Music Rhythm (CMR$_f$) dataset, we systematically assess the performance of these models in a directly comparable setting. We further investigate adaptation strategies, including fine-tuning the models on Carnatic data and the use of musically informed parameters. Results show that while off-the-shelf models do not always outperform the DBN, their performance improves substantially with transfer learning, matching or surpassing the baseline. These findings indicate that SOTA deep learning models can be effectively adapted to underrepresented traditions, paving the way for more inclusive and broadly applicable meter tracking systems.

A common denominator for most therapy treatments for children who suffer from an anxiety disorder is daily practice routines to learn techniques needed to overcome anxiety. However, applying those techniques while experiencing anxiety can be highly challenging. This paper presents the design, implementation, and pilot study of a tactile hand-held pocket robot AffectaPocket, designed to work alongside therapy as a focus object to facilitate coping during an anxiety attack. The robot does not require daily practice to be used, has a small form factor, and has been designed for children 7 to 12 years old. The pocket robot works by sensing when it is being held and attempts to shift the child's focus by presenting them with a simple three-note rhythm-matching game. We conducted a pilot study of the pocket robot involving four children aged 7 to 10 years, and then a main study with 18 children aged 6 to 8 years; neither study involved children with anxiety. Both studies aimed to assess the reliability of the robot's sensor configuration, its design, and the effectiveness of the user tutorial. The results indicate that the morphology and sensor setup performed adequately and the tutorial process enabled the children to use the robot with little practice. This work demonstrates that the presented pocket robot could represent a step toward developing low-cost accessible technologies to help children suffering from anxiety disorders.

Rhythm is a fundamental aspect of human behaviour, present from infancy and deeply embedded in cultural practices. Rhythm anticipation is a spontaneous cognitive process that typically occurs before the onset of actual beats. While most research in both neuroscience and artificial intelligence has focused on metronome-based rhythm tasks, studies investigating the perception of complex musical rhythm patterns remain limited. To address this gap, we propose a hierarchical oscillator-based model to better understand the perception of complex musical rhythms in biological systems. The model consists of two types of coupled neurons that generate oscillations, with different layers tuned to respond to distinct perception levels. We evaluate the model using several representative rhythm patterns spanning the upper, middle, and lower bounds of human musical perception. Our findings demonstrate that, while maintaining a high degree of synchronization accuracy, the model exhibits human-like rhythmic behaviours. Additionally, the beta band neuronal activity in the model mirrors patterns observed in the human brain, further validating the biological plausibility of the approach.

Version identification (VI) has seen substantial progress over the past few years. On the one hand, the introduction of the metric learning paradigm has favored the emergence of scalable yet accurate VI systems. On the other hand, using features focusing on specific aspects of musical pieces, such as melody, harmony, or lyrics, yielded interpretable and promising performances. In this work, we build upon these recent advances and propose a metric learning-based system systematically leveraging four dimensions commonly admitted to convey musical similarity between versions: melodic line, harmonic structure, rhythmic patterns, and lyrics. We describe our deliberately simple model architecture, and we show in particular that an approximated representation of the lyrics is an efficient proxy to discriminate between versions and non-versions. We then describe how these features complement each other and yield new state-of-the-art performances on two publicly available datasets. We finally suggest that a VI system using a combination of melodic, harmonic, rhythmic and lyrics features could theoretically reach the optimal performances obtainable on these datasets.