MulTTiPop: A Multitrack Transcription Dataset for Pop Music

We present MulTTiPop, a dataset of pop music segments and their associated multitrack MIDI recordings for the evaluation of automatic music transcription models. MulTTiPop contains 572 segments of popular music totaling 3.5 hours of audio, and contains songs from diverse genres and decades from the 1930s to 2000s. To collect this dataset, we perform metadata-based matching on song segments from the Lakh MIDI and TheoryTab datasets, manually identify an anchor beat between the audio and MIDI, then use beat tracking on the audio and warp the MIDI to match its tempo and timing. We evaluate state-of-the-art automatic music transcription models on MulTTiPop and find substantial room for improvement, with the best model achieving 38% Onset F1. More details and sound examples of MulTTiPop are available at https://gclef-cmu.org/multtipop.

MuScriptor: An Open Model for Multi-Instrument Music Transcription

Existing methods for automatic music transcription are often limited to single-instrument recordings or fail on complex, real music mixes. Although previous work utilizes synthetic training data, the resulting models generalize poorly, leading to largely unusable transcription output in realistic, multi-instrument settings. In this work, we analyze the effectiveness of synthetic data for pre-training while combining it with fine-tuning on real music audio and post-training using reinforcement learning. We further introduce conditioning on instrument presence to customize transcriptions. Finally, we release MuScriptor, an open-weight multi-instrument music transcription model that works on real-world music recordings from across a diverse range of musical genres.

Pitch Spelling Jazz Lead Sheets, Solo Transcriptions, Classical Piano and Monophonic Scores

We present an algorithm for pitch spelling and key estimation. Given an input in MIDI-like format, containing information on note pitches (expressed in semitones relative to the lowest reference note) and bar boundaries, it estimates the appropriate note names, a global Key Signature, and a local scale for each bar. This related information elements are evaluated jointly during two stages of optimisation. During an initial 'modal' stage, a probable scale is proposed for each bar, minimising the number of accidentals to be printed in the printed score with a shortest-path search. Then, during a second stage called 'tonal', these local scales are used to estimate the Key Signature and note names that would result in the best musical notation for the entire piece. We present evaluations conducted on datasets comprising a variety of digital musical scores: jazz lead sheets taken from the Real Book, transcriptions of recordings of jazz soli and bass lines, traditional tunes, as well as classical scores for piano and monophonic instruments. Our procedure was originally designed for use in music transcription, specifically for building digital collections of jazz solos transcribed from audio recordings, for the purposes of music analysis, teaching and the preservation of cultural heritage. This method should also prove useful for other tasks related to the processing of musical notation. Furthermore, to this end, we have defined new distances between various common jazz scales, which may be of some interest to musicological studies.