Towards Open World Sound Event Detection

Large Audio-Language Models (LALMs) reason fluently about sound yet struggle to localize precisely when events occur, while classical Sound Event Detection attains frame-level precision only over a closed label set. At the intersection of these paradigms lies the task of Open-Vocabulary Audio Event Grounding: predicting all time intervals of a target sound event described by an arbitrary natural language query. While this task is crucial for real-world audio understanding and LALM adaptation, it is bottlenecked by data scarcity. Few large-scale resources provide open-vocabulary onset/offset supervision, and manual temporal annotation is prohibitively expensive. To address this, we introduce Auto-AEG, a scalable pipeline that constructs such supervision by automatic data construction and model fine-tuning. It pairs programmatically synthesized clips, which carry exact ground-truth intervals for supervised cold-start, with multi-model pseudo-labels on real-world audio that supply the reward signal for reinforcement learning. Training with this pipeline yields promising performance gains on both the DESED SED benchmark and AEGBench, an independent difficulty-stratified benchmark we release. Our results show that automatically constructed data, coupled with interval-aware reward function design, is an effective data-side route to expanding the temporal localization capability of LALMs.

Real-world object detection operates under ambiguous supervision, where unlabeled regions may correspond to missing annotations of known objects or genuinely unknown categories. These challenges have been addressed separately in Sparsely Annotated Object Detection (SAOD) and Open-World Object Detection (OWOD). In practice, their co-occurrence remains an open problem. To address this problem, we introduce Sparsely Annotated Open-World Object Detection (SA-OWOD), a new task that jointly considers sparse supervision and the presence of unseen categories. We propose Dual-Perspective Object Discovery (DPOD), a unified framework that jointly models unlabeled known and unknown instances via two complementary mechanisms. The Known Target Recovery Module (KTRM) recovers supervision for unlabeled known instances and explicitly regularizes the feature space to separate known and unknown representations. Complementarily, the Dual-Disagreement Target Generator (DDTG) identifies reliable unknown candidates through cross-view semantic inconsistency. By integrating these modules, DPOD resolves contradictory supervision signals caused by ambiguous unlabeled regions. As a result, it prevents misclassification between known and unknown objects and stabilizes the decision boundaries. Experimental results on sparsely annotated open-world benchmarks demonstrate that the proposed method outperforms existing open-world detection methods, particularly in detecting unknown objects.

Sound event detection (SED) is a core module for acoustic environmental analysis, yet its performance is often limited by scarce labeled data. Recent systems leverage large pretrained audio foundation models, but effective fine-tuning remains challenging because labeled data are limited while unlabeled data are abundant. A previous work, ATST-SED, addressed this problem with a pseudo-label based semi-supervised fine-tuning framework. In this work, we further improve the framework by adopting an embedding-level self-supervised contrastive loss inspired by ATST-Frame pretraining. This contrastive objective better exploits unlabeled data during fine-tuning. One challenge is that mixup serves different roles in the two objectives: pseudo-label learning uses composition mixup, while contrastive learning treats mixup as a perturbation. To resolve this mismatch, we propose conditional mixup, which combines composition mixup and perturbation mixup in one semi-supervised framework and defines the corresponding embedding-level contrastive losses. The resulting model achieves 0.645 PSDS1 and 0.822 PSDS2 on the DESED validation set, establishing a new state of the art.