The quality of piano performance depends on nuanced timing, articulation, and dynamic control, but practice feedback is often summary-based and hard to act on. We introduce Profy, a weakly supervised system that learns from take-level labels derived from aggregated listener ratings (expert-labeled vs. amateur-labeled) to produce time-aligned highlights for review during piano practice. We collected synchronized 1 kHz key-motion and audio from 73 pianists and used 1,083 valid takes for modeling and evaluation. The model outputs clip-level predictions together with evidence scores on a shared resampled model time base for visualization. On 20 amateur clips from short technique studies annotated by 21 expert pianists, the displayed highlight score aligns with passages that expert pianists marked for review despite training without localized labels (Pearson r=0.61, ROC-AUC 0.75). Rather than summarizing a take with a single global score, Profy helps learners decide where to inspect next by supporting scrubbing, looping, and focused replay of time-localized passages associated with expert-amateur differences.
Piano fingering shapes how a passage can be played, yet it is difficult to label after a performance. An annotator must decide which finger produced each note while reconciling the score, timing, video, and hand motion. We present PiAnnotate, a web-based pipeline for adding expert fingering annotations to the FurElise performance dataset. The tool brings together a piano-roll view, performance video, and a 3D MANO hand mesh so that reviewers can inspect each assignment in musical and physical context. Rather than storing only the final answer, PiAnnotate keeps paired rule-based and human-edited fingering tracks. These paired tracks make the annotation history auditable by showing where a geometric rule was sufficient, where experts intervened, and how labels changed across review passes. As a final diagnostic, we train a small Transformer probe on the paired tracks. The probe improves on the rule baseline on held-out pieces while remaining conservative about changing labels that were already correct, suggesting that the edited labels contain learnable structure rather than only isolated fixes.
Music information retrieval research on piano performance increasingly involves diverse modalities of data and annotations beyond audio and MIDI. We present SKY-Piano, a multimodal piano performance dataset that includes 11 hours of performance recordings of motion, multi-view video, audio, MIDI from 7 professional and 12 amateur pianists along with MusicXML scores. The performance pieces were selected considering playing technique, difficulty, and performer expertise on a shared core repertoire. The motion data include both hand and body motion, released in both flagged form, where samples lost to marker occlusion are marked as unreliable, and imputed form, where those gaps are reconstructed, together with Visual3D body-segment kinematics and other time-synchronized modalities. To easily browse different modalities of data at a glance, we provide an interactive web browser. In addition, we developed a fingering annotation model and tool for deriving pseudo fingering annotations from the MIDI and motion data. Lastly, we present MIDI-to-motion generation through a fine-tuning experiment as a use case of the dataset.
We consider the conversion of musical recordings into human-readable sheet music annotated with timestamps. Such output lets a listener clearly visualize rubato (temporally expressive playing), a learner diagnose ensemble precision and timing choices against the written music, and a musicology scholar compare performance styles across recordings of the same work. We introduce (1) a prompt-conditioned encoder-decoder model, named Rubato, trained to output (2) a new textual representation for polyphonic music, named InterMo, which we designed for compatibility with sequence-to-sequence training. Our experiments demonstrate that Rubato produces timestamped piano sheet music from audio with higher notational accuracy than the best existing approaches, which are based on cascades. We find that even if the cascade is given ground-truth MIDI instead of audio, Rubato performs better, suggesting that the ceiling of existing approaches is primarily representational, not acoustic. Further, because Rubato is trained on several related tasks (with prompts), it competes with or outperforms the best single-task systems on related but simpler tasks like MIDI note grounding and beat/downbeat detection. A demo is available at https://nctamer.github.io/rubato-transcription .