Self-supervised learning (SSL) has emerged as an essential paradigm for music information retrieval (MIR). While current SSL models achieve state-of-the-art performance across various MIR tasks, they typically treat audio as 1D sequences, either operating on time-domain waveforms or on flattened time-frequency-domain spectrograms. This discards the rich spatial and structural information in time-frequency representations and overlooks a fundamental intuition in music production. In particular, music is naturally represented as time-frequency grids in MIDI-based workflows, a structure that tightly corresponds to 2D spectrograms and inherently makes many MIR tasks trivial. Motivated by this intuition, we propose PupuM2D, a musical Masked Modeling Duo (M2D) model that is trained directly on 2D music spectrograms. Instead of applying masked language modeling (MLM) to 1D sequences, PupuM2D learns robust representations by predicting the latent embeddings of masked 2D music spectrogram patches from unmasked contexts. To optimally adapt such a framework to music signals, we also apply domain-specific modifications to model architecture, training scheme, and inference paradigm, with comprehensive ablation studies showing their effectiveness. Evaluations on the MARBLEv2 benchmark show that PupuM2D outperforms the sequence-based SSL models across multiple MIR tasks in linear probing. Additionally, case studies of the attention maps also confirm that PupuM2D captures musically meaningful patterns within the 2D time-frequency domain. Codes and checkpoints are available at: https://www.yichenggu.com/PupuM2D/.
Rich internal representations of musical structure are essential for music understanding tasks such as machine-assisted music co-writing, yet self-supervised approaches for symbolic music representation remain underexplored, particularly those that encode the hierarchical multiscale nature of musical structures. We present MIDI-RAE-JEPA, combining a pitch- and time-shift equivariance objective with LeJEPA and a Swin Transformer V2 encoder to learn such hierarchical representations of symbolic music encoded as piano roll images. The time-shift equivariance objective encourages the model to internalize temporal musical relationships. The encoder is trained purely on self-supervised objectives -- including a masked embedding predictor (MEP) -- with collapse prevented via SIGReg. A separate decoder trained on the frozen encoder embeddings achieves reconstruction F1 of 0.995, and a flow matching generative model conditioned on those embeddings produces generations that closely match the pitch register and rhythmic density of the conditioning excerpt, while mismatched conditioning yields unrelated but musically plausible output. Learned representations outperform a Haar scattering transform baseline on a downstream emotion classification task, and embedding distances increase monotonically with pitch and time shift magnitude, confirming measurable equivariance. These results suggest that equivariance-based SSL objectives, combined with sufficient fine-level encoder capacity, provide a viable path toward semantically rich, generatively useful representations of symbolic music.
Joint-Embedding Predictive Architecture (JEPA) has shown strong performance in learning rich representations through self-supervised prediction in latent space. However, it typically relies on teacher--student architecture with an EMA to stabilise training, and can tend to yield uninformative representations. Contrastive learning is stable to train and produces strong global representations, but remains limited on local tasks by the global nature of its objective. In this work, we combine both into CoJEPA: a single shared backbone jointly trained with a JEPA objective on masked sequence tokens and a contrastive objective on the class token. The contrastive gradient provides stability, removing the need for an EMA teacher entirely, while JEPA enriches the sequence tokens via local predictions that contrastive learning alone cannot provide. Crucially, no extra parameters are added to the backbone: the same model is guided towards richer representations purely through the design of its training signal. CoJEPA takes the best of both worlds, outperforming or matching both individual methods across global and local MIR tasks, with a particularly strong advantage on tonal and harmonic understanding, and without any task-specific architectural changes. CoJEPA shows that combining objectives with complementary inductive biases can substitute for scale, encouraging future work to invest in smarter training objectives over ever-larger models.
Gabriel Meseguer-Brocal, Yuexuan Kong, Romain Hennequin
Joint Embedding Predictive Architectures (JEPA) have recently emerged as a paradigm for learning world models by predicting latent representations, offering a promising direction for self-supervised learning. While initial attempts have applied JEPA to the music domain, it remains unclear how such frameworks can naturally support the formation of a world model for music. In this work, we propose to learn a world model of piano sound using JEPA by framing music as an action-conditioned system: the audio is treated as the state, and the pianoroll as the instrument action. Given a current audio state and an action, the model predicts the resulting future audio state, mirroring how humans learn musical sound through interaction. The model is trained in a fully offline setting using paired audio-pianoroll data, without environment interaction. Experiments show that the learned model captures the relationships between musical actions and their resulting sound. The resulting representations support downstream tasks, including beat tracking, composer identification, and key estimation, and enable piano transcription via planning, by searching for actions that best explain a target sound.