CODA: Cascaded Online Discontinuity-Aware Alignment for Real-Time Image-Based Score Following
Authors: Yining Yang, Ruogu Chen, Jie Han
Organizations: Don Wright Faculty of Music, Western University, Canada · Department of Electrical and Computer Engineering, University of Alberta, Canada
Real-time score following from sheet images remains chal- lenging because the model must process streaming au- dio while resolving highly repetitive visual patterns un- der strict latency constraints. Recent image-based meth- ods have attempted to use multi-resolution prediction by simultaneously predicting the positions of the active sys- tem, bar, and note. However, their predictions across these different levels of notation are independent, which makes the predictions unstable and introduces unnecessary ex- tra search space for bar- and note-level predictions. Most existing methods also lack mechanisms to recover from score discontinuities, such as repeats, da capo (D.C.), or coda jumps. This paper proposes CODA, to the best of our knowledge, the first real-time score following system that addresses both gaps. CODA explicitly exploits the cascaded structure of music scores: it first selects the ac- tive system, then the active bar within it, and finally the active note within the selected bar. This enforces pre- diction consistency across resolutions. A silence-driven break mode enables recovery from arbitrary score discon- tinuities without requiring knowledge of the repeat struc- ture. Evaluated on the Multimodal Sheet Music Dataset (MSMD) piano benchmarks, CODA achieves state-of-the- art tracking accuracy and discontinuity-recovery perfor- mance under real-time throughput. Code is available at https://github.com/ValleyC/CODA.
Audio-to-score alignment is a long-standing challenge in music information retrieval and arguably the most widely applicable alignment task for music research. Alignment algorithms match two versions of a piece of music, and for this to work these versions need to be in comparable formats. Audio-to-audio alignment matches audio features; when matching audio files to scores, they must either synthesize the score or derive audio-like features by means of piano rolls or similar feature sequences. Symbolic alignment, by contrast, matches symbolically encoded notes; in an audio-to-score scenario these would be obtained by a transcription of the audio file. In this article, we present an algorithm that bridges audio-like and symbol-level features directly. Sequential audio features encoding onset and spectral activation are matched to score positions by a bespoke dynamic programming-based matching algorithm derived from symbolic alignment methods. The resulting method is both precise - surpassing widely used audio-to-audio approaches based on synthesized scores -, and remains flexible in its digital signal processing components, i.e., the method is adaptable to diverse timbral characteristics without requiring a separate transcription model. Furthermore it inherits some of the symbolic alignment runtime advantages with an algorithmic complexity that is at worst linear in the length of the (typically short) symbolic score and (typically long) audio feature sequence. In the following sections, we provide a detailed algorithm description and evaluate its alignment quality on a large-scale dataset of solo piano recordings.
The digitization of musical scores plays a crucial role in their preservation and accessibility, yet information retrieval still depends mainly on metadata searches, such as by title or composer. Content based search in music score images remains underexplored compared to text documents, despite its potential value for musicians, musicologists, and educators. This work contributes to the field by first studying which characteristics of a score are most relevant for search and by defining a systematic method to build query datasets from any annotated corpus. We also consider diverse methods for content-based search on music score images, ranging from transcription-based approaches relying on Optical Music Recognition (OMR), to a transcription-free Transformer model trained to recognize queries directly from score images, and a text-prompted Large Language Model. Our experiments evaluate these models on four corpora exhibiting diverse characteristics in terms of dataset size, image quality, and typesetting mechanisms. Overall, each method excels under different conditions: OMR-based pipelines achieve higher in-domain retrieval, whereas transcription-free models handle domain variability more effectively.
Noelia Luna-Barahona, Antonio Ríos-Vila, Félix Fuentes-Hurtado +2
Optical Music Recognition (OMR), the task of transcribing sheet music into a structured textual representation, is currently bottlenecked by a lack of large-scale, annotated datasets of real scans. This forces models to rely on either few-shot transfer or synthetic training pipelines that remain overly simplistic. A secondary challenge is encoding non-uniqueness: in the popular Humdrum **kern format for transcribing music, multiple different text encodings can render into the same visual sheet music. This one-to-many mapping creates a harder learning task and introduces high uncertainty during decoding. We propose Transcoda, an OMR system built on (i) an advanced synthetic data generation pipeline, (ii) a normalization of the **kern encoding to enforce a unique normal form and (iii) grammar-based decoding to ensure the syntactic correctness of the output. This approach allows us to train a compact 59M-parameter model in just 6 hours on a single GPU that outperforms billion-parameter baselines. Transcoda achieves the best score among state of the art baselines on a newly curated benchmark of synthetically rendered scores at 18.46% OMR-NED (compared to 43.91% for the next-best system, Legato) and reduces the error rate on historical Polish scans to 63.97% OMR-NED (down from 80.16% for SMT++).