Bharatanatyam is the oldest Indian Classical Dance (ICD) which is learned and practiced across India and the world. Adavu is the core of this dance form. There exist 15 Adavus and 58 variations. Each Adavu variation comprises a well-defined set of motions and postures (called dance steps) that occur in a particular order. So, while learning Adavus, students not only learn the dance steps but also take care of its sequence of occurrences. This paper proposed a method to recognize these sequences. In this work, firstly, we recognize the involved Key Postures (KPs) and motions in the Adavu using Convolutional Neural Network (CNN) and Support Vector Machine (SVM), respectively. In this, CNN achieves 99% and SVM's recognition accuracy becomes 84%. Next, we compare these KP and motion sequences with the ground truth to find the best match using the Edit Distance algorithm with an accuracy of 98%. The paper contributes hugely to the state-of-the-art in the form of digital heritage, dance tutoring system, and many more. The paper addresses three novelties; (a) Recognizing the sequences based on the KPs and motions rather than only KPs as reported in the earlier works. (b) The performance of the proposed work is measured by analyzing the prediction time per sequence. We also compare our proposed approach with the previous works that deal with the same problem statement. (c) It tests the scalability of the proposed approach by including all the Adavu variations, unlike the earlier literature, which uses only one/two variations.
We built a compact convolutional network (1.11 M parameters) for 46-class DHCD Devanagari recognition and reached 99.73%, the highest reported at 15.6x smaller than prior state-of-the-art. We have effectively reached the saturation point: every model tested, large teacher ensembles included, hits the same 11-error intrinsic floor. No configuration achieves a statistically clear win under exact McNemar tests with Wilson confidence intervals. Even without knowledge distillation, our student matches the nearest large-model baseline (17.32 M parameters; McNemar p=0.345). Outside of DHCD, zero-shot on CMATERdb digits gives 76.6% and fine-tuning reaches 97.8%; corruption robustness is also far better than large baselines (mean corruption accuracy 75.7% vs. 38.7%). All artifacts are at https://github.com/Ampixa/barnamala.
Optical recognition of Gregorian notation has recently been attempted with end-to-end methods, with four datasets introduced. However, each of these datasets is in a different encoding. We design a common encoding based on the S-GABC proposal, convert all four datasets to this common encoding, and train a shared end-to-end foundational model for diastematic Gregorian notation that establishes a new state of the art across all four datasets.
Computational analysis of music often relies on discrete representations, yet many musical traditions are organized around continuous pitch movement that resists segmentation into note-like units. For such traditions, the discrete units that analysis would build on are not given in advance. We address this gap by learning a vocabulary of local pitch-contour patterns directly from unlabeled audio, using a VQ-VAE that quantizes fixed-length contour segments into a finite codebook. To make the learned tokens stable across segmentation positions and small variations in timing and pitch range, we train the model with a reconstruction objective evaluated under the best alignment among a set of candidate temporal and pitch-domain transformations. Applied to Korean traditional music, the learned tokens recover information about expert-defined sigimsae categories without supervision, and in pansori individual tokens align with the two principal modes, Gyemyeonjo and Ujo, supporting their use as units for corpus-level analysis of contour-centric traditions.