Organizations: School of Electrical and Computer Engineering, National Technical University of Athens, Athens, Greece · Institute for Language and Speech Processing, Athena Research Center, Athens, Greece
Automatic tagging is a core task in Music Information Retrieval (MIR), yet most tagging systems exploit only audio. Live music performance is inherently multimodal, as semantic labels such as instruments, regional styles, and dance forms are encoded simultaneously across acoustic, visual, and embodied performance cues. This is especially true of culturally specific repertoires such as Greek traditional music, which remain underrepresented in MIR benchmarks. In this paper, we investigate whether the use of dancer pose provides complementary information for automatic tagging in Greek traditional music beyond audio. Using the Lyra dataset, we extend prior audio-only work by extracting aligned video features and pose-derived skeleton streams, enabling an experimental setting for multimodal auto-tagging. We further introduce an automated pipeline for extracting primary-dancer skeleton sequences from in-the-wild dance footage, combining dance-scene detection, multi-person tracking, dancer selection, pose estimation, and quality filtering. We compare unimodal, all bimodal combinations, and trimodal systems using multiple fusion strategies. Audio remains the strongest single modality (AST: macro ROC-AUC 0.821), while skeletons, though weak in isolation, enhance performance through multimodal fusion. The best trimodal system improves macro ROC-AUC by about 4 percentage points over the strongest audio baseline.
When retrieving a person from a video archive by voice and face, should the system be multimodal or not? In real-world broadcast archives, unlike curated benchmarks, a target may be heard but unseen, seen but unheard, or both. Fusing scores from an absent modality injects noise, degrading precision below the best unimodal system. We propose a query-adaptive framework that detects active modalities via cross-modal score consistency: when both modalities are active, files retrieved by one also score highly on the other; this agreement breaks down when a modality is absent. Classifiers driven by these cross-modal features achieve 89% detection accuracy. On the BBC Rewind corpus (with over 12,000 broadcast videos) the adaptive system attains 94.2% P@1, outperforming speaker-only (82.9%), face-only (93.4%), and fixed fusion (90.0%), recovering 64% of the gap to an oracle with ground-truth modality labels (96.6%).
Music recommendation systems typically treat songs as opaque tokens, relying on collaborative interaction histories which overlooks semantic or acoustic content. Prior work has explored LLM-augmented, multimodal, and text-enhanced approaches to sequential recommendation, and while some methods partially combine semantic, acoustic, or engagement signals, none jointly model all three within a unified LLM-based sequential reasoning framework that grounds recommendations in actual song content. In this work, we propose a multimodal framework for session-based music recommendation that enriches the LastFM-1K dataset with three complementary signals: (1) audio and lyric embeddings extracted using pretrained music and text representation models, (2) LLM-generated semantic metadata using the MGPHot annotation schema, and (3) listening completion ratios. We adopt the E4SRec framework by extending it with multimodal features and different item ID encoder backbones, including SASRec, BERT4Rec, and GRU4Rec. We further extend the LLM backbone option with LLaMa-2-13B, Qwen2.5-7B-Instruct, and LLaMa-3-70B in both zero-shot and fine-tuned settings. Our experiments show that integrating content-based features improves over ID-only baselines up to 95% in terms of Recall and 79% in terms of NDCG. Moreover, our experiments show that naive multimodal fusion does not always yield additive improvements, highlighting challenges in cross-modal integration. We release a large-scale multimodal benchmark for music recommendation.
Srikar Prabhas Kandagatla, Sreehitha R. Narayana, Chandana Magapu +6
Music represents a cornerstone of human culture, existing digitally across diverse modalities, including audio, symbolic encodings (e.g., MIDI, MusicXML), and sheet music. Despite the advancement of Multimodal Large Language Models (MLLMs), current music benchmarks face three major limitations. First, large static benchmarks are resource-intensive to evaluate, and it remains unclear how their results transfer to diverse kinds of music beyond those included in the benchmark. Second, benchmarks claiming to measure "music understanding" often fail to require music perception. Third, they do not support systematic performance comparisons across musical modalities. To overcome these issues, we introduce the Music I Care About Meta-Benchmark (MusICA-MetaBench), a framework that automatically derives on-demand benchmarks directly from user-provided data. By leveraging structured symbolic representations (e.g., MusicXML) and our pre-defined question templates, we build multiple-choice question-answer pairs that probe music perception competencies, aligned with music pedagogy, across audio, music notation images, and symbolic files. We demonstrate our framework with the ChoraleBricks dataset, and experimentally determine benchmark sizes that ensure statistically reliable model comparisons for this setup. By comparing against text-only and white-noise baselines, we show our questions do measure music perception. Ultimately, MusICA-MetaBench represents a significant advancement in the cross-modal assessment of music perception for MLLMs. By proposing a dataset-specific benchmarking paradigm, it enables efficient on-demand evaluation of music perception capabilities.