Gangqinpu: A Multi-Genre, Multi-Task Piano Dataset with Aligned Audio, MIDI, and Musical Scores

Symbolic music datasets with matched scores and performances are essential for many music information retrieval (MIR) tasks. Yet, existing resources often cover a narrow range of composers, lack performance variety, omit note-level alignments, or use inconsistent naming formats. This work presents PianoCoRe, a large-scale piano MIDI dataset that unifies and refines major open-source piano corpora. The dataset contains 250,046 performances of 5,625 pieces written by 483 composers, totaling 21,763 h of performed music. PianoCoRe is released in tiered subsets to support different applications: from large-scale analysis and pre-training (PianoCoRe-C and deduplicated PianoCoRe-B) to expressive performance modeling with note-level score alignment (PianoCoRe-A/A*). The note-aligned subset, PianoCoRe-A, provides the largest open-source collection of 157,207 performances aligned to 1,591 scores to date. In addition to the dataset, the contributions are: (1) a MIDI quality classifier for detecting corrupted and score-like transcriptions and (2) RAScoP, an alignment refinement pipeline that cleans temporal alignment errors and interpolates missing notes. The analysis shows that the refinement reduces temporal noise and eliminates tempo outliers. Moreover, an expressive performance rendering model trained on PianoCoRe demonstrates improved robustness to unseen pieces compared to models trained on raw or smaller datasets. PianoCoRe provides a ready-to-use foundation for the next generation of expressive piano performance research.

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.

In recent years, thanks to advances in automatic music transcription (AMT), several large-scale datasets of automatically transcribed piano solo music have been released. While these datasets undoubtedly offer extensive material for performance studies, they vary substantially in quality. In the case of classical music, performances often differ not only in expressive aspects such as tempo, but also in their structural interpretation of the score (including repeat patterns and edition-specific variants). To meaningfully use large-scale transcribed datasets for performance research, transcriptions of the same piece must be grouped according to their underlying structural realisation to support valid comparison. We address this by applying sequence-to-sequence alignment followed by hierarchical clustering: we create pairwise alignments for all pairs of transcriptions of a given piece, and use the alignment cost and (dis)similarity of performed sequence lengths to resolve structural mismatches as features for grouping. We propose this approach as a first step towards automatically evaluating large-scale transcribed datasets that lack ground-truth score and/or audio, shifting the evaluation criterion from truth-based accuracy to musical coherence and plausibility. We demonstrate our score-agnostic approach on around 1,500 transcriptions of 88 compositions from a recently published large-scale transcribed piano performance dataset.