Music Information Retrieval

Also known as MIR

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15 papers in the last four weeks, up 150% on the four weeks before. 0.1% of all new papers.

Jul 13Week of Sep 28

Latest papers 99

Oct 7, 2026eess.AS

CASM: Context-Aware Semi-Markov Post-Processor for Beat Tracking

In music beat tracking, model-predicted activations must be decoded into a discrete, musically coherent event sequence. Direct peak picking closely follows local evidence but can retain spurious peaks or miss weak beats. Dynamic Bayesian networks (DBNs), a widely used structured post-processor, improve sequence consistency under predefined global tempo, meter, and transition constraints, but their behavior can depend strongly on these settings. We introduce CASM, a context-aware semi-Markov decoder that instead conditions its temporal constraint on local activation evidence. CASM also accounts for ambiguity among competing periodic interpretations, including half- and double-tempo alternatives. Deterministic safeguards prevent implausible outputs and preserve beat-downbeat consistency. Applied to fixed activations from three neural beat trackers (BeatThis, MSCNN, and TCN), CASM improves temporal continuity while preserving event-level F1 across the GTZAN and SMC datasets, without backbone retraining or dataset-specific retuning. Further analysis shows that CASM is less sensitive than the DBN baseline to the composition of the calibration data.

Zhanhong He, Hanyu Meng, Yaolong Ju

The University of Western Australia, Perth, Australia · The University of New South Wales, Sydney, Australia · Great Bay University, Dongguan, China

Music Information Retrieval Sequence Modeling

Oct 6, 2026cs.SD

Towards AI-Generated Music Plagiarism Detection as a Version Identification Problem

The rapid expansion of text-to-music generative models challenges traditional paradigms of music creation and intellectual property. Plagiarism in this context is rarely an absolute mathematical binary, but an ambiguous threshold negotiated over harmonic structure, melodic contours, or overall perceived stylistic character. In this work, we test the transferability of state-of-the-art music version identification architectures from the human-to-human cover domain to the human-to-AI plagiarism setting. To evaluate this task, we introduce COPYCAT, a benchmark derived from real-world plagiarism cases and extended through generative re-synthesis and digital signal processing obfuscations, yielding 350,654 evaluation pairs. We show that scalar distance thresholding collapses under generative re-synthesis, while a supervised framework leveraging coordinate-wise embedding shifts recovers the dispersed plagiarism signal, raising overall

F_{0.5}

from

0.612

to

0.803

.

Fotis Koutsikos, Ioannis Prokopiou, Spyridon Kantarelis +6

National Technical University of Athens, Athens, Greece · Athens University of Economics and Business, Athens, Greece · Orfium, Athens, Greece +1

Music Information Retrieval

Oct 6, 2026cs.SD

Geometric Representations for Transformed Pattern Matching in Music

We review the notion of representing music using point sets and argue that such representations are better adapted than sequential representations for matching patterns in unvoiced, polyphonic music, such as keyboard music. Musical transformations such as transposition, inversion, diminution, augmentation and retrograde can be modelled by geometric transformations in pitch-time representations that combine translation with scaling parallel to and reflection in the time axis. We identify eight types of geometric pitch-time representation that use chromatic pitch, morphetic pitch, morph or chroma to represent pitch and either onset time or midtime to represent time. We illustrate how these types of representation allow us to characterise different types of musical transformation. For example, by using midtime instead of onset time, we can precisely characterise certain retrograde relationships; and by using morph and chroma pitch representations we can characterise transformations involving octave displacements and duplications. We present the concept of a transformation class and consider the three specific classes,

F_{\mathrm{2STR}}

,

F_{\mathrm{2STRMod7}}

and

F_{\mathrm{2STRMod12}}

. We introduce the notion of an inter-pattern transformation graph for a set of patterns,

S

, and a transformation class,

F

. Each vertex in such a graph represents a pattern in

S

and there is an edge in the graph from pattern

P_1

to pattern

P_2

if and only if

P_1

can be mapped onto

P_2

by a transformation in

F

. We show, with the aid of such graphs, that the musical relationships between the occurrences of the HAYDN theme in Ravel's Menuet sur le nom d'Haydn can be precisely described in terms of transformations in

F_{\mathrm{2STR}}

,

F_{\mathrm{2STRMod7}}

and

F_{\mathrm{2STRMod12}}

within the pitch-time representations considered.

David Meredith

Aalborg University, Aalborg, Denmark

Music Information Retrieval

Oct 2, 2026cs.SD

Revisiting Input Time-frequency Representations in Multi-pitch Estimation for Vocal Ensembles

Multi-pitch estimation in vocal ensembles is challenging because singers occupy overlapping pitch ranges and often sing at closely spaced fundamental frequencies, causing their harmonics to overlap in time-frequency representations. Existing models commonly use harmonic constant-Q transform (HCQT)-based representations to provide frequency-adaptive resolution, at the cost of expensive feature extraction when training mixtures are generated on the fly. We revisit this design and compare HCQT with a linear short-time Fourier transform (STFT), whose frequency bins are directly provided as model inputs. Despite its fixed frequency resolution and the absence of a pitch-aligned input grid, the linear STFT outperforms HCQT while substantially reducing feature-extraction cost. Further analysis shows that a longer analysis window or broader spectral coverage provides no additional improvement, while restricting the input to the predicted pitch range reduces the advantage of the linear STFT. These results suggest that finer frequency resolution does not necessarily improve vocal-ensemble MPE, and that shorter analysis windows can be more effective for time-varying vocal pitches.

Junyoung Koh, Hao-Wen Dong

Yonsei University · University of Michigan

Music Information Retrieval Audio Understanding Frequency-Domain Feature Learning

Sep 30, 2026eess.AS

Pitch Smoothing Using Relative Interval Networks

Pitch tracking systems typically couple a per-frame fundamental frequency (

F_0

) estimator with a temporal smoothing stage to obtain continuous trajectories. Conventional Viterbi smoothers enforce first-order continuity but lack long-term temporal awareness and could lock into octave errors across corrupted frames. We propose Relative Interval Networks (RIN), a trajectory smoothing framework that reconciles per-frame pitch estimates with data-driven multi-hop pitch differences. We extract robust relative pitch intervals across arbitrary frame offsets using Variable-Q Transform cross-correlation. We formulate pitch smoothing as an

L_1

-norm optimization problem and prove its equivalence to a minimum cost circulation problem, solved efficiently via linear programming. Evaluations across speech, singing, and instrumental datasets show that RIN substantially improves weak estimators, matches or outperforms Viterbi decoding at a comparable computational cost, and provides superior robustness under certain acoustic degradation.

Chin-Yun Yu, Chi-Jen Peng, Li Su +1

Centre for Digital Music, Queen Mary University of London, UK · Department of Information Management, National Taiwan University, Taiwan · Institute of Information Science, Academia Sinica, Taiwan

Music Information Retrieval

Sep 29, 2026cs.SD

Emergent Tonal Structure in Learned Chord Embeddings and Its Relation to Tonal Tension

Several tonal pitch spaces and computational models have been proposed to analyze tonal structure in Western tonal music, many of them grounded in principles from music theory and used to support tonal analysis with important implications for tonal tension. In parallel, data-driven methods such as skip-gram have been used to learn chord embeddings from symbolic corpora, but their ability to recover tonal structure and its relation to tonal tension remains underexplored. In this work, we investigate how skip-gram chord embeddings reflect tonal structure and whether they provide a useful basis for analyzing structural aspects of tonal tension. Using chord sequences with and without transposition-based augmentation, we evaluate the learned spaces from geometric, functional, and tension-related perspectives. We show that augmented embeddings exhibit strong transposition equivariance, recover a clear circle-of-fifths structure, and support interpretable shifts between key-related regions of the learned space. We then derive embedding-based measures from chord-to-key distance and contextual chord-distance relations, and show that they capture meaningful aspects of tonal tension structure through correspondence with matched tonal measures and moderate alignment with human tension profiles. Across analyses, transposition-based augmentation generally improves the stability, tonal coherence, and interpretability of the learned space.

Maral Ebrahimzadeh, Gilberto Bernardes, Sebastian Stober

Otto von Guericke University Magdeburg, Artificial Intelligence Lab, Magdeburg, Germany · INESC TEC, Faculty of Engineering, University of Porto, Portugal

Representation Learning Music Information Retrieval

Sep 28, 2026cs.SD

Retrieving Individual Stems from Music Mixtures with Slot Embeddings

Music producers search libraries of isolated instrument recordings, called stems, for sounds resembling parts of an existing song. Neural retrieval systems address this by mapping audio to embeddings and ranking library stems by their similarity to the query. The leading method, Contrastive Instrument Retrieval (CIR), encodes the mixture as a single embedding, but it works best when a user specifies the target's instrument family. We introduce Stembed, which encodes a mixture as several slot embeddings representing candidate stems. During training, we construct mixtures from stems of the same song and match their slot embeddings to those of the isolated stems. The slot embeddings from mixtures inherit the stem identities of their assigned solo embedding, enabling a contrastive loss. On mixtures from held out MoisesDB artists, Stembed outperforms a CIR-style baseline when both search the full stem library. Even when predicting the stem count itself without family labels, Stembed exceeds the baseline's family-filtered R@1. Our website demonstrates how users can select a slot by inspecting the tags of its retrieved stems.

David Braun, Junyi Fan, Pranay Manocha +2

Princeton University · The Ohio State University · Symbal AI

Audio Representation Learning Multi-Vector Retrieval Music Information Retrieval

Sep 28, 2026cs.SD

JazzSAMBA: A Synchronous and Asynchronous Multi-take Band Audio Dataset of Jazz Standards for Live Music Models

Machine learning has made strong progress on music tasks, both as assistive tools and as creative partners. However, most systems train on multitrack corpora that emphasize pop and rock. Jazz, with improvisation at the core of its practice, still lacks a well-annotated corpus of clean per-stem combo recordings on standards. We introduce JazzSAMBA (Jazz Synchronous and Asynchronous Multi-take Band Audio) to fill this gap: the first originally recorded jazz-combo multitrack dataset of standards with asynchronous (overdubbed) and synchronous (live ensemble) protocols, preferred and alternate takes chosen by the musicians, and timed annotations for bars, chords, sections, and soloists. JazzSAMBA covers 76 standards by eight musicians on drums, bass, piano, trumpet, and saxophone, with per-stem audio, mixtures, and MIDI. It can support chart-conditioned accompaniment, combo source separation, and form-aware music information retrieval. We demonstrate the dataset on two tasks: a jazz combo source-separation baseline and a chart-conditioned accompaniment ablation. The dataset, code, and samples are linked from the project demo page.

Phillip Long, Jacob Nguyen, Jace Hosto +9

University of California, San Diego · Independent Musician · Massachusetts Institute of Technology

Music Information Retrieval

Sep 22, 2026cs.SD

Pose-Aware Multimodal Automatic Tagging for Greek Traditional Music

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.

Alexandros Alexiou, Charilaos Papaioannou, Alexandros Potamianos

School of Electrical and Computer Engineering, National Technical University of Athens, Athens, Greece · Institute for Language and Speech Processing, Athena Research Center, Athens, Greece

Music Information Retrieval Multimodal Fusion

Sep 18, 2026cs.SD

Training Music Sample Identification Models on Real Sample Pairs

Sample identification (SI) is the task of matching pairs of tracks, where one track is created by musically transforming an element of the other. In the absence of sample annotations at scale, the dominant training paradigm has depended on artificially creating sample pairs. Although a recently released dataset provides annotations of real sample pairs at scale, an effective training recipe is missing. In this work, we present SI Embeddings (SIE), an SI model that achieves state-of-the-art results on three benchmarks, including a large-scale test set. We show that the previous state of the art trained on artificial pairs generalizes only partially to real pairs, and that its training data limits its performance. We also show that real pairs do not fully account for SIE's performance: its architecture and training recipe contribute substantially. We provide the first fully supervised training recipe for real-world SI, establishing a strong foundation for future research in the field.

R. Oguz Araz, Joan Serrà, Xavier Lizarraga-Seijas +3

Music Technology Group, Universitat Pompeu Fabra, Spain · Sony Europe · Sony CTC America

Audio Representation Learning Music Information Retrieval

Sep 14, 2026cs.SD

Sectional Structure and Emotional Dynamics in Chinese Pop Songs: An Empirical Analysis of Valence-Arousal Trajectories across 100 Songs

Music Emotion Recognition (MER) aims to identify and represent emotional information in music through computational methods and is an important research area within Music Information Retrieval (MIR). To address the limited consideration of song sectional structure in existing dynamic MER research, this study examines 100 Chinese pop songs by aligning 1,046 manually annotated sections with continuous Valence-Arousal (VA) trajectories and analyzing them from the perspectives of section type, adjacent section transitions, repeated sections, and whole-song trajectories. The results show that emotional differences across sections are reflected more strongly in Arousal. Verse typically forms a relatively low-activation baseline, Pre-chorus exhibits a progressive buildup, and Chorus produces a more pronounced high-arousal arrival, while Interlude, Bridge, and Outro tend to show transitional, divergent, and closing functions, respectively. Although whole-song sectional configurations are diverse, high-frequency local transitions are relatively concentrated. High-arousal positions occur more often in the later part of a song, but are not fixed to the final Chorus. Based on these findings, this study summarizes the emotional organization of the selected pop songs as an empirical framework of "local cycles-global accumulation", in which local sectional cycles are accompanied by emotional pullbacks, while the overall trajectory exhibits a later-stage rise in VA and a tendency for high-Arousal positions to occur later in the song.

Jingyi Lyu

Communication University of China

Valence-Arousal Modeling Music Information Retrieval Emotion Recognition

Sep 14, 2026cs.SD

Building a Dataset for Music Sample Identification

Sample identification (SI) is the task of matching an element of a musical work to its musically transformed versions used to create new works. The task has received little attention and lacks large-scale publicly available data. In this work, we mine sampling annotations from a music database and split them for training and evaluation. The resulting dataset is nearly three orders of magnitude larger than the existing SI benchmarks, with training, validation, and test sets of 114 k, 6 k, and 10 k tracks. We find that naively splitting the annotations places the same tracks in different sets. To avoid this, we construct a graph from the annotations and split it over connected components. We further find that a single mega-component contains half of the annotations, making component-wise splitting incompatible with balanced splits; we trim it, yielding a leakage-aware pipeline. We share the dataset for non-commercial scientific research purposes only and make the data-analysis and splitting code publicly available. We hope that our work fosters research on SI.

R. Oguz Araz, Xavier Lizarraga, Xavier Serra +1

Music Technology Group, Universitat Pompeu Fabra, Spain

Music Information Retrieval

Sep 14, 2026cs.SD

MUUNRiver-Bench: Diagnosing Relation-Dependent Music Retrieval with Multimodal Instructions

Music retrieval is relation-dependent: given a reference track, a listener may seek its style with a new theme, a cover, or a comparable voice, and these intents demand contradictory rankings. We present MUUNRiver-Bench, a diagnostic benchmark whose reference-audio queries use natural-language instructions to define relevance. A pipeline combining expert genre priors, LLM-generated prompts and lyrics, synthesis, and expert review yields 3,440 tracks spanning 13 genres and 116 sub-genres, and seven tasks: similar-music, style-preserving lyric-rewriting, lyric-preserving style-rewriting, cover, vocal-timbre, isolated-vocal, and segment retrieval. Across six models in eight configurations, task-wise rank reversals reveal complementary biases: acoustic encoders favour local identity, whereas text-aligned encoders favour semantic relations. Frozen encoders diagnose default similarity preferences; instruction-aware and audio-text fusion systems provide exploratory tests of textual conditioning, with neither simple fusion scheme consistently improving its backbone

Zhancheng Guo, Congren Dai, Shangda Wu +4

Central Conservatory of Music, Beijing, China · Tsinghua University, Beijing, China

Audio-Language Model Evaluation Audio-Text Retrieval Music Information Retrieval

Sep 14, 2026cs.SD

Real-Time Music Source Separation on a Low-Power Audio DSP

Real-time music source separation is validated on desktop CPUs and GPUs. Does any published system fit the embedded audio hardware it targets? On a commercial audio DSP (2 MB SRAM, 2.07 GMAC/s measured), none does, and the constraints eliminate different models: memory rules out the 16-51 M parameter TasNet/X-UMX family, per-frame compute rules out RT-STT, needing 5.5x the available MAC rate. Parameter count predicts neither: weight reuse spans 1x to 345x. We then build one that fits. Training on continuous rather than block-padded convolution context proves essential: a model scoring 3.93 dB block-wise otherwise collapses to silence within 2 s frame-by-frame. A gated complex FIR deep filter adds a latency knob, gaining 0.38 dB even when strictly causal. It reaches 4.70 dB cSDR on MUSDB18-HQ and runs in 10.43 ms of an 11.6 ms hop, 0.5-0.7 dB behind systems that do not fit.

Jianan Li, Li Liu, Ken Malsky +1

Analog Devices, Inc., Norwood, MA, USA

Efficient Neural Network Inference Music Information Retrieval Audio Source Separation

Sep 13, 2026cs.SD

POLARIS: Training-Free Audio Fingerprinting with Saliency-Based Landmarks and Delaunay Grouping

This work presents POLARIS, a training-free audio fingerprinting system that selects landmarks from a locally normalized saliency field and groups them into sparse fingerprints using Delaunay triangulation. To deal with query distortion, POLARIS adds fingerprints from two-hop Delaunay neighborhoods only at query time, without enlarging the reference index. An adaptive configuration applies this expansion only when the original fingerprints do not produce a confident match. We evaluate POLARIS on synthetic distortions from the public PEX Hard Medium benchmark, excluding queries with pitch or tempo shifts, and on a new benchmark of real re-recorded music. POLARIS achieves the best performance among the evaluated training-free methods on both benchmarks. On the real recordings, its adaptive configuration also outperforms the neural NMFP baseline with a comparable measured query time and a smaller logical reference payload. Code, dataset, and instructions for reproducing all experiments are available at https://github.com/JihengLi/POLARIS.git.

Jiheng Li

Department of Computer Science, Vanderbilt University, Nashville, TN, 37235

Music Information Retrieval

Sep 10, 2026cs.LG

TART: A Modular Tool for Technique-Aware Audio-to-Tablature Guitar Transcription

Automatic Music Transcription (AMT) for guitar remains limited by three challenges: existing systems often fail to capture expressive techniques such as slides, bends, and percussive hits; they often assign notes to incorrect string-fret combinations; and they are typically trained on clean recordings, limiting their generalization to noisy real-world audio. To address these challenges, we propose TART, a modular four-stage audio-to-tablature pipeline consisting of (1) an audio-to-MIDI transcription model, (2) an expressive technique classifier, (3) an audio-conditioned T5 encoder-decoder for string-fret assignment, and (4) an automated tablature generator. We evaluate TART in a zero-shot setting on GuitarSet, EGDB, and two augmented benchmarks, Noisy GuitarSet and Noisy EGDB. Averaged across these four benchmarks, TART achieves 81.35% audio-to-MIDI F50 (+6.67 points over the best prior baseline), 71.8% string-fret Tab F1 (+8.5 points over the best prior baseline), and 54.08% end-to-end Tab F1. To our knowledge, TART is the first framework to generate guitar tablature with both fingering and expressive technique annotations directly from guitar audio.

Akshaj Gupta, Hwi Joo Park, Andrea Guzman +5

University of California, Berkeley

Automatic Music Transcription Music Information Retrieval

Sep 9, 2026cs.SD

Project Qualia: Recovering Experiential Music Structure from Session Co-occurrence Data

This report presents results from Project Qualia, an ongoing effort to determine whether experiential similarity between songs, a structure not captured by genre or metadata taxonomies, can be recovered from real listening behavior. We constructed a large-scale dataset of listening sessions, comprising 1.29 billion scrobbles collected from 9,396 users via the Last.fm API and reduced through a preprocessing pipeline to 531.6 million training scrobbles across 28.6 million sessions. On this corpus, we trained a skip-gram Word2Vec model (Song2Vec), treating each session as a sentence and each track as a token. As anticipated, the resulting embedding space was dominated by artist identity, a consequence of single-artist runs within sessions. To test for a subtler, artist-independent signal, we developed an artist-residual procedure: subtracting each artist's centroid from its tracks' embeddings and evaluating whether the remainder retained structure. Mean cross-artist cosine similarity fell from 0.2487 in raw embedding space to 0.0005 in residual space, yet 4,577 cross-artist track pairs retained cosine similarity

\ge 0.70

in residual space, forming coherent genre- and era-based clusters, including trip-hop, 1990s grunge, 2020 mainstream pop, and cross-composer classical piano pairs at cosine similarity up to 0.95. These results confirm that the training data contains experiential structure independent of artist identity, establishing an empirical basis for an architecture designed to learn this experiential layer directly.

Nizam Mohammed, Abu B. S. Rahman, Dimuthu D. K. Arachchige

School of Computing, DePaul University, Chicago, IL 60604, USA · Department of Computer Science, Hampton University, VA 23669, USA

Music Information Retrieval

Sep 9, 2026cs.SD

TimeCues Studio: A Workspace for Music Annotation and Algorithm Prototyping

Multimedia applications require precise music annotation-labeled positions, segments, or loops-placed by hand or algorithmically. Machine-learning algorithms are scalable and effective but need annotated training data, scarce for many tasks. TimeCues Studio is an open-source workspace where algorithm-development teams annotate a music corpus, compare detection algorithms against those annotations, and prototype new ones. Unlike existing tools built for a single track at a time, TimeCues targets teams annotating whole collections, tightly integrated with algorithm development. Annotators place several marker types-each supporting ambiguity-aware labeling-on a grid-locked timeline that visualizes many music features, including separated audio stems. The same timeline drives an algorithm-comparison engine with bundled baselines, a Python sandbox for prototyping new models, and an ambiguity-aware evaluator that honors the structured fields. The same visualization suits solo annotators on music-sync projects. TimeCues is MIT-licensed and deploys via one Docker Compose command.

Sapir Caduri, Yoav Goldberg

Bar-Ilan University Ramat Gan, Israel

Human-in-the-Loop Annotation Music Information Retrieval Automated Evaluation

Sep 3, 2026eess.SP

Geometric Ceilings on Time-Frequency Masking for Single-Channel Separation

Most single-channel separators estimate a source by applying a real gain to the mixture in each time-frequency bin. The optimum of that format, which the oracle masks used as bounds do not attain, is the orthogonal projection of the source onto the line spanned by the mixture, its residual set by the angle between them. Locating an estimator reduces to the block structure of a real-linear operator on stacked spectra, giving a chain of four nested classes whose three larger terms match three assumptions on the prior: zero means, circularity and absence of inter-frequency coupling. Held fixed the chain is a cascade of four orthogonal projections; refitted per frame it collapses onto its first term, attributing the whole residual to one missing real parameter per bin, the phase. When the phase posterior is symmetric about the mixture direction, the minimum mean-square estimate falls back onto the line, with gain the posterior mean of the oracle gain and excess error its variance. On MUSDB18 a posterior mean under a non-circular Gaussian-mixture prior leaves the class yet stays 11.44 dB under the per-frame ceiling, which four times as many components and 7.5x the data do not close; a closed-form gate attributes some 70% of it, in decibels, to the predicted variance. The widest fixed class stays 6.70 dB under the same ceiling. Leaving the class and minimising squared error are conflicting requests: the barrier lies in the criterion rather than in the prior.

Maxime Baelde

Independent researcher, Lille, France

Music Information Retrieval Audio Source Separation Speech Separation

Sep 1, 2026cs.SD

On the Human and Computer Alignment of Attribute-Based Music Matches

Recent advances in generative AI are raising ethical concerns regarding the originality of generated content and the potential replication of training data, with further implications for transparency, attribution, and intellectual property. In music, several computational approaches have been proposed to identify potential replication, using audio-based similarity metrics. Yet, their alignment with human judgments across distinct musical attributes remains underexplored. To address this gap, we conduct a perceptual experiment on music matches, defined as strongly similar musical excerpts. We focus on five musical attributes: melody, harmony, rhythm, voice, and timbre. We design a triplet-based forced-choice task comprising 300 cases, including plagiarism examples, cover songs, and AI-generated music. From this experiment, we introduce the MATCHA (Musical Attribute-based Triplet Comparison with Human Annotations) dataset: a collection of 1105 perceptual assessments of attribute-based music matches from 83 expert participants. Our findings reveal measurable agreement among participants in identifying matches across attributes. We further observe partial alignment between human judgments and computational similarity measures. Overall, this work underscores the importance of domain-specific and perceptually grounded evaluation frameworks for generative AI in creative practice.

Roser Batlle-Roca, Woosung Choi, Joan Serrà +5

Music Technology Group, Universitat Pompeu Fabra · Sony AI · Joint Research Centre, European Commission +1

Music Generation Evaluation Music Information Retrieval

Aug 31, 2026cs.SD

CoJEPA: Combining Contrastive Learning and JEPA for Global-Local Music Representations

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

Deezer Research, Paris, France

Contrastive Learning Audio Representation Learning Joint-Embedding Predictive Architecture Music Information Retrieval

Aug 27, 2026stat.ML

Recovering Expert Critic-Sourced Network Adjacency between Musical Artists from Acoustic Distributions: A Construct-Validity Approach

Music recommendation relies primarily on two signals: user-item interactions, which fail in the cold-start regime, and intrinsic musical content, available for any recording. We argue that a third, largely untapped signal is both richer and more principled: critical adjacency, the pairwise relation established when an expert critic explicitly links two artists in long-form prose. It encodes deliberate judgments about which artists belong together. Prior work established its internal validity, showing it recovers coherent, interpretable communities and can match collaborative filtering in user-satisfaction simulations, with no user data. What has been missing is external validation: whether this critic-sourced relation is grounded in the music itself versus sociological context. We test it against acoustic content, reframing the question as one of construct validity. Representing artists as empirical distributions over 80 low-level Essentia acoustic descriptors and modeling pairwise proximity via marginal optimal-transport (Wasserstein) distances, we evaluate how far critical adjacency is sonically recoverable under a cold-start, artist-disjoint split. Our ensemble recovers these edges at out-of-sample AUC of 0.767 (95% CI 0.761-0.775). Recoverability rises monotonically with critical consensus, reaching 0.865 on multi-source attested edges. Stratified evaluations align with sociological models of genre: tightly bounded, scene-based genres show higher recoverability than broad industry umbrella terms. Critical discourse is thus a rich source of information for recommendation, decomposing into a reproducible "sonic core" and a "sociological remainder" driven by narrative positioning, subcultural context, and canonical placement. The work offers both a scalable cold-start discovery mechanism and a sociologically grounded approach to MIR and MRS research.

Elena Badillo-Goicoechea, Fengfeng He

University of Chicago Chicago, Illinois, USA

Cold-Start Recommendation Link Prediction Recommender Systems Music Information Retrieval

Aug 11, 2026cs.SD

Pitch Contour Tokenization using VQ-VAE and Its Application on Korean Traditional Music Analysis

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.

Seonguk Ju, Seola Cho, Sooin Chung +2

Music & Arts Learning (MALer) Lab, Sogang University, South Korea · Graduate School of Culture Technology, KAIST, South Korea

Audio Representation Learning Vector-Quantized Variational Autoencoder Audio Tokenization Music Information Retrieval

Aug 11, 2026cs.SD

Beyond Dry References: Learning Relative Audio Effects Representations via Contrastive Distance Learning

Audio effects (Fx) representation learning plays a key role in intelligent music production, including automatic mixing and Fx style transfer. Existing methods typically rely on dry or nearly dry references for effect modeling, yet truly unprocessed audio is rarely available in practice, as real recordings inevitably reflect the microphone, room acoustics, and preceding signal processing. Instead of pursuing absolute effect encodings, we argue that the relative effect distance between audio signals is more meaningful for real-world music production. Motivated by this, we propose RelFx, a contrastive learning framework that learns relative effect transformations from general audio collections without requiring dry references during representation training. Our approach uses a dual-branch Siamese encoder equipped with cross-attention and differential gating fusion to infer the shared effect transformation from a reference clip and an effect-processed, content-related clip. We further propose an antisymmetric fusion variant for bidirectional effect encoding, such that swapping the input order directly produces a nearly sign-reversed embedding, a property not explored in earlier work. Moreover, our dry-reference-free formulation eliminates the reliance on dry multitrack datasets and enables training on effect-bearing audio. Experiments on Fx style transfer demonstrate state-of-the-art performance under the standard Fx-Encoder++ MUSDB18 evaluation protocol, consistently outperforming existing approaches across all four instrument categories.

Xinlu Liu, Huibin Lin, Weixing Wei +1

Galaxy Audio Effect Team, Tencent Music Entertainment · Independent Researcher

Contrastive Learning Audio Representation Learning Music Information Retrieval

Aug 9, 2026cs.SD

Steering dense music retrieval with open-vocabulary concept discovery

Controllable music retrieval lets users find music that is, for example, more ambient, less distorted, or without guitar while preserving the other semantic content of an original seed query. Sparse autoencoders (SAEs) are a promising interface for this kind of concept-level control, but a key problem remains: given a free-form text concept, which sparse features should be edited? In shared multimodal embedding spaces, standard attribution methods often select neurons that match the concept's wording but not the audio examples that express it. This leads to weak or unstable edits: relevant features are missed when concepts are distributed across neurons, while others are selected due to text alignment rather than audio-side structure. We address this with a lightweight, training-free method that recovers a sparse set of audio features whose decoded representation reconstructs the target concept while remaining consistent with audio-space geometry. This reframes concept attribution as a sparse inversion problem rather than a text-side neuron-ranking heuristic. The method requires neither paired audio-text supervision nor SAE retraining. We evaluate this approach in steerable music retrieval and show that the recovered supports align more closely with concept-bearing audio examples and achieve a stronger trade-off between edit strength and preservation than alignment baselines, enabling more precise concept amplification and suppression with reduced drift on preservation metrics.

Julien Guinot, Alain Riou, Elio Quinton +1

Music & Audio Machine Learning Lab, Universal Music Group, London, U.K. · Centre for Digital Music, Queen Mary University of London, U.K.

Feature Attribution Sparse Autoencoders Audio-Text Retrieval Music Information Retrieval

Aug 7, 2026eess.AS

Assessing AI-generated music detection in real-world broadcast monitoring

The proliferation of AI-generated music in broadcast media raises concerns about transparency and fair compensation, but reliable detection under real broadcast conditions remains unresolved. Existing studies report substantial performance degradation in this domain, yet their evaluations are limited to synthetic broadcast data. To address this gap, we introduce BAMM (Broadcast AI-Music Monitoring), a 40-hour dataset of real-world television recordings containing AI-generated and human-made music. We compare clean-trained and broadcast-trained CNN variants across three progressively more challenging scenarios: Clean Foreground Music (CFM), Synthetic TV Broadcast (STB), and Real TV Broadcast (RTB). Both models achieve near-perfect performance on CFM but degrade substantially under synthetic broadcast conditions. Broadcast-oriented training improves robustness compared with clean training, although performance remains limited. On RTB, evaluated using BAMM, both models degrade further and show substantial score overlap between AI-generated and human-made music. These results expose a critical domain gap and show that current training approaches on CNN-based detectors remain insufficient for reliable AI-generated music detection in broadcast monitoring.

David López-Ayala, Fernando García de la Cruz, Pablo Zinemanas +2

Music Technology Group, Universitat Pompeu Fabra, Barcelona, Spain · BMAT Licensing S.L., Barcelona, Spain

Audio Deepfake Detection Domain Generalization AI-Generated Music Detection Music Information Retrieval

Aug 6, 2026cs.SD

Frame-Level Pansori Mode Classification with Complementary Audio Representations

Pansori is a traditional Korean vocal genre whose mode system (jo) is defined not by scale alone but by the entanglement of pitch collection, microtonal ornament (sigimsae), and vocal timbre. In this study, we introduce a 46-hour frame-level pansori mode annotation, expert-labeled across all five canonical batang, and evaluate four complementary input representations (mel spectrogram, F0 contour, MIDI piano roll, and a multi-cultural SSL encoder) under two split strategies designed to detect shortcut learning. Across the three well-represented modes, performance degrades by only 2.1--3.6 points of F1 when entire works are held out, indicating that the models learn mode-relevant features rather than memorizing repertoire. Per-class results further show that source separation removes the percussion cue on which changjo depends, and that generic multi-cultural pre-training fails specifically on the Ujo--Gyemyeonjo distinction. Qualitative analysis of cross-modal disagreement recovers musicologically documented phenomena and agrees with published score-based analyses of modern changjak pansori.

Sangheon Park, Seonguk Ju, Suin Chung +2

School of Music, Georgia Institute of Technology, USA · Music & Arts Learning (MALer) Lab, Sogang University, South Korea · Department of Culture Technology, KAIST, South Korea

Music Information Retrieval Audio Classification

Aug 5, 2026cs.SD

Masked diffusion enables coherent beat tracking

Current neural networks for beat tracking generate invalid outputs, such as consecutive downbeats and erratic tempo changes, even when these are not present in the training data. Heavy post-processing techniques can alleviate these problems, but the original cause of this inconsistent behaviour remains unknown. We hypothesise that it stems from inadequate modelling of multiple plausible output beat grids, resulting in an invalid mixture of competing interpretations. We propose a masked diffusion approach that properly models multiple outputs and enables the model to build coherent predictions through iterative inference. We devise three modifications to standard masked diffusion that enable its application to beat tracking: independent masking of beats and downbeats during training and inference, a balanced masking scheduler for inference, and peak-picking across inference steps. Our approach reduces erratic behaviours and improves beat-tracking performance.

Francesco Foscarin, Filip Korzeniowski, Richard Vogl

Moises AI

Masked Diffusion Models Music Information Retrieval

Aug 5, 2026cs.SD

Towards Robust Version Identification in the Wild: A Dataset, Benchmark, and Fine-Tuning Study

Existing datasets for musical version identification (VI) are primarily derived from curated metadata sources such as SecondHandSongs and Discogs, and are therefore dominated by professionally recorded tracks. This leads to a domain mismatch with real-world scenarios, where amateur and user-generated content is prevalent. To address this limitation, we introduce DiVers, a large-scale VI dataset comprising over 1.1 million musical versions, with train-validation-test splits compatible with established datasets such as Discogs-VI-YT, SHS100K, and Da-TACOS. In addition to standard version-level annotations, DiVers provides automatically assigned tags (e.g., instrumental, live) and segment-level predictions indicating the presence or absence of music. We evaluate the proposed dataset by training state-of-the-art VI systems. Our results show that models trained on DiVers achieve substantially improved robustness to acoustically diverse and noisy inputs, while maintaining a stable performance on cleaner, studio-quality benchmarks. We release the dataset metadata, code for its construction, and all experimental pipelines to support reproducibility.

Simon Hachmeier, R. Oguz Araz, Dmitry Bogdanov +2

Berlin School of Library and Information Science, Humboldt-Universität zu Berlin, Germany · Music Technology Group, Universitat Pompeu Fabra, Barcelona, Spain

Music Information Retrieval Cross-Dataset Generalization

Aug 5, 2026cs.SD

A Dual Evaluation for Music Transcription

Automatic music transcription systems produce sheet music that can be read and played back. We argue that these two targets call for complementary evaluations of notation similarity to a reference score and playback similarity to the original performance, respectively. Our study considers notation similarity metrics from the optical music recognition literature and a wide range of playback-similarity methods validated through a listening study across over 100 participants and 230 piano recordings covering 23 works, 30 performers, and six composers. We find, fortuitously, that the playback similarity metric that correlates best with human judgments, CLEWS, is also the cheapest to run. We also find that the two evaluation dimensions favor different systems among a collection of 24 pipelines formed by pairing eight audio-to-MIDI models with three MIDI-to-score converters, with the latter component systematically determining the favored objective. The complementarity between metrics also holds when adding to the pool Rubato, a new end-to-end system that offers substantially improved notation similarity while remaining competitive, though not the best, on playback similarity.

Ping Wang, Guang Yang, Nazif Can Tamer +2

Score Matching Automatic Music Transcription Music Information Retrieval