Music Information Retrieval

Also known as MIR

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Overview

Music Information Retrieval studies how computers can identify and organize music, extract musical features, and connect recordings, scores, and descriptions to support search, analysis, and creative work. Approaches range from audio fingerprints, signal-processing features, and dynamic time warping to CNNs, transformers, self-supervised representations, and audio-language models. Common tasks include transcription and beat tracking, chord and genre recognition, music similarity and version retrieval, source separation, and recommendation, evaluated on datasets such as MAESTRO and MUSDB18. The field has strong systems for many benchmark tasks, but performance can falter on noisy or unfamiliar music and underrepresented traditions; aligning model scores with human judgments and verifying fine-grained audio understanding remain open challenges.

Latest papers

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153 papers25 papers in the last four weeks, up 32% on the four weeks before. 0.1% of all new papers.

May 5, 2026

Cosmodoit: A Python Package for Adaptive, Efficient Pipelining of Feature Extraction from Performed Music

Computational analysis of performed music is a key component of music information research, as performance shapes much of the music we hear. Music performance analysis studies the acoustic variations introduced by performers and how these variations reflect musical interpretation and structure. Although many algorithms and tools exist for tasks such as performance-to-score alignment and symbolic or audio feature extraction, they are spread across different programming languages and data formats, making them difficult to combine efficiently. To address this problem, we present Cosmodoit, a novel Python package designed to streamline feature extraction from performed music. Cosmodoit integrates performance-to-score alignment with symbolic and audio feature extraction in a modular, flexible pipeline that supports selective processing, dependency-aware computation, and incremental updates. Its extensible design reduces duplicated work, minimizes errors, and enables efficient large-scale processing. By accommodating algorithms implemented in multiple languages and allowing parameter tuning for consistent feature extraction, Cosmodoit provides a versatile and practical tool for both research and development in music performance analysis.

Corentin Guichaoua, Daniel Bedoya, Elaine Chew

1STMS Laboratoire (UMR9912) – CNRS, IRCAM, Sorbonne Universit´e, Minist`ere de la Culture, Paris 75004, France · Department of Engineering and School of Biomedical Engineering & Imaging Sciences, King’s College London, United Kingdom

Music Information Retrieval
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May 5, 2026

APEX: Large-scale Multi-task Aesthetic-Informed Popularity Prediction for AI-Generated Music

Music popularity prediction has attracted growing research interest, with relevance to artists, platforms, and recommendation systems. However, the explosive rise of AI-generated music platforms has created an entirely new and largely unexplored landscape, where a surge of songs is produced and consumed daily without the traditional markers of artist reputation or label backing. Key, yet unexplored in this pursuit is aesthetic quality. We propose APEX, the first large-scale multi-task learning framework for AI-generated music, trained on over 211k songs (10k hours of audio) from Suno and Udio, that jointly predicts engagement-based popularity signals - streams and likes scores - alongside five perceptual aesthetic quality dimensions from frozen audio embeddings extracted from MERT, a self-supervised music understanding model. Aesthetic quality and popularity capture complementary aspects of music that together prove valuable: in an out-of-distribution evaluation on the Music Arena dataset, comprising pairwise human preference battles across eleven generative music systems unseen during training, including aesthetic features consistently improves preference prediction, demonstrating strong generalisation of the learned representations across generative architectures.

Jaavid Aktar Husain, Dorien Herremans

AMAAI Lab, Singapore University of Technology and Design

Multi-Task LearningMusic Information Retrieval
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May 1, 2026

GaMMA: Towards Joint Global-Temporal Music Understanding in Large Multimodal Models

In this paper, we propose GaMMA, a state-of-the-art (SoTA) large multimodal model (LMM) designed to achieve comprehensive musical content understanding. GaMMA inherits the streamlined encoder-decoder design of LLaVA, enabling effective cross-modal learning between music and language. By incorporating audio encoders in a mixture-of-experts manner, GaMMA effectively unifies both time-series and non-time-series music understanding tasks within one set of parameters. Our approach combines carefully curated datasets at scale with a progressive training pipeline, effectively pushing the boundaries of music understanding via pretraining, supervised fine-tuning (SFT), and reinforcement learning (RL). To comprehensively assess both temporal and non-temporal capability of music LMMs, we introduce MusicBench, the largest music-oriented benchmark, comprising 3,739 human-curated multiple-choice questions covering diverse aspects of musical understanding. Extensive experiments demonstrate that GaMMA establishes new SoTA in the music domain, achieving 79.1% accuracy on MuchoMusic, 79.3% on MusicBench-Temporal, and 81.3% on MusicBench-Global, consistently outperforming previous methods.

Zuyao You, Zhesong Yu, Mingyu Liu +3

1Fudan University · 2ByteDance

Music UnderstandingMultimodal PretrainingMultimodal Large Language ModelsAudio UnderstandingAudio-Language ModelsMusic Information Retrieval+2
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Apr 27, 2026

An event-based sequence modeling approach to recognizing non-triad chords with oversegmentation minimization

Automatic chord recognition (ACR) extracts time-aligned chord labels from music audio recordings. Despite recent advances, ACR still struggles with oversegmentation, data scarcity, and imbalance, especially in recognizing complex chords such as non-triads, which are unpopular in existing datasets. To address these challenges, we reformulate ACR as a segment-level sequence-to-sequence prediction task, where chord sequences are predicted auto-regressively rather than frame by frame. This design mitigates excessive segmentation by detecting chord changes only at segment boundaries. We further introduce two types of token representations and an encoder pre-training method, both specifically designed for time-aligned chord modeling. Experimental results show that our model improves performance in both chord recognition and segmentation, with notable gains for complex and infrequent chord types. These findings demonstrate the effectiveness of segment-level sequence modeling, structured tokenization, and representation learning for advancing chord recognition systems.

Leekyung Kim, Jonghun Park

Department of Industrial Engineering and Institute of Industrial Systems Innovation, Seoul National University, Seoul, Republic of Korea

Music Information RetrievalSequence ModelingStructured Prediction
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Apr 25, 2026

An audio-to-analysis pipeline with certified transcription for information-theoretic profiling of the piano repertoire

We present an audio-to-analysis pipeline that produces composer-level information-theoretic profiles : reflecting compositional vocabulary as it emerges from aggregated performances : from raw recordings, built on a transcription layer whose accuracy we certify on a standard benchmark (F1 = 0.9791 on the MAESTRO v3.0.0 test set). Applied to 1,238 pieces and 15 MAESTRO composers with at least ten attributed pieces, spanning the Baroque through the early twentieth century, the pipeline derives empirical distributions over harmonic scale degrees and analyzes them through Shannon entropy, asymmetric Kullback-Leibler divergence, and Zipfian rank-frequency modeling. The resulting profiles (i) order composers along an interpretable axis of harmonic predictability, with a narrow entropy range (3.33-3.86 bits) that reveals the marginal-level similarity of tonal vocabularies; (ii) recover known stylistic lineages (Haydn-Beethoven, Liszt-Rachmaninoff, Schubert-Schumann) through the smallest KL divergences in the corpus, with Mendelssohn emerging as a stable outlier within this corpus; and (iii) separate contemporary neoclassical artists (Richter, Frahm, Glass, Arnalds, Jóhannsson) from historical composers on the quality of Zipfian fit to the transition distribution, with mean R2=0.78R^2 = 0.78 for neoclassical versus 0.46 for historical (N ≥\geq 10 pieces each). This gap is larger than the spread within either group and is consistent with a minimalist compositional tendency: a compact transition vocabulary used with sharper frequency-rank regularity than historical composers. All estimates are reported with Laplace-smoothed bootstrap 95% confidence intervals.

Fred Jalbert-Desforges

Independent Music Analysis Researcher Creator of CYGNUS & LYRA Montreal, Quebec

Computational MusicologyAutomatic Music TranscriptionMusic Information Retrieval
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Apr 24, 2026

Come Together: Analyzing Popular Songs Through Statistical Embeddings

Statistical modeling of popular music presents a unique challenge due to the complexity of song structures, which cannot be easily analyzed using conventional statistical tools. However, recent advances in data science have shown that converting non-standard data objects into real vector-valued embeddings enables meaningful statistical analysis. In this work, we demonstrate an approach based on logistic principal component analysis to construct embeddings from global song features, allowing for standard multivariate analysis. We apply this method to a corpus of Lennon and McCartney songs from 1962-1966, using embeddings derived from chords, melodic notes, chord and pitch transitions, and melodic contours. Our analysis explores how these song embeddings cluster by Beatles album, how songwriting styles evolved over time, and whether Lennon and McCartney's compositions exhibited convergence or divergence. This embedding-based approach offers a powerful framework for statistically examining musical structure and stylistic development in popular music.

Matthew Esmaili Mallory, Mark Glickman, Jason Brown

Harvard University Department of Statistics Cambridge, MA, USA · Department of Mathematics and Statistics Dalhousie University Halifax, NS, Canada

Music Information Retrieval
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Apr 24, 2026

Transformer-Based Rhythm Quantization of Performance MIDI Using Beat Annotations

Rhythm transcription is a key subtask of notation-level Automatic Music Transcription (AMT). While deep learning models have been extensively used for detecting the metrical grid in audio and MIDI performances, beat-based rhythm quantization remains largely unexplored. In this work, we introduce a novel deep learning approach for quantizing MIDI performances using a priori beat information. Our method leverages the transformer architecture to effectively process synchronized score and performance data for training a quantization model. Key components of our approach include dataset preparation, a beat-based pre-quantization method to align performance and score times within a unified framework, and a MIDI tokenizer tailored for this task. We adapt a transformer model based on the T5 architecture to meet the specific requirements of rhythm quantization. The model is evaluated using a set of score-level metrics designed for objective assessment of quantization performance. Through systematic evaluation, we optimize both data representation and model architecture. Additionally, we apply performance and score augmentations, such as transposition, note deletion, and performance-side time jitter, to enhance the model's robustness. Finally, a qualitative analysis compares our model's quantization performance against state-of-the-art probabilistic and deep-learning models on various example pieces. Our model achieves an onset F1-score of 97.3% and a note value accuracy of 83.3% on the ASAP dataset. It generalizes well across time signatures, including those not seen during training, and produces readable score output. Fine-tuning on instrument-specific datasets further improves performance by capturing characteristic rhythmic and melodic patterns. This work contributes a robust and flexible framework for beat-based MIDI quantization using transformer models.

Maximilian Wachter, Sebastian Murgul, Michael Heizmann

Klangio GmbH Karlsruhe, Germany · Institute of Industrial Information Technology Karlsruhe Institute of Technology Karlsruhe, Germany

Automatic Music TranscriptionMusic Information Retrieval
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Apr 23, 2026

Beyond Rules: Towards Basso Continuo Personal Style Identification

A central part of the contemporary Historically Informed Practice movement is basso continuo, an improvised accompaniment genre with its traditions originating in the baroque era and actively practiced by many keyboard players nowadays. Although computational musicology has studied the theoretical foundations of basso continuo expressed by harmonic and voice-leading rules and constraints, characteristics of basso continuo as an active performing art have been largely overlooked mostly due to a lack of suitable performance data that could be empirically analyzed. This has changed with the introduction of The Aligned Continuo Realization Dataset (ACoRD) and the basso continuo realization-to-score alignment. Basso continuo playing is shaped by stylistic traditions coming from historical treatises, but it also may provide space for showcasing individual performance styles of its practitioners. In this paper, we attempt to explore the question of the presence of personal styles in the basso continuo realizations of players in the ACoRD dataset. We use a historically informed structured representation of basso continuo performance pitch content called griffs and Support Vector Machines to see whether it is possible to classify players based on their performances. The results show that we can identify players from their performances. In addition to the player classification problem, we discuss the elements that make up the individual styles of the players.

Adam Štefunko, Jan Hajič

Faculty of Mathematics and Physics Charles University Prague, Czech Republic

Music Information Retrieval
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Apr 22, 2026

Embedding-Based Intrusive Evaluation Metrics for Musical Source Separation Using MERT Representations

Evaluation of musical source separation (MSS) has traditionally relied on Blind Source Separation Evaluation (BSS-Eval) metrics. However, recent work suggests that BSS-Eval metrics exhibit low correlation between metrics and perceptual audio quality ratings from a listening test, which is considered the gold standard evaluation method. As an alternative approach in singing voice separation, embedding-based intrusive metrics that leverage latent representations from large self-supervised audio models such as Music undERstanding with large-scale self-supervised Training (MERT) embeddings have been introduced. In this work, we analyze the correlation of perceptual audio quality ratings with two intrusive embedding-based metrics: a mean squared error (MSE) and an intrusive variant of the Fréchet Audio Distance (FAD) calculated on MERT embeddings. Experiments on two independent datasets show that these metrics correlate more strongly with perceptual audio quality ratings than traditional BSS-Eval metrics across all analyzed stem and model types.

Paul A. Bereuter, Alois Sontacchi

University of Music and Performing Arts Graz, Institute of Electronic Music and Acoustics (IEM) A-8010 Graz, Austria

Music Information RetrievalAutomated EvaluationAudio Source SeparationMusic Source Separation
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Apr 17, 2026

TinyMU: A Compact Audio-Language Model for Music Understanding

Music understanding and reasoning are central challenges in the Music Information Research field, with applications ranging from retrieval and recommendation to music agents and virtual assistants. Recent Large Audio-Language Models (LALMs) have shown remarkable progress in answering music-related questions by following user instructions. However, their massive scale, often billions of parameters, results in expensive training, slow inference, and limited deployability on edge devices. In this work, we present TinyMU, a lightweight (229M) Music-Language Model (MLM) that achieves performance comparable to much larger LALMs while remaining efficient and compact. To train TinyMU, we introduce MusicSkills-3.5M, a carefully curated, music-grounded question-answering dataset with 3.5M samples. Spanning multiple-choice, binary, and open-ended formats, this dataset provides fine-grained supervision across diverse musical concepts. For its architecture, TinyMU leverages MATPAC++, the SOTA self-supervised audio encoder for fine-grained feature extraction. Paired with a lightweight linear projector, it efficiently aligns audio embeddings with the language model. Through extensive evaluation, we show that TinyMU performs strongly in both basic music understanding and complex reasoning. Notably, on the MuChoMusic benchmark, it achieves 82% of SOTA LALM's performance despite being 35x smaller, highlighting the potential of small MLMs under constrained computational budgets.

Xiquan Li, Aurian Quelennec, Slim Essid

LTCI, T´el´ecom Paris, Institut Polytechnique de Paris · Shanghai Jiao Tong University

Music UnderstandingSmall Language ModelsAudio UnderstandingAudio-Language ModelsMusic Information Retrieval
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Apr 16, 2026

A Manual Bar-by-Bar Tempo Measurement Protocol for Polyphonic Chamber Music Recordings: Design, Validation, and Application to Beethoven's Piano and Cello Sonatas

Empirical performance analysis depends on the accurate extraction of tempo data from recordings, yet standard computational tools, designed for monophonic audio or modern studio conditions, fail systematically when applied to historical polyphonic chamber music. This paper documents the failure of automated beat-detection software on duo recordings of Beethoven's five piano and cello sonatas (Op.~5 Nos.1 and2; Op.~69; Op.~102 Nos.1 and2), and presents a formalised manual alternative: a cumulative lap-timer protocol that yields bar-level beats-per-minute data with millisecond resolution. The protocol, developed in cross-disciplinary collaboration with an engineer specialising in VLSI design, rests on a cumulative timestamp architecture that prevents error accumulation, permits internal self-validation, and captures expressive timing phenomena (rubato, fermatas, accelerandi, ritardandi) that automated tools systematically suppress or misread. The mathematical derivation of the BPM formula, the spreadsheet data structure, and the error characterisation are presented in full. Applied to over one hundred movement-level recordings spanning 1930--2012, the protocol generated a dataset subsequently visualised through tempographs, histograms with spline-smoothed probability density functions, ridgeline plots, and combination charts. The paper argues that manual annotation is not a methodological retreat but a principled response to the intrinsic limitations of computational tools when faced with the specific challenges of polyphonic historical recordings. The complete dataset and analysis code are publicly available.

Ignasi Sole

Music Information Retrieval
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Apr 12, 2026

BMdataset: A Musicologically Curated LilyPond Dataset

Symbolic music research has relied almost exclusively on MIDI-based datasets; text-based engraving formats such as LilyPond remain unexplored for music understanding. We present BMdataset, a musicologically curated dataset of 393 LilyPond scores (2,646 movements) transcribed by experts directly from original Baroque manuscripts, with metadata covering composer, musical form, instrumentation, and sectional attributes. Building on this resource, we introduce LilyBERT (weights can be found at https://huggingface.co/csc-unipd/lilybert), a CodeBERT-based encoder adapted to symbolic music through vocabulary extension with 115 LilyPond-specific tokens and masked language model pre-training. Linear probing on the out-of-domain Mutopia corpus shows that, despite its modest size (~90M tokens), fine-tuning on BMdataset alone outperforms continuous pre-training on the full PDMX corpus (~15B tokens) for both composer and style classification, demonstrating that small, expertly curated datasets can be more effective than large, noisy corpora for music understanding. Combining broad pre-training with domain-specific fine-tuning yields the best results overall (84.3% composer accuracy), confirming that the two data regimes are complementary. We release the dataset, tokenizer, and model to establish a baseline for representation learning on LilyPond.

Matteo Spanio, Ilay Guler, Antonio Rodà

Department of Information Engineering, University of Padua, Padua, Italy · Boston University, Boston, USA

Computational MusicologyMusic Information Retrieval
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Apr 11, 2026

Masked Contrastive Pre-Training Improves Music Audio Key Detection

Self-supervised music foundation models underperform on key detection, which requires pitch-sensitive representations. In this work, we present the first systematic study showing that the design of self-supervised pretraining directly impacts pitch sensitivity, and demonstrate that masked contrastive embeddings uniquely enable state-of-the-art (SOTA) performance in key detection in the supervised setting. First, we discover that linear evaluation after masking-based contrastive pretraining on Mel spectrograms leads to competitive performance on music key detection out of the box. This leads us to train shallow but wide multi-layer perceptrons (MLPs) on features extracted from our base model, leading to SOTA performance without the need for sophisticated data augmentation policies. We further analyze robustness and show empirically that the learned representations naturally encode common augmentations. Our study establishes self-supervised pretraining as an effective approach for pitch-sensitive MIR tasks and provides insights for designing and probing music foundation models.

Ori Yonay, Tracy Hammond, Tianbao Yang

Department of Computer Science and Engineering, Texas A&M University

Music Information RetrievalAudio Representation LearningSelf-Supervised Pre-TrainingContrastive Learning
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Apr 6, 2026

YMIR: A new Benchmark Dataset and Model for Arabic Yemeni Music Genre Classification Using Convolutional Neural Networks

Automatic music genre classification is a major task in music information retrieval; however, most current benchmarks and models have been developed primarily for Western music, leaving culturally specific traditions underrepresented. In this paper, we introduce the Yemeni Music Information Retrieval (YMIR) dataset, which contains 1,475 carefully selected audio clips covering five traditional Yemeni genres: Sanaani, Hadhrami, Lahji, Tihami, and Adeni. The dataset was labeled by five Yemeni music experts following a clear and structured protocol, resulting in strong inter-annotator agreement (Fleiss kappa = 0.85). We also propose the Yemeni Music Classification Model (YMCM), a convolutional neural network (CNN)-based system designed to classify music genres from time-frequency features. Using a consistent preprocessing pipeline, we perform a systematic comparison across six experimental groups and five different architectures, resulting in a total of 30 experiments. Specifically, we evaluate several feature representations, including Mel-spectrograms, Chroma, FilterBank, and MFCCs with 13, 20, and 40 coefficients, and benchmark YMCM against standard models (AlexNet, VGG16, MobileNet, and a baseline CNN) under the same experimental conditions. The experimental findings reveal that YMCM is the most effective, achieving the highest accuracy of 98.8% with Mel-spectrogram features. The results also provide practical insights into the relationship between feature representation and model capacity. The findings establish YMIR as a useful benchmark and YMCM as a strong baseline for classifying Yemeni music genres.

Moeen AL-Makhlafi, Abdulrahman A. AlKannad, Eiad Almekhlafi +2

School of Artificial Intelligence, Xidian University, Xi’an, China. · Department of Information Science and Technology, Northwest University, Xi’an 710127, China.

Music Information RetrievalAudio ClassificationConvolutional Neural Networks
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Mar 30, 2026

Constructing Composite Features for Interpretable Music-Tagging

Combining multiple audio features can improve the performance of music tagging, but common deep learning-based feature fusion methods often lack interpretability. To address this problem, we propose a Genetic Programming (GP) pipeline that automatically evolves composite features by mathematically combining base music features, thereby capturing synergistic interactions while preserving interpretability. This approach provides representational benefits similar to deep feature fusion without sacrificing interpretability. Experiments on the MTG-Jamendo and GTZAN datasets demonstrate consistent improvements compared to state-of-the-art systems across base feature sets at different abstraction levels. It should be noted that most of the performance gains are noticed within the first few hundred GP evaluations, indicating that effective feature combinations can be identified under modest search budgets. The top evolved expressions include linear, nonlinear, and conditional forms, with various low-complexity solutions at top performance aligned with parsimony pressure to prefer simpler expressions. Analyzing these composite features further reveals which interactions and transformations tend to be beneficial for tagging, offering insights that remain opaque in black-box deep models.

Chenhao Xue, Weitao Hu, Joyraj Chakraborty +5

University of Oxford · Independent Researcher · University of Toronto +1

Music Information RetrievalAutomated Feature EngineeringInterpretable MLFeature Interaction Modeling
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Mar 29, 2026

HumMusQA: A Human-written Music Understanding QA Benchmark Dataset

The evaluation of music understanding in Large Audio-Language Models (LALMs) requires a rigorously defined benchmark that truly tests whether models can perceive and interpret music, a standard that current data methodologies frequently fail to meet. This paper introduces a meticulously structured approach to music evaluation, proposing a new dataset of 320 hand-written questions curated and validated by experts with musical training, arguing that such focused, manual curation is superior for probing complex audio comprehension. To demonstrate the use of the dataset, we benchmark six state-of-the-art LALMs and additionally test their robustness to uni-modal shortcuts.

Benno Weck, Pablo Puentes, Andrea Poltronieri +2

Universitat Pompeu Fabra · Universitat Autònoma de Barcelona

Music UnderstandingAudio-Language Model EvaluationAudio UnderstandingAudio-Language ModelsMusic Information Retrieval
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Mar 28, 2026

Can pre-trained Deep Learning models predict groove ratings?

This study explores the extent to which deep learning models can predict groove and its related perceptual dimensions directly from audio signals. We critically examine the effectiveness of seven state-of-the-art deep learning models in predicting groove ratings and responses to groove-related queries through the extraction of audio embeddings. Additionally, we compare these predictions with traditional handcrafted audio features. To better understand the underlying mechanics, we extend this methodology to analyze predictions based on source-separated instruments, thereby isolating the contributions of individual musical elements. Our analysis reveals a clear separation of groove characteristics driven by the underlying musical style of the tracks (funk, pop, and rock). These findings indicate that deep audio representations can successfully encode complex, style-dependent groove components that traditional features often miss. Ultimately, this work highlights the capacity of advanced deep learning models to capture the multifaceted concept of groove, demonstrating the strong potential of representation learning to advance predictive Music Information Retrieval methodologies.

Axel Marmoret, Nicolas Farrugia, Jan Alexander Stupacher

IMT Atlantique, Lab-STICC, UMR CNRS 6285, Brest, France · Center for Music In the Brain, Aarhus University, Århus, Denmark

Music Information RetrievalAudio Representation Learning
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Mar 28, 2026

Unsupervised Evaluation of Deep Audio Embeddings for Music Structure Analysis

Music Structure Analysis (MSA) aims to uncover the high-level organization of musical pieces. State-of-the-art methods are often based on supervised deep learning, but these methods are bottlenecked by the need for heavily annotated data and inherent structural ambiguities. In this paper, we propose an unsupervised evaluation of nine open-source, generic pre-trained deep audio models, on MSA. For each model, we extract barwise embeddings and segment them using three unsupervised segmentation algorithms (Foote's checkerboard kernels, spectral clustering, and Correlation Block-Matching (CBM)), focusing exclusively on boundary retrieval. Our results demonstrate that modern, generic deep embeddings generally outperform traditional spectrogram-based baselines, but not systematically. Furthermore, our unsupervised boundary estimation methodology generally yields stronger performance than recent linear probing baselines. Among the evaluated techniques, the CBM algorithm consistently emerges as the most effective downstream segmentation method. Finally, we highlight the artificial inflation of standard evaluation metrics and advocate for the systematic adoption of trimming'', or even double trimming'' annotations to establish more rigorous MSA evaluation standards.

Axel Marmoret

BRAIN team, MEE, IMT Atlantique, Brest, France

Audio Representation LearningMusic Information Retrieval
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Mar 27, 2026

Diachronic Modeling of Tonal Coherence on the Tonnetz Across Classical and Popular Repertoires

How do different musical traditions achieve tonal coherence? Most computational measures to date have analysed tonal coherence in terms of a single dimension, whereas a multi-dimensional analyses have not been sufficiently explored. We propose a new model drawing on the concept of the Tonnetz -- we define two partially independent measures: tonal focus, the concentration of pitch content near a tonal center; and tonal connection, the degree to which pitch content reflects structured intervallic pathways back to that center. Analyzing over 2,800 pieces from Western classical and popular traditions, we find that these traditions occupy overlapping yet distinguishable regions of the two-dimensional space. Popular music shows higher tonal focus, while classical music exhibits higher tonal connection. Our complementary measures ground the differences between different tonal styles in quantitative evidence, and offer interpretable dimensions for computational music analysis and controllable generation.

Weilun Xu, Edward Hall, Martin Rohrmeier

School of Computer and Communication Sciences, École Polytechnique Fédérale de Lausanne, Switzerland · Digital and Cognitive Musicology Lab, École Polytechnique Fédérale de Lausanne, Switzerland

Music Information Retrieval
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Mar 27, 2026

Probabilistic Multilabel Graphical Modelling of Motif Transformations in Symbolic Music

Motifs often recur in musical works in altered forms, preserving aspects of their identity while undergoing local variation. This paper investigates how such motivic transformations occur within their musical context in symbolic music. To support this analysis, we develop a probabilistic framework for modeling motivic transformations and apply it to Beethoven's piano sonatas by integrating multiple datasets that provide melodic, rhythmic, harmonic, and motivic information within a unified analytical representation. Motif transformations are represented as multilabel variables by comparing each motif instance to a designated reference occurrence within its local context, ensuring consistent labeling across transformation families. We introduce a multilabel Conditional Random Field to model how motif-level musical features influence the occurrence of transformations and how different transformation families tend to co-occur. Our goal is to provide an interpretable, distributional analysis of motivic transformation patterns, enabling the study of their structural relationships and stylistic variation. By linking computational modeling with music-theoretical interpretation, the proposed framework supports quantitative investigation of musical structure and complexity in symbolic corpora and may facilitate the analysis of broader compositional patterns and writing practices.

Ron Taieb, Yoel Greenberg, Barak Sober

Department of Statistics and Data Science, The Hebrew University of Jerusalem, Jerusalem, Israel · Department of Musicology, The Hebrew University of Jerusalem, Jerusalem, Israel

Music Information Retrieval
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Mar 25, 2026

Variable-Length Audio Fingerprinting

Audio fingerprinting converts audio to much lower-dimensional representations, allowing distorted recordings to still be recognized as their originals through similar fingerprints. Existing deep learning approaches rigidly fingerprint fixed-length audio segments, thereby neglecting temporal dynamics during segmentation. To address limitations due to this rigidity, we propose Variable-Length Audio FingerPrinting (VLAFP), a novel method that supports variable-length fingerprinting. To the best of our knowledge, VLAFP is the first deep audio fingerprinting model capable of processing audio of variable length, for both training and testing. Our experiments show that VLAFP outperforms existing state-of-the-arts in live audio identification and audio retrieval across three real-world datasets.

Hongjie Chen, Hanyu Meng, Huimin Zeng +3

Dolby Laboratories, Atlanta, USA · The University of New South Wales, Sydney, Australia · University of Illinois Urbana-Champaign, Champaign, USA +2

Music Information Retrieval
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Mar 16, 2026

Music Genre Classification: A Comparative Analysis of Classical Machine Learning and Deep Learning Approaches

Automatic music genre classification is a long-standing challenge in Music Information Retrieval (MIR); work on non-Western music traditions remains scarce. Nepali music encompasses culturally rich and acoustically diverse genres--from the call-and-response duets of Lok Dohori to the rhythmic poetry of Deuda and the distinctive melodies of Tamang Selo--that have not been addressed by existing classification systems. In this paper, we construct a novel dataset of approximately 8,000 labeled 30-second audio clips spanning eight Nepali music genres and conduct a systematic comparison of nine classification models across two paradigms. Five classical machine learning classifiers (Logistic Regression, SVM, KNN, Random Forest, and XGBoost) are trained on 51 hand-crafted audio features extracted via Librosa, while four deep learning architectures (CNN, RNN, parallel CNN-RNN, and sequential CNN followed by RNN) operate on Mel spectrograms of dimension 640 x 128. Our experiments reveal that the sequential Convolutional Recurrent Neural Network (CRNN)--in which convolutional layers feed into an LSTM--achieves the highest accuracy of 84%, substantially outperforming both the best classical models (Logistic Regression and XGBoost, both at 71%) and all other deep architectures. We provide per-class precision, recall, F1-score, confusion matrices, and ROC analysis for every model, and offer a culturally grounded interpretation of misclassification patterns that reflects genuine overlaps in Nepal's musical traditions.

Sachin Prajuli, Abhishek Karna, OmPrakash Dhakl

Computer Science and Engineering, University of texas at Arlington, Arlington, USA · Electronics and Computer Engineering, Tribhuvan University, IOE, kathmandu · Electronics and Computer Engineering, Tribhuvan University, IOE, Dharan

Audio ClassificationMusic Information RetrievalConvolutional RNNs
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Mar 13, 2026

Perpetual Dialogues: A Computational Analysis of Voice-Guitar Interaction in Carlos Paredes's Discography

Computational musicology enables systematic analysis of performative and structural traits in recorded music, yet existing approaches remain largely tailored to notated, score-based repertoires. This study advances a methodology for analyzing voice-guitar interaction in Carlos Paredes's vocal collaborations - an oral-tradition context where compositional and performative layers co-emerge. Using source-separated stems, physics-informed harmonic modelling, and beat-level audio descriptors, we examine melodic, harmonic, and rhythmic relationships across eight recordings with four singers. Our commonality-diversity framework, combining multi-scale correlation analysis with residual-based detection of structural deviations, reveals that expressive coordination is predominantly piece-specific rather than corpus-wide. Diversity events systematically align with formal boundaries and textural shifts, demonstrating that the proposed approach can identify musically salient reorganizations with minimal human annotation. The framework further offers a generalizable computational strategy for repertoires without notated blueprints, extending Music Performance Analysis into oral-tradition and improvisation-inflected practices.

Gilberto Bernardes, Nádia Moura, António Sá Pinto

INESC TEC, Faculty of Engineering, University of Porto · CEIS20, Faculty of Arts and Humanities, University of Coimbra

Computational MusicologyMusic Information Retrieval
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Mar 10, 2026

TimberAgent: Gram-Guided Retrieval for Executable Music Effect Control

Digital audio workstations expose rich effect chains, yet a semantic gap remains between perceptual user intent and low-level signal-processing parameters. We study retrieval-grounded audio effect control, where the output is an editable plugin configuration rather than a finalized waveform. Our focus is Texture Resonance Retrieval (TRR), an audio representation built from Gram matrices of projected mid-level Wav2Vec2 activations. This design preserves texture-relevant co-activation structure. We evaluate TRR on a guitar-effects benchmark with 1,063 candidate presets and 204 queries. The evaluation follows Protocol-A, a cross-validation scheme that prevents train-test leakage. We compare TRR against CLAP and internal retrieval baselines (Wav2Vec-RAG, Text-RAG, FeatureNN-RAG), using min-max normalized metrics grounded in physical DSP parameter ranges. Ablation studies validate TRR's core design choices: projection dimensionality, layer selection, and projection type. A near-duplicate sensitivity analysis confirms that results are robust to trivial knowledge-base matches. TRR achieves the lowest normalized parameter error among evaluated methods. A multiple-stimulus listening study with 26 participants provides complementary perceptual evidence. We interpret these results as benchmark evidence that texture-aware retrieval is useful for editable audio effect control, while broader personalization and real-audio robustness claims remain outside the verified evidence presented here.

Shihao He, Yihan Xia, Fang Liu +2

College of Electronics and Information Engineering, Shenzhen University, Shenzhen, China

Music Information RetrievalAudio Representation Learning
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Mar 9, 2026

LoopLens: Supporting Search as Creation in Loop-Based Music Composition

Creativity support tools (CSTs) typically frame search as information retrieval, yet in practices like electronic dance music production, search serves as a creative medium for collage-style composition. To address this gap, we present LoopLens, a research probe for loop-based music composition that visualizes audio search results to support creative foraging and assembling. We evaluated LoopLens in a within-subject user study with 16 participants of diverse musical domain expertise, performing both open-ended (divergent) and goal-directed (convergent) tasks. Our results reveal a clear behavioral split: participants with domain expertise leveraged multimodal cues to quickly exploit a narrow set of loops, while those without domain knowledge relied primarily on audio impressions, engaging in broad exploration often constrained by limited musical vocabulary for query formulation. This behavioral dichotomy provides a new lens for understanding the balance between exploration and exploitation in creative search and offers clear design implications for supporting vocabulary-independent discovery in future CSTs.

Sheng Long, Atsuya Kobayashi, Kei Tateno

Northwestern University Evanston, USA · Sony Group Corporation Tokyo, Japan

Computational CreativityMusic Information Retrieval
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Mar 8, 2026

EDMFormer: Genre-Specific Self-Supervised Learning for Music Structure Segmentation

Music structure segmentation is a key task in audio analysis, but existing models perform poorly on Electronic Dance Music (EDM). This problem exists because most approaches rely on lyrical or harmonic similarity, which works well for pop music but not for EDM. EDM structure is instead defined by changes in energy, rhythm, and timbre, with different sections such as buildup, drop, and breakdown. We introduce EDMFormer, a transformer model that combines self-supervised audio embeddings using an EDM-specific dataset and taxonomy. We release this dataset as EDM-98: a group of 98 professionally annotated EDM tracks. EDMFormer improves boundary detection and section labelling compared to existing models, particularly for drops and buildups. The results suggest that combining learned representations with genre-specific data and structural priors is effective for EDM and could be applied to other specialized music genres or broader audio domains.

Sahal Sajeer, Krish Patel, Oscar Chung +1

University of Waterloo

Music Information Retrieval
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Mar 4, 2026

LabelBuddy: An Open Source Music and Audio Language Annotation Tagging Tool Using AI Assistance

The advancement of Machine learning (ML), Large Audio Language Models (LALMs), and autonomous AI agents in Music Information Retrieval (MIR) necessitates a shift from static tagging to rich, human-aligned representation learning. However, the scarcity of open-source infrastructure capable of capturing the subjective nuances of audio annotation remains a critical bottleneck. This paper introduces LabelBuddy, an open-source collaborative auto-tagging audio annotation tool designed to bridge the gap between human intent and machine understanding. Unlike static tools, it decouples the interface from inference via containerized backends, allowing users to plug in custom models for AI-assisted pre-annotation. We describe the system architecture, which supports multi-user consensus, containerized model isolation, and a roadmap for extending agents and LALMs. Code available at https://github.com/GiannisProkopiou/gsoc2022-Label-buddy.

Ioannis Prokopiou, Ioannis Sina, Agisilaos Kounelis +2

Athens University of Economics and Business · Orfium · University of Patras +1

Human-in-the-Loop AnnotationMusic Information Retrieval
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Feb 28, 2026

Voices of Civilizations: A Multilingual QA Benchmark for Global Music Understanding

We introduce Voices of Civilizations, the first multilingual QA benchmark for evaluating audio LLMs' cultural comprehension on full-length music recordings. Covering 380 tracks across 38 languages, our automated pipeline yields 1,190 multiple-choice questions through four stages - each followed by manual verification: 1) compiling a representative music list; 2) generating cultural-background documents for each sample in the music list via LLMs; 3) extracting key attributes from those documents; and 4) constructing multiple-choice questions probing language, region associations, mood, and thematic content. We evaluate models under four conditions and report per-language accuracy. Our findings demonstrate that even state-of-the-art audio LLMs struggle to capture subtle cultural nuances without rich textual context and exhibit systematic biases in interpreting music from different cultural traditions. The dataset is publicly available on Hugging Face to foster culturally inclusive music understanding research.

Shangda Wu, Ziya Zhou, Yongyi Zang +4

Independent Researcher · The Hong Kong University of Science and Technology, Hong Kong SAR, China · The Chinese University of Hong Kong, Hong Kong SAR, China

Music UnderstandingAudio-Language Model EvaluationCultural Knowledge in Language ModelsMultilingual QACultural Bias in Language ModelsMusic Information Retrieval
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Feb 25, 2026

A Knowledge-Driven Approach to Music Segmentation, Music Source Separation and Cinematic Audio Source Separation

We propose a knowledge-driven, model-based approach to segmenting audio into single-category and mixed-category chunks with applications to source separation. "Knowledge" here denotes information associated with the data, such as music scores. "Model" here refers to tool that can be used for audio segmentation and recognition, such as hidden Markov models. In contrast to conventional learning that often relies on annotated data with given segment categories and their corresponding boundaries to guide the learning process, the proposed framework does not depend on any pre-segmented training data and learns directly from the input audio and its related knowledge sources to build all necessary models autonomously. Evaluation on simulation data shows that score-guided learning achieves very good music segmentation and separation results. Tested on movie track data for cinematic audio source separation also shows that utilizing sound category knowledge achieves better separation results than those obtained with data-driven techniques without using such information.

Chun-wei Ho, Sabato Marco Siniscalchi, Kai Li +1

Georgia Institute of Technology, USA · University of Palermo, Italy · Dolby Laboratories, China

Audio Source SeparationMusic Source SeparationAudio UnderstandingMusic Information Retrieval
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Feb 23, 2026

Enhancing Automatic Chord Recognition via Pseudo-Labeling and Knowledge Distillation

Automatic Chord Recognition (ACR) is constrained by the scarcity of aligned chord annotations, which are costly to acquire. At the same time, open-weight pre-trained models are more accessible than their proprietary training data. In this work, we present a two-stage training pipeline that leverages pre-trained models together with unlabeled audio. The proposed method decouples training into two stages. In the first stage, we use the pre-trained BTC model as a teacher to generate pseudo-labels for over 1,000 hours of diverse unlabeled audio and train a student model solely on these pseudo-labels. In the second stage, the student is continually trained on ground-truth labels as they become available. To prevent catastrophic forgetting of the representations learned in the first stage, we apply selective knowledge distillation (KD) from the teacher as a regularizer. In our experiments, two models (BTC, 2E1D) were used as students. In Stage 1, using only pseudo-labels, the BTC student achieves about 99% of the teacher's performance, while the 2E1D model achieves about 97% of the teacher's performance across seven standard mir_eval metrics. After continual training with labeled data in Stage 2, the resulting BTC student model consistently surpasses both the traditional supervised learning baseline and the original pre-trained teacher model across all metrics. The resulting 2E1D student model also outperforms the supervised baseline and approaches teacher-level performance, with both models demonstrating substantial gains on rare chord qualities.

Nghia Phan, Rong Jin, Gang Liu +1

California State University, Fullerton, CA, USA · Microsoft, Redmond, WA, USA · Beijing Normal-Hong Kong Baptist University, China

Pseudo-LabelingMusic Information Retrieval
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