Pitch

Guitar tablature transcription requires not only accurate pitch detection but also assigning each note to a specific string-fret position, as the same pitch can be played at multiple fretboard positions. Existing approaches treat this as a standard classification problem, ignoring the musical and physical constraints that govern playable fingering sequences. We propose Noise2Fret, a diffusion model for audio-to-tablature transcription that generates tablature through a continuous latent representation of discrete fret and string targets, conditioned on spectral and audio features. To bridge the gap between pitch accuracy and physical playability, we introduce five auxiliary losses encoding Pitch-Class Distance, Positional Distance, Circle-of-Fifths Distance, String Similarity, and Hand-Span Feasibility directly into the training objective. Experiments on GuitarSet and GOAT datasets demonstrate that the model outperforms baselines while remaining computationally more efficient, and that the auxiliary losses yield consistent gains over the standard training objective.

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.

This study analyzes the intermediate representations of music foundation models (MFMs) and reports the geometric structures used to represent pitch information. By inputting isolated musical notes into trained MFMs and analyzing their principal components, we reveal that the representations form a helical structure reflecting the octave periodicity of pitch. Furthermore, we show that the clarity and geometry of this helical structure vary not only across models but also with the acoustic properties of the input signals. Our analysis provides a novel approach for clarifying the internal mechanisms of MFMs.

Musical scales are near-universal in human music, and most readers will feel they already know what a scale is. On closer inspection, however, the literature lacks a consensus definition: which conditions are necessary and sufficient shifts across disciplines and traditions, and the term turns out to cover several distinct objects. I argue this is less a failure of rigour than a sign that ``scale'' names several related objects: prescriptive abstractions, instrument tunings, statistical regularities in performed pitch, perceptual categories, social conventions. I adopt an empirical definition -- a scale as a statistical regularity in pitch organisation relative to a tonic -- that is portable across traditions and computable from recordings, and situate it alongside the other senses of the term. Even this empirical core is not purely observational, as convention enters in deciding which pitches belong to a scale. And a further step of grouping scales into named categories is a separate convention, which I approach through prototype theory and illustrate with examples from Irish music. Separating these layers provides a basis from which scales can be re-examined empirically and cross-culturally.

Imagine two users interact with the same LLM. One has been told it is the cutting-edge flagship model; the other, an older, weaker model. They walk away with markedly different ratings of its usefulness and intelligence, yet they used the same model. In a controlled study, 162 participants each used one of six LLMs from two families across three collaborative tasks, after first viewing a landing page that matched, overstated, or understated their model's true capability. This pre-interaction framing shifted user opinions and interaction behavior while task performance did not. Oversold users rated the model more favorably and used more directive prompting, while Undersold users wrote longer, more collaborative prompts. The quality of what users and the model produced together depended only on the model's true capability, not on what users were told. Participants' change in model impressions after use, measured across two impression measures, was not predicted by task performance ($β= -0.01$ and $0.11$, both n.s.), but by whether the model met users' expectations ($β= 0.47$ and $0.50$, both $p < .001$) and how confident they felt working with it ($β= 0.47$ and $0.36$, both $p < .001$). After interaction, users are still rating the pitch, not the product: user-elicited LLM evaluations, including the preference data driving public leaderboards, measure expectation management at least as much as the model itself.

Time-normalized f0 contours of Mandarin words in conversational speech have been shown to be predictable in part from their contextualized embeddings (CEs). The present study investigates whether CEs also predict spoken word duration for 7470 tokens of Mandarin monosyllabic CV words extracted from a Mandarin corpus of spontaneous speech. We show that CEs indeed are predictive for duration, above chance level, not only at the type level, but also at the level of individual tokens, as indicated by the results obtained with the type-wise and token-wise permutation baselines. We also show that the predicted durations are sufficiently precise to back-transform predicted f0 contours in [0,1] normalized time to contours on the ms time scale. The resulting predicted contours approximate empirical contours and also outperform a permutation baseline.

Symbolic music alignment links notes in a symbolic performance to their counterparts in a score. While existing alignment encoding formats provide unique correspondences between these notes, there are various musical practices and forms such as practice repetitions in rehearsal and improvised realizations in basso continuo that require a more flexible approach to encoding their alignments. In this paper, we propose a minimal, backward-compatible extension to the Match file format to support such non-unique and semantically complex alignments. We introduce two virtual pointer notes - virtual score notes and virtual performance notes - which allow to encode multiple links between performance and score notes. In addition we expand the Match file's 'section' line to include semantically meaningful annotations of performance regions beyond score-indicated musical repetitions. We further demonstrate the utility of these extensions through two representative use-cases in piano rehearsal and basso continuo.

Automatic singing quality assessment (SQA) requires evaluating lyrical correctness and musical fidelity while handling expressive variations. However, existing systems largely rely on either acoustic cues or lyric transcriptions exclusively, limiting holistic performance evaluation. Furthermore, their integration is non-trivial due to challenges in robust singing transcription amid melisma, vibrato, and tempo elasticity. To this end, we propose MusicJudge, a modality-guided framework for automated SQA that performs block-aligned multimodal analysis by coupling lyric correctness with pitch-rhythm fidelity. It detects semantically meaningful lyric blocks using multi-signal matching that integrates semantic embeddings, lexical similarity, and phonetic alignment. To improve singing audio transcription, we introduce Modality-Guided LoRA for ASR fine-tuning. Experiments across datasets demonstrate strong agreement with human expert judgments and validate the generalizability of MusicJudge.

The challenge associated with recognizing dysarthric speech primarily arises from pronounced acoustic variability attributed to impaired articulatory precision. Past research has demonstrated improved recognition through the use of hybrid DNN/HMM sequence discriminative training. This paper presents a comprehensive investigation of various combinations of acoustic features tailored to different Acoustic Models, offering suitable feature selections for each. The incorporation of Pitch features notably improved recognition performance, especially for sentence recognition tasks involving dysarthric speech. Through a systematic examination of the TORGO database, we have demonstrated the potential to enhance the performance of the state-of-the-art Factorized Time Delay Neural Network (F-TDNN) model for recognizing dysarthric speech. Our methods, implemented with the F-TDNN model, resulted in a 4.65% relative improvement in isolated word recognition and a 4.63% relative improvement in sentence recognition for dysarthric speech, compared to previous research. This improvement effectively compensates for speech variability, attributable to our deliberate selection of the number of overlapping frames between consecutive training example chunks.

The challenge associated with recognizing dysarthric speech primarily arises from pronounced acoustic variability attributed to impaired articulatory precision. Past research has demonstrated improved recognition through the use of hybrid DNN/HMM sequence discriminative training. This paper presents a comprehensive investigation of various combinations of acoustic features tailored to different Acoustic Models, offering suitable feature selections for each. The incorporation of Pitch features notably improved recognition performance, especially for sentence recognition tasks involving dysarthric speech. Through a systematic examination of the TORGO database, we have demonstrated the potential to enhance the performance of the state-of-the-art Factorized Time Delay Neural Network (F-TDNN) model for recognizing dysarthric speech. Our methods, implemented with the F-TDNN model, resulted in a 4.65% relative improvement in isolated word recognition and a 4.63% relative improvement in sentence recognition for dysarthric speech, compared to previous research. This improvement effectively compensates for speech variability, attributable to our deliberate selection of the number of overlapping frames between consecutive training example chunks.

Large language models are increasingly deployed for written pronunciation feedback in second-language (L2) English learning, under the assumption that their diagnoses are grounded in the supplied speech evidence rather than in priors from pretraining. This assumption is tested on 1,800 L2-Arctic utterances spanning six L1 backgrounds, three audio-capable LLMs, four pronunciation dimensions, and five evidence conditions ranging from a text-only baseline to numeric acoustic features and raw audio. Each (utterance x model x condition x dimension) cell is scored on three metrics: Rating Accuracy (RA) against gold labels, Evidence Coherence (EC) assessing internal consistency without ground truth, and Grounded Correctness (GC) evaluated against gold evidence. Results show three findings across models. First, rating accuracy and grounded reasoning decouple: 39.6% of judged cells contain internally coherent reasoning that supports a wrong rating, against only 15.8% where the reasoning supports a correct rating. Second, phoneme-level feedback converges to a fixed inventory of L2-English difficulty phones that recurs across all six L1 backgrounds and all evidence conditions. Third, acoustic evidence improves the rating only when the supplied feature directly probes the target dimension: textualised F0 range raises pitch-variation grounding from (0.18-0.19) to (0.45-0.62) across all three models, while stress and phoneme correctness, which require target-to-realisation alignment, remain ungrounded. The same audio waveform without textualised F0 values does not reproduce this improvement. These findings indicate that current general-purpose LLMs are more reliable as verbalisers of externally computed pronunciation evidence than as standalone diagnostic engines.

Instantaneous pitch estimation plays an important role in analyzing steep pitch variations such as speech prosody and singing techniques. Conventional approaches estimate instantaneous frequency after isolating the fundamental waveform from signals that contain harmonics and noise, which makes the accuracy sensitive to imperfect fundamental filtering. In this study, we formulate fundamental waveform filtering as a speech enhancement problem. Specifically, we train a Wave-U-Net model to extract a fundamental waveform from an input speech signal. The instantaneous pitch is then obtained by computing the instantaneous frequency from the analytic signal of the estimated fundamental waveform. Experimental results show that the proposed method outperforms conventional deterministic approaches and provides accurate and robust instantaneous pitch estimation across diverse domains, including speech, singing voice, musical instruments, and degraded speech signals.

Reference-based color grading aims to reproduce the tonal mood and lighting of a reference while preserving color harmony and scene structure. Existing photorealistic and filter-based methods often produce unstable tone mappings -- over-shifting or inconsistently retaining colors -- leading to unnatural results. We propose CanonCGT, a two-stage framework built on a canonical pivot -- a style-neutral intermediate representation for stable color mapping. The first stage canonicalizes the input by removing intrinsic tonal bias, and the second color-grades it to match the reference style. A dual-phase training scheme, DP-CGT, combines supervised preset learning with self-supervised refinement on unpaired photographs. CanonCGT delivers photorealistic and tonally consistent results across diverse datasets, surpassing state-of-the-art methods in stability and visual fidelity. Our codes are available at \href{https://github.com/Jinwon-Ko/CanonCGT}{https://github.com/Jinwon-Ko/CanonCGT}

Multi-pitch estimation (MPE) typically predicts which pitches are active in a mixture, but not which instrument or source produced them. This paper investigates a lightweight slot-attention framework for multi-instrument MPE (MI-MPE), where a mixture CQT is mapped to an unordered set of source-like pitch maps. The model uses permutation-invariant Hungarian matching to avoid fixed output semantics and treats the number of slots as an upper bound on the number of active sources. We further study two modular extensions: a self-supervised timbre encoder that provides training-time targets for slot-level timbre embeddings, and a polyphony branch that regularizes the pitch density of mixture- and slot-level predictions. Experiments show that Hungarian matching substantially improves instrument family decomposition on URMP. Stem-level prediction remains more challenging: timbre and polyphony supervision improve selected configurations, but do not consistently resolve source assignment. The results suggest that slot-based architectures are a promising direction for source-aware MPE, while highlighting the need to couple auxiliary musical cues to slot identity more carefully.

Audio-language models (ALMs) are increasingly used in real-world applications that require understanding music, from music tutoring and transcription to captioning, recommendation systems, and music production. More broadly, they are becoming an important component of multimodal AI systems that must reason from sensory input rather than text alone. This makes reliable musical perception a critical prerequisite: if a model cannot accurately hear the structure of sound, it cannot be trusted to reason about, teach, transcribe, or act on audio in the real world. Yet existing benchmarks rarely assess one of the most fundamental musical abilities underlying such perception: pitch hearing. Current evaluations tend to probe pitch hearing only indirectly, through higher-level tasks and often in multiple-choice formats, leaving open how reliably ALMs identify fine-grained pitch across instruments, acoustic conditions, and response formats. We introduce PitchBench, an evaluation suite that systematically measures pitch hearing in ALMs. PitchBench comprises 28 experiments spanning absolute and relative pitch perception within sequences and chords, while varying loudness, note duration, sound source, time stretching, background noise, and other acoustic conditions. Tasks range from identifying individual pitches in isolation to tracking a melodic line within a four-part musical texture. Evaluating frontier ALMs, we find that pitch hearing remains highly unreliable: models perform consistently poorly across settings, with accuracy varying sharply by sound source, note duration, and notation format. Current ALMs do not yet possess stable pitch perception, even for controlled synthetic and instrumental stimuli. Alongside the benchmark, we release PitchBench as a Python package containing the evaluation data and data generation tools to support future work on pitch-aware audio-language modeling.

Robust humanoid stair climbing remains challenging due to geometric discontinuities, sensitivity to step height variations, and perception uncertainty in real-world environments. Existing learning-based locomotion policies often rely on implicit terrain representations or blind proprioceptive feedback, limiting their ability to generalize across varying stair geometries and to anticipate required gait adjustments. This paper proposes an explicit stair geometry conditioning framework for robust humanoid stair climbing. Instead of encoding terrain as high-dimensional latent features, we extract a compact set of interpretable geometric parameters, including step height, step depth, and current yaw angle relative to the robot heading. These explicit stair parameters directly condition a Proximal Policy Optimization (PPO)-based locomotion policy, enabling proactive modulation of swing-foot clearance and stride characteristics according to stair structure. Simulation experiments demonstrate improved generalization across unseen stair heights beyond the training distribution. Real-world experiments on the Unitree G1 humanoid validate reliable indoor and outdoor stair traversal. In challenging outdoor scenarios, the robot successfully ascends 33 consecutive steps without failure, demonstrating robustness and practical deployability.

Sub-gram flapping-wing flying insect robots (FIRs) are challenging to model because of mechanical complexity in their wings, unsteady aerodynamic flow, and the difficulty of making precise measurements at a small scale. Coupling effects between roll and pitch torque actuation have not previously been measured because a two-axis sensor that is sensitive enough has not been realized. To address this shortcoming, we introduce a microfabricated gimbal design capable of precisely and simultaneously measuring roll and pitch torques as well as thrust. We then used it to measure the extent to which a pitch torque command affects roll torque and vice versa on a 180 mg piezo-actuated flapping-wing flying platform. Our results show a high coefficient of determination in the linear regression for both pitch (0.95) and roll (0.98) and low cross-correlation coefficients (-0.001 and -0.085, respectively) across the full range of simultaneous torque commands, indicating negligible cross-axis coupling. Similarly, thrust force deviates by a maximum of only 5.8% from the mean thrust value. These results validate the assumption that pitch and toll can be considered independently in control and will inform future models of how inputs affect the aerodynamics of resonant flapping-wing systems.

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.

The intonational structure of Seoul Korean has been defined with discrete tonal categories within the Autosegmental-Metrical model of intonational phonology. However, it is challenging to map continuous $F_0$ contours to these invariant categories due to variable $F_0$ realizations in real-world speech. Our paper proposes Dual-Glob, a deep supervised contrastive learning framework to robustly classify fine-grained pitch accent patterns in Seoul Korean. Unlike conventional local predictive models, our approach captures holistic $F_0$ contour shapes by enforcing structural consistency between clean and augmented views in a shared latent space. To this aim, we introduce the first large-scale benchmark dataset, consisting of manually annotated 10,093 Accentual Phrases in Seoul Korean. Experimental results show that our Dual-Glob significantly outperforms strong baseline models with state-of-the-art accuracy (77.75%) and F1-score (51.54%). Therefore, our work supports AM-based intonational phonology using data-driven methodology, showing that deep contrastive learning effectively captures holistic structural features of continuous $F_0$ contours.

Aims. This study suggests that the use of multiple perceived pitches arising from a single harmonic complex tone is an active and intentional feature of contemporary popular music. The phenomenon is illustrated through examples drawn from the work of electronic artist Vitalic and others. Methods. Two listening tests were conducted: (1) evaluation of the number of simultaneous pitches perceived from single harmonic tones, and (2) manual pitch transcription of sequences of harmonic tones. Relationships between signal characteristics and pitch perception were then analyzed. Results. The synthetic harmonic tones found in the musical sequences under study were observed to transmit more perceived pitches than their acoustic counterparts, with significant variation across listeners. Multiple ambiguous pitches were associated with tone properties such as prominent upper partials and particular autocorrelation profiles. Conclusions. Harmonic tones in a context of contemporary popular music can, in general, convey several ambiguous pitches. The set of perceived pitches depends on both the listener and the listening conditions.