Piano

Prompt-conditioned piano MIDI-to-Music rendering aims to faithfully render target notes while reproducing the timbre of a reference recording. Existing approaches primarily follow two paradigms: autoregressive (AR) modeling and flow matching (or diffusion). Discrete-codec AR models provide causal temporal modeling, but quantization can discard acoustic detail. Flow matching better preserves acoustic structure in the cost of full-sequence attention costs and worse semantic structure. Continuous autoregressive models operate directly on continuous representations. It not only combines the condition-following ability of AR models and distribution-modeling capacity of flow matching but also bypasses the quantization bottleneck with lower computational costs. Building on this principle, we present Composer--Performer--Refiner (CPR) framework. Composer autoregressively predicts continuous hidden states, Performer generates 24kHz acoustic latents through local flow matching and Refiner then upsamples the waveform to 48 kHz. We further introduce Bottlenecked Representation Alignment (BREPA) and Modality--Time RoPE (MT-RoPE) to strengthen musical semantic structure in Composer hidden states and temporal alignments across modalities. Codes are available at https://github.com/FEAfeatherTHER/CPR_official

Robotic piano playing has emerged as a standard benchmark for dexterous bimanual manipulation, yet progress on it has been measured almost entirely by note accuracy -- which keys are pressed (pitch) and when (onset) -- leaving the musical dynamics essential for expressive performance neither rewarded nor evaluated. We propose CANTABILE, a dynamics-aware framework for robotic piano performance that (i) closes the score-to-contact loop by conditioning the policy on upcoming velocity goals and mapping each key's angular velocity at onset back to MIDI velocity, (ii) couples a velocity-fidelity reward with an onset-coverage reward, so that dynamics cannot be improved by omitting difficult notes, and (iii) refines a frozen dynamics-aware base policy with an alpha-scaled, finger-only residual that localizes strike-intensity adaptation away from nominal note execution. On EXPRESSIVE-51, a dynamics-rich 51-song subset of RoboPianist, CANTABILE raises Velocity F1 -- jointly measuring pitch, onset, and intensity within a +/-8 MIDI-velocity tolerance -- from 0.06 to 0.34 over the RoboPianist baseline, improves all 51 songs, more than halves matched-note velocity error, and reduces log-mel distance to reference audio by 8%. Intensity-randomized training further enables runtime control of performance intensity without retraining.

Enabling robots to perform musical instruments with human-level expressivity represents a frontier in bridging the gap between mechanical precision and artistic interpretation. Despite advances in robotic dexterity, replicating the fluid finger transitions and nuanced dynamic control characteristic of human pianists remains a significant challenge. Through a reinforcement learning-based control framework, we demonstrate that a dexterous robotic hand can achieve high-fidelity performance across a diverse piano repertoire. Central to our approach is a graph-based optimization strategy that guides the robot to generate natural pre-press and key-press fingering strategies that closely resemble human movement patterns. To achieve expressive sound production, the control system is coupled with a physics-inspired acoustic model that modulates keypress velocity to accurately reproduce the dynamic variations specified in musical scores. Quantitative evaluations demonstrate that our expressive control model significantly outperforms baseline methods in both finger morphology similarity and dynamic velocity accuracy. In a perceptual test involving participants from diverse listener groups, performances generated by our system are significantly preferred over baseline robotic performances and are indistinguishable from human performances for non-professional audiences. Furthermore, extensive experiments across multiple musical styles confirm that our method maintains high note-level accuracy while achieving expressive performance. Our approach provides a robust pathway for robotic systems to move beyond mere mechanical accuracy, elevating robotic musicianship to a level of expressive performance comparable to human pianists.

Audio-based piano transcription performs well on onset, pitch, and velocity, but the sustain pedal lets sound persist long after key release, so audio systems predict pedal-extended offsets rather than physical key release. Yet existing Visual Piano Transcription (VPT) systems focus on onset detection from short video windows, offset accuracy lags onset by a wide margin, and note-level velocity has not been reported. To address these gaps, we present V2N (Video to Notes), the first complete VPT system: a shared temporal backbone feeds task-specific heads for onset, offset, key hold, and velocity, jointly trained with per-frame supervision rather than only at the window center. Ablations show that multi-task supervision enables offset and velocity prediction while improving onset accuracy; longer temporal context yields further improvements. V2N sets new state-of-the-art results on PianoVAM and R3.

What is music style? Though often described using text labels such as "swing," "classical," or "emotional," the real style remains implicit and hidden in concrete music examples. In this paper, we introduce a cross-modal framework that learns implicit music styles from raw audio and applies them to symbolic music generation. Inspired by BLIP-2, our model leverages a Querying Transformer (Q-Former) to extract style representations from a large, pre-trained audio language model (LM), and further applies them to condition a symbolic LM for generating piano arrangements. We adopt a two-stage training strategy: contrastive learning to align auditory style with symbolic expression, followed by generative modeling for music arrangement. Our model generates piano performances jointly conditioned on a lead sheet (content) and a reference audio example (style), enabling controllable and stylistically faithful arrangement. Experiments demonstrate the effectiveness of our approach in piano cover generation, style transfer, and audio-to-MIDI retrieval, achieving substantial improvements in style-aware alignment and music quality.

Expressive piano performance depends on the sustain (damper) pedal, operated by foot, excluding players who cannot readily use their feet: wheelchair users and others with lower-limb impairments, small children, and some elderly or disabled players. We present bFaaaP (barrier-Free assist as a Pedal), an inclusive, foot-free interaction that operates the pedal from the angle of the player's head: a smartphone tracks head pose with on-device augmented-reality (AR) face tracking and streams a compact command over Bluetooth Low Energy (BLE) to a pedal device. Supported by patent examination, our central claim is not the head-to-pedal architecture (anticipated by prior art) but a quantitative, user-tunable control law -- the patentable "key" to a natural, expressive result: the player presets a small angular dead-zone (offset 3-10 degrees) and a multiplier (10-50), which together fix a secondary, pre-adjustable response speed that reproduces the pianist's intended pedalling. An engineering trick decouples the fast AR sampling from the slower BLE rate. Two co-equal realizations share one controller: a non-destructive robotic actuator for acoustic pianos (Pro), anchored by a pneumatic "airback" (our coined term for an inflatable air-braced anchor) that absorbs the reaction force without modifying the instrument; and an electronic sustain switch for digital pianos (Switch). In a human-subject Auxiliary Pedal Effect Evaluation (APEE) with 15 participants, bFaaaP significantly increased sustained-tone energy (p<0.01) and was statistically indistinguishable from a player's own foot (p>0.05), with no significant difference across classes; one participant with a leg disability and a tracheostomy performed successfully. With nothing worn on the face and fast setup, bFaaaP has run in formal public concerts (2018-2025). We release the full hardware and software as open source.

Music is often used as a medium for communicating emotion, with performers shaping perceived affect through interpretation. This study addresses the challenge of identifying and predicting subtle changes in perceived emotion that are exclusively due to differences in performance. We focus on classical solo piano music, using a set of 6 commercial recordings of Bach's Well-Tempered Clavier Book I, annotated in terms of valence and arousal. By encoding the recordings through performance-specific features only, we isolate performance information from aspects of the composition itself, which tend to dominate the overall perceived emotional category. A preliminary analysis validates that these features vary meaningfully across performers. We then propose a relative regression framework, Delta-VA, to predict deviations in valence-arousal relative to an ``average'' performance, thereby focusing on the changes in emotion brought about by a specific way of playing a piece. In addition to the standard $R^2$ regression score, we introduce geometric evaluation metrics to assess the preservation of pairwise differences between performances. Results indicate high directional consistency with the ground truth, but also a compression in prediction magnitude, indicating that the model tends to underestimate expressive performance effects.

Music information retrieval research on piano performance increasingly involves diverse modalities of data and annotations beyond audio and MIDI. We present SKY-Piano, a multimodal piano performance dataset that includes 11 hours of performance recordings of motion, multi-view video, audio, MIDI from 7 professional and 12 amateur pianists along with MusicXML scores. The performance pieces were selected considering playing technique, difficulty, and performer expertise on a shared core repertoire. The motion data include both hand and body motion, released in both flagged form, where samples lost to marker occlusion are marked as unreliable, and imputed form, where those gaps are reconstructed, together with Visual3D body-segment kinematics and other time-synchronized modalities. To easily browse different modalities of data at a glance, we provide an interactive web browser. In addition, we developed a fingering annotation model and tool for deriving pseudo fingering annotations from the MIDI and motion data. Lastly, we present MIDI-to-motion generation through a fine-tuning experiment as a use case of the dataset.

In this study, we explore how pianists can customize Music Minus One (MMO) concerto accompaniments to match their playing style. Bypassing the need for a symbolic score, often not available digitally, we use three types of audio data: solo piano recordings, MMO orchestra-only recordings, and mixed recordings of both piano and orchestra (e.g., from YouTube). The mixed recording serves as an intermediary reference to align the solo and orchestra parts, with only the orchestral part being adjusted through time-scale modification to synchronize with the user's playing. The main challenge with estimating these alignments is the spectral mismatch between recordings containing different musical parts. Motivated by this application scenario, we introduce Dense-Sparse DTW, a variant of Dynamic Time Warping (DTW) that is designed to improve robustness of alignments to spectral mismatch by focusing on aligning a selected subset of audio frames containing prominent timing cues. We collect and annotate data from four piano concerto movements and establish a framework for generating and evaluating customized accompaniment recordings. On this benchmark, we show that Dense-Sparse DTW has better or comparable performance than more complex approaches based on source separation and spectral subtraction techniques.

Heterogeneous graph built on notes, lyric syllables, and accompaniment events is a natural representation of symbolic music score, providing a substrate for both philological analysis and computational tasks. Music features are therefore well-captured by graph geometry and its properties. This representation has proved effective for analytical tasks as cadence detection, voice separation, and stylistic classification. In the present work, the reduction of harmonic complexity of a music score on graph, by preserving task-relevant information, relation between notes, and graph structure is investigated. A compression scheme for the piano subgraph of vocal-pianistic scores, built on binary wedge partitioning trees, is proposed. The wedges are generated through a fully adaptive greedy algorithm that recursively minimizes the $L^2$-error within a six-dimensional Tonnetz embedding of musical notes. The partitioning process employs a splitting criterion based on harmonic distance, resulting in regions that accurately reflect the intrinsic harmonic relationships among notes. The reconstructed music scores obtained through piecewise-constant functions and the mean values of the notes inside each wedge are used as a new simplified scores human-readable and playable. Some experiments on a corpus of symbolic music scores of three different composers are performed to assess the proposed approach.

Reinforcement learning can train bimanual dexterous hands to play piano in physics simulation with high note accuracy, but for high-DoF dexterous hands, relying solely on task rewards or IK inversion often leads to unnatural postures and joint overextension. We propose \textit{Adversarial Posture Regularization (APR)}. It avoids expensive, song-aligned expert demonstration data and instead uses a small amount of casual human playing data. By matching the distribution of the posture of the policy with the human prior through an adversarial objective, APR encourages more human-like hand shapes. Meanwhile, we collect and release unstructured hand motion data of piano playing using a consumer-grade Meta Quest 3, and retarget the key motion information to the Shadow Hand. Finally, we achieve significantly better performance than prior methods on all three human-likeness metrics (cPSI, BSE, and FAC) as well as in visual quality. Project repository: https://github.com/APRProject/APRPianist.

Expressive performance rendering (EPR) aims to generate realistic performances constrained on sequences of notes. However, flow matching audio editing models manipulate only synchronized music samples of the same duration, limiting their understanding of expressive timing. We introduce PianoKontext, a flow matching rendering model for classical piano music that generates variable-length performances in the latent space of a pretrained Music2Latent model. We synthesize MIDI scores into deadpan audio and employ Dynamic Time Warping (DTW) in the latent space to construct paired data for training. The aligned embeddings are concatenated in DiT blocks, allowing for a simple and effective learning of the dependencies between the score and performances. Audio samples are available at our demo page: https://realfolkcode.github.io/pianokontext_demo/.

The quality of piano performance depends on nuanced timing, articulation, and dynamic control, but practice feedback is often summary-based and hard to act on. We introduce Profy, a weakly supervised system that learns from take-level labels derived from aggregated listener ratings (expert-labeled vs. amateur-labeled) to produce time-aligned highlights for review during piano practice. We collected synchronized 1 kHz key-motion and audio from 73 pianists and used 1,083 valid takes for modeling and evaluation. The model outputs clip-level predictions together with evidence scores on a shared resampled model time base for visualization. On 20 amateur clips from short technique studies annotated by 21 expert pianists, the displayed highlight score aligns with passages that expert pianists marked for review despite training without localized labels (Pearson r=0.61, ROC-AUC 0.75). Rather than summarizing a take with a single global score, Profy helps learners decide where to inspect next by supporting scrubbing, looping, and focused replay of time-localized passages associated with expert-amateur differences.

Optical Music Recognition (OMR) has seen major progress in model design, with end-to-end methods now capable of recognising notation at all levels of complexity. However, the impact of this progress has been limited by the visual domains of available training datasets, which are largely born-digital. Existing large collections of sheet music in libraries and other heritage institutions contain predominantly manuscripts, whose visual domains are highly diverse and different, so existing OMR systems fail when applied in the real world. These institutions are often resource-constrained, so large in-domain datasets cannot be expected. We provide a first baseline on real-world manuscripts with complex piano notation in the resource-constrained scenario. Using fine-grained music notation graph (MuNG) annotations and the Smashcima synthesis tool, we then show that while some direct transcriptions of in-domain data remain essential, domain adaptation using synthetic musical manuscript images brings significant improvement. Furthermore, the symbols used do not need to be in-domain, so the expensive fine-grained annotation can be avoided. We thus bring OMR closer to one of its stated goals: preserving and promoting musical cultural heritage.

We consider the conversion of musical recordings into human-readable sheet music annotated with timestamps. Such output lets a listener clearly visualize rubato (temporally expressive playing), a learner diagnose ensemble precision and timing choices against the written music, and a musicology scholar compare performance styles across recordings of the same work. We introduce (1) a prompt-conditioned encoder-decoder model, named Rubato, trained to output (2) a new textual representation for polyphonic music, named InterMo, which we designed for compatibility with sequence-to-sequence training. Our experiments demonstrate that Rubato produces timestamped piano sheet music from audio with higher notational accuracy than the best existing approaches, which are based on cascades. We find that even if the cascade is given ground-truth MIDI instead of audio, Rubato performs better, suggesting that the ceiling of existing approaches is primarily representational, not acoustic. Further, because Rubato is trained on several related tasks (with prompts), it competes with or outperforms the best single-task systems on related but simpler tasks like MIDI note grounding and beat/downbeat detection. A demo is available at https://nctamer.github.io/rubato-transcription .

This paper describes a novel paradigm that formalizes automatic piano transcription (APT) as an optimal transport (OT) problem, not as a frame-level multi-label binary classification problem. Our method learns to minimize the cost of transporting a predicted distribution of note events to the ground-truth distribution over time and frequency. The OT loss can thus accommodate temporal misalignment, leading to perceptually relevant optimization. We also propose a convolutional recurrent neural network (CRNN) with a harmonics-aware attention mechanism to capture the spectro-temporal dependencies inherent in music.Our experiments using the MAESTRO dataset showed that our method attained a state-of-the-art performance in onset detection. We confirmed the versatility of the OT loss in application to existing models.

Piano fingering shapes how a passage can be played, yet it is difficult to label after a performance. An annotator must decide which finger produced each note while reconciling the score, timing, video, and hand motion. We present PiAnnotate, a web-based pipeline for adding expert fingering annotations to the FurElise performance dataset. The tool brings together a piano-roll view, performance video, and a 3D MANO hand mesh so that reviewers can inspect each assignment in musical and physical context. Rather than storing only the final answer, PiAnnotate keeps paired rule-based and human-edited fingering tracks. These paired tracks make the annotation history auditable by showing where a geometric rule was sufficient, where experts intervened, and how labels changed across review passes. As a final diagnostic, we train a small Transformer probe on the paired tracks. The probe improves on the rule baseline on held-out pieces while remaining conservative about changing labels that were already correct, suggesting that the edited labels contain learnable structure rather than only isolated fixes.

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

This paper presents a comprehensive documentation of RenCon 2025, the revival of the expressive performance rendering competition which took place at ISMIR 2025 in Daejeon, Korea. The competition attracted 9 entries from international research groups, representing diverse approaches to expressive piano performance rendering. The two-phase assessment structure comprised a preliminary online evaluation and live real-time rendering at the conference. We analyze the competition format, participant demographics, system performance, and lessons learned for future iterations. The results demonstrate significant advances in expressive rendering capabilities while highlighting remaining challenges in achieving human-level musical expression.

We present a data-driven approach for physics-based, muscle-driven dexterous control that enables musculoskeletal hands to perform precise piano playing for novel pieces of music outside the reference dataset. Our approach combines high-frequency muscle-level control with low-frequency latent-space coordination in a hierarchical architecture. At the low level, general single-hand policies are trained via reinforcement learning to generate dynamic muscle-tendon activations while tracking trajectories from a large reference motion dataset. The resulting tracking policies are then distilled into variational autoencoder (VAE) models, yielding smooth and structured latent spaces that abstract away low-level muscle dynamics. For the high level, we train piece-specific policies to operate in this latent space, coordinating bimanual motions based on specific goals, denoted by note events extracted from given musical scores, to synthesize performances beyond the reference data. In addition, we present an enhanced musculoskeletal hand model that supports fine control of fingers for accurate low-level motion tracking and diverse high-level motion synthesis. We evaluate the control pipeline of our approach on a diverse piano repertoire spanning multiple musical styles and technical demands. Results demonstrate that our approach can synthesize coordinated bimanual motions with accurate key presses, and achieve the state-of-the-art performance of piano playing in physics-based dexterous control. We also show that our musculoskeletal hand model demonstrates superior biomechanical stability and tracking precision compared to the existing model, and validate that our musculoskeletal hand model and muscle-driven controller can generate physiologically plausible activation patterns that align with human electromyography (EMG) recordings.

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 $R^2 = 0.78$ 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.

Portamento in string performance has been studied primarily as a binary presence-or-absence phenomenon, with existing research measuring frequency of occurrence and, less commonly, duration in milliseconds. This paper introduces a third quantitative descriptor; the spectrographic gradient of the portamento slide, measured in Hz/second, and demonstrates its measurement using a protocol combining Sonic Visualizer's melodic spectrogram layer, GIMP pixel analysis, and metric calibration against the spectrogram's known frequency axis. The gradient captures what duration alone cannot: the steepness of the pitch trajectory, which encodes the expressive character of the slide independently of its length. Applied to the opening measures of. Specifically because their monophonic texture permits reliable spectrographic pitch tracking. The method yields gradient values ranging from approximately 600Hz/s in late-period recordings to over 4,000Hz/s in early twentieth-century performances. The paper further documents a gain-recovery protocol that extends the analysable corpus to analogue recordings from the 1930s where portamento traces are faint in digital transfer. Applying the method to a corpus of 22 recordings spanning 1930--2012, the paper tests the hypothesis that gradient steepness correlates negatively with tempo: that slower performances produce steeper, longer slides while faster performances produce shallower slides or none at all. The results support this hypothesis, suggesting that the widely documented decline of portamento across the twentieth century is not a binary transition from presence to absence but a continuou

Historical metronome indications for Beethoven's five piano and cello sonatas (as transmitted by Czerny, Moscheles, and Kolisch), have long been regarded as problematic by performers and scholars alike. This paper presents the first systematic empirical assessment of those indications against a corpus of over one hundred movement-level recordings spanning 1930--2012, encompassing first, second, and third movements across all five sonatas (Op.~5 Nos.1 and2; Op.~69; Op.~102 Nos.1 and2). The core findings are threefold. First, Czerny's and Moscheles's markings are consistently and substantially exceeded by the entire recording corpus: gaps of 15--39% are documented across movements, with the largest divergences in slow Adagio movements and the smallest in fast Allegro finales. Second, Kolisch's 1943 markings align considerably more closely with recorded practice than either Czerny's or Moscheles's, a striking result given that Kolisch was reasoning without corpus data. Third, the central Allegro tempo traditions for each movement are stable across eight decades; not because all performers play alike, but because three coexisting slow, mid-range, and fast traditions persist simultaneously, with the mid-range dominant throughout. Building on these findings, this paper proposes a set of revised tempo indications grounded in the statistical modal tempi of the corpus, presented as ranges reflecting the documented spectrum of expert interpretive practice rather than single prescriptive values. These indications are offered not as claims about Beethoven's intentions but as evidence-based reference points for performers and scholars navigating the gap between historical prescription and performable reality.

The choice of visualisation in empirical performance analysis is not a neutral presentation decision but an analytical one: different graphical forms reveal different features of the same dataset, and reliance on any single type systematically conceals what the others expose. This paper presents and argues for a suite of five complementary visualisation tools; tempographs, histograms with spline-smoothed probability density functions, ridgeline plots, stacked bar charts, and combination charts. These are applied to bar-level beats-per-minute data from recordings of Beethoven's five piano and cello sonatas (Op.~5 Nos.1 and2; Op.~69; Op.~102 Nos.1 and2) spanning 1930--2012. Each tool is described formally, its analytical properties characterised, its implementation detailed in working Python and MATLAB code, and its specific contribution demonstrated on a worked example using two recordings of Op.~5 No.~1 (Casals/Horszowski 1930--39 and Isserlis/Levin 2012) separated by eight decades. A five-panel composite figure applies all five tools to the same two recordings simultaneously, making the complementarity argument concrete: the tempograph reveals moment-to-moment structural parallels invisible in aggregate statistics; the spline-smoothed histogram exposes bimodality and secondary peaks suppressed by binning artefacts; the ridgeline plot positions both recordings within the full distributional space; the stacked bar chart shows divergent sectional pacing concealed by identical movement means; and the combination chart integrates mean tempo, variability, and historical reference marks in a single view. The spline-CDF smoothing method, applied to histogram data via cubic spline interpolation with zero-slope boundary conditions, is presented as a novel contribution to the performance analysis toolkit. Full implementation code is publicly available.

Empirical studies of recorded performance have conventionally modelled tempo change as a unidirectional historical process, fitting linear regression lines to tempo data plotted against recording year. This paper argues that such approaches impose a false narrative of uniform stylistic evolution on what is, in fact, a plurality of coexisting interpretive traditions. Applying k-means clustering (k=3) to bar-level BPM data from over one hundred recordings of Beethoven's five piano and cello sonatas (Op. 5 Nos. 1 and 2; Op. 69; Op. 102 Nos. 1 and 2) spanning 1930-2012, this study reveals that every movement supports at least two, and usually three, discrete tempo traditions (slow, mid-range, and fast), whose internal regression slopes are negligible (R-squared <= 0.25 in all but one case), demonstrating that each tradition is independently stable across eight decades. The mid-range cluster dominates in all movements, typically comprising 55-70% of recordings. A slow cluster is absent from fast-character movements (Op. 5 Rondos, Op. 69 Scherzo), reflecting a shared rhetorical consensus about their character. The single case of significant intra-cluster drift (Op. 102 No. 1 Allegro con brio, R-squared=0.246, p=0.013) indicates a moderate mid-range deceleration of approximately 3.2 BPM across the study period. No correlation is found between cluster membership and performers' generational, national, or pedagogical backgrounds, suggesting that tempo tradition reflects individual interpretive choice rather than collective cultural inheritance. The paper proposes an ecological model of stylistic change - coexisting traditions shifting in relative prevalence rather than a single tradition evolving - and argues that this reframing has broad implications for how empirical performance studies interpret corpus-level tempo data.

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.

A player piano can strike more keys, across more of the register, and faster than any pianist can reach. Three traditions dominate composition in that region, namely Nancarrow's tempo canons, Xenakis' stochastic distributions, and L-system grammars. They have developed in isolation, and none of them accounts for the instrument itself. A Disklavier does not answer instantly, because a loud note reaches the string sooner than a soft one, so music written as if the mechanism were transparent arrives distorted. We present Amanous, a hardware-aware composition system for the Yamaha Disklavier that unifies the three traditions through distribution-switching, in which each grammar symbol selects an entire distributional regime rather than adjusting parameters within a fixed one. A four-layer pipeline carries a symbol from grammar to actuation-ready MIDI. An L-system fixes the macro-form, each symbol is mapped to distributions and a tempo-canon ratio, events are sampled and time-scaled, and a hardware layer pre-compensates velocity-dependent latency and enforces the key-reset time. Convergence points close a feedback loop, letting the music's own temporal structure trigger the next switch. Sections from different symbols remain statistically separable at the output, and ablating the L-system, the tempo canon, or the hardware compensation each degrades a distinct property. Under the modelled latency curve, pre-compensation takes the mean onset error from roughly 18 ms to below the instrument's 1 ms scanning resolution. Structured and random textures are most separable near 25 notes/s, and melodic metrics lose their discriminative power over the 40-100 notes/s band, above which the difference is consistent with distributional content rather than melodic order. All results are computational, nothing was played or measured on an instrument, and a psychoacoustic protocol is proposed for future work.

Existing methods for expressive music performance rendering, a conditional generation task that aims to generate a human-like performance from a symbolic score, rely on supervised learning over small labeled datasets, which limits scaling of both data volume and model size, despite the availability of vast unlabeled music, as in vision and language. To address this gap, we introduce Pianist Transformer, with three key contributions: 1) introducing large-scale self-supervised learning into expressive piano performance rendering through a unified Musical Instrument Digital Interface (MIDI) representation, enabling pre-training on 10B tokens of unlabeled MIDI data; 2) an efficient asymmetric Transformer with note-level compression, substantially improving training efficiency, memory usage, and inference speed for long-context music modeling; 3) a state-of-the-art rendering model with an editable workflow, achieving strong objective and subjective results and enabling integration into real-world music production workflows. Overall, Pianist Transformer outlines a scalable path toward human-like performance synthesis in the music domain. Code, audio samples, and model checkpoints are available on our project page: https://yhj137.github.io/pianist-transformer-demo/.

There have been several studies on automatically generating piano covers, and recent advancements in deep learning have enabled the creation of more sophisticated covers. However, existing automatic piano cover models still have room for improvement in terms of expressiveness and fidelity to the original. To address these issues, we propose a learning algorithm called AMT-APC, which leverages the capabilities of automatic music transcription models. By utilizing the strengths of well-established automatic music transcription models, we aim to improve the accuracy of piano cover generation. Our experiments demonstrate that the AMT-APC model reproduces original tracks more accurately than any existing models.