Recent advances in audio-text large language models (LLMs) have opened new possibilities for music understanding and generation. However, existing benchmarks are limited in scope, often relying on simplified tasks or multi-choice evaluations that fail to reflect the complexity of real-world music analysis. We reinterpret a broad range of traditional MIR annotations as instruction-following formats and introduce CMI-Bench, a comprehensive music instruction following benchmark designed to evaluate audio-text LLMs on a diverse set of music information retrieval (MIR) tasks. These include genre classification, emotion regression, emotion tagging, instrument classification, pitch estimation, key detection, lyrics transcription, melody extraction, vocal technique recognition, instrument performance technique detection, music tagging, music captioning, and (down)beat tracking: reflecting core challenges in MIR research. Unlike previous benchmarks, CMI-Bench adopts standardized evaluation metrics consistent with previous state-of-the-art MIR models, ensuring direct comparability with supervised approaches. We provide an evaluation toolkit supporting all open-source audio-textual LLMs, including LTU, Qwen-audio, SALMONN, MusiLingo, etc. Experiment results reveal significant performance gaps between LLMs and supervised models, along with their culture, chronological and gender bias, highlighting the potential and limitations of current models in addressing MIR tasks. CMI-Bench establishes a unified foundation for evaluating music instruction following, driving progress in music-aware LLMs.
Singing melody extraction (SME) is a key task in the field of music information retrieval. However, existing methods are facing several limitations: firstly, prior models use transformers to capture the contextual dependencies, which requires quadratic computation resulting in low efficiency in the inference stage. Secondly, prior works typically rely on frequencysupervised methods to estimate the fundamental frequency (f0), which ignores that the musical performance is actually based on notes. Thirdly, transformers typically require large amounts of labeled data to achieve optimal performances, but the SME task lacks of sufficient annotated data. To address these issues, in this paper, we propose a mamba-based network, called SpectMamba, for semi-supervised singing melody extraction using confidence binary regularization. In particular, we begin by introducing vision mamba to achieve computational linear complexity. Then, we propose a novel note-f0 decoder that allows the model to better mimic the musical performance. Further, to alleviate the scarcity of the labeled data, we introduce a confidence binary regularization (CBR) module to leverage the unlabeled data by maximizing the probability of the correct classes. The proposed method is evaluated on several public datasets and the conducted experiments demonstrate the effectiveness of our proposed method.
Melody preservation is crucial in singing voice conversion (SVC). However, in many scenarios, audio is often accompanied with background music (BGM), which can cause audio distortion and interfere with the extraction of melody and other key features, significantly degrading SVC performance. Previous methods have attempted to address this by using more robust neural network-based melody extractors, but their performance drops sharply in the presence of complex accompaniment. Other approaches involve performing source separation before conversion, but this often introduces noticeable artifacts, leading to a significant drop in conversion quality and increasing the user's operational costs. To address these issues, we introduce a novel SVC method that uses self-supervised representation-based melody features to improve melody modeling accuracy in the presence of BGM. In our experiments, we compare the effectiveness of different self-supervised learning (SSL) models for melody extraction and explore for the first time how SSL benefits the task of melody extraction. The experimental results demonstrate that our proposed SVC model significantly outperforms existing baseline methods in terms of melody accuracy and shows higher similarity and naturalness in both subjective and objective evaluations across noisy and clean audio environments.
Extraction of predominant pitch from polyphonic audio is one of the fundamental tasks in the field of music information retrieval and computational musicology. To accomplish this task using machine learning, a large amount of labeled audio data is required to train the model. However, a classical model pre-trained on data from one domain (source), e.g., songs of a particular singer or genre, may not perform comparatively well in extracting melody from other domains (target). The performance of such models can be boosted by adapting the model using very little annotated data from the target domain. In this work, we propose an efficient interactive melody adaptation method. Our method selects the regions in the target audio that require human annotation using a confidence criterion based on normalized true class probability. The annotations are used by the model to adapt itself to the target domain using meta-learning. Our method also provides a novel meta-learning approach that handles class imbalance, i.e., a few representative samples from a few classes are available for adaptation in the target domain. Experimental results show that the proposed method outperforms other adaptive melody extraction baselines. The proposed method is model-agnostic and hence can be applied to other non-adaptive melody extraction models to boost their performance. Also, we released a Hindustani Alankaar and Raga (HAR) dataset containing 523 audio files of about 6.86 hours of duration intended for singing melody extraction tasks.
In deep learning research, many melody extraction models rely on redesigning neural network architectures to improve performance. In this paper, we propose an input feature modification and a training objective modification based on two assumptions. First, harmonics in the spectrograms of audio data decay rapidly along the frequency axis. To enhance the model's sensitivity on the trailing harmonics, we modify the Combined Frequency and Periodicity (CFP) representation using discrete z-transform. Second, the vocal and non-vocal segments with extremely short duration are uncommon. To ensure a more stable melody contour, we design a differentiable loss function that prevents the model from predicting such segments. We apply these modifications to several models, including MSNet, FTANet, and a newly introduced model, PianoNet, modified from a piano transcription network. Our experimental results demonstrate that the proposed modifications are empirically effective for singing melody extraction.
Melody extraction is a core task in music information retrieval, and the estimation of pitch, onset and offset are key sub-tasks in melody extraction. Existing methods have limited accuracy, and work for only one type of data, either single-pitch or multipitch. In this paper, we propose a highly accurate method for joint estimation of pitch, onset and offset, named JEPOO. We address the challenges of joint learning optimization and handling both single-pitch and multi-pitch data through novel model design and a new optimization technique named Pareto modulated loss with loss weight regularization. This is the first method that can accurately handle both single-pitch and multi-pitch music data, and even a mix of them. A comprehensive experimental study on a wide range of real datasets shows that JEPOO outperforms state-ofthe-art methods by up to 10.6%, 8.3% and 10.3% for the prediction of Pitch, Onset and Offset, respectively, and JEPOO is robust for various types of data and instruments. The ablation study shows the effectiveness of each component of JEPOO.
Extraction of the predominant pitch from polyphonic audio is one of the fundamental tasks in the field of music information retrieval and computational musicology. To accomplish this task using machine learning, a large amount of labeled audio data is required to train the model that predicts the pitch contour. But a classical model pre-trained on data from one domain (source), e.g, songs of a particular singer or genre, may not perform comparatively well in extracting melody from other domains (target). The performance of such models can be boosted by adapting the model using some annotated data in the target domain. In this work, we study various adaptation techniques applied to machine learning models for polyphonic melody extraction. Experimental results show that meta-learning-based adaptation performs better than simple fine-tuning. In addition to this, we find that this method outperforms the existing state-of-the-art non-adaptive polyphonic melody extraction algorithms.
A MIDI based approach for music recognition is proposed and implemented in this paper. Our Clarinet music retrieval system is designed to search piano MIDI files with high recall and speed. We design a novel melody extraction algorithm that improves recall results by more than 10%. We also implement 3 algorithms for retrieval-two self designed (RSA Note and RSA Time), and a modified version of the Mongeau Sankoff Algorithm. Algorithms to achieve tempo and scale invariance are also discussed in this paper. The paper also contains detailed experimentation and benchmarks with four different metrics. Clarinet achieves recall scores of more than 94%.
Singing melody extraction is an important problem in the field of music information retrieval. Existing methods typically rely on frequency-domain representations to estimate the sung frequencies. However, this design does not lead to human-level performance in the perception of melody information for both tone (pitch-class) and octave. In this paper, we propose TONet, a plug-and-play model that improves both tone and octave perceptions by leveraging a novel input representation and a novel network architecture. First, we present an improved input representation, the Tone-CFP, that explicitly groups harmonics via a rearrangement of frequency-bins. Second, we introduce an encoder-decoder architecture that is designed to obtain a salience feature map, a tone feature map, and an octave feature map. Third, we propose a tone-octave fusion mechanism to improve the final salience feature map. Experiments are done to verify the capability of TONet with various baseline backbone models. Our results show that tone-octave fusion with Tone-CFP can significantly improve the singing voice extraction performance across various datasets -- with substantial gains in octave and tone accuracy.
Melody estimation or melody extraction refers to the extraction of the primary or fundamental dominant frequency in a melody. This sequence of frequencies obtained represents the pitch of the dominant melodic line from recorded music audio signals. The music signal may be monophonic or polyphonic. The melody extraction problem from audio signals gets complicated when we start dealing with polyphonic audio data. This is because in generalized audio signals,the sounds are highly correlated over both frequency and time domains. This complex overlap of many sounds, makes identification of predominant frequency challenging.
This article presents a benchmark study of symbolic piano music classification using the masked language modelling approach of the Bidirectional Encoder Representations from Transformers (BERT). Specifically, we consider two types of MIDI data: MIDI scores, which are musical scores rendered directly into MIDI with no dynamics and precisely aligned with the metrical grid notated by its composer and MIDI performances, which are MIDI encodings of human performances of musical scoresheets. With five public-domain datasets of single-track piano MIDI files, we pre-train two 12-layer Transformer models using the BERT approach, one for MIDI scores and the other for MIDI performances, and fine-tune them for four downstream classification tasks. These include two note-level classification tasks (melody extraction and velocity prediction) and two sequence-level classification tasks (style classification and emotion classification). Our evaluation shows that the BERT approach leads to higher classification accuracy than recurrent neural network (RNN)-based baselines.
Singing voice detection (SVD), to recognize vocal parts in the song, is an essential task in music information retrieval (MIR). The task remains challenging since singing voice varies and intertwines with the accompaniment music, especially for some complicated polyphonic music such as choral music recordings. To address this problem, we investigate singing voice detection while discarding the interference from the accompaniment. The proposed SVD has two steps: i. The singing voice separation (SVS) technique is first utilized to filter out the singing voice's potential part coarsely. ii. Upon the continuity of vocal in the time domain, Long-term Recurrent Convolutional Networks (LRCN) is used to learn compositional features. Moreover, to eliminate the outliers, we choose to use a median filter for time-domain smoothing. Experimental results show that the proposed method outperforms the existing state-of-the-art works on two public datasets, the Jamendo Corpus and the RWC pop dataset.
Unlike melody extraction and other aspects of music transcription, research on playing technique detection is still in its early stages. Compared to existing work mostly focused on playing technique detection for individual single notes, we propose a general end-to-end method based on Sound Event Detection by FCN for musical instrument playing technique detection. In our case, we choose Erhu, a well-known Chinese bowed-stringed instrument, to experiment with our method. Because of the limitation of FCN, we present an algorithm to detect on variable length audio. The effectiveness of the proposed framework is tested on a new dataset, its categorization of techniques is similar to our training dataset. The highest accuracy of our 3 experiments on the new test set is 87.31%. Furthermore, we also evaluate the performance of the proposed framework on 10 real-world studio music (produced by midi) and 7 real-world recording samples to address the ability of generalization on our model.
Melody extraction in polyphonic musical audio is important for music signal processing. In this paper, we propose a novel streamlined encoder/decoder network that is designed for the task. We make two technical contributions. First, drawing inspiration from a state-of-the-art model for semantic pixel-wise segmentation, we pass through the pooling indices between pooling and un-pooling layers to localize the melody in frequency. We can achieve result close to the state-of-the-art with much fewer convolutional layers and simpler convolution modules. Second, we propose a way to use the bottleneck layer of the network to estimate the existence of a melody line for each time frame, and make it possible to use a simple argmax function instead of ad-hoc thresholding to get the final estimation of the melody line. Our experiments on both vocal melody extraction and general melody extraction validate the effectiveness of the proposed model.