arXiv subjects

Carlos Eduardo Cancino-Chacón

Publications and source records attributed to Carlos Eduardo Cancino-Chacón.

8 recordsLinked to original sources

arXiv2026

A Flexible Encoding Model for Non-Unique Note Alignments

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.

cs.SD↗

arXiv2026

On Every Note a Griff: Looking for a Useful Representation of Basso Continuo Performance Style

Basso continuo is a baroque improvisatory accompaniment style which involves improvising multiple parts above a given bass line in a musical score on a harpsichord or organ. Basso continuo is not merely a matter of history; moreover, it is a historically inspired living practice, and The Aligned Continuo Dataset (ACoRD) records the first sample of modern-day basso continuo playing in the symbolic domain. This dataset, containing 175 MIDI recordings of 5 basso continuo scores performed by 7 players, allows us to start observing and analyzing the variety that basso continuo improvisation brings. A recently proposed basso continuo performance-to-score alignment system provides a way of mapping improvised performance notes to score notes. In order to study aligned basso continuo performances, we need an appropriate feature representation. We propose griff, a representation inspired by historical basso continuo treatises. It enables us to encode both pitch content and structure of a basso continuo realization in a transposition-invariant way. Griffs are directly extracted from aligned basso continuo performances by grouping together performance notes aligned to the same score note in a onset-time ordered way, and they provide meaningful tokens that form a feature space in which we can analyze basso continuo performance styles. We statistically describe griffs extracted from the ACoRD dataset recordings, and show in two experiments how griffs can be used for statistical analysis of individuality of different players' basso continuo performance styles. We finally present an argument why it is desirable to preserve the structure of a basso continuo improvisation in order to conduct a refined analysis of personal performance styles of individual basso continuo practitioners, and why griffs can provide a meaningful historically informed feature space worthy of a more robust empirical validation.

cs.SD↗

arXiv2025

Pay Attention to the Keys: Visual Piano Transcription Using Transformers

Visual piano transcription (VPT) is the task of obtaining a symbolic representation of a piano performance from visual information alone (e.g., from a top-down video of the piano keyboard). In this work we propose a VPT system based on the vision transformer (ViT), which surpasses previous methods based on convolutional neural networks (CNNs). Our system is trained on the newly introduced R3 dataset, consisting of ca.~31 hours of synchronized video and MIDI recordings of piano performances. We additionally introduce an approach to predict note offsets, which has not been previously explored in this context. We show that our system outperforms the state-of-the-art on the PianoYT dataset for onset prediction and on the R3 dataset for both onsets and offsets.

cs.CV↗

arXiv2024

DExter: Learning and Controlling Performance Expression with Diffusion Models

In the pursuit of developing expressive music performance models using artificial intelligence, this paper introduces DExter, a new approach leveraging diffusion probabilistic models to render Western classical piano performances. In this approach, performance parameters are represented in a continuous expression space and a diffusion model is trained to predict these continuous parameters while being conditioned on the musical score. Furthermore, DExter also enables the generation of interpretations (expressive variations of a performance) guided by perceptually meaningful features by conditioning jointly on score and perceptual feature representations. Consequently, we find that our model is useful for learning expressive performance, generating perceptually steered performances, and transferring performance styles. We assess the model through quantitative and qualitative analyses, focusing on specific performance metrics regarding dimensions like asynchrony and articulation, as well as through listening tests comparing generated performances with different human interpretations. Results show that DExter is able to capture the time-varying correlation of the expressive parameters, and compares well to existing rendering models in subjectively evaluated ratings. The perceptual-feature-conditioned generation and transferring capabilities of DExter are verified by a proxy model predicting perceptual characteristics of differently steered performances.

eess.AS↗

arXiv2023

Sounding Out Reconstruction Error-Based Evaluation of Generative Models of Expressive Performance

Generative models of expressive piano performance are usually assessed by comparing their predictions to a reference human performance. A generative algorithm is taken to be better than competing ones if it produces performances that are closer to a human reference performance. However, expert human performers can (and do) interpret music in different ways, making for different possible references, and quantitative closeness is not necessarily aligned with perceptual similarity, raising concerns about the validity of this evaluation approach. In this work, we present a number of experiments that shed light on this problem. Using precisely measured high-quality performances of classical piano music, we carry out a listening test indicating that listeners can sometimes perceive subtle performance difference that go unnoticed under quantitative evaluation. We further present tests that indicate that such evaluation frameworks show a lot of variability in reliability and validity across different reference performances and pieces. We discuss these results and their implications for quantitative evaluation, and hope to foster a critical appreciation of the uncertainties involved in quantitative assessments of such performances within the wider music information retrieval (MIR) community.

cs.SD↗

arXiv2023

Are we describing the same sound? An analysis of word embedding spaces of expressive piano performance

Semantic embeddings play a crucial role in natural language-based information retrieval. Embedding models represent words and contexts as vectors whose spatial configuration is derived from the distribution of words in large text corpora. While such representations are generally very powerful, they might fail to account for fine-grained domain-specific nuances. In this article, we investigate this uncertainty for the domain of characterizations of expressive piano performance. Using a music research dataset of free text performance characterizations and a follow-up study sorting the annotations into clusters, we derive a ground truth for a domain-specific semantic similarity structure. We test five embedding models and their similarity structure for correspondence with the ground truth. We further assess the effects of contextualizing prompts, hubness reduction, cross-modal similarity, and k-means clustering. The quality of embedding models shows great variability with respect to this task; more general models perform better than domain-adapted ones and the best model configurations reach human-level agreement.

cs.CL↗

arXiv2023

Symbolic Music Representations for Classification Tasks: A Systematic Evaluation

Music Information Retrieval (MIR) has seen a recent surge in deep learning-based approaches, which often involve encoding symbolic music (i.e., music represented in terms of discrete note events) in an image-like or language like fashion. However, symbolic music is neither an image nor a sentence, and research in the symbolic domain lacks a comprehensive overview of the different available representations. In this paper, we investigate matrix (piano roll), sequence, and graph representations and their corresponding neural architectures, in combination with symbolic scores and performances on three piece-level classification tasks. We also introduce a novel graph representation for symbolic performances and explore the capability of graph representations in global classification tasks. Our systematic evaluation shows advantages and limitations of each input representation. Our results suggest that the graph representation, as the newest and least explored among the three approaches, exhibits promising performance, while being more light-weight in training.

eess.AS↗

arXiv2016

Towards computer-assisted understanding of dynamics in symphonic music

Many people enjoy classical symphonic music. Its diverse instrumentation makes for a rich listening experience. This diversity adds to the conductor's expressive freedom to shape the sound according to their imagination. As a result, the same piece may sound quite differently from one conductor to another. Differences in interpretation may be noticeable subjectively to listeners, but they are sometimes hard to pinpoint, presumably because of the acoustic complexity of the sound. We describe a computational model that interprets dynamics---expressive loudness variations in performances---in terms of the musical score, highlighting differences between performances of the same piece. We demonstrate experimentally that the model has predictive power, and give examples of conductor ideosyncrasies found by using the model as an explanatory tool. Although the present model is still in active development, it may pave the road for a consumer-oriented companion to interactive classical music understanding.

cs.SD↗