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Dasaem Jeong

Publications and source records attributed to Dasaem Jeong.

At least 19 recordsLinked to original sources

UniVerse: Benchmarking and Enhancing LALMs on Culturally Inclusive Low-Resource Music Understanding

Recent advances in large audio-language models (LALMs) have significantly improved performance in tasks such as music captioning, genre classification, and sound event detection. However, limited attention has been paid to improving their adaptability across diverse musical traditions, particularly folk music rooted in distinct cultural contexts. Folk-music traditions are typically resource-scarce, unevenly represented across regions, and poorly documented. Even when such samples appear in large-scale pre-training, LALMs often fail to capture their structural and stylistic characteristics, partly due to the absence of dedicated evaluation protocols and training solutions. To address these limitations, we introduce UniVerse, a reproducible solution for low-resource music understanding. Specifically, we propose UniVerseBench, a benchmark of 5,042 Q&A pairs across more than 38 cultural and linguistic entities, constructed via an expert-guided yet highly automated pipeline. In parallel, we construct a fully automated, model-generated multi-turn dialogue training dataset UniVerseSet. By training LALMs on UniVerseSet, we systematically adapt and investigate representative multimodal imbalance learning strategies across both dense and Mixture-of-Experts (MoE) architectures. Experimental results indicate that fully automated data curation combined with imbalance-aware training yields non-trivial improvements, but models still struggle to capture fine-grained acoustic features, indicating a gap between surface-level alignment and deep musical comprehension.

cs.SD

A Dataset and Benchmark for Optical Music Recognition of String Quartet Scores

Optical music recognition (OMR) transcribes music scores into digital formats. While the field has advanced significantly on monophonic and piano-form scores, multi-part score transcription remains underexplored, largely due to the absence of a suitable dataset. We introduce OpenScore String Quartet for Optical Music Recognition (OSSQ-OMR), the first dataset dedicated to multi-part OMR. Built on the OpenScore String Quartet corpus, OSSQ-OMR pairs digitally encoded scores with their original scanned editions from IMSLP, with all images visually aligned to their transcriptions. The dataset is released with score images at system and staff levels, and paired transcriptions in three encoding formats: Extended Linearized MusicXML (LMXE), **kern, and ABC. In total, OSSQ-OMR contains 24,544 system images and 98,172 staff images drawn from 116 string quartet scores. We accompany the dataset with a benchmark protocol and baseline results from two representative OMR models, evaluated across four random score-level splits with mutually exclusive test sets. Baselines reach OMR-NED as low as 3.6% on synthetic and 5.9% on scanned inputs; results reveal substantial effects of encoding and segmentation choices, with the LSTM-based baseline degrading on scanned inputs roughly 2.6 times less than the Transformer-based baseline.

cs.CV

Pitch Contour Tokenization using VQ-VAE and Its Application on Korean Traditional Music Analysis

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.

cs.SD

Measuring Cross-Cultural Style Diffusion Through Era Classification: US and Korean Popular Music

Popular music circulates globally while being locally reinterpreted, yet this process of cross-cultural style diffusion has rarely been quantified. We propose an era-classification framework for measuring temporal alignment between chart cultures. CNN classifiers trained from scratch on Billboard Hot 100 audio are applied to Korean Melon chart songs. Korean chart songs from the 1960s through the 1980s are consistently inferred as belonging to earlier Billboard eras, by a median of about four to five years, while the same models remain unbiased on held-out Billboard audio. The offset then halves at the 1990s, to roughly two to three years, and holds there through the 2000s. Reverse inference shows a complementary narrowing, and the pattern holds across architectures and seeds. We interpret these results as reflecting how globally circulating pop styles were locally adopted and progressively synchronized. The framework can be applied to other pairs of chart cultures beyond the US-Korea case examined here.

cs.SD

Frame-Level Pansori Mode Classification with Complementary Audio Representations

Pansori is a traditional Korean vocal genre whose mode system (jo) is defined not by scale alone but by the entanglement of pitch collection, microtonal ornament (sigimsae), and vocal timbre. In this study, we introduce a 46-hour frame-level pansori mode annotation, expert-labeled across all five canonical batang, and evaluate four complementary input representations (mel spectrogram, F0 contour, MIDI piano roll, and a multi-cultural SSL encoder) under two split strategies designed to detect shortcut learning. Across the three well-represented modes, performance degrades by only 2.1--3.6 points of F1 when entire works are held out, indicating that the models learn mode-relevant features rather than memorizing repertoire. Per-class results further show that source separation removes the percussion cue on which changjo depends, and that generic multi-cultural pre-training fails specifically on the Ujo--Gyemyeonjo distinction. Qualitative analysis of cross-modal disagreement recovers musicologically documented phenomena and agrees with published score-based analyses of modern changjak pansori.

cs.SD

Local Multimodal Music Alignment from Global Supervision

Understanding music requires understanding localized relationships across data modalities, e.g., how time in performance audio maps onto position in a score image. Yet supervision for such local correspondences is difficult to obtain-in practice, we often only have access to coarser global supervision like paired segments of audio and images. To address this gap, we propose FuSiLi (Fused Sinkhorn-Localized Similarity), a similarity score for multimodal contrastive learning operating directly on local image patch and audio frame features via Sinkhorn-based soft alignment. We show that FuSiLi (i) effectively learns local relationships, (ii) requires only global supervision, and (iii) retains the global alignment capabilities of conventional contrastive approaches. We fine-tune pretrained CLIP and CLAP encoders on pairs of raw sheet music images and audio using a hybrid contrastive objective combining FuSiLi with conventional global similarity. We evaluate on cross-modal retrieval and frame-level alignment tasks against a range of global and local baselines, showing that our approach outperforms them on local alignment while remaining competitive on retrieval.

cs.SD

RenCon 2025: Revival of the Expressive Performance Rendering Competition

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.

cs.MM

Nested Music Transformer: Sequentially Decoding Compound Tokens in Symbolic Music and Audio Generation

Representing symbolic music with compound tokens, where each token consists of several different sub-tokens representing a distinct musical feature or attribute, offers the advantage of reducing sequence length. While previous research has validated the efficacy of compound tokens in music sequence modeling, predicting all sub-tokens simultaneously can lead to suboptimal results as it may not fully capture the interdependencies between them. We introduce the Nested Music Transformer (NMT), an architecture tailored for decoding compound tokens autoregressively, similar to processing flattened tokens, but with low memory usage. The NMT consists of two transformers: the main decoder that models a sequence of compound tokens and the sub-decoder for modeling sub-tokens of each compound token. The experiment results showed that applying the NMT to compound tokens can enhance the performance in terms of better perplexity in processing various symbolic music datasets and discrete audio tokens from the MAESTRO dataset.

cs.SD

Difficulty-Controlled Simplification of Piano Scores with Synthetic Data for Inclusive Music Education

Despite its potential, AI advances in music education are hindered by proprietary systems that limit the democratization of technology in this domain. In particular, AI-driven music difficulty adjustment is especially promising, as simplifying complex pieces can make music education more inclusive and accessible to learners of all ages and contexts. Nevertheless, recent efforts have relied on proprietary datasets, which prevents the research community from reproducing, comparing, or extending the current state of the art. In addition, while these generative methods offer great potential, most of them use the MIDI format, which, unlike others, such as MusicXML, lacks readability and layout information, thereby limiting their practical use for human performers. This work introduces a transformer-based method for adjusting the difficulty of MusicXML piano scores. Unlike previous methods, which rely on annotated datasets, we propose a synthetic dataset composed of pairs of piano scores ordered by estimated difficulty, with each pair comprising a more challenging and easier arrangement of the same piece. We generate these pairs by creating variations conditioned on the same melody and harmony and leverage pretrained models to assess difficulty and style, ensuring appropriate pairing. The experimental results illustrate the validity of the proposed approach, showing accurate control of playability and target difficulty, as highlighted through qualitative and quantitative evaluations. In contrast to previous work, we openly release all resources (code, dataset, and models), ensuring reproducibility while fostering open-source innovation to help bridge the digital divide.

cs.SD

WaveRoll: JavaScript Library for Comparative MIDI Piano-Roll Visualization

WaveRoll is an interactive JavaScript library that enables comparative visualization and synchronized playback of multiple MIDI piano rolls on a browser. It addresses a specific evaluation need in Automatic Music Transcription (AMT), contrasting multiple MIDI outputs produced from the same input. The library displays multiple MIDI tracks on a single, time-aligned grid with synchronized audio, allowing users to compare pitch and timing, identify missed or extra notes, and observe onset and offset differences, as well as section-level patterns. We expect that such comparisons would assist in model evaluation and error analysis, and help readers to understand the model behavior better. The open-source library is available at https://github.com/crescent-stdio/wave-roll

cs.SD

On the de-duplication of the Lakh MIDI dataset

A large-scale dataset is essential for training a well-generalized deep-learning model. Most such datasets are collected via scraping from various internet sources, inevitably introducing duplicated data. In the symbolic music domain, these duplicates often come from multiple user arrangements and metadata changes after simple editing. However, despite critical issues such as unreliable training evaluation from data leakage during random splitting, dataset duplication has not been extensively addressed in the MIR community. This study investigates the dataset duplication issues regarding Lakh MIDI Dataset (LMD), one of the largest publicly available sources in the symbolic music domain. To find and evaluate the best retrieval method for duplicated data, we employed the Clean MIDI subset of the LMD as a benchmark test set, in which different versions of the same songs are grouped together. We first evaluated rule-based approaches and previous symbolic music retrieval models for de-duplication and also investigated with a contrastive learning-based BERT model with various augmentations to find duplicate files. As a result, we propose three different versions of the filtered list of LMD, which filters out at least 38,134 samples in the most conservative settings among 178,561 files.

cs.SD

Motive-level Analysis of Form-functions Association in Korean Folk song

Computational analysis of folk song audio is challenging due to structural irregularities and the need for manual annotation. We propose a method for automatic motive segmentation in Korean folk songs by fine-tuning a speech transcription model on audio lyric with motif boundary annotation. Applying this to 856 songs, we extracted motif count and duration entropy as structural features. Statistical analysis revealed that these features vary systematically according to the social function of the songs. Songs associated with collective labor, for instance, showed different structural patterns from those for entertainment or personal settings. This work offers a scalable approach for quantitative structural analysis of oral music traditions.

cs.SD

Can Audio Reveal Music Performance Difficulty? Insights from the Piano Syllabus Dataset

Automatically estimating the performance difficulty of a music piece represents a key process in music education to create tailored curricula according to the individual needs of the students. Given its relevance, the Music Information Retrieval (MIR) field depicts some proof-of-concept works addressing this task that mainly focuses on high-level music abstractions such as machine-readable scores or music sheet images. In this regard, the potential of directly analyzing audio recordings has been generally neglected, which prevents students from exploring diverse music pieces that may not have a formal symbolic-level transcription. This work pioneers in the automatic estimation of performance difficulty of music pieces on audio recordings with two precise contributions: (i) the first audio-based difficulty estimation dataset -- namely, Piano Syllabus (PSyllabus) dataset -- featuring 7,901 piano pieces across 11 difficulty levels from 1,233 composers; and (ii) a recognition framework capable of managing different input representations -- both unimodal and multimodal manners -- directly derived from audio to perform the difficulty estimation task. The comprehensive experimentation comprising different pre-training schemes, input modalities, and multi-task scenarios prove the validity of the proposal and establishes PSyllabus as a reference dataset for audio-based difficulty estimation in the MIR field. The dataset as well as the developed code and trained models are publicly shared to promote further research in the field.

cs.SD

Unified Cross-modal Translation of Score Images, Symbolic Music, and Performance Audio

Music exists in various modalities, such as score images, symbolic scores, MIDI, and audio. Translations between each modality are established as core tasks of music information retrieval, such as automatic music transcription (audio-to-MIDI) and optical music recognition (score image to symbolic score). However, most past work on multimodal translation trains specialized models on individual translation tasks. In this paper, we propose a unified approach, where we train a general-purpose model on many translation tasks simultaneously. Two key factors make this unified approach viable: a new large-scale dataset and the tokenization of each modality. Firstly, we propose a new dataset that consists of more than 1,300 hours of paired audio-score image data collected from YouTube videos, which is an order of magnitude larger than any existing music modal translation datasets. Secondly, our unified tokenization framework discretizes score images, audio, MIDI, and MusicXML into a sequence of tokens, enabling a single encoder-decoder Transformer to tackle multiple cross-modal translation as one coherent sequence-to-sequence task. Experimental results confirm that our unified multitask model improves upon single-task baselines in several key areas, notably reducing the symbol error rate for optical music recognition from 24.58% to a state-of-the-art 13.67%, while similarly substantial improvements are observed across the other translation tasks. Notably, our approach achieves the first successful score-image-conditioned audio generation, marking a significant breakthrough in cross-modal music generation.

cs.SD

LAV: Audio-Driven Dynamic Visual Generation with Neural Compression and StyleGAN2

This paper introduces LAV (Latent Audio-Visual), a system that integrates EnCodec's neural audio compression with StyleGAN2's generative capabilities to produce visually dynamic outputs driven by pre-recorded audio. Unlike previous works that rely on explicit feature mappings, LAV uses EnCodec embeddings as latent representations, directly transformed into StyleGAN2's style latent space via randomly initialized linear mapping. This approach preserves semantic richness in the transformation, enabling nuanced and semantically coherent audio-visual translations. The framework demonstrates the potential of using pretrained audio compression models for artistic and computational applications.

cs.SD

Boundary Regression for Leitmotif Detection in Music Audio

Leitmotifs are musical phrases that are reprised in various forms throughout a piece. Due to diverse variations and instrumentation, detecting the occurrence of leitmotifs from audio recordings is a highly challenging task. Leitmotif detection may be handled as a subcategory of audio event detection, where leitmotif activity is predicted at the frame level. However, as leitmotifs embody distinct, coherent musical structures, a more holistic approach akin to bounding box regression in visual object detection can be helpful. This method captures the entirety of a motif rather than fragmenting it into individual frames, thereby preserving its musical integrity and producing more useful predictions. We present our experimental results on tackling leitmotif detection as a boundary regression task.

cs.SD

ViolinDiff: Enhancing Expressive Violin Synthesis with Pitch Bend Conditioning

Modeling the natural contour of fundamental frequency (F0) plays a critical role in music audio synthesis. However, transcribing and managing multiple F0 contours in polyphonic music is challenging, and explicit F0 contour modeling has not yet been explored for polyphonic instrumental synthesis. In this paper, we present ViolinDiff, a two-stage diffusion-based synthesis framework. For a given violin MIDI file, the first stage estimates the F0 contour as pitch bend information, and the second stage generates mel spectrogram incorporating these expressive details. The quantitative metrics and listening test results show that the proposed model generates more realistic violin sounds than the model without explicit pitch bend modeling. Audio samples are available online: daewoung.github.io/ViolinDiff-Demo.

cs.SD

MusicGen-Chord: Advancing Music Generation through Chord Progressions and Interactive Web-UI

MusicGen is a music generation language model (LM) that can be conditioned on textual descriptions and melodic features. We introduce MusicGen-Chord, which extends this capability by incorporating chord progression features. This model modifies one-hot encoded melody chroma vectors into multi-hot encoded chord chroma vectors, enabling the generation of music that reflects both chord progressions and textual descriptions. Furthermore, we developed MusicGen-Remixer, an application utilizing MusicGen-Chord to generate remixes of input music conditioned on textual descriptions. Both models are integrated into Replicate's web-UI using cog, facilitating broad accessibility and user-friendly controllable interaction for creating and experiencing AI-generated music.

cs.SD