arXiv subjects

Jan Hajič jr

Publications and source records attributed to Jan Hajič jr.

10 recordsLinked to original sources

arXiv2026

Towards cross-cultural study of folksong lyrics with machine translation

Music is universally present in human societies. Ethnomusicologists have long been documenting the diverse expressions of human musicality, and comparative musicology has recently brought several studies of folksong to a more global scale. Such cross-cultural research has not been conducted on lyrics: the language barrier has so far prevented work with multi-lingual data. However, Natural Language Processing (NLP) technologies have reached a stage where this language barrier may no longer be prohibitive. Combining folksong lyrics corpora across five languages, we machine-translate them to a pivot language with a pre-trained neural topic model, and we examine the relationship between content and social function within each language, and across languages for wedding songs. As expected, human evaluation of translation results shows that non-Indo-European languages suffer from overall worse translation quality. Experiments with topic models then indicate that the content of lyrics is at best partially related to the social function of folksongs across all languages. These experiments are just first steps into cross-cultural folk musics lyrics analysis; however, they do indicate that a previously unobserved web of cross-cultural relationships beyond ethnomusicological typologies may be uncovered through the study of what people sing across the world's diverse folk musics.

cs.CL↗

arXiv2026

Music I Care About: Automated Multimodal Benchmarking of LLM Music Perception Skills on (Almost) Any Music

Music represents a cornerstone of human culture, existing digitally across diverse modalities, including audio, symbolic encodings (e.g., MIDI, MusicXML), and sheet music. Despite the advancement of Multimodal Large Language Models (MLLMs), current music benchmarks face three major limitations. First, large static benchmarks are resource-intensive to evaluate, and it remains unclear how their results transfer to diverse kinds of music beyond those included in the benchmark. Second, benchmarks claiming to measure "music understanding" often fail to require music perception. Third, they do not support systematic performance comparisons across musical modalities. To overcome these issues, we introduce the Music I Care About Meta-Benchmark (MusICA-MetaBench), a framework that automatically derives on-demand benchmarks directly from user-provided data. By leveraging structured symbolic representations (e.g., MusicXML) and our pre-defined question templates, we build multiple-choice question-answer pairs that probe music perception competencies, aligned with music pedagogy, across audio, music notation images, and symbolic files. We demonstrate our framework with the ChoraleBricks dataset, and experimentally determine benchmark sizes that ensure statistically reliable model comparisons for this setup. By comparing against text-only and white-noise baselines, we show our questions do measure music perception. Ultimately, MusICA-MetaBench represents a significant advancement in the cross-modal assessment of music perception for MLLMs. By proposing a dataset-specific benchmarking paradigm, it enables efficient on-demand evaluation of music perception capabilities.

cs.SD↗

arXiv2026

Towards a foundational model for recognising diastematic Gregorian notation

Optical recognition of Gregorian notation has recently been attempted with end-to-end methods, with four datasets introduced. However, each of these datasets is in a different encoding. We design a common encoding based on the S-GABC proposal, convert all four datasets to this common encoding, and train a shared end-to-end foundational model for diastematic Gregorian notation that establishes a new state of the art across all four datasets.

cs.CV↗

arXiv2026

DEMUN: Fast and accurate discovery of music notation in very large collections

Much of written musical heritage is preserved and digitised at memory institutions: libraries, museums, and archives. Owing to their collection structures, sheet music tends to be concentrated in large subsets that are defined as collections of music, with corresponding metadata that makes the music findable. However, when studying musical life as opposed to individual works, relevant documents often lie outside of these specialised collections: in textbooks, newspapers, other periodicals, pamphlets, and other documents with extensive circulation. But these documents are typically not catalogued as musical documents, and though there may be a lot of such documents overall, in large library collections, they are still extremely sparse. Manual discovery is thus unfeasible. Automated discovery requires an extremely low false positive rate in order to be useful, and must also operate quickly. We present DEMUN: a two-stage lightweight detector of music notation with a false positive rate of 0.015 %. In the test scenario, 4 million images of a national-scale library were processed, out of which 1,500 pages with music notation were discovered, suggesting the entire collection may contain up to 20-30,000 unmarked documents of musical life.

cs.DL↗

arXiv2026

Optical Music Recognition for Real-World Manuscripts with Synthetic Data

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.

cs.CV↗

arXiv2026

Beyond Rules: Towards Basso Continuo Personal Style Identification

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.

cs.SD↗

arXiv2026

Making Chant Computing Easy: CantusCorpus v1.0 and the PyCantus Library

Digital Gregorian chant scholarship has for decades enjoyed the privilege of a large digital resource cataloguing chant sources: the Cantus ecosystem, with nearly 900,000 chants catalogued across more than 2000 sources. The Cantus Database data model and the Cantus ID mechanism has been adopted by 18 more chant databases, jointly accessible through the Cantus Index interface. However, this data has only been available piecemeal via the individual online user interfaces; computational methods have so far had only a limited opportunity to process these immense resources. To overcome this hurdle, we compiled CantusCorpus v1.0, a dataset that combines everything that was available across the Cantus Index-centered network of databases as of mid-2025, and we have also provided the code for updating the dataset as the databases grow. We then created the lightweight PyCantus library for working with this data. PyCantus decouples the data model from the Cantus codebase and thus allows integration of further chant data sources, which we illustrate with harmonising pilot data from the Corpus Monodicum project. Computational chant research is attractive - and CantusCorpus v1.0 and PyCantus are infrastructures that should make work in this field more transparent, replicable, and accessible to digital humanities practitioners beyond chant scholars themselves.

cs.DL↗

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

Modeling the Difficulty of Saxophone Music

In learning music, difficulty is an important factor in choice of repertoire, choice of tempo, and structure of practice. These choices are typically done with the guidance of a teacher; however, not all learners have access to one. While piano and strings have had some attention devoted to automated difficulty estimation, wind instruments have so far been under-served. In this paper, we propose a method for estimating the difficulty of pieces for winds and implement it for the tenor saxophone. We take the cost-of-traversal approach, modelling the part as a sequence of transitions -- note pairs. We estimate transition costs from newly collected recordings of trill speeds, comparing representations of saxophone fingerings at various levels of expert input. We then compute and visualise the cost of the optimal path through the part, at a given tempo. While we present this model for the tenor saxophone, the same pipeline can be applied to other woodwinds, and our experiments show that with appropriate feature design, only a small proportion of possible trills is needed to estimate the costs well. Thus, we present a practical way of diversifying the capabilities of MIR in music education to the wind family of instruments.

cs.SD↗

arXiv2025

Gregorian melody, modality, and memory: Segmenting chant with Bayesian nonparametrics

The idea that Gregorian melodies are constructed from some vocabulary of segments has long been a part of chant scholarship. This so-called "centonisation" theory has received much musicological criticism, but frequent re-use of certain melodic segments has been observed in chant melodies, and the intractable number of possible segmentations allowed the option that some undiscovered segmentation exists that will yet prove the value of centonisation, and recent empirical results have shown that segmentations can outperform music-theoretical features in mode classification. Inspired by the fact that Gregorian chant was memorised, we search for an optimal unsupervised segmentation of chant melody using nested hierarchical Pitman-Yor language models. The segmentation we find achieves state-of-the-art performance in mode classification. Modeling a monk memorising the melodies from one liturgical manuscript, we then find empirical evidence for the link between mode classification and memory efficiency, and observe more formulaic areas at the beginnings and ends of melodies corresponding to the practical role of modality in performance. However, the resulting segmentations themselves indicate that even such a memory-optimal segmentation is not what is understood as centonisation.

cs.CL↗