Wei Zeng (曾威)

Piano audio-to-score transcription (A2S) is an important yet underexplored task with extensive applications for music composition, practice, and analysis. However, existing end-to-end piano A2S systems faced difficulties in retrieving bar-level information such as key and time signatures, and have been trained and evaluated with only synthetic data. To address these limitations, we propose a sequence-to-sequence (Seq2Seq) model with a hierarchical decoder that aligns with the hierarchical structure of musical scores, enabling the transcription of score information at both the bar and note levels by multi-task learning. To bridge the gap between synthetic data and recordings of human performance, we propose a two-stage training scheme, which involves pre-training the model using an expressive performance rendering (EPR) system on synthetic audio, followed by fine-tuning the model using recordings of human performance. To preserve the voicing structure for score reconstruction, we propose a pre-processing method for **Kern scores in scenarios with an unconstrained number of voices. Experimental results support the effectiveness of our proposed approaches, in terms of both transcription performance on synthetic audio data in comparison to the current state-of-the-art, and the first experiment on human recordings.

Automatic lyric transcription (ALT) refers to transcribing singing voices into lyrics, while automatic music transcription (AMT) refers to transcribing singing voices into note events, i.e., musical MIDI notes. Despite these two tasks having significant potential for practical application, they are still nascent. This is because the transcription of lyrics and note events solely from singing audio is notoriously difficult due to the presence of noise contamination, e.g., musical accompaniment, resulting in a degradation of both the intelligibility of sung lyrics and the recognizability of sung notes. To address this challenge, we propose a general framework for implementing multimodal ALT and AMT systems. Additionally, we curate the first multimodal singing dataset, comprising N20EMv1 and N20EMv2, which encompasses audio recordings and videos of lip movements, together with ground truth for lyrics and note events. For model construction, we propose adapting self-supervised learning models from the speech domain as acoustic encoders and visual encoders to alleviate the scarcity of labeled data. We also introduce a residual cross-attention mechanism to effectively integrate features from the audio and video modalities. Through extensive experiments, we demonstrate that our single-modal systems exhibit state-of-the-art performance on both ALT and AMT tasks. Subsequently, through single-modal experiments, we also explore the individual contributions of each modality to the multimodal system. Finally, we combine these and demonstrate the effectiveness of our proposed multimodal systems, particularly in terms of their noise robustness.

It is widely known that males and females typically possess different sound characteristics when singing, such as timbre and pitch, but it has never been explored whether these gender-based characteristics lead to a performance disparity in singing voice transcription (SVT), whose target includes pitch. Such a disparity could cause fairness issues and severely affect the user experience of downstream SVT applications. Motivated by this, we first demonstrate the female superiority of SVT systems, which is observed across different models and datasets. We find that different pitch distributions, rather than gender data imbalance, contribute to this disparity. To address this issue, we propose using an attribute predictor to predict gender labels and adversarially training the SVT system to enforce the gender-invariance of acoustic representations. Leveraging the prior knowledge that pitch distributions may contribute to the gender bias, we propose conditionally aligning acoustic representations between demographic groups by feeding note events to the attribute predictor. Empirical experiments on multiple benchmark SVT datasets show that our method significantly reduces gender bias (up to more than 50%) with negligible degradation of overall SVT performance, on both in-domain and out-of-domain singing data, thus offering a better fairness-utility trade-off.