Wei Zeng (曾威)

Transcribing expressive piano performances into scores requires interpreting individual note timings within an underlying metrical structure. However, score attributes are associated with notes, whereas beats may occur without coincident note onsets. We introduce DuET, a Dual-Encoder Transformer that jointly learns note-level performance MIDI-to-score (PM2S) transcription and frame-level beat and downbeat tracking. Bidirectional cross-attention connects note and frame encoders, while an autoregressive decoder alternates between their representations to predict structured score attributes. We further introduce TimeRoPE and Time-Pitch Rotary Positional Encoding (TPRoPE) to establish a shared performance-time reference and explicitly encode relative temporal and pitch relationships. Evaluations on ASAP, a classical piano dataset, and our curated Gangqinpu dataset, which spans multiple genres with a focus on popular piano music, demonstrate improvements in score timing and notated duration. Compared with the strongest baseline on each dataset, DuET reduces MUSTER mean error from 6.56% to 3.64% on Gangqinpu and from 11.30% to 11.22% on ASAP. Ablations support the benefits of frame-level context, time-based positional encoding, and decoder-history masking.

Singing Voice Synthesis (SVS) aims to generate expressive vocal performances from structured musical inputs such as lyrics and pitch sequences. While recent progress in discrete codec-based speech synthesis has enabled zero-shot generation via in-context learning, directly extending these techniques to SVS remains non-trivial due to the requirement for precise melody control. In particular, prompt-based generation often introduces prosody leakage, where pitch information is inadvertently entangled within the timbre prompt, compromising controllability. We present CoMelSinger, a zero-shot SVS framework that enables structured and disentangled melody control within a discrete codec modeling paradigm. Built on the non-autoregressive MaskGCT architecture, CoMelSinger replaces conventional text inputs with lyric and pitch tokens, preserving in-context generalization while enhancing melody conditioning. To suppress prosody leakage, we propose a coarse-to-fine contrastive learning strategy that explicitly regularizes pitch redundancy between the acoustic prompt and melody input. Furthermore, we incorporate a lightweight encoder-only Singing Voice Transcription (SVT) module to align acoustic tokens with pitch and duration, offering fine-grained frame-level supervision. Experimental results demonstrate that CoMelSinger achieves notable improvements in pitch accuracy, timbre consistency, and zero-shot transferability over competitive baselines. Audio samples are available at https://danny-nus.github.io/CoMelSinger/.

Expressive performance rendering (EPR) and automatic piano transcription (APT) are fundamental yet inverse tasks in music information retrieval: EPR generates expressive performances from symbolic scores, while APT recovers scores from performances. Despite their dual nature, prior work has addressed them independently. In this paper, we propose a unified framework that jointly models EPR and APT by disentangling note-level score content and global performance style representations from both paired and unpaired data. Our framework is built on a transformer-based sequence-to-sequence (Seq2Seq) architecture and is trained using only sequence-aligned data, without requiring fine-grained note-level alignment. To automate the rendering process while ensuring stylistic compatibility with the score, we introduce an independent diffusion-based performance style recommendation (PSR) module that generates style embeddings directly from score content. This modular component supports both style transfer and flexible rendering across a range of expressive styles. Experimental results from both objective and subjective evaluations demonstrate that our framework achieves competitive performance on EPR and APT tasks, while enabling effective content–style disentanglement, reliable style transfer, and stylistically appropriate rendering. Demos are available at https://wei-zeng98.github.io/joint-apt-epr/.

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.