scholarly journals Exploiting the Two-Dimensional Nature of Agnostic Music Notation for Neural Optical Music Recognition

2021 ◽  
Vol 11 (8) ◽  
pp. 3621
Author(s):  
María Alfaro-Contreras ◽  
Jose J. Valero-Mas

State-of-the-art Optical Music Recognition (OMR) techniques follow an end-to-end or holistic approach, i.e., a sole stage for completely processing a single-staff section image and for retrieving the symbols that appear therein. Such recognition systems are characterized by not requiring an exact alignment between each staff and their corresponding labels, hence facilitating the creation and retrieval of labeled corpora. Most commonly, these approaches consider an agnostic music representation, which characterizes music symbols by their shape and height (vertical position in the staff). However, this double nature is ignored since, in the learning process, these two features are treated as a single symbol. This work aims to exploit this trademark that differentiates music notation from other similar domains, such as text, by introducing a novel end-to-end approach to solve the OMR task at a staff-line level. We consider two Convolutional Recurrent Neural Network (CRNN) schemes trained to simultaneously extract the shape and height information and to propose different policies for eventually merging them at the actual neural level. The results obtained for two corpora of monophonic early music manuscripts prove that our proposal significantly decreases the recognition error in figures ranging between 14.4% and 25.6% in the best-case scenarios when compared to the baseline considered.

2021 ◽  
Author(s):  
Aozhi Liu ◽  
Lipei Zhang ◽  
Yaqi Mei ◽  
Baoqiang Han ◽  
Zifeng Cai ◽  
...  

Author(s):  
Susan E. George

The aim of optical music recognition (OMR) is to “recognise” images of music notation and capture the “meaning” of the music. When OMR is successful it will be able to automatically extract a logical representation of printed or handwritten music captured in an image. There are a variety of reasons why OMR is required. Chiefly, it is convenient for swift input of music notation and might be subsequently edited, performed, used as a search or other. There are many stages before that final high-level interpretation can be made and recognition of the primitive symbols contained in the notation is primary. One of the biggest challenges in OMR is the super-imposition of music notation symbols – notes and other – upon stave lines in the music image. This article examines a general-purpose knowledge-free method in the wavelet transform, to deal with super-imposition in images of typeset music.


2017 ◽  
Author(s):  
Michael Droettboom

This thesis describes three interrelated projects that cut across the author’s interests in musical information representation and retrieval, programming language theory, machine learning and human/computerinteraction.I. Optical music recognition. This first part introduces an optical music interpretation (OMI) system that derives musical information from the symbols on sheet music.The first chapter is an introduction to OMI’s parent field of optical music recognition (OMR), and to the present implementation as created for the Levy project. It is important that OMI has a representation standard in which to create its output. Therefore, the second chapter is a somewhat tangential but necessary study of computer-based musical representation languages, with particular emphasis on GUIDO and Mudela. The third and core chapter describes the processes involved in the present optical music interpretation system. While there are some details related to its implementation in the Python programming language, most of the material involves issues surrounding music notation rather thancomputer programming. The fourth chapter demonstrates how the logical musical data generated by the OMI system can be used as part of a musical search engine.II. Tempo extraction. The second part presents a system to automatically obtain the tempo and rubato curves from recorded performances, by aligning them to strict-tempo MIDI renderings of the same piece of music. The usefulness of such a system in the context of current musicological research is explored.III. Realtime digital signal processing programming environment. Lastly, a portable and flexible system for realtime digital signal processing (DSP) is presented. This system is both easy-to-use and powerful, in large part because it takes advantage of existing mature technologies. This framework provides the foundation for easier experimentation in new directions in audio and video processing, including physical modeling and motion tracking.


2018 ◽  
Vol 8 (4) ◽  
pp. 606 ◽  
Author(s):  
Jorge Calvo-Zaragoza ◽  
David Rizo

Author(s):  
Pierfrancesco Bellini ◽  
Ivan Bruno ◽  
Paolo Nesi

Optical music recognition is a key problem for coding western music sheets in the digital world. This problem has been addressed in several manners obtaining suitable results only when simple music constructs are processed. To this end, several different strategies have been followed, to pass from the simple music sheet image to a complete and consistent representation of music notation symbols (symbolic music notation or representation). Typically, image processing, pattern recognition and symbolic reconstruction are the technologies that have to be considered and applied in several manners the architecture of the so called OMR (Optical Music Recognition) systems. In this chapter, the O3MR (Object Oriented Optical Music Recognition) system is presented. It allows producing from the image of a music sheet the symbolic representation and save it in XML format (WEDELMUSIC XML and MUSICXML). The algorithms used in this process are those of the image processing, image segmentation, neural network pattern recognition, and symbolic reconstruction and reasoning. Most of the solutions can be applied in other field of image understanding. The development of the O3MR solution with all its algorithms has been partially supported by the European Commission, in the IMUTUS Research and Development project, while the related music notation editor has been partially funded by the research and development WEDELMUSIC project of the European Commission. The paper also includes a methodology for the assessment of other OMR systems. The set of metrics proposed has been used to assess the quality of results produce by the O3MR with respect the best OMR on market.


Author(s):  
Fu-Hai Frank Wu

Although research of optical music recognition (OMR) has existed for few decades, most of efforts were put in step of image processing to approach upmost accuracy and evaluations were not in common ground. And major music notations explored were the conventional western music notations with staff. On contrary, the authors explore the challenges of numbered music notation, which is popular in Asia and used in daily life for sight reading. The authors use different way to improve recognition accuracy by applying elementary image processing with rough tuning and supplementing with methods of machine learning. The major contributions of this work are the architecture of machine learning specified for this task, the dataset, and the evaluation metrics, which indicate the performance of OMR system, provide objective function for machine learning and highlight the challenges of the scores of music with the specified notation.


Author(s):  
Pierfrancesco Bellini ◽  
Ivan Bruno ◽  
Paolo Nesi

The optical music recognition is a key problem for coding music sheets of western music in the digital world. The most critical phase of the optical music recognition process is the first analysis of the image sheet. In optical processing of music or documents, the first analysis consists of segmenting the acquired sheet into smaller parts in order to recognize the basic symbols that allow reconstructing the original music symbol. In this chapter, an overview of the main issues and a survey of the main related works are discussed. The O3MR system (Object Oriented Optical Music Recognition) system is also described. The used approach in such system is based on the adoption of projections for the extraction of basic symbols that constitute graphic elements of the music notation. Algorithms and a set of examples are also included to better focus concepts and adopted solutions.


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