David Rizo

Noelia Luna-Barahona, Antonio Ríos-Vila, David Rizo et al.

The digitization of musical scores plays a crucial role in their preservation and accessibility, yet information retrieval still depends mainly on metadata searches, such as by title or composer. Content based search in music score images remains underexplored compared to text documents, despite its potential value for musicians, musicologists, and educators. This work contributes to the field by first studying which characteristics of a score are most relevant for search and by defining a systematic method to build query datasets from any annotated corpus. We also consider diverse methods for content-based search on music score images, ranging from transcription-based approaches relying on Optical Music Recognition (OMR), to a transcription-free Transformer model trained to recognize queries directly from score images, and a text-prompted Large Language Model. Our experiments evaluate these models on four corpora exhibiting diverse characteristics in terms of dataset size, image quality, and typesetting mechanisms. Overall, each method excels under different conditions: OMR-based pipelines achieve higher in-domain retrieval, whereas transcription-free models handle domain variability more effectively.

Antonio Ríos-Vila, Jorge Calvo-Zaragoza, David Rizo et al.

Optical Music Recognition (OMR) has made significant progress since its inception, with various approaches now capable of accurately transcribing music scores into digital formats. Despite these advancements, most so-called end-to-end OMR approaches still rely on multi-stage processing pipelines for transcribing full-page score images, which entails challenges such as the need for dedicated layout analysis and specific annotated data, thereby limiting the general applicability of such methods. In this paper, we present the first truly end-to-end approach for page-level OMR in complex layouts. Our system, which combines convolutional layers with autoregressive Transformers, processes an entire music score page and outputs a complete transcription in a music encoding format. This is made possible by both the architecture and the training procedure, which utilizes curriculum learning through incremental synthetic data generation. We evaluate the proposed system using pianoform corpora, which is one of the most complex sources in the OMR literature. This evaluation is conducted first in a controlled scenario with synthetic data, and subsequently against two real-world corpora of varying conditions. Our approach is compared with leading commercial OMR software. The results demonstrate that our system not only successfully transcribes full-page music scores but also outperforms the commercial tool in both zero-shot settings and after fine-tuning with the target domain, representing a significant contribution to the field of OMR.

Juan C. Martinez-Sevilla, Joan Cerveto-Serrano, Noelia Luna et al.

In this work, we introduce the Sheet Music Benchmark (SMB), a dataset of six hundred and eighty-five pages specifically designed to benchmark Optical Music Recognition (OMR) research. SMB encompasses a diverse array of musical textures, including monophony, pianoform, quartet, and others, all encoded in Common Western Modern Notation using the Humdrum **kern format. Alongside SMB, we introduce the OMR Normalized Edit Distance (OMR-NED), a new metric tailored explicitly for evaluating OMR performance. OMR-NED builds upon the widely-used Symbol Error Rate (SER), offering a fine-grained and detailed error analysis that covers individual musical elements such as note heads, beams, pitches, accidentals, and other critical notation features. The resulting numeric score provided by OMR-NED facilitates clear comparisons, enabling researchers and end-users alike to identify optimal OMR approaches. Our work thus addresses a long-standing gap in OMR evaluation, and we support our contributions with baseline experiments using standardized SMB dataset splits for training and assessing state-of-the-art methods.

Juan Carlos Martinez-Sevilla, Francesco Foscarin, Patricia Garcia-Iasci et al.

In this paper, we address the challenge of Optical Music Recognition (OMR) for handwritten jazz lead sheets, a widely used musical score type that encodes melody and chords. The task is challenging due to the presence of chords, a score component not handled by existing OMR systems, and the high variability and quality issues associated with handwritten images. Our contribution is two-fold. We present a novel dataset consisting of 293 handwritten jazz lead sheets of 163 unique pieces, amounting to 2021 total staves aligned with Humdrum **kern and MusicXML ground truth scores. We also supply synthetic score images generated from the ground truth. The second contribution is the development of an OMR model for jazz lead sheets. We discuss specific tokenisation choices related to our kind of data, and the advantages of using synthetic scores and pretrained models. We publicly release all code, data, and models.

Eliseo Fuentes-Martínez, Antonio Ríos-Vila, Juan C. Martinez-Sevilla et al.

The digitization of vocal music scores presents unique challenges that go beyond traditional Optical Music Recognition (OMR) and Optical Character Recognition (OCR), as it necessitates preserving the critical alignment between music notation and lyrics. This alignment is essential for proper interpretation and processing in practical applications. This paper introduces and formalizes, for the first time, the Aligned Music Notation and Lyrics Transcription (AMNLT) challenge, which addresses the complete transcription of vocal scores by jointly considering music symbols, lyrics, and their synchronization. We analyze different approaches to address this challenge, ranging from traditional divide-and-conquer methods that handle music and lyrics separately, to novel end-to-end solutions including direct transcription, unfolding mechanisms, and language modeling. To evaluate these methods, we introduce four datasets of Gregorian chants, comprising both real and synthetic sources, along with custom metrics specifically designed to assess both transcription and alignment accuracy. Our experimental results demonstrate that end-to-end approaches generally outperform heuristic methods in the alignment challenge, with language models showing particular promise in scenarios where sufficient training data is available. This work establishes the first comprehensive framework for AMNLT, providing both theoretical foundations and practical solutions for preserving and digitizing vocal music heritage.