Hybrid hidden Markov models and artificial neural networks for handwritten music recognition in mensural notation

In this paper, we present a hybrid approach using hidden Markov models (HMM) and artificial neural networks to deal with the task of handwritten Music Recognition in mensural notation. Previous works have shown that the task can be addressed with Gaussian density HMMs that can be trained and used in an end-to-end manner, that is, without prior segmentation of the symbols. However, the results achieved using that approach are not sufficiently accurate to be useful in practice. In this work, we hybridize HMMs with deep multilayer perceptrons (MLPs), which lead to remarkable improvements in optical symbol modeling. Moreover, this hybrid architecture maintains important advantages of HMMs such as the ability to properly model variable-length symbol sequences through segmentation-free training, and the simplicity and robustness of combining optical models with N-gram language models, which provide statistical a priori information about regularities in musical symbol concatenation observed in the training data. The results obtained with the proposed hybrid MLP-HMM approach outperform previous works by a wide margin, achieving symbol-level error rates around 26%, as compared with about 40% reported in previous works

Handwritten Music Recognition for Mensural notation with convolutional recurrent neural networks

[EN] Optical Music Recognition is the technology that allows computers to read music notation, which is also referred to as Handwritten Music Recognition when it is applied over handwritten notation. This technology aims at efficiently transcribing written music into a representation that can be further processed by a computer. This is of special interest to transcribe the large amount of music written in early notations, such as the Mensural notation, since they represent largely unexplored heritage for the musicological community. Traditional approaches to this problem are based on complex strategies with many explicit rules that only work for one particular type of manuscript. Machine learning approaches offer the promise of generalizable solutions, based on learning from just labelled examples. However, previous research has not achieved sufficiently acceptable results for handwritten Mensural notation. In this work we propose the use of deep neural networks, namely convolutional recurrent neural networks, which have proved effective in other similar domains such as handwritten text recognition. Our experimental results achieve, for the first time, recognition results that can be considered effective for transcribing handwritten Mensural notation, decreasing the symbol-level error rate of previous approaches from 25.7% to 7.0%. (C) 2019 Elsevier B.V. All rights reserved.First author thanks the support from the Spanish Ministry "HISPAMUS" project (TIN2017-86576-R), partially funded by the EU. The other authors were supported by the European Union's H2020 grant "Recognition and Enrichment of Archival Documents" (Ref. 674943), by the BBVA Foundacion through the 2017-2018 and 2018-2019 Digital Humanities research grants "Carabela" and "HistWeather - Dos Siglos de Datos Cilmaticos", and by EU JPICH project "HOME - History Of Medieval Europe"(Spanish PEICTI Ref. PCI2018-093122).Calvo-Zaragoza, J.; Toselli, AH.; Vidal, E. (2019). Handwritten Music Recognition for Mensural notation with convolutional recurrent neural networks. Pattern Recognition Letters. 128:115-121. https://doi.org/10.1016/j.patrec.2019.08.021S11512112

Understanding Optical Music Recognition

For over 50 years, researchers have been trying to teach computers to read music notation, referred to as Optical Music Recognition (OMR). However, this field is still difficult to access for new researchers, especially those without a significant musical background: Few introductory materials are available, and, furthermore, the field has struggled with defining itself and building a shared terminology. In this work, we address these shortcomings by (1) providing a robust definition of OMR and its relationship to related fields, (2) analyzing how OMR inverts the music encoding process to recover the musical notation and the musical semantics from documents, and (3) proposing a taxonomy of OMR, with most notably a novel taxonomy of applications. Additionally, we discuss how deep learning affects modern OMR research, as opposed to the traditional pipeline. Based on this work, the reader should be able to attain a basic understanding of OMR: its objectives, its inherent structure, its relationship to other fields, the state of the art, and the research opportunities it affords

Advances in Document Layout Analysis

[EN] Handwritten Text Segmentation (HTS) is a task within the Document Layout Analysis field that aims to detect and extract the different page regions of interest found in handwritten documents. HTS remains an active topic, that has gained importance with the years, due to the increasing demand to provide textual access to the myriads of handwritten document collections held by archives and libraries. This thesis considers HTS as a task that must be tackled in two specialized phases: detection and extraction. We see the detection phase fundamentally as a recognition problem that yields the vertical positions of each region of interest as a by-product. The extraction phase consists in calculating the best contour coordinates of the region using the position information provided by the detection phase. Our proposed detection approach allows us to attack both higher level regions: paragraphs, diagrams, etc., and lower level regions like text lines. In the case of text line detection we model the problem to ensure that the system's yielded vertical position approximates the fictitious line that connects the lower part of the grapheme bodies in a text line, commonly known as the baseline. One of the main contributions of this thesis, is that the proposed modelling approach allows us to include prior information regarding the layout of the documents being processed. This is performed via a Vertical Layout Model (VLM). We develop a Hidden Markov Model (HMM) based framework to tackle both region detection and classification as an integrated task and study the performance and ease of use of the proposed approach in many corpora. We review the modelling simplicity of our approach to process regions at different levels of information: text lines, paragraphs, titles, etc. We study the impact of adding deterministic and/or probabilistic prior information and restrictions via the VLM that our approach provides. Having a separate phase that accurately yields the detection position (base- lines in the case of text lines) of each region greatly simplifies the problem that must be tackled during the extraction phase. In this thesis we propose to use a distance map that takes into consideration the grey-scale information in the image. This allows us to yield extraction frontiers which are equidistant to the adjacent text regions. We study how our approach escalates its accuracy proportionally to the quality of the provided detection vertical position. Our extraction approach gives near perfect results when human reviewed baselines are provided.[ES] La Segmentación de Texto Manuscrito (STM) es una tarea dentro del campo de investigación de Análisis de Estructura de Documentos (AED) que tiene como objetivo detectar y extraer las diferentes regiones de interés de las páginas que se encuentran en documentos manuscritos. La STM es un tema de investigación activo que ha ganado importancia con los años debido a la creciente demanda de proporcionar acceso textual a las miles de colecciones de documentos manuscritos que se conservan en archivos y bibliotecas. Esta tesis entiende la STM como una tarea que debe ser abordada en dos fases especializadas: detección y extracción. Consideramos que la fase de detección es, fundamentalmente, un problema de clasificación cuyo subproducto son las posiciones verticales de cada región de interés. Por su parte, la fase de extracción consiste en calcular las mejores coordenadas de contorno de la región utilizando la información de posición proporcionada por la fase de detección. Nuestro enfoque de detección nos permite atacar tanto regiones de alto nivel (párrafos, diagramas¿) como regiones de nivel bajo (líneas de texto principalmente). En el caso de la detección de líneas de texto, modelamos el problema para asegurar que la posición vertical estimada por el sistema se aproxime a la línea ficticia que conecta la parte inferior de los cuerpos de los grafemas en una línea de texto, comúnmente conocida como línea base. Una de las principales aportaciones de esta tesis es que el enfoque de modelización propuesto nos permite incluir información conocida a priori sobre la disposición de los documentos que se están procesando. Esto se realiza mediante un Modelo de Estructura Vertical (MEV). Desarrollamos un marco de trabajo basado en los Modelos Ocultos de Markov (MOM) para abordar tanto la detección de regiones como su clasificación de forma integrada, así como para estudiar el rendimiento y la facilidad de uso del enfoque propuesto en numerosos corpus. Así mismo, revisamos la simplicidad del modelado de nuestro enfoque para procesar regiones en diferentes niveles de información: líneas de texto, párrafos, títulos, etc. Finalmente, estudiamos el impacto de añadir información y restricciones previas deterministas o probabilistas a través de el MEV propuesto que nuestro enfoque proporciona. Disponer de un método independiente que obtiene con precisión la posición de cada región detectada (líneas base en el caso de las líneas de texto) simplifica enormemente el problema que debe abordarse durante la fase de extracción. En esta tesis proponemos utilizar un mapa de distancias que tiene en cuenta la información de escala de grises de la imagen. Esto nos permite obtener fronteras de extracción que son equidistantes a las regiones de texto adyacentes. Estudiamos como nuestro enfoque aumenta su precisión de manera proporcional a la calidad de la detección y descubrimos que da resultados casi perfectos cuando se le proporcionan líneas de base revisadas por humanos.[CA] La Segmentació de Text Manuscrit (STM) és una tasca dins del camp d'investigació d'Anàlisi d'Estructura de Documents (AED) que té com a objectiu detectar I extraure les diferents regions d'interès de les pàgines que es troben en documents manuscrits. La STM és un tema d'investigació actiu que ha guanyat importància amb els anys a causa de la creixent demanda per proporcionar accés textual als milers de col·leccions de documents manuscrits que es conserven en arxius i biblioteques. Aquesta tesi entén la STM com una tasca que ha de ser abordada en dues fases especialitzades: detecció i extracció. Considerem que la fase de detecció és, fonamentalment, un problema de classificació el subproducte de la qual són les posicions verticals de cada regió d'interès. Per la seva part, la fase d'extracció consisteix a calcular les millors coordenades de contorn de la regió utilitzant la informació de posició proporcionada per la fase de detecció. El nostre enfocament de detecció ens permet atacar tant regions d'alt nivell (paràgrafs, diagrames ...) com regions de nivell baix (línies de text principalment). En el cas de la detecció de línies de text, modelem el problema per a assegurar que la posició vertical estimada pel sistema s'aproximi a la línia fictícia que connecta la part inferior dels cossos dels grafemes en una línia de text, comunament coneguda com a línia base. Una de les principals aportacions d'aquesta tesi és que l'enfocament de modelització proposat ens permet incloure informació coneguda a priori sobre la disposició dels documents que s'estan processant. Això es realitza mitjançant un Model d'Estructura Vertical (MEV). Desenvolupem un marc de treball basat en els Models Ocults de Markov (MOM) per a abordar tant la detecció de regions com la seva classificació de forma integrada, així com per a estudiar el rendiment i la facilitat d'ús de l'enfocament proposat en nombrosos corpus. Així mateix, revisem la simplicitat del modelatge del nostre enfocament per a processar regions en diferents nivells d'informació: línies de text, paràgrafs, títols, etc. Finalment, estudiem l'impacte d'afegir informació i restriccions prèvies deterministes o probabilistes a través del MEV que el nostre mètode proporciona. Disposar d'un mètode independent que obté amb precisió la posició de cada regió detectada (línies base en el cas de les línies de text) simplifica enormement el problema que ha d'abordar-se durant la fase d'extracció. En aquesta tesi proposem utilitzar un mapa de distàncies que té en compte la informació d'escala de grisos de la imatge. Això ens permet obtenir fronteres d'extracció que són equidistants de les regions de text adjacents. Estudiem com el nostre enfocament augmenta la seva precisió de manera proporcional a la qualitat de la detecció i descobrim que dona resultats quasi perfectes quan se li proporcionen línies de base revisades per humans.Bosch Campos, V. (2020). Advances in Document Layout Analysis [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/138397TESI

Hearing the Tonality in Microtonality

In the late 1970s and 1980s, composer-pianist Easley Blackwood wrote a series of microtonal compositions exploring the tonal and modal behavior of a dozen non–twelve-tone equal temperaments, ranging from 13 to 24 tones per octave. This dissertation investigates a central paradox of Blackwood’s microtonal music: that despite being full of intervals most Western listeners have never heard before, it still seems to “make sense” in nontrivial ways. Much of this has to do with the music’s idiosyncratic approach to tonality, which I define as a regime of culturally conditioned expectations that guides one’s attentional processing of music’s gravitational qualities over time. More specifically, Blackwood configures each tuning’s unfamiliar elements in ways that correspond to certain schematic expectations Western listeners tend to have about how tonal music “works.” This is why it is still possible to hear the forest of tonality in this music, so to speak, despite the odd-sounding trees that comprise it. Because of its paradoxical blend of expectational conformance and expectational noncompliance, Blackwood’s microtonal music makes for a useful tool to snap most Western-enculturated listeners out of their ingrained modes of musical processing and reveal certain things about tonality that are often taken for granted. Accordingly, just as Blackwood writes conventional-sounding music in unconventional tunings, this dissertation rethinks several familiar music-theoretic terms and concepts through the defamiliarizing lens of microtonality. I use Blackwood’s microtonal music as a prism to shine a light on traditional theories of tonality, scale degrees, consonance and dissonance, and harmonic function, arguing that many of these theories rely on assumptions that are tacitly tied to twelve-tone equal temperament and common-practice major/minor music. By unhooking these terms and concepts from any one specific tuning or historical period, I build up a set of analytical tools that can allow one to engage more productively with the many modalities of tonality typically heard on a daily basis today. This dissertation proceeds in six chapters. The four interior chapters each center on one of the terms and concepts mentioned above: scale degrees (Chapter 2), consonance and dissonance (Chapter 3), harmonic function (Chapter 4), and tonality (Chapter 5). In Chapter 2, I propose a system for labeling scale degrees that can provide more nuance and flexibility when reckoning with music in any diatonic mode (and in any tuning). In Chapter 3, I advance an account of consonance and dissonance as expectational phenomena (rather than purely psychoacoustic ones), and I consider the ways that non-pitched elements such as meter and notation can act as “consonating” and/or “dissonating” forces. In Chapter 4, I characterize harmonic function as arising from the interaction of generic scalar position and metrical position, and I devise a system for labeling harmonic functions that is better attuned to affective differences across the diatonic modes. In Chapter 5, I synthesize these building blocks into a conception of fuzzy heptatonic diatonic tonality that links together not only all of Blackwood’s microtonal compositions but also more familiar musics that use a twelve-tone octave, from Euroclassical to popular styles. The outer chapters are less explicitly music-analytical in focus. Chapter 1 introduces readers to Blackwood’s compositional approach and notational system, considers the question of his intended audience, and discusses the ways that enculturation mediates the cognition of microtonality (and of unfamiliar music more generally). Chapter 6 draws upon archival documents to paint a more detailed picture of who Blackwood was as a person and how his idiosyncratic worldview colors his approach to composition, scholarship, and interpersonal interaction. While my nominal focus in these six chapters is Blackwood’s microtonal music, the repertorial purview of my project is far broader. One of my guiding claims throughout is that attending more closely to the paradoxes and contradictions of Blackwood’s microtonality can help one better understand the musics they are accustomed to hearing. For this reason, I frequently compare moments in Blackwood’s microtonal music to ones in more familiar styles to highlight unexpected analogies and point up common concerns. Sharing space with Blackwood in the pages that follow are Anita Baker, Ornette Coleman, Claude Debussy, and Richard Rodgers, among others—not to mention music from Curb Your Enthusiasm, Fortnite, Sesame Street, and Star Wars. Ultimately, this project is a testament to the value of stepping outside of one’s musical comfort zone. For not only can this reveal certain things about that comfort zone that would not be apparent otherwise, but it can also help one think with greater nuance, precision, and (self-)awareness when “stepping back in” to reflect upon the music they know and love