Daily Papers

Music source separation (MSS) faces challenges due to the limited availability of correctly-labeled individual instrument tracks. With the push to acquire larger datasets to improve MSS performance, the inevitability of encountering mislabeled individual instrument tracks becomes a significant challenge to address. This paper introduces an automated technique for refining the labels in a partially mislabeled dataset. Our proposed self-refining technique, employed with a noisy-labeled dataset, results in only a 1% accuracy degradation in multi-label instrument recognition compared to a classifier trained on a clean-labeled dataset. The study demonstrates the importance of refining noisy-labeled data in MSS model training and shows that utilizing the refined dataset leads to comparable results derived from a clean-labeled dataset. Notably, upon only access to a noisy dataset, MSS models trained on a self-refined dataset even outperform those trained on a dataset refined with a classifier trained on clean labels.

Plankton recognition provides novel possibilities to study various environmental aspects and an interesting real-world context to develop domain adaptation (DA) methods. Different imaging instruments cause domain shift between datasets hampering the development of general plankton recognition methods. A promising remedy for this is DA allowing to adapt a model trained on one instrument to other instruments. In this paper, we present a new DA dataset called DAPlankton which consists of phytoplankton images obtained with different instruments. Phytoplankton provides a challenging DA problem due to the fine-grained nature of the task and high class imbalance in real-world datasets. DAPlankton consists of two subsets. DAPlankton_LAB contains images of cultured phytoplankton providing a balanced dataset with minimal label uncertainty. DAPlankton_SEA consists of images collected from the Baltic Sea providing challenging real-world data with large intra-class variance and class imbalance. We further present a benchmark comparison of three widely used DA methods.

We present an elegant and effective approach for addressing limitations in existing multi-label classification models by incorporating interaction matching, a concept shown to be useful for ad-hoc search result ranking. By performing soft n-gram interaction matching, we match labels with natural language descriptions (which are common to have in most multi-labeling tasks). Our approach can be used to enhance existing multi-label classification approaches, which are biased toward frequently-occurring labels. We evaluate our approach on two challenging tasks: automatic medical coding of clinical notes and automatic labeling of entities from software tutorial text. Our results show that our method can yield up to an 11% relative improvement in macro performance, with most of the gains stemming labels that appear infrequently in the training set (i.e., the long tail of labels).

Music genre classification has been widely studied in past few years for its various applications in music information retrieval. Previous works tend to perform unsatisfactorily, since those methods only use audio content or jointly use audio content and lyrics content inefficiently. In addition, as genres normally co-occur in a music track, it is desirable to capture and model the genre correlations to improve the performance of multi-label music genre classification. To solve these issues, we present a novel multi-modal method leveraging audio-lyrics contrastive loss and two symmetric cross-modal attention, to align and fuse features from audio and lyrics. Furthermore, based on the nature of the multi-label classification, a genre correlations extraction module is presented to capture and model potential genre correlations. Extensive experiments demonstrate that our proposed method significantly surpasses other multi-label music genre classification methods and achieves state-of-the-art result on Music4All dataset.

In multi-label classification, each example in a dataset may be annotated as belonging to one or more classes (or none of the classes). Example applications include image (or document) tagging where each possible tag either applies to a particular image (or document) or not. With many possible classes to consider, data annotators are likely to make errors when labeling such data in practice. Here we consider algorithms for finding mislabeled examples in multi-label classification datasets. We propose an extension of the Confident Learning framework to this setting, as well as a label quality score that ranks examples with label errors much higher than those which are correctly labeled. Both approaches can utilize any trained classifier. After demonstrating that our methodology empirically outperforms other algorithms for label error detection, we apply our approach to discover many label errors in the CelebA image tagging dataset.

Conventional multi-label recognition methods often focus on label confidence, frequently overlooking the pivotal role of partial order relations consistent with human preference. To resolve these issues, we introduce a novel method for multimodal label relevance ranking, named Label Relevance Ranking with Proximal Policy Optimization (LR2PPO), which effectively discerns partial order relations among labels. LR2PPO first utilizes partial order pairs in the target domain to train a reward model, which aims to capture human preference intrinsic to the specific scenario. Furthermore, we meticulously design state representation and a policy loss tailored for ranking tasks, enabling LR2PPO to boost the performance of label relevance ranking model and largely reduce the requirement of partial order annotation for transferring to new scenes. To assist in the evaluation of our approach and similar methods, we further propose a novel benchmark dataset, LRMovieNet, featuring multimodal labels and their corresponding partial order data. Extensive experiments demonstrate that our LR2PPO algorithm achieves state-of-the-art performance, proving its effectiveness in addressing the multimodal label relevance ranking problem. Codes and the proposed LRMovieNet dataset are publicly available at https://github.com/ChazzyGordon/LR2PPO.

As digital music production has become mainstream, the selection of appropriate virtual instruments plays a crucial role in determining the quality of music. To search the musical instrument samples or virtual instruments that make one's desired sound, music producers use their ears to listen and compare each instrument sample in their collection, which is time-consuming and inefficient. In this paper, we call this task as Musical Instrument Retrieval and propose a method for retrieving desired musical instruments using reference music mixture as a query. The proposed model consists of the Single-Instrument Encoder and the Multi-Instrument Encoder, both based on convolutional neural networks. The Single-Instrument Encoder is trained to classify the instruments used in single-track audio, and we take its penultimate layer's activation as the instrument embedding. The Multi-Instrument Encoder is trained to estimate multiple instrument embeddings using the instrument embeddings computed by the Single-Instrument Encoder as a set of target embeddings. For more generalized training and realistic evaluation, we also propose a new dataset called Nlakh. Experimental results showed that the Single-Instrument Encoder was able to learn the mapping from the audio signal of unseen instruments to the instrument embedding space and the Multi-Instrument Encoder was able to extract multiple embeddings from the mixture of music and retrieve the desired instruments successfully. The code used for the experiment and audio samples are available at: https://github.com/minju0821/musical_instrument_retrieval

Instrument playing technique (IPT) is a key element of musical presentation. However, most of the existing works for IPT detection only concern monophonic music signals, yet little has been done to detect IPTs in polyphonic instrumental solo pieces with overlapping IPTs or mixed IPTs. In this paper, we formulate it as a frame-level multi-label classification problem and apply it to Guzheng, a Chinese plucked string instrument. We create a new dataset, Guzheng\_Tech99, containing Guzheng recordings and onset, offset, pitch, IPT annotations of each note. Because different IPTs vary a lot in their lengths, we propose a new method to solve this problem using multi-scale network and self-attention. The multi-scale network extracts features from different scales, and the self-attention mechanism applied to the feature maps at the coarsest scale further enhances the long-range feature extraction. Our approach outperforms existing works by a large margin, indicating its effectiveness in IPT detection.

Music two-tower multimodal systems integrate audio and text modalities into a joint audio-text space, enabling direct comparison between songs and their corresponding labels. These systems enable new approaches for classification and retrieval, leveraging both modalities. Despite the promising results they have shown for zero-shot classification and retrieval tasks, closer inspection of the embeddings is needed. This paper evaluates the inherent zero-shot properties of joint audio-text spaces for the case-study of instrument recognition. We present an evaluation and analysis of two-tower systems for zero-shot instrument recognition and a detailed analysis of the properties of the pre-joint and joint embeddings spaces. Our findings suggest that audio encoders alone demonstrate good quality, while challenges remain within the text encoder or joint space projection. Specifically, two-tower systems exhibit sensitivity towards specific words, favoring generic prompts over musically informed ones. Despite the large size of textual encoders, they do not yet leverage additional textual context or infer instruments accurately from their descriptions. Lastly, a novel approach for quantifying the semantic meaningfulness of the textual space leveraging an instrument ontology is proposed. This method reveals deficiencies in the systems' understanding of instruments and provides evidence of the need for fine-tuning text encoders on musical data.

In this paper, we introduce Jointist, an instrument-aware multi-instrument framework that is capable of transcribing, recognizing, and separating multiple musical instruments from an audio clip. Jointist consists of the instrument recognition module that conditions the other modules: the transcription module that outputs instrument-specific piano rolls, and the source separation module that utilizes instrument information and transcription results. The instrument conditioning is designed for an explicit multi-instrument functionality while the connection between the transcription and source separation modules is for better transcription performance. Our challenging problem formulation makes the model highly useful in the real world given that modern popular music typically consists of multiple instruments. However, its novelty necessitates a new perspective on how to evaluate such a model. During the experiment, we assess the model from various aspects, providing a new evaluation perspective for multi-instrument transcription. We also argue that transcription models can be utilized as a preprocessing module for other music analysis tasks. In the experiment on several downstream tasks, the symbolic representation provided by our transcription model turned out to be helpful to spectrograms in solving downbeat detection, chord recognition, and key estimation.

This paper introduces an extendable modular system that compiles a range of music feature extraction models to aid music information retrieval research. The features include musical elements like key, downbeats, and genre, as well as audio characteristics like instrument recognition, vocals/instrumental classification, and vocals gender detection. The integrated models are state-of-the-art or latest open-source. The features can be extracted as latent or post-processed labels, enabling integration into music applications such as generative music, recommendation, and playlist generation. The modular design allows easy integration of newly developed systems, making it a good benchmarking and comparison tool. This versatile toolkit supports the research community in developing innovative solutions by providing concrete musical features.

In this paper, we introduce a multi-label lazy learning approach to deal with automatic semantic indexing in large document collections in the presence of complex and structured label vocabularies with high inter-label correlation. The proposed method is an evolution of the traditional k-Nearest Neighbors algorithm which uses a large autoencoder trained to map the large label space to a reduced size latent space and to regenerate the predicted labels from this latent space. We have evaluated our proposal in a large portion of the MEDLINE biomedical document collection which uses the Medical Subject Headings (MeSH) thesaurus as a controlled vocabulary. In our experiments we propose and evaluate several document representation approaches and different label autoencoder configurations.

Challenges in managing linguistic diversity and integrating various musical modalities are faced by current music information retrieval systems. These limitations reduce their effectiveness in a global, multimodal music environment. To address these issues, we introduce CLaMP 2, a system compatible with 101 languages that supports both ABC notation (a text-based musical notation format) and MIDI (Musical Instrument Digital Interface) for music information retrieval. CLaMP 2, pre-trained on 1.5 million ABC-MIDI-text triplets, includes a multilingual text encoder and a multimodal music encoder aligned via contrastive learning. By leveraging large language models, we obtain refined and consistent multilingual descriptions at scale, significantly reducing textual noise and balancing language distribution. Our experiments show that CLaMP 2 achieves state-of-the-art results in both multilingual semantic search and music classification across modalities, thus establishing a new standard for inclusive and global music information retrieval.

Multi-label classification problems with thousands of classes are hard to solve with in-context learning alone, as language models (LMs) might lack prior knowledge about the precise classes or how to assign them, and it is generally infeasible to demonstrate every class in a prompt. We propose a general program, Infer--Retrieve--Rank, that defines multi-step interactions between LMs and retrievers to efficiently tackle such problems. We implement this program using the DSPy programming model, which specifies in-context systems in a declarative manner, and use DSPy optimizers to tune it towards specific datasets by bootstrapping only tens of few-shot examples. Our primary extreme classification program, optimized separately for each task, attains state-of-the-art results across three benchmarks (HOUSE, TECH, TECHWOLF). We apply the same program to a benchmark with vastly different characteristics and attain competitive performance as well (BioDEX). Unlike prior work, our proposed solution requires no finetuning, is easily applicable to new tasks, alleviates prompt engineering, and requires only tens of labeled examples. Our code is public at https://github.com/KarelDO/xmc.dspy.

We present a content-based automatic music tagging algorithm using fully convolutional neural networks (FCNs). We evaluate different architectures consisting of 2D convolutional layers and subsampling layers only. In the experiments, we measure the AUC-ROC scores of the architectures with different complexities and input types using the MagnaTagATune dataset, where a 4-layer architecture shows state-of-the-art performance with mel-spectrogram input. Furthermore, we evaluated the performances of the architectures with varying the number of layers on a larger dataset (Million Song Dataset), and found that deeper models outperformed the 4-layer architecture. The experiments show that mel-spectrogram is an effective time-frequency representation for automatic tagging and that more complex models benefit from more training data.

This paper introduces effective design choices for text-to-music retrieval systems. An ideal text-based retrieval system would support various input queries such as pre-defined tags, unseen tags, and sentence-level descriptions. In reality, most previous works mainly focused on a single query type (tag or sentence) which may not generalize to another input type. Hence, we review recent text-based music retrieval systems using our proposed benchmark in two main aspects: input text representation and training objectives. Our findings enable a universal text-to-music retrieval system that achieves comparable retrieval performances in both tag- and sentence-level inputs. Furthermore, the proposed multimodal representation generalizes to 9 different downstream music classification tasks. We present the code and demo online.

Multi-label text classification (MLC) is a challenging task in settings of large label sets, where label support follows a Zipfian distribution. In this paper, we address this problem through retrieval augmentation, aiming to improve the sample efficiency of classification models. Our approach closely follows the standard MLC architecture of a Transformer-based encoder paired with a set of classification heads. In our case, however, the input document representation is augmented through cross-attention to similar documents retrieved from the training set and represented in a task-specific manner. We evaluate this approach on four datasets from the legal and biomedical domains, all of which feature highly skewed label distributions. Our experiments show that retrieval augmentation substantially improves model performance on the long tail of infrequent labels especially so for lower-resource training scenarios and more challenging long-document data scenarios.

Contrastive Language Image Pre-training (CLIP) has recently demonstrated success across various tasks due to superior feature representation empowered by image-text contrastive learning. However, the instance discrimination method used by CLIP can hardly encode the semantic structure of training data. To handle this limitation, cluster discrimination has been proposed through iterative cluster assignment and classification. Nevertheless, most cluster discrimination approaches only define a single pseudo-label for each image, neglecting multi-label signals in the image. In this paper, we propose a novel Multi-Label Cluster Discrimination method named MLCD to enhance representation learning. In the clustering step, we first cluster the large-scale LAION-400M dataset into one million centers based on off-the-shelf embedding features. Considering that natural images frequently contain multiple visual objects or attributes, we select the multiple closest centers as auxiliary class labels. In the discrimination step, we design a novel multi-label classification loss, which elegantly separates losses from positive classes and negative classes, and alleviates ambiguity on decision boundary. We validate the proposed multi-label cluster discrimination method with experiments on different scales of models and pre-training datasets. Experimental results show that our method achieves state-of-the-art performance on multiple downstream tasks including linear probe, zero-shot classification, and image-text retrieval.

Example synthesis is one of the leading methods to tackle the problem of few-shot learning, where only a small number of samples per class are available. However, current synthesis approaches only address the scenario of a single category label per image. In this work, we propose a novel technique for synthesizing samples with multiple labels for the (yet unhandled) multi-label few-shot classification scenario. We propose to combine pairs of given examples in feature space, so that the resulting synthesized feature vectors will correspond to examples whose label sets are obtained through certain set operations on the label sets of the corresponding input pairs. Thus, our method is capable of producing a sample containing the intersection, union or set-difference of labels present in two input samples. As we show, these set operations generalize to labels unseen during training. This enables performing augmentation on examples of novel categories, thus, facilitating multi-label few-shot classifier learning. We conduct numerous experiments showing promising results for the label-set manipulation capabilities of the proposed approach, both directly (using the classification and retrieval metrics), and in the context of performing data augmentation for multi-label few-shot learning. We propose a benchmark for this new and challenging task and show that our method compares favorably to all the common baselines.

Given the clinical notes written in electronic health records (EHRs), it is challenging to predict the diagnostic codes which is formulated as a multi-label classification task. The large set of labels, the hierarchical dependency, and the imbalanced data make this prediction task extremely hard. Most existing work built a binary prediction for each label independently, ignoring the dependencies between labels. To address this problem, we propose a two-stage framework to improve automatic ICD coding by capturing the label correlation. Specifically, we train a label set distribution estimator to rescore the probability of each label set candidate generated by a base predictor. This paper is the first attempt at learning the label set distribution as a reranking module for medical code prediction. In the experiments, our proposed framework is able to improve upon best-performing predictors on the benchmark MIMIC datasets. The source code of this project is available at https://github.com/MiuLab/ICD-Correlation.

Multi-label image classification is a prediction task that aims to identify more than one label from a given image. This paper considers the semantic consistency of the latent space between the visual patch and linguistic label domains and introduces the conditional transport (CT) theory to bridge the acknowledged gap. While recent cross-modal attention-based studies have attempted to align such two representations and achieved impressive performance, they required carefully-designed alignment modules and extra complex operations in the attention computation. We find that by formulating the multi-label classification as a CT problem, we can exploit the interactions between the image and label efficiently by minimizing the bidirectional CT cost. Specifically, after feeding the images and textual labels into the modality-specific encoders, we view each image as a mixture of patch embeddings and a mixture of label embeddings, which capture the local region features and the class prototypes, respectively. CT is then employed to learn and align those two semantic sets by defining the forward and backward navigators. Importantly, the defined navigators in CT distance model the similarities between patches and labels, which provides an interpretable tool to visualize the learned prototypes. Extensive experiments on three public image benchmarks show that the proposed model consistently outperforms the previous methods.

The eXtreme Multi-label Classification~(XMC) problem seeks to find relevant labels from an exceptionally large label space. Most of the existing XMC learners focus on the extraction of semantic features from input query text. However, conventional XMC studies usually neglect the side information of instances and labels, which can be of use in many real-world applications such as recommendation systems and e-commerce product search. We propose Predicted Instance Neighborhood Aggregation (PINA), a data enhancement method for the general XMC problem that leverages beneficial side information. Unlike most existing XMC frameworks that treat labels and input instances as featureless indicators and independent entries, PINA extracts information from the label metadata and the correlations among training instances. Extensive experimental results demonstrate the consistent gain of PINA on various XMC tasks compared to the state-of-the-art methods: PINA offers a gain in accuracy compared to standard XR-Transformers on five public benchmark datasets. Moreover, PINA achieves a sim 5% gain in accuracy on the largest dataset LF-AmazonTitles-1.3M. Our implementation is publicly available.

Recognizing multiple objects in an image is challenging due to occlusions, and becomes even more so when the objects are small. While promising, existing multi-label image recognition models do not explicitly learn context-based representations, and hence struggle to correctly recognize small and occluded objects. Intuitively, recognizing occluded objects requires knowledge of partial input, and hence context. Motivated by this intuition, we propose Masked Supervised Learning (MSL), a single-stage, model-agnostic learning paradigm for multi-label image recognition. The key idea is to learn context-based representations using a masked branch and to model label co-occurrence using label consistency. Experimental results demonstrate the simplicity, applicability and more importantly the competitive performance of MSL against previous state-of-the-art methods on standard multi-label image recognition benchmarks. In addition, we show that MSL is robust to random masking and demonstrate its effectiveness in recognizing non-masked objects. Code and pretrained models are available on GitHub.

Solving multi-label recognition (MLR) for images in the low-label regime is a challenging task with many real-world applications. Recent work learns an alignment between textual and visual spaces to compensate for insufficient image labels, but loses accuracy because of the limited amount of available MLR annotations. In this work, we utilize the strong alignment of textual and visual features pretrained with millions of auxiliary image-text pairs and propose Dual Context Optimization (DualCoOp) as a unified framework for partial-label MLR and zero-shot MLR. DualCoOp encodes positive and negative contexts with class names as part of the linguistic input (i.e. prompts). Since DualCoOp only introduces a very light learnable overhead upon the pretrained vision-language framework, it can quickly adapt to multi-label recognition tasks that have limited annotations and even unseen classes. Experiments on standard multi-label recognition benchmarks across two challenging low-label settings demonstrate the advantages of our approach over state-of-the-art methods.

Automatically constructing a food diary that tracks the ingredients consumed can help people follow a healthy diet. We tackle the problem of food ingredients recognition as a multi-label learning problem. We propose a method for adapting a highly performing state of the art CNN in order to act as a multi-label predictor for learning recipes in terms of their list of ingredients. We prove that our model is able to, given a picture, predict its list of ingredients, even if the recipe corresponding to the picture has never been seen by the model. We make public two new datasets suitable for this purpose. Furthermore, we prove that a model trained with a high variability of recipes and ingredients is able to generalize better on new data, and visualize how it specializes each of its neurons to different ingredients.

Deep learning methods have shown outstanding classification accuracy in medical imaging problems, which is largely attributed to the availability of large-scale datasets manually annotated with clean labels. However, given the high cost of such manual annotation, new medical imaging classification problems may need to rely on machine-generated noisy labels extracted from radiology reports. Indeed, many Chest X-ray (CXR) classifiers have already been modelled from datasets with noisy labels, but their training procedure is in general not robust to noisy-label samples, leading to sub-optimal models. Furthermore, CXR datasets are mostly multi-label, so current noisy-label learning methods designed for multi-class problems cannot be easily adapted. In this paper, we propose a new method designed for the noisy multi-label CXR learning, which detects and smoothly re-labels samples from the dataset, which is then used to train common multi-label classifiers. The proposed method optimises a bag of multi-label descriptors (BoMD) to promote their similarity with the semantic descriptors produced by BERT models from the multi-label image annotation. Our experiments on diverse noisy multi-label training sets and clean testing sets show that our model has state-of-the-art accuracy and robustness in many CXR multi-label classification benchmarks.

Recent studies often exploit Graph Convolutional Network (GCN) to model label dependencies to improve recognition accuracy for multi-label image recognition. However, constructing a graph by counting the label co-occurrence possibilities of the training data may degrade model generalizability, especially when there exist occasional co-occurrence objects in test images. Our goal is to eliminate such bias and enhance the robustness of the learnt features. To this end, we propose an Attention-Driven Dynamic Graph Convolutional Network (ADD-GCN) to dynamically generate a specific graph for each image. ADD-GCN adopts a Dynamic Graph Convolutional Network (D-GCN) to model the relation of content-aware category representations that are generated by a Semantic Attention Module (SAM). Extensive experiments on public multi-label benchmarks demonstrate the effectiveness of our method, which achieves mAPs of 85.2%, 96.0%, and 95.5% on MS-COCO, VOC2007, and VOC2012, respectively, and outperforms current state-of-the-art methods with a clear margin. All codes can be found at https://github.com/Yejin0111/ADD-GCN.

In this paper, we propose a patch-based architecture for multi-label classification problems where only a single positive label is observed in images of the dataset. Our contributions are twofold. First, we introduce a light patch architecture based on the attention mechanism. Next, leveraging on patch embedding self-similarities, we provide a novel strategy for estimating negative examples and deal with positive and unlabeled learning problems. Experiments demonstrate that our architecture can be trained from scratch, whereas pre-training on similar databases is required for related methods from the literature.

Multi-label classification (MLC) requires predicting multiple labels per sample, often under heavy class imbalance and noisy conditions. Traditional approaches apply fixed thresholds or treat labels independently, overlooking context and global rarity. We introduce an adaptive thresholding mechanism that fuses global (IDF-based) and local (KNN-based) signals to produce per-label, per-instance thresholds. Instead of applying these as hard cutoffs, we treat them as differentiable penalties in the loss, providing smooth supervision and better calibration. Our architecture is lightweight, interpretable, and highly modular. On the AmazonCat-13K benchmark, it achieves a macro-F1 of 0.1712, substantially outperforming tree-based and pretrained transformer-based methods. We release full code for reproducibility and future extensions.

Existing knowledge distillation methods typically work by imparting the knowledge of output logits or intermediate feature maps from the teacher network to the student network, which is very successful in multi-class single-label learning. However, these methods can hardly be extended to the multi-label learning scenario, where each instance is associated with multiple semantic labels, because the prediction probabilities do not sum to one and feature maps of the whole example may ignore minor classes in such a scenario. In this paper, we propose a novel multi-label knowledge distillation method. On one hand, it exploits the informative semantic knowledge from the logits by dividing the multi-label learning problem into a set of binary classification problems; on the other hand, it enhances the distinctiveness of the learned feature representations by leveraging the structural information of label-wise embeddings. Experimental results on multiple benchmark datasets validate that the proposed method can avoid knowledge counteraction among labels, thus achieving superior performance against diverse comparing methods. Our code is available at: https://github.com/penghui-yang/L2D

Prompt-based learning (i.e., prompting) is an emerging paradigm for exploiting knowledge learned by a pretrained language model. In this paper, we propose Automatic Multi-Label Prompting (AMuLaP), a simple yet effective method to automatically select label mappings for few-shot text classification with prompting. Our method exploits one-to-many label mappings and a statistics-based algorithm to select label mappings given a prompt template. Our experiments demonstrate that AMuLaP achieves competitive performance on the GLUE benchmark without human effort or external resources.

Multi-Label Recognition (MLR) based on Vision-Language Models (VLMs) aims to leverage their pre-trained knowledge to better adapt complex recognition scenarios, thereby enhancing model robustness. However, for realistic decentralized applications requiring federated learning, adapting VLMs to each client that possesses private and heterogeneous data can cause the model to overfit spurious label correlations, consequently triggering irrelevant categories when encountering new samples. To tackle this problem, we reconsider the federated learning for MLR with a causal model, in which we adopt a front-door adjustment and decouple the MLR modeling process by intermediate variables that magnify the oracle label co-occurrence. Guided by our analysis, we propose our FedMPT, the first method specifically designed for federated MLR. The core idea of FedMPT is to leverage generalizable conditions to steer federated MLR to mitigate erroneous label activations. To achieve this, FedMPT introduces an Large Language Model (LLM)-driven pipeline to decipher the underlying conditions that govern label dependencies. Furthermore, we introduce an optimal transport between the condition-enriched prompts and the image patches to uncover multiple region-level semantics. Finally, we generate synergistic predictions from different conditions with a crafted gating mechanism. Experiments on multiple benchmark datasets show that our proposed approach achieves competitive results and outperforms SOTA methods under varied settings.

The lack of data tends to limit the outcomes of deep learning research, particularly when dealing with end-to-end learning stacks processing raw data such as waveforms. In this study, 1.2M tracks annotated with musical labels are available to train our end-to-end models. This large amount of data allows us to unrestrictedly explore two different design paradigms for music auto-tagging: assumption-free models - using waveforms as input with very small convolutional filters; and models that rely on domain knowledge - log-mel spectrograms with a convolutional neural network designed to learn timbral and temporal features. Our work focuses on studying how these two types of deep architectures perform when datasets of variable size are available for training: the MagnaTagATune (25k songs), the Million Song Dataset (240k songs), and a private dataset of 1.2M songs. Our experiments suggest that music domain assumptions are relevant when not enough training data are available, thus showing how waveform-based models outperform spectrogram-based ones in large-scale data scenarios.

The field of Music Information Retrieval (MIR) is fragmented, with specialized models excelling at isolated tasks. In this work, we challenge this paradigm by introducing a unified foundation model named MuFun for holistic music understanding. Our model features a novel architecture that jointly processes instrumental and lyrical content, and is trained on a large-scale dataset covering diverse tasks such as genre classification, music tagging, and question answering. To facilitate robust evaluation, we also propose a new benchmark for multi-faceted music understanding called MuCUE (Music Comprehensive Understanding Evaluation). Experiments show our model significantly outperforms existing audio large language models across the MuCUE tasks, demonstrating its state-of-the-art effectiveness and generalization ability.

This article motivates, describes, and presents the PBSCR dataset for studying composer recognition of classical piano music. Our goal was to design a dataset that facilitates large-scale research on composer recognition that is suitable for modern architectures and training practices. To achieve this goal, we utilize the abundance of sheet music images and rich metadata on IMSLP, use a previously proposed feature representation called a bootleg score to encode the location of noteheads relative to staff lines, and present the data in an extremely simple format (2D binary images) to encourage rapid exploration and iteration. The dataset itself contains 40,000 62x64 bootleg score images for a 9-class recognition task, 100,000 62x64 bootleg score images for a 100-class recognition task, and 29,310 unlabeled variable-length bootleg score images for pretraining. The labeled data is presented in a form that mirrors MNIST images, in order to make it extremely easy to visualize, manipulate, and train models in an efficient manner. We include relevant information to connect each bootleg score image with its underlying raw sheet music image, and we scrape, organize, and compile metadata from IMSLP on all piano works to facilitate multimodal research and allow for convenient linking to other datasets. We release baseline results in a supervised and low-shot setting for future works to compare against, and we discuss open research questions that the PBSCR data is especially well suited to facilitate research on.

Music genre classification is one of the trending topics in regards to the current Music Information Retrieval (MIR) Research. Since, the dependency of genre is not only limited to the audio profile, we also make use of textual content provided as lyrics of the corresponding song. We implemented a CNN based feature extractor for spectrograms in order to incorporate the acoustic features and a Hierarchical Attention Network based feature extractor for lyrics. We then go on to classify the music track based upon the resulting fused feature vector.

Word embedding has become an essential means for text-based information retrieval. Typically, word embeddings are learned from large quantities of general and unstructured text data. However, in the domain of music, the word embedding may have difficulty understanding musical contexts or recognizing music-related entities like artists and tracks. To address this issue, we propose a new approach called Musical Word Embedding (MWE), which involves learning from various types of texts, including both everyday and music-related vocabulary. We integrate MWE into an audio-word joint representation framework for tagging and retrieving music, using words like tag, artist, and track that have different levels of musical specificity. Our experiments show that using a more specific musical word like track results in better retrieval performance, while using a less specific term like tag leads to better tagging performance. To balance this compromise, we suggest multi-prototype training that uses words with different levels of musical specificity jointly. We evaluate both word embedding and audio-word joint embedding on four tasks (tag rank prediction, music tagging, query-by-tag, and query-by-track) across two datasets (Million Song Dataset and MTG-Jamendo). Our findings show that the suggested MWE is more efficient and robust than the conventional word embedding.

The task of efficient automatic music classification is of vital importance and forms the basis for various advanced applications of AI in the musical domain. Musical instrument recognition is the task of instrument identification by virtue of its audio. This audio, also termed as the sound vibrations are leveraged by the model to match with the instrument classes. In this paper, we use an artificial neural network (ANN) model that was trained to perform classification on twenty different classes of musical instruments. Here we use use only the mel-frequency cepstral coefficients (MFCCs) of the audio data. Our proposed model trains on the full London philharmonic orchestra dataset which contains twenty classes of instruments belonging to the four families viz. woodwinds, brass, percussion, and strings. Based on experimental results our model achieves state-of-the-art accuracy on the same.

The original ImageNet benchmark enforces a single-label assumption, despite many images depicting multiple objects. This leads to label noise and limits the richness of the learning signal. Multi-label annotations more accurately reflect real-world visual scenes, where multiple objects co-occur and contribute to semantic understanding, enabling models to learn richer and more robust representations. While prior efforts (e.g., ReaL, ImageNetv2) have improved the validation set, there has not yet been a scalable, high-quality multi-label annotation for the training set. To this end, we present an automated pipeline to convert the ImageNet training set into a multi-label dataset, without human annotations. Using self-supervised Vision Transformers, we perform unsupervised object discovery, select regions aligned with original labels to train a lightweight classifier, and apply it to all regions to generate coherent multi-label annotations across the dataset. Our labels show strong alignment with human judgment in qualitative evaluations and consistently improve performance across quantitative benchmarks. Compared to traditional single-label scheme, models trained with our multi-label supervision achieve consistently better in-domain accuracy across architectures (up to +2.0 top-1 accuracy on ReaL and +1.5 on ImageNet-V2) and exhibit stronger transferability to downstream tasks (up to +4.2 and +2.3 mAP on COCO and VOC, respectively). These results underscore the importance of accurate multi-label annotations for enhancing both classification performance and representation learning. Project code and the generated multi-label annotations are available at https://github.com/jchen175/MultiLabel-ImageNet.

Conventional music structure analysis algorithms aim to divide a song into segments and to group them with abstract labels (e.g., 'A', 'B', and 'C'). However, explicitly identifying the function of each segment (e.g., 'verse' or 'chorus') is rarely attempted, but has many applications. We introduce a multi-task deep learning framework to model these structural semantic labels directly from audio by estimating "verseness," "chorusness," and so forth, as a function of time. We propose a 7-class taxonomy (i.e., intro, verse, chorus, bridge, outro, instrumental, and silence) and provide rules to consolidate annotations from four disparate datasets. We also propose to use a spectral-temporal Transformer-based model, called SpecTNT, which can be trained with an additional connectionist temporal localization (CTL) loss. In cross-dataset evaluations using four public datasets, we demonstrate the effectiveness of the SpecTNT model and CTL loss, and obtain strong results overall: the proposed system outperforms state-of-the-art chorus-detection and boundary-detection methods at detecting choruses and boundaries, respectively.

A range of applications of multi-modal music information retrieval is centred around the problem of connecting large collections of sheet music (images) to corresponding audio recordings, that is, identifying pairs of audio and score excerpts that refer to the same musical content. One of the typical and most recent approaches to this task employs cross-modal deep learning architectures to learn joint embedding spaces that link the two distinct modalities - audio and sheet music images. While there has been steady improvement on this front over the past years, a number of open problems still prevent large-scale employment of this methodology. In this article we attempt to provide an insightful examination of the current developments on audio-sheet music retrieval via deep learning methods. We first identify a set of main challenges on the road towards robust and large-scale cross-modal music retrieval in real scenarios. We then highlight the steps we have taken so far to address some of these challenges, documenting step-by-step improvement along several dimensions. We conclude by analysing the remaining challenges and present ideas for solving these, in order to pave the way to a unified and robust methodology for cross-modal music retrieval.

Content creators often use music to enhance their videos, from soundtracks in movies to background music in video blogs and social media content. However, identifying the best music for a video can be a difficult and time-consuming task. To address this challenge, we propose a novel framework for automatically retrieving a matching music clip for a given video, and vice versa. Our approach leverages annotated music labels, as well as the inherent artistic correspondence between visual and music elements. Distinct from previous cross-modal music retrieval works, our method combines both self-supervised and supervised training objectives. We use self-supervised and label-supervised contrastive learning to train a joint embedding space between music and video. We show the effectiveness of our approach by using music genre labels for the supervised training component, and our framework can be generalized to other music annotations (e.g., emotion, instrument, etc.). Furthermore, our method enables fine-grained control over how much the retrieval process focuses on self-supervised vs. label information at inference time. We evaluate the learned embeddings through a variety of video-to-music and music-to-video retrieval tasks. Our experiments show that the proposed approach successfully combines self-supervised and supervised objectives and is effective for controllable music-video retrieval.

Music classification, a cornerstone of music information retrieval, supports a wide array of applications. To address the lack of comprehensive datasets and effective methods for sub-genre classification in mainstage dance music, we introduce a novel benchmark featuring a new dataset and baseline. Our dataset expands the scope of sub-genres to reflect the diversity of recent mainstage live sets performed by leading DJs at global music festivals, capturing the vibrant and rapidly evolving electronic dance music (EDM) scene that engages millions of fans worldwide. We employ a continuous soft labeling approach to accommodate tracks blending multiple sub-genres, preserving their inherent complexity. Experiments demonstrate that even state-of-the-art multimodal large language models (MLLMs) struggle with this task, while our specialized baseline models achieve high accuracy. This benchmark supports applications such as music recommendation, DJ set curation, and interactive multimedia systems, with video demos provided. Our code and data are all open-sourced at https://github.com/Gariscat/housex-v2.git.

Recent advances in deep learning accelerated the development of content-based automatic music tagging systems. Music information retrieval (MIR) researchers proposed various architecture designs, mainly based on convolutional neural networks (CNNs), that achieve state-of-the-art results in this multi-label binary classification task. However, due to the differences in experimental setups followed by researchers, such as using different dataset splits and software versions for evaluation, it is difficult to compare the proposed architectures directly with each other. To facilitate further research, in this paper we conduct a consistent evaluation of different music tagging models on three datasets (MagnaTagATune, Million Song Dataset, and MTG-Jamendo) and provide reference results using common evaluation metrics (ROC-AUC and PR-AUC). Furthermore, all the models are evaluated with perturbed inputs to investigate the generalization capabilities concerning time stretch, pitch shift, dynamic range compression, and addition of white noise. For reproducibility, we provide the PyTorch implementations with the pre-trained models.

Classifying logo images is a challenging task as they contain elements such as text or shapes that can represent anything from known objects to abstract shapes. While the current state of the art for logo classification addresses the problem as a multi-class task focusing on a single characteristic, logos can have several simultaneous labels, such as different colors. This work proposes a method that allows visually similar logos to be classified and searched from a set of data according to their shape, color, commercial sector, semantics, general characteristics, or a combination of features selected by the user. Unlike previous approaches, the proposal employs a series of multi-label deep neural networks specialized in specific attributes and combines the obtained features to perform the similarity search. To delve into the classification system, different existing logo topologies are compared and some of their problems are analyzed, such as the incomplete labeling that trademark registration databases usually contain. The proposal is evaluated considering 76,000 logos (7 times more than previous approaches) from the European Union Trademarks dataset, which is organized hierarchically using the Vienna ontology. Overall, experimentation attains reliable quantitative and qualitative results, reducing the normalized average rank error of the state-of-the-art from 0.040 to 0.018 for the Trademark Image Retrieval task. Finally, given that the semantics of logos can often be subjective, graphic design students and professionals were surveyed. Results show that the proposed methodology provides better labeling than a human expert operator, improving the label ranking average precision from 0.53 to 0.68.

This paper presents a CLIP-based unsupervised learning method for annotation-free multi-label image classification, including three stages: initialization, training, and inference. At the initialization stage, we take full advantage of the powerful CLIP model and propose a novel approach to extend CLIP for multi-label predictions based on global-local image-text similarity aggregation. To be more specific, we split each image into snippets and leverage CLIP to generate the similarity vector for the whole image (global) as well as each snippet (local). Then a similarity aggregator is introduced to leverage the global and local similarity vectors. Using the aggregated similarity scores as the initial pseudo labels at the training stage, we propose an optimization framework to train the parameters of the classification network and refine pseudo labels for unobserved labels. During inference, only the classification network is used to predict the labels of the input image. Extensive experiments show that our method outperforms state-of-the-art unsupervised methods on MS-COCO, PASCAL VOC 2007, PASCAL VOC 2012, and NUS datasets and even achieves comparable results to weakly supervised classification methods.

We introduce the Free Music Archive (FMA), an open and easily accessible dataset suitable for evaluating several tasks in MIR, a field concerned with browsing, searching, and organizing large music collections. The community's growing interest in feature and end-to-end learning is however restrained by the limited availability of large audio datasets. The FMA aims to overcome this hurdle by providing 917 GiB and 343 days of Creative Commons-licensed audio from 106,574 tracks from 16,341 artists and 14,854 albums, arranged in a hierarchical taxonomy of 161 genres. It provides full-length and high-quality audio, pre-computed features, together with track- and user-level metadata, tags, and free-form text such as biographies. We here describe the dataset and how it was created, propose a train/validation/test split and three subsets, discuss some suitable MIR tasks, and evaluate some baselines for genre recognition. Code, data, and usage examples are available at https://github.com/mdeff/fma

Image classification is one of the most important areas in computer vision. Hierarchical multi-label classification applies when a multi-class image classification problem is arranged into smaller ones based upon a hierarchy or taxonomy. Thus, hierarchical classification modes generally provide multiple class predictions on each instance, whereby these are expected to reflect the structure of image classes as related to one another. In this paper, we propose a multi-label capsule network (ML-CapsNet) for hierarchical classification. Our ML-CapsNet predicts multiple image classes based on a hierarchical class-label tree structure. To this end, we present a loss function that takes into account the multi-label predictions of the network. As a result, the training approach for our ML-CapsNet uses a coarse to fine paradigm while maintaining consistency with the structure in the classification levels in the label-hierarchy. We also perform experiments using widely available datasets and compare the model with alternatives elsewhere in the literature. In our experiments, our ML-CapsNet yields a margin of improvement with respect to these alternative methods.

We introduce JamendoMaxCaps, a large-scale music-caption dataset featuring over 200,000 freely licensed instrumental tracks from the renowned Jamendo platform. The dataset includes captions generated by a state-of-the-art captioning model, enhanced with imputed metadata. We also introduce a retrieval system that leverages both musical features and metadata to identify similar songs, which are then used to fill in missing metadata using a local large language model (LLLM). This approach allows us to provide a more comprehensive and informative dataset for researchers working on music-language understanding tasks. We validate this approach quantitatively with five different measurements. By making the JamendoMaxCaps dataset publicly available, we provide a high-quality resource to advance research in music-language understanding tasks such as music retrieval, multimodal representation learning, and generative music models.

One of the most significant challenges in Music Emotion Recognition (MER) comes from the fact that emotion labels can be heterogeneous across datasets with regard to the emotion representation, including categorical (e.g., happy, sad) versus dimensional labels (e.g., valence-arousal). In this paper, we present a unified multitask learning framework that combines these two types of labels and is thus able to be trained on multiple datasets. This framework uses an effective input representation that combines musical features (i.e., key and chords) and MERT embeddings. Moreover, knowledge distillation is employed to transfer the knowledge of teacher models trained on individual datasets to a student model, enhancing its ability to generalize across multiple tasks. To validate our proposed framework, we conducted extensive experiments on a variety of datasets, including MTG-Jamendo, DEAM, PMEmo, and EmoMusic. According to our experimental results, the inclusion of musical features, multitask learning, and knowledge distillation significantly enhances performance. In particular, our model outperforms the state-of-the-art models, including the best-performing model from the MediaEval 2021 competition on the MTG-Jamendo dataset. Our work makes a significant contribution to MER by allowing the combination of categorical and dimensional emotion labels in one unified framework, thus enabling training across datasets.

We introduce a convolutional recurrent neural network (CRNN) for music tagging. CRNNs take advantage of convolutional neural networks (CNNs) for local feature extraction and recurrent neural networks for temporal summarisation of the extracted features. We compare CRNN with three CNN structures that have been used for music tagging while controlling the number of parameters with respect to their performance and training time per sample. Overall, we found that CRNNs show a strong performance with respect to the number of parameter and training time, indicating the effectiveness of its hybrid structure in music feature extraction and feature summarisation.

Recent work has shown that the end-to-end approach using convolutional neural network (CNN) is effective in various types of machine learning tasks. For audio signals, the approach takes raw waveforms as input using an 1-D convolution layer. In this paper, we improve the 1-D CNN architecture for music auto-tagging by adopting building blocks from state-of-the-art image classification models, ResNets and SENets, and adding multi-level feature aggregation to it. We compare different combinations of the modules in building CNN architectures. The results show that they achieve significant improvements over previous state-of-the-art models on the MagnaTagATune dataset and comparable results on Million Song Dataset. Furthermore, we analyze and visualize our model to show how the 1-D CNN operates.

In Multi-Label Text Classification (MLTC), one sample can belong to more than one class. It is observed that most MLTC tasks, there are dependencies or correlations among labels. Existing methods tend to ignore the relationship among labels. In this paper, a graph attention network-based model is proposed to capture the attentive dependency structure among the labels. The graph attention network uses a feature matrix and a correlation matrix to capture and explore the crucial dependencies between the labels and generate classifiers for the task. The generated classifiers are applied to sentence feature vectors obtained from the text feature extraction network (BiLSTM) to enable end-to-end training. Attention allows the system to assign different weights to neighbor nodes per label, thus allowing it to learn the dependencies among labels implicitly. The results of the proposed model are validated on five real-world MLTC datasets. The proposed model achieves similar or better performance compared to the previous state-of-the-art models.

Recently, the end-to-end approach that learns hierarchical representations from raw data using deep convolutional neural networks has been successfully explored in the image, text and speech domains. This approach was applied to musical signals as well but has been not fully explored yet. To this end, we propose sample-level deep convolutional neural networks which learn representations from very small grains of waveforms (e.g. 2 or 3 samples) beyond typical frame-level input representations. Our experiments show how deep architectures with sample-level filters improve the accuracy in music auto-tagging and they provide results comparable to previous state-of-the-art performances for the Magnatagatune dataset and Million Song Dataset. In addition, we visualize filters learned in a sample-level DCNN in each layer to identify hierarchically learned features and show that they are sensitive to log-scaled frequency along layer, such as mel-frequency spectrogram that is widely used in music classification systems.

Textual label names (descriptions) are typically semantically rich in many natural language understanding (NLU) tasks. In this paper, we incorporate the prompting methodology, which is widely used to enrich model input, into the label side for the first time. Specifically, we propose a Mask Matching method, which equips an input with a prompt and its label with another, and then makes predictions by matching their mask representations. We evaluate our method extensively on 8 NLU tasks with 14 datasets. The experimental results show that Mask Matching significantly outperforms its counterparts of fine-tuning and conventional prompt-tuning, setting up state-of-the-art performances in several datasets. Mask Matching is particularly good at handling NLU tasks with large label counts and informative label names. As pioneering efforts that investigate the label-side prompt, we also discuss open issues for future study.

Generative models guided by text prompts are increasingly becoming more popular. However, no text-to-MIDI models currently exist, mostly due to the lack of a captioned MIDI dataset. This work aims to enable research that combines LLMs with symbolic music by presenting the first large-scale MIDI dataset with text captions that is openly available: MidiCaps. MIDI (Musical Instrument Digital Interface) files are a widely used format for encoding musical information. Their structured format captures the nuances of musical composition and has practical applications by music producers, composers, musicologists, as well as performers. Inspired by recent advancements in captioning techniques applied to various domains, we present a large-scale curated dataset of over 168k MIDI files accompanied by textual descriptions. Each MIDI caption succinctly describes the musical content, encompassing tempo, chord progression, time signature, instruments present, genre and mood; thereby facilitating multi-modal exploration and analysis. The dataset contains a mix of various genres, styles, and complexities, offering a rich source for training and evaluating models for tasks such as music information retrieval, music understanding and cross-modal translation. We provide detailed statistics about the dataset and have assessed the quality of the captions in an extensive listening study. We anticipate that this resource will stimulate further research in the intersection of music and natural language processing, fostering advancements in both fields.

This study provides an efficient approach for using text data to calculate patent-to-patent (p2p) technological similarity, and presents a hybrid framework for leveraging the resulting p2p similarity for applications such as semantic search and automated patent classification. We create embeddings using Sentence-BERT (SBERT) based on patent claims. We leverage SBERTs efficiency in creating embedding distance measures to map p2p similarity in large sets of patent data. We deploy our framework for classification with a simple Nearest Neighbors (KNN) model that predicts Cooperative Patent Classification (CPC) of a patent based on the class assignment of the K patents with the highest p2p similarity. We thereby validate that the p2p similarity captures their technological features in terms of CPC overlap, and at the same demonstrate the usefulness of this approach for automatic patent classification based on text data. Furthermore, the presented classification framework is simple and the results easy to interpret and evaluate by end-users. In the out-of-sample model validation, we are able to perform a multi-label prediction of all assigned CPC classes on the subclass (663) level on 1,492,294 patents with an accuracy of 54% and F1 score > 66%, which suggests that our model outperforms the current state-of-the-art in text-based multi-label and multi-class patent classification. We furthermore discuss the applicability of the presented framework for semantic IP search, patent landscaping, and technology intelligence. We finally point towards a future research agenda for leveraging multi-source patent embeddings, their appropriateness across applications, as well as to improve and validate patent embeddings by creating domain-expert curated Semantic Textual Similarity (STS) benchmark datasets.

Weakly supervised person search aims to jointly detect and match persons with only bounding box annotations. Existing approaches typically focus on improving the features by exploring relations of persons. However, scale variation problem is a more severe obstacle and under-studied that a person often owns images with different scales (resolutions). On the one hand, small-scale images contain less information of a person, thus affecting the accuracy of the generated pseudo labels. On the other hand, the similarity of cross-scale images is often smaller than that of images with the same scale for a person, which will increase the difficulty of matching. In this paper, we address this problem by proposing a novel one-step framework, named Self-similarity driven Scale-invariant Learning (SSL). Scale invariance can be explored based on the self-similarity prior that it shows the same statistical properties of an image at different scales. To this end, we introduce a Multi-scale Exemplar Branch to guide the network in concentrating on the foreground and learning scale-invariant features by hard exemplars mining. To enhance the discriminative power of the features in an unsupervised manner, we introduce a dynamic multi-label prediction which progressively seeks true labels for training. It is adaptable to different types of unlabeled data and serves as a compensation for clustering based strategy. Experiments on PRW and CUHK-SYSU databases demonstrate the effectiveness of our method.

The aim of this work is to define a model based on deep learning that is able to identify different instrument timbres with as few parameters as possible. For this purpose, we have worked with classical orchestral instruments played with different dynamics, which are part of a few instrument families and which play notes in the same pitch range. It has been possible to assess the ability to classify instruments by timbre even if the instruments are playing the same note with the same intensity. The network employed uses a multi-head attention mechanism, with 8 heads and a dense network at the output taking as input the log-mel magnitude spectrograms of the sound samples. This network allows the identification of 20 instrument classes of the classical orchestra, achieving an overall F_1 value of 0.62. An analysis of the weights of the attention layer has been performed and the confusion matrix of the model is presented, allowing us to assess the ability of the proposed architecture to distinguish timbre and to establish the aspects on which future work should focus.

Multi-instrument music transcription aims to convert polyphonic music recordings into musical scores assigned to each instrument. This task is challenging for modeling as it requires simultaneously identifying multiple instruments and transcribing their pitch and precise timing, and the lack of fully annotated data adds to the training difficulties. This paper introduces YourMT3+, a suite of models for enhanced multi-instrument music transcription based on the recent language token decoding approach of MT3. We enhance its encoder by adopting a hierarchical attention transformer in the time-frequency domain and integrating a mixture of experts. To address data limitations, we introduce a new multi-channel decoding method for training with incomplete annotations and propose intra- and cross-stem augmentation for dataset mixing. Our experiments demonstrate direct vocal transcription capabilities, eliminating the need for voice separation pre-processors. Benchmarks across ten public datasets show our models' competitiveness with, or superiority to, existing transcription models. Further testing on pop music recordings highlights the limitations of current models. Fully reproducible code and datasets are available with demos at https://github.com/mimbres/YourMT3.

Multi-label classification (MLC) suffers from the inevitable label noise in training data due to the difficulty in annotating various semantic labels in each image. To mitigate the influence of noisy labels, existing methods mainly devote to identifying and correcting the label mistakes via a trained MLC model. However, these methods still involve annoying noisy labels in training, which can result in imprecise recognition of noisy labels and weaken the performance. In this paper, considering that the negative labels are substantially more than positive labels, and most noisy labels are from the negative labels, we directly discard all the negative labels in the dataset, and propose a new method dubbed positive and unlabeled multi-label classification (PU-MLC). By extending positive-unlabeled learning into MLC task, our method trains model with only positive labels and unlabeled data, and introduces adaptive re-balance factor and adaptive temperature coefficient in the loss function to alleviate the catastrophic imbalance in label distribution and over-smoothing of probabilities in training. Furthermore, to capture both local and global dependencies in the image, we also introduce a local-global convolution module, which supplements global information into existing convolution layers with no retraining of backbone required. Our PU-MLC is simple and effective, and it is applicable to both MLC and MLC with partial labels (MLC-PL) tasks. Extensive experiments on MS-COCO and PASCAL VOC datasets demonstrate that our PU-MLC achieves significantly improvements on both MLC and MLC-PL settings with even fewer annotations. Code will be released.

This paper introduces Task 2 of the DCASE2019 Challenge, titled "Audio tagging with noisy labels and minimal supervision". This task was hosted on the Kaggle platform as "Freesound Audio Tagging 2019". The task evaluates systems for multi-label audio tagging using a large set of noisy-labeled data, and a much smaller set of manually-labeled data, under a large vocabulary setting of 80 everyday sound classes. In addition, the proposed dataset poses an acoustic mismatch problem between the noisy train set and the test set due to the fact that they come from different web audio sources. This can correspond to a realistic scenario given by the difficulty in gathering large amounts of manually labeled data. We present the task setup, the FSDKaggle2019 dataset prepared for this scientific evaluation, and a baseline system consisting of a convolutional neural network. All these resources are freely available.

Text-to-Music Retrieval, finding music based on a given natural language query, plays a pivotal role in content discovery within extensive music databases. To address this challenge, prior research has predominantly focused on a joint embedding of music audio and text, utilizing it to retrieve music tracks that exactly match descriptive queries related to musical attributes (i.e. genre, instrument) and contextual elements (i.e. mood, theme). However, users also articulate a need to explore music that shares similarities with their favorite tracks or artists, such as I need a similar track to Superstition by Stevie Wonder. To address these concerns, this paper proposes an improved Text-to-Music Retrieval model, denoted as TTMR++, which utilizes rich text descriptions generated with a finetuned large language model and metadata. To accomplish this, we obtained various types of seed text from several existing music tag and caption datasets and a knowledge graph dataset of artists and tracks. The experimental results show the effectiveness of TTMR++ in comparison to state-of-the-art music-text joint embedding models through a comprehensive evaluation involving various musical text queries.

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.

This report is a reproducibility study of the paper "CDUL: CLIP-Driven Unsupervised Learning for Multi-Label Image Classification" (Abdelfattah et al, ICCV 2023). Our report makes the following contributions: (1) We provide a reproducible, well commented and open-sourced code implementation for the entire method specified in the original paper. (2) We try to verify the effectiveness of the novel aggregation strategy which uses the CLIP model to initialize the pseudo labels for the subsequent unsupervised multi-label image classification task. (3) We try to verify the effectiveness of the gradient-alignment training method specified in the original paper, which is used to update the network parameters and pseudo labels. The code can be found at https://github.com/cs-mshah/CDUL

Vision-language models like CLIP excel at recognizing the single, prominent object in a scene. However, they struggle in complex scenes containing multiple objects. We identify a fundamental reason for this limitation: VLM feature space exhibits excessive mutual feature information (MFI), where the features of one class contain substantial information about other, unrelated classes. This high MFI becomes evident during class-specific queries, as unrelated objects are activated alongside the queried class. To address this limitation, we propose DCLIP, an efficient framework that learns an optimal level of mutual information while adding only minimal learnable parameters to a frozen VLM. DCLIP uses two complementary losses: a novel MFI Loss that regulates class feature similarity to prevent excessive overlap while preserving necessary shared information, and the Asymmetric Loss (ASL) that aligns image features with the disentangled text features. Through this disentanglement, DCLIP reduces excessive inter-class similarity by 30%. On multi-label recognition, DCLIP performs favorably over SOTA approaches on VOC2007 and COCO-14 while using 75% fewer training parameters. For zero-shot semantic segmentation, it shows improved performance across six benchmark datasets. These results highlight the importance of feature disentanglement for multi-object perception in VLMs.

Multi-modal deep learning techniques for matching free-form text with music have shown promising results in the field of Music Information Retrieval (MIR). Prior work is often based on large proprietary data while publicly available datasets are few and small in size. In this study, we present WikiMuTe, a new and open dataset containing rich semantic descriptions of music. The data is sourced from Wikipedia's rich catalogue of articles covering musical works. Using a dedicated text-mining pipeline, we extract both long and short-form descriptions covering a wide range of topics related to music content such as genre, style, mood, instrumentation, and tempo. To show the use of this data, we train a model that jointly learns text and audio representations and performs cross-modal retrieval. The model is evaluated on two tasks: tag-based music retrieval and music auto-tagging. The results show that while our approach has state-of-the-art performance on multiple tasks, but still observe a difference in performance depending on the data used for training.

Classifying patents by their relevance to the UN Sustainable Development Goals (SDGs) is crucial for tracking how innovation addresses global challenges. However, the absence of a large, labeled dataset limits the use of supervised learning. Existing methods, such as keyword searches, transfer learning, and citation-based heuristics, lack scalability and generalizability. This paper frames patent-to-SDG classification as a weak supervision problem, using citations from patents to SDG-tagged scientific publications (NPL citations) as a noisy initial signal. To address its sparsity and noise, we develop a composite labeling function (LF) that uses large language models (LLMs) to extract structured concepts, namely functions, solutions, and applications, from patents and SDG papers based on a patent ontology. Cross-domain similarity scores are computed and combined using a rank-based retrieval approach. The LF is calibrated via a custom positive-only loss that aligns with known NPL-SDG links without penalizing discovery of new SDG associations. The result is a silver-standard, soft multi-label dataset mapping patents to SDGs, enabling the training of effective multi-label regression models. We validate our approach through two complementary strategies: (1) internal validation against held-out NPL-based labels, where our method outperforms several baselines including transformer-based models, and zero-shot LLM; and (2) external validation using network modularity in patent citation, co-inventor, and co-applicant graphs, where our labels reveal greater thematic, cognitive, and organizational coherence than traditional technological classifications. These results show that weak supervision and semantic alignment can enhance SDG classification at scale.

In recent years, Large Language Models (LLMs) have enabled users to provide highly specific music recommendation requests using natural language prompts (e.g. "Can you recommend some old classics for slow dancing?"). In this setup, the recommended tracks are predicted by the LLM in an autoregressive way, i.e. the LLM generates the track titles one token at a time. While intuitive, this approach has several limitation. First, it is based on a general purpose tokenization that is optimized for words rather than for track titles. Second, it necessitates an additional entity resolution layer that matches the track title to the actual track identifier. Third, the number of decoding steps scales linearly with the length of the track title, slowing down inference. In this paper, we propose to address the task of prompt-based music recommendation as a generative retrieval task. Within this setting, we introduce novel, effective, and efficient representations of track identifiers that significantly outperform commonly used strategies. We introduce Text2Tracks, a generative retrieval model that learns a mapping from a user's music recommendation prompt to the relevant track IDs directly. Through an offline evaluation on a dataset of playlists with language inputs, we find that (1) the strategy to create IDs for music tracks is the most important factor for the effectiveness of Text2Tracks and semantic IDs significantly outperform commonly used strategies that rely on song titles as identifiers (2) provided with the right choice of track identifiers, Text2Tracks outperforms sparse and dense retrieval solutions trained to retrieve tracks from language prompts.

Linking sheet music images to audio recordings remains a key problem for the development of efficient cross-modal music retrieval systems. One of the fundamental approaches toward this task is to learn a cross-modal embedding space via deep neural networks that is able to connect short snippets of audio and sheet music. However, the scarcity of annotated data from real musical content affects the capability of such methods to generalize to real retrieval scenarios. In this work, we investigate whether we can mitigate this limitation with self-supervised contrastive learning, by exposing a network to a large amount of real music data as a pre-training step, by contrasting randomly augmented views of snippets of both modalities, namely audio and sheet images. Through a number of experiments on synthetic and real piano data, we show that pre-trained models are able to retrieve snippets with better precision in all scenarios and pre-training configurations. Encouraged by these results, we employ the snippet embeddings in the higher-level task of cross-modal piece identification and conduct more experiments on several retrieval configurations. In this task, we observe that the retrieval quality improves from 30% up to 100% when real music data is present. We then conclude by arguing for the potential of self-supervised contrastive learning for alleviating the annotated data scarcity in multi-modal music retrieval models.

Multi-Label Text Classification (MLTC) is a fundamental task in the field of Natural Language Processing (NLP) that involves the assignment of multiple labels to a given text. MLTC has gained significant importance and has been widely applied in various domains such as topic recognition, recommendation systems, sentiment analysis, and information retrieval. However, traditional machine learning and Deep neural network have not yet addressed certain issues, such as the fact that some documents are brief but have a large number of labels and how to establish relationships between the labels. It is imperative to additionally acknowledge that the significance of knowledge is substantiated in the realm of MLTC. To address this issue, we provide a novel approach known as Knowledge-enhanced Doc-Label Attention Network (KeNet). Specifically, we design an Attention Network that incorporates external knowledge, label embedding, and a comprehensive attention mechanism. In contrast to conventional methods, we use comprehensive representation of documents, knowledge and labels to predict all labels for each single text. Our approach has been validated by comprehensive research conducted on three multi-label datasets. Experimental results demonstrate that our method outperforms state-of-the-art MLTC method. Additionally, a case study is undertaken to illustrate the practical implementation of KeNet.

The rapidly evolving multimodal Large Language Models (LLMs) urgently require new benchmarks to uniformly evaluate their performance on understanding and textually describing music. However, due to semantic gaps between Music Information Retrieval (MIR) algorithms and human understanding, discrepancies between professionals and the public, and low precision of annotations, existing music description datasets cannot serve as benchmarks. To this end, we present MuChin, the first open-source music description benchmark in Chinese colloquial language, designed to evaluate the performance of multimodal LLMs in understanding and describing music. We established the Caichong Music Annotation Platform (CaiMAP) that employs an innovative multi-person, multi-stage assurance method, and recruited both amateurs and professionals to ensure the precision of annotations and alignment with popular semantics. Utilizing this method, we built a dataset with multi-dimensional, high-precision music annotations, the Caichong Music Dataset (CaiMD), and carefully selected 1,000 high-quality entries to serve as the test set for MuChin. Based on MuChin, we analyzed the discrepancies between professionals and amateurs in terms of music description, and empirically demonstrated the effectiveness of annotated data for fine-tuning LLMs. Ultimately, we employed MuChin to evaluate existing music understanding models on their ability to provide colloquial descriptions of music. All data related to the benchmark, along with the scoring code and detailed appendices, have been open-sourced (https://github.com/CarlWangChina/MuChin/).

Webly supervised learning has attracted increasing attention for its effectiveness in exploring publicly accessible data at scale without manual annotation. However, most existing methods of learning with web datasets are faced with challenges from label noise, and they have limited assumptions on clean samples under various noise. For instance, web images retrieved with queries of tiger cat (a cat species) and drumstick (a musical instrument) are almost dominated by images of tigers and chickens, which exacerbates the challenge of fine-grained visual concept learning. In this case, exploiting both web images and their associated texts is a requisite solution to combat real-world noise. In this paper, we propose Cross-modality Aligned Prototypes (CAPro), a unified prototypical contrastive learning framework to learn visual representations with correct semantics. For one thing, we leverage textual prototypes, which stem from the distinct concept definition of classes, to select clean images by text matching and thus disambiguate the formation of visual prototypes. For another, to handle missing and mismatched noisy texts, we resort to the visual feature space to complete and enhance individual texts and thereafter improve text matching. Such semantically aligned visual prototypes are further polished up with high-quality samples, and engaged in both cluster regularization and noise removal. Besides, we propose collective bootstrapping to encourage smoother and wiser label reference from appearance-similar instances in a manner of dictionary look-up. Extensive experiments on WebVision1k and NUS-WIDE (Web) demonstrate that CAPro well handles realistic noise under both single-label and multi-label scenarios. CAPro achieves new state-of-the-art performance and exhibits robustness to open-set recognition. Codes are available at https://github.com/yuleiqin/capro.

Recent years have witnessed the success of foundation models pre-trained with self-supervised learning (SSL) in various music informatics understanding tasks, including music tagging, instrument classification, key detection, and more. In this paper, we propose a self-supervised music representation learning model for music understanding. Distinguished from previous studies adopting random projection or existing neural codec, the proposed model, named MuQ, is trained to predict tokens generated by Mel Residual Vector Quantization (Mel-RVQ). Our Mel-RVQ utilizes residual linear projection structure for Mel spectrum quantization to enhance the stability and efficiency of target extraction and lead to better performance. Experiments in a large variety of downstream tasks demonstrate that MuQ outperforms previous self-supervised music representation models with only 0.9K hours of open-source pre-training data. Scaling up the data to over 160K hours and adopting iterative training consistently improve the model performance. To further validate the strength of our model, we present MuQ-MuLan, a joint music-text embedding model based on contrastive learning, which achieves state-of-the-art performance in the zero-shot music tagging task on the MagnaTagATune dataset. Code and checkpoints are open source in https://github.com/tencent-ailab/MuQ.

Understanding multi-label images remains a challenging task in computer vision. With the rapid progress of vision-language multimodal learning, vision-language models (VLMs) enable zero-shot recognition without labeled data. However, due to their intrinsic design, these models often prioritize the most iconic object and omit other contextual positives. This intrinsic bias conflicts with the nature of multi-label learning, thereby limiting their applicability. In this work, we propose an unsupervised framework that adapts VLMs from iconic recognition toward inclusive understanding, enabling label-free multi-label image recognition. Our approach consists of two key stages, ``cutting'' and ``sewing'': In the cutting stage, we present the multi-sampling response estimator to prevent the model from concentrating only on one single object. In the second sewing stage, the multi-object blend adaptation is introduced to adjust the labels to better conform to the multi-label distribution while preserving the intrinsic characteristics of the original model within only one epoch. Extensive experiments show that our framework significantly outperforms existing unsupervised approaches on four public datasets, even surpassing several representative weakly supervised baselines. These results demonstrate the potential of adapting pre-trained VLMs for more comprehensive visual understanding without manual annotations. Our code is publicly available at https://github.com/iCVTEAM/TailorCLIP.

We have built a music similarity search engine that lets video producers search by listenable music excerpts, as a complement to traditional full-text search. Our system suggests similar sounding track segments in a large music catalog by training a self-supervised convolutional neural network with triplet loss terms and musical transformations. Semi-structured user interviews demonstrate that we can successfully impress professional video producers with the quality of the search experience, and perceived similarities to query tracks averaged 7.8/10 in user testing. We believe this search tool will make for a more natural search experience that is easier to find music to soundtrack videos with.

This paper explores the automated process of determining stem compatibility by identifying audio recordings of single instruments that blend well with a given musical context. To tackle this challenge, we present Stem-JEPA, a novel Joint-Embedding Predictive Architecture (JEPA) trained on a multi-track dataset using a self-supervised learning approach. Our model comprises two networks: an encoder and a predictor, which are jointly trained to predict the embeddings of compatible stems from the embeddings of a given context, typically a mix of several instruments. Training a model in this manner allows its use in estimating stem compatibility - retrieving, aligning, or generating a stem to match a given mix - or for downstream tasks such as genre or key estimation, as the training paradigm requires the model to learn information related to timbre, harmony, and rhythm. We evaluate our model's performance on a retrieval task on the MUSDB18 dataset, testing its ability to find the missing stem from a mix and through a subjective user study. We also show that the learned embeddings capture temporal alignment information and, finally, evaluate the representations learned by our model on several downstream tasks, highlighting that they effectively capture meaningful musical features.

Multimodal Large Language Models (MLLMs) have achieved remarkable visual reasoning abilities in natural images, text-rich documents, and graphic designs. However, their ability to interpret music sheets remains underexplored. To bridge this gap, we introduce MusiXQA, the first comprehensive dataset for evaluating and advancing MLLMs in music sheet understanding. MusiXQA features high-quality synthetic music sheets generated via MusiXTeX, with structured annotations covering note pitch and duration, chords, clefs, key/time signatures, and text, enabling diverse visual QA tasks. Through extensive evaluations, we reveal significant limitations of current state-of-the-art MLLMs in this domain. Beyond benchmarking, we developed Phi-3-MusiX, an MLLM fine-tuned on our dataset, achieving significant performance gains over GPT-based methods. The proposed dataset and model establish a foundation for future advances in MLLMs for music sheet understanding. Code, data, and model will be released upon acceptance.

Automatic Music Transcription (AMT), inferring musical notes from raw audio, is a challenging task at the core of music understanding. Unlike Automatic Speech Recognition (ASR), which typically focuses on the words of a single speaker, AMT often requires transcribing multiple instruments simultaneously, all while preserving fine-scale pitch and timing information. Further, many AMT datasets are "low-resource", as even expert musicians find music transcription difficult and time-consuming. Thus, prior work has focused on task-specific architectures, tailored to the individual instruments of each task. In this work, motivated by the promising results of sequence-to-sequence transfer learning for low-resource Natural Language Processing (NLP), we demonstrate that a general-purpose Transformer model can perform multi-task AMT, jointly transcribing arbitrary combinations of musical instruments across several transcription datasets. We show this unified training framework achieves high-quality transcription results across a range of datasets, dramatically improving performance for low-resource instruments (such as guitar), while preserving strong performance for abundant instruments (such as piano). Finally, by expanding the scope of AMT, we expose the need for more consistent evaluation metrics and better dataset alignment, and provide a strong baseline for this new direction of multi-task AMT.

In this paper, we introduce the MoisesDB dataset for musical source separation. It consists of 240 tracks from 45 artists, covering twelve musical genres. For each song, we provide its individual audio sources, organized in a two-level hierarchical taxonomy of stems. This will facilitate building and evaluating fine-grained source separation systems that go beyond the limitation of using four stems (drums, bass, other, and vocals) due to lack of data. To facilitate the adoption of this dataset, we publish an easy-to-use Python library to download, process and use MoisesDB. Alongside a thorough documentation and analysis of the dataset contents, this work provides baseline results for open-source separation models for varying separation granularities (four, five, and six stems), and discuss their results.

In this work, we present a novel method for music emotion recognition that leverages Large Language Model (LLM) embeddings for label alignment across multiple datasets and zero-shot prediction on novel categories. First, we compute LLM embeddings for emotion labels and apply non-parametric clustering to group similar labels, across multiple datasets containing disjoint labels. We use these cluster centers to map music features (MERT) to the LLM embedding space. To further enhance the model, we introduce an alignment regularization that enables dissociation of MERT embeddings from different clusters. This further enhances the model's ability to better adaptation to unseen datasets. We demonstrate the effectiveness of our approach by performing zero-shot inference on a new dataset, showcasing its ability to generalize to unseen labels without additional training.

Automatically classifying electronic health records (EHRs) into diagnostic codes has been challenging to the NLP community. State-of-the-art methods treated this problem as a multilabel classification problem and proposed various architectures to model this problem. However, these systems did not leverage the superb performance of pretrained language models, which achieved superb performance on natural language understanding tasks. Prior work has shown that pretrained language models underperformed on this task with the regular finetuning scheme. Therefore, this paper aims at analyzing the causes of the underperformance and developing a framework for automatic ICD coding with pretrained language models. We spotted three main issues through the experiments: 1) large label space, 2) long input sequences, and 3) domain mismatch between pretraining and fine-tuning. We propose PLMICD, a framework that tackles the challenges with various strategies. The experimental results show that our proposed framework can overcome the challenges and achieves state-of-the-art performance in terms of multiple metrics on the benchmark MIMIC data. The source code is available at https://github.com/MiuLab/PLM-ICD

Many applications of cross-modal music retrieval are related to connecting sheet music images to audio recordings. A typical and recent approach to this is to learn, via deep neural networks, a joint embedding space that correlates short fixed-size snippets of audio and sheet music by means of an appropriate similarity structure. However, two challenges that arise out of this strategy are the requirement of strongly aligned data to train the networks, and the inherent discrepancies of musical content between audio and sheet music snippets caused by local and global tempo differences. In this paper, we address these two shortcomings by designing a cross-modal recurrent network that learns joint embeddings that can summarize longer passages of corresponding audio and sheet music. The benefits of our method are that it only requires weakly aligned audio-sheet music pairs, as well as that the recurrent network handles the non-linearities caused by tempo variations between audio and sheet music. We conduct a number of experiments on synthetic and real piano data and scores, showing that our proposed recurrent method leads to more accurate retrieval in all possible configurations.

Multi-label text classification (MLTC) tasks in the medical domain often face the long-tail label distribution problem. Prior works have explored hierarchical label structures to find relevant information for few-shot classes, but mostly neglected to incorporate external knowledge from medical guidelines. This paper presents DKEC, Domain Knowledge Enhanced Classification for diagnosis prediction with two innovations: (1) automated construction of heterogeneous knowledge graphs from external sources to capture semantic relations among diverse medical entities, (2) incorporating the heterogeneous knowledge graphs in few-shot classification using a label-wise attention mechanism. We construct DKEC using three online medical knowledge sources and evaluate it on a real-world Emergency Medical Services (EMS) dataset and a public electronic health record (EHR) dataset. Results show that DKEC outperforms the state-of-the-art label-wise attention networks and transformer models of different sizes, particularly for the few-shot classes. More importantly, it helps the smaller language models achieve comparable performance to large language models.

Automatic Music Transcription (AMT) has been recognized as a key enabling technology with a wide range of applications. Given the task's complexity, best results have typically been reported for systems focusing on specific settings, e.g. instrument-specific systems tend to yield improved results over instrument-agnostic methods. Similarly, higher accuracy can be obtained when only estimating frame-wise f_0 values and neglecting the harder note event detection. Despite their high accuracy, such specialized systems often cannot be deployed in the real-world. Storage and network constraints prohibit the use of multiple specialized models, while memory and run-time constraints limit their complexity. In this paper, we propose a lightweight neural network for musical instrument transcription, which supports polyphonic outputs and generalizes to a wide variety of instruments (including vocals). Our model is trained to jointly predict frame-wise onsets, multipitch and note activations, and we experimentally show that this multi-output structure improves the resulting frame-level note accuracy. Despite its simplicity, benchmark results show our system's note estimation to be substantially better than a comparable baseline, and its frame-level accuracy to be only marginally below those of specialized state-of-the-art AMT systems. With this work we hope to encourage the community to further investigate low-resource, instrument-agnostic AMT systems.

We propose Legato, a new end-to-end model for optical music recognition (OMR), a task of converting music score images to machine-readable documents. Legato is the first large-scale pretrained OMR model capable of recognizing full-page or multi-page typeset music scores and the first to generate documents in ABC notation, a concise, human-readable format for symbolic music. Bringing together a pretrained vision encoder with an ABC decoder trained on a dataset of more than 214K images, our model exhibits the strong ability to generalize across various typeset scores. We conduct comprehensive experiments on a range of datasets and metrics and demonstrate that Legato outperforms the previous state of the art. On our most realistic dataset, we see a 68\% and 47.6\% absolute error reduction on the standard metrics TEDn and OMR-NED, respectively.

Due to the difficulty of collecting exhaustive multi-label annotations, multi-label datasets often contain partial labels. We consider an extreme of this weakly supervised learning problem, called single positive multi-label learning (SPML), where each multi-label training image has only one positive label. Traditionally, all unannotated labels are assumed as negative labels in SPML, which introduces false negative labels and causes model training to be dominated by assumed negative labels. In this work, we choose to treat all unannotated labels from an alternative perspective, i.e. acknowledging they are unknown. Hence, we propose entropy-maximization (EM) loss to attain a special gradient regime for providing proper supervision signals. Moreover, we propose asymmetric pseudo-labeling (APL), which adopts asymmetric-tolerance strategies and a self-paced procedure, to cooperate with EM loss and then provide more precise supervision. Experiments show that our method significantly improves performance and achieves state-of-the-art results on all four benchmarks. Code is available at https://github.com/Correr-Zhou/SPML-AckTheUnknown.

We consider the task of Extreme Multi-Label Text Classification (XMTC) in the legal domain. We release a new dataset of 57k legislative documents from EURLEX, the European Union's public document database, annotated with concepts from EUROVOC, a multidisciplinary thesaurus. The dataset is substantially larger than previous EURLEX datasets and suitable for XMTC, few-shot and zero-shot learning. Experimenting with several neural classifiers, we show that BIGRUs with self-attention outperform the current multi-label state-of-the-art methods, which employ label-wise attention. Replacing CNNs with BIGRUs in label-wise attention networks leads to the best overall performance.

Abstract: Cover song identification (CSI) focuses on finding the same music with different versions in reference anchors given a query track. In this paper, we propose a novel system named CoverHunter that overcomes the shortcomings of existing detection schemes by exploring richer features with refined attention and alignments. CoverHunter contains three key modules: 1) A convolution-augmented transformer (i.e., Conformer) structure that captures both local and global feature interactions in contrast to previous methods mainly relying on convolutional neural networks; 2) An attention-based time pooling module that further exploits the attention in the time dimension; 3) A novel coarse-to-fine training scheme that first trains a network to roughly align the song chunks and then refines the network by training on the aligned chunks. At the same time, we also summarize some important training tricks used in our system that help achieve better results. Experiments on several standard CSI datasets show that our method significantly improves over state-of-the-art methods with an embedding size of 128 (2.3% on SHS100K-TEST and 17.7% on DaTacos).

Music autotagging aims to automatically assign descriptive tags, such as genre, mood, or instrumentation, to audio recordings. Due to its challenges, diversity of semantic descriptions, and practical value in various applications, it has become a common downstream task for evaluating the performance of general-purpose music representations learned from audio data. We introduce a new benchmarking dataset based on the recently published MGPHot dataset, which includes expert musicological annotations, allowing for additional insights and comparisons with results obtained on common generic tag datasets. While MGPHot annotations have been shown to be useful for computational musicology, the original dataset neither includes audio nor provides evaluation setups for its use as a standardized autotagging benchmark. To address this, we provide a curated set of YouTube URLs with retrievable audio, and propose a train/val/test split for standardized evaluation, and precomputed representations for seven state-of-the-art models. Using these resources, we evaluated these models in MGPHot and standard reference tag datasets, highlighting key differences between expert and generic tag annotations. Altogether, our contributions provide a more advanced benchmarking framework for future research in music understanding.

Developing open-source foundation models is essential for advancing research in music audio understanding and ensuring access to powerful, multipurpose representations for music information retrieval. We present OMAR-RQ, a model trained with self-supervision via masked token classification methodologies using a large-scale dataset with over 330,000 hours of music audio. We experiment with different input features and quantization options, and achieve state-of-the-art performance in music tagging, pitch estimation, chord recognition, beat tracking, segmentation, and difficulty estimation among open self-supervised models. We open-source our training and evaluation pipelines and model weights, available at https://github.com/mtg/omar-rq.

ImageNet has been arguably the most popular image classification benchmark, but it is also the one with a significant level of label noise. Recent studies have shown that many samples contain multiple classes, despite being assumed to be a single-label benchmark. They have thus proposed to turn ImageNet evaluation into a multi-label task, with exhaustive multi-label annotations per image. However, they have not fixed the training set, presumably because of a formidable annotation cost. We argue that the mismatch between single-label annotations and effectively multi-label images is equally, if not more, problematic in the training setup, where random crops are applied. With the single-label annotations, a random crop of an image may contain an entirely different object from the ground truth, introducing noisy or even incorrect supervision during training. We thus re-label the ImageNet training set with multi-labels. We address the annotation cost barrier by letting a strong image classifier, trained on an extra source of data, generate the multi-labels. We utilize the pixel-wise multi-label predictions before the final pooling layer, in order to exploit the additional location-specific supervision signals. Training on the re-labeled samples results in improved model performances across the board. ResNet-50 attains the top-1 classification accuracy of 78.9% on ImageNet with our localized multi-labels, which can be further boosted to 80.2% with the CutMix regularization. We show that the models trained with localized multi-labels also outperforms the baselines on transfer learning to object detection and instance segmentation tasks, and various robustness benchmarks. The re-labeled ImageNet training set, pre-trained weights, and the source code are available at {https://github.com/naver-ai/relabel_imagenet}.

Most music source separation systems require large collections of isolated sources for training, which can be difficult to obtain. In this work, we use musical scores, which are comparatively easy to obtain, as a weak label for training a source separation system. In contrast with previous score-informed separation approaches, our system does not require isolated sources, and score is used only as a training target, not required for inference. Our model consists of a separator that outputs a time-frequency mask for each instrument, and a transcriptor that acts as a critic, providing both temporal and frequency supervision to guide the learning of the separator. A harmonic mask constraint is introduced as another way of leveraging score information during training, and we propose two novel adversarial losses for additional fine-tuning of both the transcriptor and the separator. Results demonstrate that using score information outperforms temporal weak-labels, and adversarial structures lead to further improvements in both separation and transcription performance.

In this work, we provide a broad comparative analysis of strategies for pre-training audio understanding models for several tasks in the music domain, including labelling of genre, era, origin, mood, instrumentation, key, pitch, vocal characteristics, tempo and sonority. Specifically, we explore how the domain of pre-training datasets (music or generic audio) and the pre-training methodology (supervised or unsupervised) affects the adequacy of the resulting audio embeddings for downstream tasks. We show that models trained via supervised learning on large-scale expert-annotated music datasets achieve state-of-the-art performance in a wide range of music labelling tasks, each with novel content and vocabularies. This can be done in an efficient manner with models containing less than 100 million parameters that require no fine-tuning or reparameterization for downstream tasks, making this approach practical for industry-scale audio catalogs. Within the class of unsupervised learning strategies, we show that the domain of the training dataset can significantly impact the performance of representations learned by the model. We find that restricting the domain of the pre-training dataset to music allows for training with smaller batch sizes while achieving state-of-the-art in unsupervised learning -- and in some cases, supervised learning -- for music understanding. We also corroborate that, while achieving state-of-the-art performance on many tasks, supervised learning can cause models to specialize to the supervised information provided, somewhat compromising a model's generality.

Music datasets play a crucial role in advancing research in machine learning for music. However, existing music datasets suffer from limited size, accessibility, and lack of audio resources. To address these shortcomings, we present DISCO-10M, a novel and extensive music dataset that surpasses the largest previously available music dataset by an order of magnitude. To ensure high-quality data, we implement a multi-stage filtering process. This process incorporates similarities based on textual descriptions and audio embeddings. Moreover, we provide precomputed CLAP embeddings alongside DISCO-10M, facilitating direct application on various downstream tasks. These embeddings enable efficient exploration of machine learning applications on the provided data. With DISCO-10M, we aim to democratize and facilitate new research to help advance the development of novel machine learning models for music.

Vision-Language Models such as CLIP exhibit strong zero-shot recognition capability by aligning images with textual concepts, yet they often underperform on multi-label recognition where multiple objects co-exist. A key bottleneck is that the [CLS] token, as a single global visual representation, is insufficient to faithfully encode diverse targets with varying scales, contexts, and co-occurrence patterns. To address this limitation, we present a new multi-label image recognition framework, termed PIAA, which formulates prediction as Patch-level Inference followed by Adaptive Aggregation. Specifically, we first enhance patch-wise predictions from two complementary perspectives: (i) mitigating semantic entanglement in the visual encoder to obtain more discriminative patch representations, and (ii) learning an unsupervised visual classifier to narrow the vision-language modality gap. We then introduce an adaptive aggregation module that consolidates patch-level scores into the final multi-label prediction. Notably, the entire pipeline is fully training-free, requiring no gradient updates or parameter fine-tuning. Experiments show that our method achieves strong improvements with minimal extra computation, exceeding a 6% mAP gain on the challenging NUS-WIDE benchmark over representative baselines. Code is available at https://github.com/akang-wang/PIAA.

We present Mirable's submission to the 2021 Emotions and Themes in Music challenge. In this work, we intend to address the question: can we leverage semi-supervised learning techniques on music emotion recognition? With that, we experiment with noisy student training, which has improved model performance in the image classification domain. As the noisy student method requires a strong teacher model, we further delve into the factors including (i) input training length and (ii) complementary music representations to further boost the performance of the teacher model. For (i), we find that models trained with short input length perform better in PR-AUC, whereas those trained with long input length perform better in ROC-AUC. For (ii), we find that using harmonic pitch class profiles (HPCP) consistently improve tagging performance, which suggests that harmonic representation is useful for music emotion tagging. Finally, we find that noisy student method only improves tagging results for the case of long training length. Additionally, we find that ensembling representations trained with different training lengths can improve tagging results significantly, which suggest a possible direction to explore incorporating multiple temporal resolutions in the network architecture for future work.

In this work, we address music representation learning using convolution-free transformers. We build on top of existing spectrogram-based audio transformers such as AST and train our models on a supervised task using patchout training similar to PaSST. In contrast to previous works, we study how specific design decisions affect downstream music tagging tasks instead of focusing on the training task. We assess the impact of initializing the models with different pre-trained weights, using various input audio segment lengths, using learned representations from different blocks and tokens of the transformer for downstream tasks, and applying patchout at inference to speed up feature extraction. We find that 1) initializing the model from ImageNet or AudioSet weights and using longer input segments are beneficial both for the training and downstream tasks, 2) the best representations for the considered downstream tasks are located in the middle blocks of the transformer, and 3) using patchout at inference allows faster processing than our convolutional baselines while maintaining superior performance. The resulting models, MAEST, are publicly available and obtain the best performance among open models in music tagging tasks.

Recently, the problem of music plagiarism has emerged as an even more pressing social issue. As music information retrieval research advances, there is a growing effort to address issues related to music plagiarism. However, many studies, including our previous work, have conducted research without clearly defining what the music plagiarism detection task actually involves. This lack of a clear definition has slowed research progress and made it hard to apply results to real-world scenarios. To fix this situation, we defined how Music Plagiarism Detection is different from other MIR tasks and explained what problems need to be solved. We introduce the Similar Music Pair dataset to support this newly defined task. In addition, we propose a method based on segment transcription as one way to solve the task. Our demo and dataset are available at https://github.com/Mippia/ICASSP2026-MPD.

This paper makes several contributions to automatic lyrics transcription (ALT) research. Our main contribution is a novel variant of the Multistreaming Time-Delay Neural Network (MTDNN) architecture, called MSTRE-Net, which processes the temporal information using multiple streams in parallel with varying resolutions keeping the network more compact, and thus with a faster inference and an improved recognition rate than having identical TDNN streams. In addition, two novel preprocessing steps prior to training the acoustic model are proposed. First, we suggest using recordings from both monophonic and polyphonic domains during training the acoustic model. Second, we tag monophonic and polyphonic recordings with distinct labels for discriminating non-vocal silence and music instances during alignment. Moreover, we present a new test set with a considerably larger size and a higher musical variability compared to the existing datasets used in ALT literature, while maintaining the gender balance of the singers. Our best performing model sets the state-of-the-art in lyrics transcription by a large margin. For reproducibility, we publicly share the identifiers to retrieve the data used in this paper.

In-line with the success of deep learning on traditional recognition problem, several end-to-end deep models for zero-shot recognition have been proposed in the literature. These models are successful to predict a single unseen label given an input image, but does not scale to cases where multiple unseen objects are present. In this paper, we model this problem within the framework of Multiple Instance Learning (MIL). To the best of our knowledge, we propose the first end-to-end trainable deep MIL framework for the multi-label zero-shot tagging problem. Due to its novel design, the proposed framework has several interesting features: (1) Unlike previous deep MIL models, it does not use any off-line procedure (e.g., Selective Search or EdgeBoxes) for bag generation. (2) During test time, it can process any number of unseen labels given their semantic embedding vectors. (3) Using only seen labels per image as weak annotation, it can produce a bounding box for each predicted labels. We experiment with the NUS-WIDE dataset and achieve superior performance across conventional, zero-shot and generalized zero-shot tagging tasks.

In this paper, we address the challenges of automatic metadata annotation in the domain of Galleries, Libraries, Archives, and Museums (GLAMs) by introducing a novel dataset, EUFCC340K, collected from the Europeana portal. Comprising over 340,000 images, the EUFCC340K dataset is organized across multiple facets: Materials, Object Types, Disciplines, and Subjects, following a hierarchical structure based on the Art & Architecture Thesaurus (AAT). We developed several baseline models, incorporating multiple heads on a ConvNeXT backbone for multi-label image tagging on these facets, and fine-tuning a CLIP model with our image text pairs. Our experiments to evaluate model robustness and generalization capabilities in two different test scenarios demonstrate the utility of the dataset in improving multi-label classification tools that have the potential to alleviate cataloging tasks in the cultural heritage sector.

We introduce a new dataset named WikiVitals which contains a large graph of 48k mutually referred Wikipedia articles classified into 32 categories and connected by 2.3M edges. Our aim is to rigorously evaluate the contributions of three distinct sources of information to the label prediction in a semi-supervised node classification setting, namely the content of the articles, their connections with each other and the correlations among their labels. We perform this evaluation using a Graph Markov Neural Network which provides a theoretically principled model for this task and we conduct a detailed evaluation of the contributions of each sources of information using a clear separation of model selection and model assessment. One interesting observation is that including the effect of label dependencies is more relevant for sparse train sets than it is for dense train sets.

Multimodal Information Retrieval has made significant progress in recent years, leveraging the increasingly strong multimodal abilities of deep pre-trained models to represent information across modalities. Music Information Retrieval (MIR), in particular, has considerably increased in quality, with neural representations of music even making its way into everyday life products. However, there is a lack of high-quality benchmarks for evaluating music retrieval performance. To address this issue, we introduce IncompeBench, a carefully annotated benchmark comprising 1,574 permissively licensed, high-quality music snippets, 500 diverse queries, and over 125,000 individual relevance judgements. These annotations were created through the use of a multi-stage pipeline, resulting in high agreement between human annotators and the generated data. The resulting datasets are publicly available at https://huggingface.co/datasets/mixedbread-ai/incompebench-strict and https://huggingface.co/datasets/mixedbread-ai/incompebench-lenient with the prompts available at https://github.com/mixedbread-ai/incompebench-programs.

Separating a singing voice from its music accompaniment remains an important challenge in the field of music information retrieval. We present a unique neural network approach inspired by a technique that has revolutionized the field of vision: pixel-wise image classification, which we combine with cross entropy loss and pretraining of the CNN as an autoencoder on singing voice spectrograms. The pixel-wise classification technique directly estimates the sound source label for each time-frequency (T-F) bin in our spectrogram image, thus eliminating common pre- and postprocessing tasks. The proposed network is trained by using the Ideal Binary Mask (IBM) as the target output label. The IBM identifies the dominant sound source in each T-F bin of the magnitude spectrogram of a mixture signal, by considering each T-F bin as a pixel with a multi-label (for each sound source). Cross entropy is used as the training objective, so as to minimize the average probability error between the target and predicted label for each pixel. By treating the singing voice separation problem as a pixel-wise classification task, we additionally eliminate one of the commonly used, yet not easy to comprehend, postprocessing steps: the Wiener filter postprocessing. The proposed CNN outperforms the first runner up in the Music Information Retrieval Evaluation eXchange (MIREX) 2016 and the winner of MIREX 2014 with a gain of 2.2702 ~ 5.9563 dB global normalized source to distortion ratio (GNSDR) when applied to the iKala dataset. An experiment with the DSD100 dataset on the full-tracks song evaluation task also shows that our model is able to compete with cutting-edge singing voice separation systems which use multi-channel modeling, data augmentation, and model blending.

Despite the central role that melody plays in music perception, it remains an open challenge in music information retrieval to reliably detect the notes of the melody present in an arbitrary music recording. A key challenge in melody transcription is building methods which can handle broad audio containing any number of instrument ensembles and musical styles - existing strategies work well for some melody instruments or styles but not all. To confront this challenge, we leverage representations from Jukebox (Dhariwal et al. 2020), a generative model of broad music audio, thereby improving performance on melody transcription by 20% relative to conventional spectrogram features. Another obstacle in melody transcription is a lack of training data - we derive a new dataset containing 50 hours of melody transcriptions from crowdsourced annotations of broad music. The combination of generative pre-training and a new dataset for this task results in 77% stronger performance on melody transcription relative to the strongest available baseline. By pairing our new melody transcription approach with solutions for beat detection, key estimation, and chord recognition, we build Sheet Sage, a system capable of transcribing human-readable lead sheets directly from music audio. Audio examples can be found at https://chrisdonahue.com/sheetsage and code at https://github.com/chrisdonahue/sheetsage .

We propose a method to recommend music for an input video while allowing a user to guide music selection with free-form natural language. A key challenge of this problem setting is that existing music video datasets provide the needed (video, music) training pairs, but lack text descriptions of the music. This work addresses this challenge with the following three contributions. First, we propose a text-synthesis approach that relies on an analogy-based prompting procedure to generate natural language music descriptions from a large-scale language model (BLOOM-176B) given pre-trained music tagger outputs and a small number of human text descriptions. Second, we use these synthesized music descriptions to train a new trimodal model, which fuses text and video input representations to query music samples. For training, we introduce a text dropout regularization mechanism which we show is critical to model performance. Our model design allows for the retrieved music audio to agree with the two input modalities by matching visual style depicted in the video and musical genre, mood, or instrumentation described in the natural language query. Third, to evaluate our approach, we collect a testing dataset for our problem by annotating a subset of 4k clips from the YT8M-MusicVideo dataset with natural language music descriptions which we make publicly available. We show that our approach can match or exceed the performance of prior methods on video-to-music retrieval while significantly improving retrieval accuracy when using text guidance.

Despite significant recent progress across multiple subtasks of audio source separation, few music source separation systems support separation beyond the four-stem vocals, drums, bass, and other (VDBO) setup. Of the very few current systems that support source separation beyond this setup, most continue to rely on an inflexible decoder setup that can only support a fixed pre-defined set of stems. Increasing stem support in these inflexible systems correspondingly requires increasing computational complexity, rendering extensions of these systems computationally infeasible for long-tail instruments. In this work, we propose Banquet, a system that allows source separation of multiple stems using just one decoder. A bandsplit source separation model is extended to work in a query-based setup in tandem with a music instrument recognition PaSST model. On the MoisesDB dataset, Banquet, at only 24.9 M trainable parameters, approached the performance level of the significantly more complex 6-stem Hybrid Transformer Demucs on VDBO stems and outperformed it on guitar and piano. The query-based setup allows for the separation of narrow instrument classes such as clean acoustic guitars, and can be successfully applied to the extraction of less common stems such as reeds and organs. Implementation is available at https://github.com/kwatcharasupat/query-bandit.

CLaMP 3 is a unified framework developed to address challenges of cross-modal and cross-lingual generalization in music information retrieval. Using contrastive learning, it aligns all major music modalities--including sheet music, performance signals, and audio recordings--with multilingual text in a shared representation space, enabling retrieval across unaligned modalities with text as a bridge. It features a multilingual text encoder adaptable to unseen languages, exhibiting strong cross-lingual generalization. Leveraging retrieval-augmented generation, we curated M4-RAG, a web-scale dataset consisting of 2.31 million music-text pairs. This dataset is enriched with detailed metadata that represents a wide array of global musical traditions. To advance future research, we release WikiMT-X, a benchmark comprising 1,000 triplets of sheet music, audio, and richly varied text descriptions. Experiments show that CLaMP 3 achieves state-of-the-art performance on multiple MIR tasks, significantly surpassing previous strong baselines and demonstrating excellent generalization in multimodal and multilingual music contexts.

Recent years have seen a boom in computational approaches to music analysis, yet each one is typically tailored to a specific analytical domain. In this work, we introduce AnalysisGNN, a novel graph neural network framework that leverages a data-shuffling strategy with a custom weighted multi-task loss and logit fusion between task-specific classifiers to integrate heterogeneously annotated symbolic datasets for comprehensive score analysis. We further integrate a Non-Chord-Tone prediction module, which identifies and excludes passing and non-functional notes from all tasks, thereby improving the consistency of label signals. Experimental evaluations demonstrate that AnalysisGNN achieves performance comparable to traditional static-dataset approaches, while showing increased resilience to domain shifts and annotation inconsistencies across multiple heterogeneous corpora.

We present FiloBass: a novel corpus of music scores and annotations which focuses on the important but often overlooked role of the double bass in jazz accompaniment. Inspired by recent work that sheds light on the role of the soloist, we offer a collection of 48 manually verified transcriptions of professional jazz bassists, comprising over 50,000 note events, which are based on the backing tracks used in the FiloSax dataset. For each recording we provide audio stems, scores, performance-aligned MIDI and associated metadata for beats, downbeats, chord symbols and markers for musical form. We then use FiloBass to enrich our understanding of jazz bass lines, by conducting a corpus-based musical analysis with a contrastive study of existing instructional methods. Together with the original FiloSax dataset, our work represents a significant step toward a fully annotated performance dataset for a jazz quartet setting. By illuminating the critical role of the bass in jazz, this work contributes to a more nuanced and comprehensive understanding of the genre.

The performance of music source separation (MSS) models has been greatly improved in recent years thanks to the development of novel neural network architectures and training pipelines. However, recent model designs for MSS were mainly motivated by other audio processing tasks or other research fields, while the intrinsic characteristics and patterns of the music signals were not fully discovered. In this paper, we propose band-split RNN (BSRNN), a frequency-domain model that explictly splits the spectrogram of the mixture into subbands and perform interleaved band-level and sequence-level modeling. The choices of the bandwidths of the subbands can be determined by a priori knowledge or expert knowledge on the characteristics of the target source in order to optimize the performance on a certain type of target musical instrument. To better make use of unlabeled data, we also describe a semi-supervised model finetuning pipeline that can further improve the performance of the model. Experiment results show that BSRNN trained only on MUSDB18-HQ dataset significantly outperforms several top-ranking models in Music Demixing (MDX) Challenge 2021, and the semi-supervised finetuning stage further improves the performance on all four instrument tracks.

This study addresses the challenges of multi-label text classification. The difficulties arise from imbalanced data sets, varied text lengths, and numerous subjective feature labels. Existing solutions include traditional machine learning and deep neural networks for predictions. However, both approaches have their limitations. Traditional machine learning often overlooks the associations between words, while deep neural networks, despite their better classification performance, come with increased training complexity and time. This paper proposes a method utilizing the bag-of-words model approach based on the GloVe model and the CNN-BiLSTM network. The principle is to use the word vector matrix trained by the GloVe model as the input for the text embedding layer. Given that the GloVe model requires no further training, the neural network model can be trained more efficiently. The method achieves an accuracy rate of 87.26% on the test set and an F1 score of 0.8737, showcasing promising results.

Self-supervised learning (SSL) methods targeting scene images have seen a rapid growth recently, and they mostly rely on either a dedicated dense matching mechanism or a costly unsupervised object discovery module. This paper shows that instead of hinging on these strenuous operations, quality image representations can be learned by treating scene/multi-label image SSL simply as a multi-label classification problem, which greatly simplifies the learning framework. Specifically, multiple binary pseudo-labels are assigned for each input image by comparing its embeddings with those in two dictionaries, and the network is optimized using the binary cross entropy loss. The proposed method is named Multi-Label Self-supervised learning (MLS). Visualizations qualitatively show that clearly the pseudo-labels by MLS can automatically find semantically similar pseudo-positive pairs across different images to facilitate contrastive learning. MLS learns high quality representations on MS-COCO and achieves state-of-the-art results on classification, detection and segmentation benchmarks. At the same time, MLS is much simpler than existing methods, making it easier to deploy and for further exploration.

Learning with reduced labeling standards, such as noisy label, partial label, and multiple label candidates, which we generically refer to as imprecise labels, is a commonplace challenge in machine learning tasks. Previous methods tend to propose specific designs for every emerging imprecise label configuration, which is usually unsustainable when multiple configurations of imprecision coexist. In this paper, we introduce imprecise label learning (ILL), a framework for the unification of learning with various imprecise label configurations. ILL leverages expectation-maximization (EM) for modeling the imprecise label information, treating the precise labels as latent variables.Instead of approximating the correct labels for training, it considers the entire distribution of all possible labeling entailed by the imprecise information. We demonstrate that ILL can seamlessly adapt to partial label learning, semi-supervised learning, noisy label learning, and, more importantly, a mixture of these settings. Notably, ILL surpasses the existing specified techniques for handling imprecise labels, marking the first unified framework with robust and effective performance across various challenging settings. We hope our work will inspire further research on this topic, unleashing the full potential of ILL in wider scenarios where precise labels are expensive and complicated to obtain.

Convolutional Neural Networks (ConvNets) have achieved excellent recognition performance in various visual recognition tasks. A large labeled training set is one of the most important factors for its success. However, it is difficult to collect sufficient training images with precise labels in some domains such as apparent age estimation, head pose estimation, multi-label classification and semantic segmentation. Fortunately, there is ambiguous information among labels, which makes these tasks different from traditional classification. Based on this observation, we convert the label of each image into a discrete label distribution, and learn the label distribution by minimizing a Kullback-Leibler divergence between the predicted and ground-truth label distributions using deep ConvNets. The proposed DLDL (Deep Label Distribution Learning) method effectively utilizes the label ambiguity in both feature learning and classifier learning, which help prevent the network from over-fitting even when the training set is small. Experimental results show that the proposed approach produces significantly better results than state-of-the-art methods for age estimation and head pose estimation. At the same time, it also improves recognition performance for multi-label classification and semantic segmentation tasks.

Instrument playing techniques (IPTs) constitute a pivotal component of musical expression. However, the development of automatic IPT detection methods suffers from limited labeled data and inherent class imbalance issues. In this paper, we propose to apply a self-supervised learning model pre-trained on large-scale unlabeled music data and finetune it on IPT detection tasks. This approach addresses data scarcity and class imbalance challenges. Recognizing the significance of pitch in capturing the nuances of IPTs and the importance of onset in locating IPT events, we investigate multi-task finetuning with pitch and onset detection as auxiliary tasks. Additionally, we apply a post-processing approach for event-level prediction, where an IPT activation initiates an event only if the onset output confirms an onset in that frame. Our method outperforms prior approaches in both frame-level and event-level metrics across multiple IPT benchmark datasets. Further experiments demonstrate the efficacy of multi-task finetuning on each IPT class.

Extreme Multi-label Classification (XMC) methods predict relevant labels for a given query in an extremely large label space. Recent works in XMC address this problem using deep encoders that project text descriptions to an embedding space suitable for recovering the closest labels. However, learning deep models can be computationally expensive in large output spaces, resulting in a trade-off between high performing brute-force approaches and efficient solutions. In this paper, we propose PRIME, a XMC method that employs a novel prototypical contrastive learning technique to reconcile efficiency and performance surpassing brute-force approaches. We frame XMC as a data-to-prototype prediction task where label prototypes aggregate information from related queries. More precisely, we use a shallow transformer encoder that we coin as Label Prototype Network, which enriches label representations by aggregating text-based embeddings, label centroids and learnable free vectors. We jointly train a deep encoder and the Label Prototype Network using an adaptive triplet loss objective that better adapts to the high granularity and ambiguity of extreme label spaces. PRIME achieves state-of-the-art results in several public benchmarks of different sizes and domains, while keeping the model efficient.

Music tagging is a task to predict the tags of music recordings. However, previous music tagging research primarily focuses on close-set music tagging tasks which can not be generalized to new tags. In this work, we propose a zero-shot music tagging system modeled by a joint music and language attention (JMLA) model to address the open-set music tagging problem. The JMLA model consists of an audio encoder modeled by a pretrained masked autoencoder and a decoder modeled by a Falcon7B. We introduce preceiver resampler to convert arbitrary length audio into fixed length embeddings. We introduce dense attention connections between encoder and decoder layers to improve the information flow between the encoder and decoder layers. We collect a large-scale music and description dataset from the internet. We propose to use ChatGPT to convert the raw descriptions into formalized and diverse descriptions to train the JMLA models. Our proposed JMLA system achieves a zero-shot audio tagging accuracy of 64.82% on the GTZAN dataset, outperforming previous zero-shot systems and achieves comparable results to previous systems on the FMA and the MagnaTagATune datasets.

The iMet 2020 dataset is a valuable resource in the space of fine-grained art attribution recognition, but we believe it has yet to reach its true potential. We document the unique properties of the dataset and observe that many of the attribute labels are noisy, more than is implied by the dataset description. Oftentimes, there are also semantic relationships between the labels (e.g., identical, mutual exclusion, subsumption, overlap with uncertainty) which we believe are underutilized. We propose an approach to cleaning and structuring the iMet 2020 labels, and discuss the implications and value of doing so. Further, we demonstrate the benefits of our proposed approach through several experiments. Our code and cleaned labels are available at https://github.com/sunniesuhyoung/iMet2020cleaned.