Daily Papers

Shifting 6G-and-beyond wireless communication systems to higher frequency bands and the utilization of massive multiple-input multiple-output arrays will extend the near-field region, affecting beamforming and user localization schemes. In this paper, we propose a localization-based beam-focusing strategy that leverages the dominant line-of-sight (LoS) propagation arising at mmWave and sub-THz frequencies. To support this approach, we analyze the 2D-MUSIC algorithm for distance estimation by examining its spectrum in simplified, tractable setups with minimal numbers of antennas and users. Lastly, we compare the proposed localization-based beam focusing, with locations estimated via 2D-MUSIC, with zero forcing with pilot-based channel estimation in terms of uplink sum spectral efficiency. Our numerical results show that the proposed method becomes more effective under LoS-dominated propagation, short coherence blocks, and strong noise power arising at high carrier frequencies and with large bandwidths.

Symbolic music generation aims to create musical notes, which can help users compose music, such as generating target instrumental tracks from scratch, or based on user-provided source tracks. Considering the diverse and flexible combination between source and target tracks, a unified model capable of generating any arbitrary tracks is of crucial necessity. Previous works fail to address this need due to inherent constraints in music representations and model architectures. To address this need, we propose a unified representation and diffusion framework named GETMusic (`GET' stands for GEnerate music Tracks), which includes a novel music representation named GETScore, and a diffusion model named GETDiff. GETScore represents notes as tokens and organizes them in a 2D structure, with tracks stacked vertically and progressing horizontally over time. During training, tracks are randomly selected as either the target or source. In the forward process, target tracks are corrupted by masking their tokens, while source tracks remain as ground truth. In the denoising process, GETDiff learns to predict the masked target tokens, conditioning on the source tracks. With separate tracks in GETScore and the non-autoregressive behavior of the model, GETMusic can explicitly control the generation of any target tracks from scratch or conditioning on source tracks. We conduct experiments on music generation involving six instrumental tracks, resulting in a total of 665 combinations. GETMusic provides high-quality results across diverse combinations and surpasses prior works proposed for some specific combinations.

Inferring music time structures has a broad range of applications in music production, processing and analysis. Scholars have proposed various methods to analyze different aspects of time structures, such as beat, downbeat, tempo and meter. Many state-of-the-art (SOFA) methods, however, are computationally expensive. This makes them inapplicable in real-world industrial settings where the scale of the music collections can be millions. This paper proposes a new state space and a semi-Markov model for music time structure analysis. The proposed approach turns the commonly used 2D state spaces into a 1D model through a jump-back reward strategy. It reduces the state spaces size drastically. We then utilize the proposed method for causal, joint beat, downbeat, tempo, and meter tracking, and compare it against several previous methods. The proposed method delivers similar performance with the SOFA joint causal models with a much smaller state space and a more than 30 times speedup.

We present X-Dancer, a novel zero-shot music-driven image animation pipeline that creates diverse and long-range lifelike human dance videos from a single static image. As its core, we introduce a unified transformer-diffusion framework, featuring an autoregressive transformer model that synthesize extended and music-synchronized token sequences for 2D body, head and hands poses, which then guide a diffusion model to produce coherent and realistic dance video frames. Unlike traditional methods that primarily generate human motion in 3D, X-Dancer addresses data limitations and enhances scalability by modeling a wide spectrum of 2D dance motions, capturing their nuanced alignment with musical beats through readily available monocular videos. To achieve this, we first build a spatially compositional token representation from 2D human pose labels associated with keypoint confidences, encoding both large articulated body movements (e.g., upper and lower body) and fine-grained motions (e.g., head and hands). We then design a music-to-motion transformer model that autoregressively generates music-aligned dance pose token sequences, incorporating global attention to both musical style and prior motion context. Finally we leverage a diffusion backbone to animate the reference image with these synthesized pose tokens through AdaIN, forming a fully differentiable end-to-end framework. Experimental results demonstrate that X-Dancer is able to produce both diverse and characterized dance videos, substantially outperforming state-of-the-art methods in term of diversity, expressiveness and realism. Code and model will be available for research purposes.

Partitura is a lightweight Python package for handling symbolic musical information. It provides easy access to features commonly used in music information retrieval tasks, like note arrays (lists of timed pitched events) and 2D piano roll matrices, as well as other score elements such as time and key signatures, performance directives, and repeat structures. Partitura can load musical scores (in MEI, MusicXML, Kern, and MIDI formats), MIDI performances, and score-to-performance alignments. The package includes some tools for music analysis, such as automatic pitch spelling, key signature identification, and voice separation. Partitura is an open-source project and is available at https://github.com/CPJKU/partitura/.

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 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.

This paper presents a novel approach to neural instrument sound synthesis using a two-stage semi-supervised learning framework capable of generating pitch-accurate, high-quality music samples from an expressive timbre latent space. Existing approaches that achieve sufficient quality for music production often rely on high-dimensional latent representations that are difficult to navigate and provide unintuitive user experiences. We address this limitation through a two-stage training paradigm: first, we train a pitch-timbre disentangled 2D representation of audio samples using a Variational Autoencoder; second, we use this representation as conditioning input for a Transformer-based generative model. The learned 2D latent space serves as an intuitive interface for navigating and exploring the sound landscape. We demonstrate that the proposed method effectively learns a disentangled timbre space, enabling expressive and controllable audio generation with reliable pitch conditioning. Experimental results show the model's ability to capture subtle variations in timbre while maintaining a high degree of pitch accuracy. The usability of our method is demonstrated in an interactive web application, highlighting its potential as a step towards future music production environments that are both intuitive and creatively empowering: https://pgesam.faresschulz.com

Physically Based Rendering (PBR) materials are typically characterized by multiple 2D texture maps such as basecolor, normal, metallic, and roughness which encode spatially-varying bi-directional reflectance distribution function (SVBRDF) parameters to model surface reflectance properties and microfacet interactions. Upscaling SVBRDF material is valuable for modern 3D graphics applications. However, existing Single Image Super-Resolution (SISR) methods struggle with cross-map inconsistency, inadequate modeling of modality-specific features, and limited generalization due to data distribution shifts. In this work, we propose Multi-modal Upscaling Joint Inference via Cross-map Attention (MUJICA), a flexible adapter that reforms pre-trained Swin-transformer-based SISR models for PBR material super-resolution. MUJICA is seamlessly attached after the pre-trained and frozen SISR backbone. It leverages cross-map attention to fuse features while preserving remarkable reconstruction ability of the pre-trained SISR model. Applied to SISR models such as SwinIR, DRCT, and HMANet, MUJICA improves PSNR, SSIM, and LPIPS scores while preserving cross-map consistency. Experiments demonstrate that MUJICA enables efficient training even with limited resources and delivers state-of-the-art performance on PBR material datasets.

Zero-shot anomaly classification (AC) and segmentation (AS) methods aim to identify and outline defects without using any labeled samples. In this paper, we reveal a key property that is overlooked by existing methods: normal image patches across industrial products typically find many other similar patches, not only in 2D appearance but also in 3D shapes, while anomalies remain diverse and isolated. To explicitly leverage this discriminative property, we propose a Mutual Scoring framework (MuSc-V2) for zero-shot AC/AS, which flexibly supports single 2D/3D or multimodality. Specifically, our method begins by improving 3D representation through Iterative Point Grouping (IPG), which reduces false positives from discontinuous surfaces. Then we use Similarity Neighborhood Aggregation with Multi-Degrees (SNAMD) to fuse 2D/3D neighborhood cues into more discriminative multi-scale patch features for mutual scoring. The core comprises a Mutual Scoring Mechanism (MSM) that lets samples within each modality to assign score to each other, and Cross-modal Anomaly Enhancement (CAE) that fuses 2D and 3D scores to recover modality-specific missing anomalies. Finally, Re-scoring with Constrained Neighborhood (RsCon) suppresses false classification based on similarity to more representative samples. Our framework flexibly works on both the full dataset and smaller subsets with consistently robust performance, ensuring seamless adaptability across diverse product lines. In aid of the novel framework, MuSc-V2 achieves significant performance improvements: a +23.7% AP gain on the MVTec 3D-AD dataset and a +19.3% boost on the Eyecandies dataset, surpassing previous zero-shot benchmarks and even outperforming most few-shot methods. The code will be available at The code will be available at https://github.com/HUST-SLOW/MuSc-V2{https://github.com/HUST-SLOW/MuSc-V2}.

Unsupervised and open-vocabulary 3D object detection has recently gained attention, particularly in autonomous driving, where reducing annotation costs and recognizing unseen objects are critical for both safety and scalability. However, most existing approaches uniformly annotate 3D bounding boxes, ignore objects' physical states, and require multiple self-training iterations for annotation refinement, resulting in suboptimal quality and substantial computational overhead. To address these challenges, we propose OpenBox, a two-stage automatic annotation pipeline that leverages a 2D vision foundation model. In the first stage, OpenBox associates instance-level cues from 2D images processed by a vision foundation model with the corresponding 3D point clouds via cross-modal instance alignment. In the second stage, it categorizes instances by rigidity and motion state, then generates adaptive bounding boxes with class-specific size statistics. As a result, OpenBox produces high-quality 3D bounding box annotations without requiring self-training. Experiments on the Waymo Open Dataset, the Lyft Level 5 Perception dataset, and the nuScenes dataset demonstrate improved accuracy and efficiency over baselines.