Daily Papers

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.

This paper introduces a new ontology for Materials Science Laboratory Equipment, termed MSLE. A fundamental issue with materials science laboratory (hereafter lab) equipment in the real world is that scientists work with various types of equipment with multiple specifications. For example, there are many electron microscopes with different parameters in chemical and physical labs. A critical development to unify the description is to build an equipment domain ontology as basic semantic knowledge and to guide the user to work with the equipment appropriately. Here, we propose to develop a consistent ontology for equipment, the MSLE ontology. In the MSLE, two main existing ontologies, the Semantic Sensor Network (SSN) and the Material Vocabulary (MatVoc), have been integrated into the MSLE core to build a coherent ontology. Since various acronyms and terms have been used for equipment, this paper proposes an approach to use a Simple Knowledge Organization System (SKOS) to represent the hierarchical structure of equipment terms. Equipment terms were collected in various languages and abbreviations and coded into the MSLE using the SKOS model. The ontology development was conducted in close collaboration with domain experts and focused on the large-scale devices for materials characterization available in our research group. Competency questions are expected to be addressed through the MSLE ontology. Constraints are modeled in the Shapes Query Language (SHACL); a prototype is shown and validated to show the value of the modeling constraints.

Digital advances have transformed the face of automatic music generation since its beginnings at the dawn of computing. Despite the many breakthroughs, issues such as the musical tasks targeted by different machines and the degree to which they succeed remain open questions. We present a functional taxonomy for music generation systems with reference to existing systems. The taxonomy organizes systems according to the purposes for which they were designed. It also reveals the inter-relatedness amongst the systems. This design-centered approach contrasts with predominant methods-based surveys and facilitates the identification of grand challenges to set the stage for new breakthroughs.

Complex hierarchical structures composed of simple nanoscale building blocks form the basis of most biological materials. Here we demonstrate how analogies between seemingly different fields enable the understanding of general principles by which functional properties in hierarchical systems emerge, similar to an analogy learning process. Specifically, natural hierarchical materials like spider silk exhibit properties comparable to classical music in terms of their hierarchical structure and function. As a comparative tool here we apply hierarchical ontology logs (olog) that follow a rigorous mathematical formulation based on category theory to provide an insightful system representation by expressing knowledge in a conceptual map. We explain the process of analogy creation, draw connections at several levels of hierarchy and identify similar patterns that govern the structure of the hierarchical systems silk and music and discuss the impact of the derived analogy for nanotechnology.

Existing domain-specific Large Language Models (LLMs) are typically developed by fine-tuning general-purposed LLMs with large-scale domain-specific corpora. However, training on large-scale corpora often fails to effectively organize domain knowledge of LLMs, leading to fragmented understanding. Inspired by how humans connect concepts and organize knowledge through mind maps, we aim to emulate this approach by using ontology with hierarchical conceptual knowledge to reorganize LLM's domain knowledge. From this perspective, we propose an ontology-driven self-training framework called OntoTune, which aims to align LLMs with ontology through in-context learning, enabling the generation of responses guided by the ontology. We leverage in-context learning to identify whether the LLM has acquired the specific concept's ontology knowledge, and select the entries not yet mastered by LLM as the training set to further align the LLM with ontology. Compared to existing domain LLMs based on newly collected large-scale domain-specific corpora, our OntoTune, which relies on the existing, long-term developed ontology and LLM itself, significantly reduces data maintenance costs and offers improved generalization ability. We conduct our study in the medical domain to evaluate the effectiveness of OntoTune, utilizing a standardized medical ontology, SNOMED CT as our ontology source. Experimental results demonstrate that OntoTune achieves state-of-the-art performance in both in-ontology task hypernym discovery and out-of-ontology task medical domain QA. Moreover, compared to the latest direct ontology injection method TaxoLLaMA, our OntoTune better preserves original knowledge of LLM. The code and data are available at https://github.com/zjukg/OntoTune.

Ontology engineering (OE) in large projects poses a number of challenges arising from the heterogeneous backgrounds of the various stakeholders, domain experts, and their complex interactions with ontology designers. This multi-party interaction often creates systematic ambiguities and biases from the elicitation of ontology requirements, which directly affect the design, evaluation and may jeopardise the target reuse. Meanwhile, current OE methodologies strongly rely on manual activities (e.g., interviews, discussion pages). After collecting evidence on the most crucial OE activities, we introduce OntoChat, a framework for conversational ontology engineering that supports requirement elicitation, analysis, and testing. By interacting with a conversational agent, users can steer the creation of user stories and the extraction of competency questions, while receiving computational support to analyse the overall requirements and test early versions of the resulting ontologies. We evaluate OntoChat by replicating the engineering of the Music Meta Ontology, and collecting preliminary metrics on the effectiveness of each component from users. We release all code at https://github.com/King-s-Knowledge-Graph-Lab/OntoChat.

With the web getting bigger and assimilating knowledge about different concepts and domains, it is becoming very difficult for simple database driven applications to capture the data for a domain. Thus developers have come out with ontology based systems which can store large amount of information and can apply reasoning and produce timely information. Thus facilitating effective knowledge management. Though this approach has made our lives easier, but at the same time has given rise to another problem. Two different ontologies assimilating same knowledge tend to use different terms for the same concepts. This creates confusion among knowledge engineers and workers, as they do not know which is a better term then the other. Thus we need to merge ontologies working on same domain so that the engineers can develop a better application over it. This paper shows the development of one such matcher which merges the concepts available in two ontologies at two levels; 1) at string level and 2) at semantic level; thus producing better merged ontologies. We have used a graph matching technique which works at the core of the system. We have also evaluated the system and have tested its performance with its predecessor which works only on string matching. Thus current approach produces better results.

We introduce the text-to-instrument task, which aims at generating sample-based musical instruments based on textual prompts. Accordingly, we propose InstrumentGen, a model that extends a text-prompted generative audio framework to condition on instrument family, source type, pitch (across an 88-key spectrum), velocity, and a joint text/audio embedding. Furthermore, we present a differentiable loss function to evaluate the intra-instrument timbral consistency of sample-based instruments. Our results establish a foundational text-to-instrument baseline, extending research in the domain of automatic sample-based instrument generation.

Domain ontologies are important information sources for knowledge-based systems. Yet, building domain ontologies from scratch is known to be a very labor-intensive process. In this study, we present our semi-automatic approach to building an ontology for the domain of wind energy which is an important type of renewable energy with a growing share in electricity generation all over the world. Related Wikipedia articles are first processed in an automated manner to determine the basic concepts of the domain together with their properties and next the concepts, properties, and relationships are organized to arrive at the ultimate ontology. We also provide pointers to other engineering ontologies which could be utilized together with the proposed wind energy ontology in addition to its prospective application areas. The current study is significant as, to the best of our knowledge, it proposes the first considerably wide-coverage ontology for the wind energy domain and the ontology is built through a semi-automatic process which makes use of the related Web resources, thereby reducing the overall cost of the ontology building process.

We present KNOW--the Knowledge Navigator Ontology for the World--the first ontology designed to capture everyday knowledge to augment large language models (LLMs) in real-world generative AI use cases such as personal AI assistants. Our domain is human life, both its everyday concerns and its major milestones. We have limited the initial scope of the modeled concepts to only established human universals: spacetime (places, events) plus social (people, groups, organizations). The inclusion criteria for modeled concepts are pragmatic, beginning with universality and utility. We compare and contrast previous work such as Schema.org and Cyc--as well as attempts at a synthesis of knowledge graphs and language models--noting how LLMs already encode internally much of the commonsense tacit knowledge that took decades to capture in the Cyc project. We also make available code-generated software libraries for the 12 most popular programming languages, enabling the direct use of ontology concepts in software engineering. We emphasize simplicity and developer experience in promoting AI interoperability.

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.

Since long, corporations are looking for knowledge sources which can provide structured description of data and can focus on meaning and shared understanding. Structures which can facilitate open world assumptions and can be flexible enough to incorporate and recognize more than one name for an entity. A source whose major purpose is to facilitate human communication and interoperability. Clearly, databases fail to provide these features and ontologies have emerged as an alternative choice, but corporations working on same domain tend to make different ontologies. The problem occurs when they want to share their data/knowledge. Thus we need tools to merge ontologies into one. This task is termed as ontology matching. This is an emerging area and still we have to go a long way in having an ideal matcher which can produce good results. In this paper we have shown a framework to matching ontologies using graphs.

In this paper we introduce the olog, or ontology log, a category-theoretic model for knowledge representation (KR). Grounded in formal mathematics, ologs can be rigorously formulated and cross-compared in ways that other KR models (such as semantic networks) cannot. An olog is similar to a relational database schema; in fact an olog can serve as a data repository if desired. Unlike database schemas, which are generally difficult to create or modify, ologs are designed to be user-friendly enough that authoring or reconfiguring an olog is a matter of course rather than a difficult chore. It is hoped that learning to author ologs is much simpler than learning a database definition language, despite their similarity. We describe ologs carefully and illustrate with many examples. As an application we show that any primitive recursive function can be described by an olog. We also show that ologs can be aligned or connected together into a larger network using functors. The various methods of information flow and institutions can then be used to integrate local and global world-views. We finish by providing several different avenues for future research.

Automated surgical instrument localization is an important technology to understand the surgical process and in order to analyze them to provide meaningful guidance during surgery or surgical index after surgery to the surgeon. We introduce a new dataset that reflects the kinematic characteristics of surgical instruments for automated surgical instrument localization of surgical videos. The hSDB(hutom Surgery DataBase)-instrument dataset consists of instrument localization information from 24 cases of laparoscopic cholecystecomy and 24 cases of robotic gastrectomy. Localization information for all instruments is provided in the form of a bounding box for object detection. To handle class imbalance problem between instruments, synthesized instruments modeled in Unity for 3D models are included as training data. Besides, for 3D instrument data, a polygon annotation is provided to enable instance segmentation of the tool. To reflect the kinematic characteristics of all instruments, they are annotated with head and body parts for laparoscopic instruments, and with head, wrist, and body parts for robotic instruments separately. Annotation data of assistive tools (specimen bag, needle, etc.) that are frequently used for surgery are also included. Moreover, we provide statistical information on the hSDB-instrument dataset and the baseline localization performances of the object detection networks trained by the MMDetection library and resulting analyses.

The Musical Instrument Digital Interface (MIDI), introduced in 1983, revolutionized music production by allowing computers and instruments to communicate efficiently. MIDI files encode musical instructions compactly, facilitating convenient music sharing. They benefit Music Information Retrieval (MIR), aiding in research on music understanding, computational musicology, and generative music. The GigaMIDI dataset contains over 1.4 million unique MIDI files, encompassing 1.8 billion MIDI note events and over 5.3 million MIDI tracks. GigaMIDI is currently the largest collection of symbolic music in MIDI format available for research purposes under fair dealing. Distinguishing between non-expressive and expressive MIDI tracks is challenging, as MIDI files do not inherently make this distinction. To address this issue, we introduce a set of innovative heuristics for detecting expressive music performance. These include the Distinctive Note Velocity Ratio (DNVR) heuristic, which analyzes MIDI note velocity; the Distinctive Note Onset Deviation Ratio (DNODR) heuristic, which examines deviations in note onset times; and the Note Onset Median Metric Level (NOMML) heuristic, which evaluates onset positions relative to metric levels. Our evaluation demonstrates these heuristics effectively differentiate between non-expressive and expressive MIDI tracks. Furthermore, after evaluation, we create the most substantial expressive MIDI dataset, employing our heuristic, NOMML. This curated iteration of GigaMIDI encompasses expressively-performed instrument tracks detected by NOMML, containing all General MIDI instruments, constituting 31% of the GigaMIDI dataset, totalling 1,655,649 tracks.

Studying under-represented music traditions under the MIR scope is crucial, not only for developing novel analysis tools, but also for unveiling musical functions that might prove useful in studying world musics. This paper presents a dataset for Greek Traditional and Folk music that includes 1570 pieces, summing in around 80 hours of data. The dataset incorporates YouTube timestamped links for retrieving audio and video, along with rich metadata information with regards to instrumentation, geography and genre, among others. The content has been collected from a Greek documentary series that is available online, where academics present music traditions of Greece with live music and dance performance during the show, along with discussions about social, cultural and musicological aspects of the presented music. Therefore, this procedure has resulted in a significant wealth of descriptions regarding a variety of aspects, such as musical genre, places of origin and musical instruments. In addition, the audio recordings were performed under strict production-level specifications, in terms of recording equipment, leading to very clean and homogeneous audio content. In this work, apart from presenting the dataset in detail, we propose a baseline deep-learning classification approach to recognize the involved musicological attributes. The dataset, the baseline classification methods and the models are provided in public repositories. Future directions for further refining the dataset are also discussed.

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.

Guitar tablature transcription consists in deducing the string and the fret number on which each note should be played to reproduce the actual musical part. This assignment should lead to playable string-fret combinations throughout the entire track and, in general, preserve parsimonious motion between successive combinations. Throughout the history of guitar playing, specific chord fingerings have been developed across different musical styles that facilitate common idiomatic voicing combinations and motion between them. This paper presents a method for assigning guitar tablature notation to a given MIDI-based musical part (possibly consisting of multiple polyphonic tracks), i.e. no information about guitar-idiomatic expressional characteristics is involved (e.g. bending etc.) The current strategy is based on machine learning and requires a basic assumption about how much fingers can stretch on a fretboard; only standard 6-string guitar tuning is examined. The proposed method also examines the transcription of music pieces that was not meant to be played or could not possibly be played by a guitar (e.g. potentially a symphonic orchestra part), employing a rudimentary method for augmenting musical information and training/testing the system with artificial data. The results present interesting aspects about what the system can achieve when trained on the initial and augmented dataset, showing that the training with augmented data improves the performance even in simple, e.g. monophonic, cases. Results also indicate weaknesses and lead to useful conclusions about possible improvements.

In tandem with the recent advancements in foundation model research, there has been a surge of generative music AI applications within the past few years. As the idea of AI-generated or AI-augmented music becomes more mainstream, many researchers in the music AI community may be wondering what avenues of research are left. With regards to music generative models, we outline the current areas of research with significant room for exploration. Firstly, we pose the question of foundational representation of these generative models and investigate approaches towards explainability. Next, we discuss the current state of music datasets and their limitations. We then overview different generative models, forms of evaluating these models, and their computational constraints/limitations. Subsequently, we highlight applications of these generative models towards extensions to multiple modalities and integration with artists' workflow as well as music education systems. Finally, we survey the potential copyright implications of generative music and discuss strategies for protecting the rights of musicians. While it is not meant to be exhaustive, our survey calls to attention a variety of research directions enabled by music foundation models.

Ontologies and taxonomies of research fields are critical for managing and organising scientific knowledge, as they facilitate efficient classification, dissemination and retrieval of information. However, the creation and maintenance of such ontologies are expensive and time-consuming tasks, usually requiring the coordinated effort of multiple domain experts. Consequently, ontologies in this space often exhibit uneven coverage across different disciplines, limited inter-domain connectivity, and infrequent updating cycles. In this study, we investigate the capability of several large language models to identify semantic relationships among research topics within three academic domains: biomedicine, physics, and engineering. The models were evaluated under three distinct conditions: zero-shot prompting, chain-of-thought prompting, and fine-tuning on existing ontologies. Additionally, we assessed the cross-domain transferability of fine-tuned models by measuring their performance when trained in one domain and subsequently applied to a different one. To support this analysis, we introduce PEM-Rel-8K, a novel dataset consisting of over 8,000 relationships extracted from the most widely adopted taxonomies in the three disciplines considered in this study: MeSH, PhySH, and IEEE. Our experiments demonstrate that fine-tuning LLMs on PEM-Rel-8K yields excellent performance across all disciplines.

The recent explosion of generative AI-Music systems has raised numerous concerns over data copyright, licensing music from musicians, and the conflict between open-source AI and large prestige companies. Such issues highlight the need for publicly available, copyright-free musical data, in which there is a large shortage, particularly for symbolic music data. To alleviate this issue, we present PDMX: a large-scale open-source dataset of over 250K public domain MusicXML scores collected from the score-sharing forum MuseScore, making it the largest available copyright-free symbolic music dataset to our knowledge. PDMX additionally includes a wealth of both tag and user interaction metadata, allowing us to efficiently analyze the dataset and filter for high quality user-generated scores. Given the additional metadata afforded by our data collection process, we conduct multitrack music generation experiments evaluating how different representative subsets of PDMX lead to different behaviors in downstream models, and how user-rating statistics can be used as an effective measure of data quality. Examples can be found at https://pnlong.github.io/PDMX.demo/.

Of primary importance in formulating a response to the increasing prevalence and power of artificial intelligence (AI) applications in society are questions of ontology. Questions such as: What "are" these systems? How are they to be regarded? How does an algorithm come to be regarded as an agent? We discuss three factors which hinder discussion and obscure attempts to form a clear ontology of AI: (1) the various and evolving definitions of AI, (2) the tendency for pre-existing technologies to be assimilated and regarded as "normal," and (3) the tendency of human beings to anthropomorphize. This list is not intended as exhaustive, nor is it seen to preclude entirely a clear ontology, however, these challenges are a necessary set of topics for consideration. Each of these factors is seen to present a 'moving target' for discussion, which poses a challenge for both technical specialists and non-practitioners of AI systems development (e.g., philosophers and theologians) to speak meaningfully given that the corpus of AI structures and capabilities evolves at a rapid pace. Finally, we present avenues for moving forward, including opportunities for collaborative synthesis for scholars in philosophy and science.

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.

We introduce an extensive new dataset of MIDI files, created by transcribing audio recordings of piano performances into their constituent notes. The data pipeline we use is multi-stage, employing a language model to autonomously crawl and score audio recordings from the internet based on their metadata, followed by a stage of pruning and segmentation using an audio classifier. The resulting dataset contains over one million distinct MIDI files, comprising roughly 100,000 hours of transcribed audio. We provide an in-depth analysis of our techniques, offering statistical insights, and investigate the content by extracting metadata tags, which we also provide. Dataset available at https://github.com/loubbrad/aria-midi.

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

Music scores are written representations of music and contain rich information about musical components. The visual information on music scores includes notes, rests, staff lines, clefs, dynamics, and articulations. This visual information in music scores contains more semantic information than audio and symbolic representations of music. Previous music score datasets have limited sizes and are mainly designed for optical music recognition (OMR). There is a lack of research on creating a large-scale benchmark dataset for music modeling and generation. In this work, we propose MusicScore, a large-scale music score dataset collected and processed from the International Music Score Library Project (IMSLP). MusicScore consists of image-text pairs, where the image is a page of a music score and the text is the metadata of the music. The metadata of MusicScore is extracted from the general information section of the IMSLP pages. The metadata includes rich information about the composer, instrument, piece style, and genre of the music pieces. MusicScore is curated into small, medium, and large scales of 400, 14k, and 200k image-text pairs with varying diversity, respectively. We build a score generation system based on a UNet diffusion model to generate visually readable music scores conditioned on text descriptions to benchmark the MusicScore dataset for music score generation. MusicScore is released to the public at https://huggingface.co/datasets/ZheqiDAI/MusicScore.

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.

We investigate the construction of latent spaces through self-supervised learning to support semantically meaningful operations. Analogous to operational amplifiers, these "operational latent spaces" (OpLaS) not only demonstrate semantic structure such as clustering but also support common transformational operations with inherent semantic meaning. Some operational latent spaces are found to have arisen "unintentionally" in the progress toward some (other) self-supervised learning objective, in which unintended but still useful properties are discovered among the relationships of points in the space. Other spaces may be constructed "intentionally" by developers stipulating certain kinds of clustering or transformations intended to produce the desired structure. We focus on the intentional creation of operational latent spaces via self-supervised learning, including the introduction of rotation operators via a novel "FiLMR" layer, which can be used to enable ring-like symmetries found in some musical constructions.

In recent years, foundation models (FMs) such as large language models (LLMs) and latent diffusion models (LDMs) have profoundly impacted diverse sectors, including music. This comprehensive review examines state-of-the-art (SOTA) pre-trained models and foundation models in music, spanning from representation learning, generative learning and multimodal learning. We first contextualise the significance of music in various industries and trace the evolution of AI in music. By delineating the modalities targeted by foundation models, we discover many of the music representations are underexplored in FM development. Then, emphasis is placed on the lack of versatility of previous methods on diverse music applications, along with the potential of FMs in music understanding, generation and medical application. By comprehensively exploring the details of the model pre-training paradigm, architectural choices, tokenisation, finetuning methodologies and controllability, we emphasise the important topics that should have been well explored, like instruction tuning and in-context learning, scaling law and emergent ability, as well as long-sequence modelling etc. A dedicated section presents insights into music agents, accompanied by a thorough analysis of datasets and evaluations essential for pre-training and downstream tasks. Finally, by underscoring the vital importance of ethical considerations, we advocate that following research on FM for music should focus more on such issues as interpretability, transparency, human responsibility, and copyright issues. The paper offers insights into future challenges and trends on FMs for music, aiming to shape the trajectory of human-AI collaboration in the music realm.

In this paper, we explore the application of Large Language Models (LLMs) to the pre-training of music. While the prevalent use of MIDI in music modeling is well-established, our findings suggest that LLMs are inherently more compatible with ABC Notation, which aligns more closely with their design and strengths, thereby enhancing the model's performance in musical composition. To address the challenges associated with misaligned measures from different tracks during generation, we propose the development of a Synchronized Multi-Track ABC Notation (SMT-ABC Notation), which aims to preserve coherence across multiple musical tracks. Our contributions include a series of models capable of handling up to 8192 tokens, covering 90\% of the symbolic music data in our training set. Furthermore, we explore the implications of the Symbolic Music Scaling Law (SMS Law) on model performance. The results indicate a promising direction for future research in music generation, offering extensive resources for community-led research through our open-source contributions.

The Charlie Parker Omnibook is a cornerstone of jazz music education, described by pianist Ethan Iverson as "the most important jazz education text ever published". In this work we propose a new transcription pipeline and explore the extent to which state of the art music technology is able to reconstruct these scores directly from the audio without human intervention. Our pipeline includes: a newly trained source separation model for saxophone, a new MIDI transcription model for solo saxophone and an adaptation of an existing MIDI-to-score method for monophonic instruments. To assess this pipeline we also provide an enhanced dataset of Charlie Parker transcriptions as score-audio pairs with accurate MIDI alignments and downbeat annotations. This represents a challenging new benchmark for automatic audio-to-score transcription that we hope will advance research into areas beyond transcribing audio-to-MIDI alone. Together, these form another step towards producing scores that musicians can use directly, without the need for onerous corrections or revisions. To facilitate future research, all model checkpoints and data are made available to download along with code for the transcription pipeline. Improvements in our modular pipeline could one day make the automatic transcription of complex jazz solos a routine possibility, thereby enriching the resources available for music education and preservation.

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.

Choral singing, a widely practiced form of ensemble singing, lacks comprehensive datasets in the realm of Music Information Retrieval (MIR) research, due to challenges arising from the requirement to curate multitrack recordings. To address this, we devised a novel methodology, leveraging state-of-the-art synthesizers to create and curate quality renditions. The scores were sourced from Choral Public Domain Library(CPDL). This work is done in collaboration with a diverse team of musicians, software engineers and researchers. The resulting dataset, complete with its associated metadata, and methodology is released as part of this work, opening up new avenues for exploration and advancement in the field of singing voice research.

In this work, we provide a comprehensive survey of AI music generation tools, including both research projects and commercialized applications. To conduct our analysis, we classified music generation approaches into three categories: parameter-based, text-based, and visual-based classes. Our survey highlights the diverse possibilities and functional features of these tools, which cater to a wide range of users, from regular listeners to professional musicians. We observed that each tool has its own set of advantages and limitations. As a result, we have compiled a comprehensive list of these factors that should be considered during the tool selection process. Moreover, our survey offers critical insights into the underlying mechanisms and challenges of AI music generation.

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.

OWL (Web Ontology Language) ontologies which are able to formally represent complex knowledge and support semantic reasoning have been widely adopted across various domains such as healthcare and bioinformatics. Recently, ontology embeddings have gained wide attention due to its potential to infer plausible new knowledge and approximate complex reasoning. However, existing methods face notable limitations: geometric model-based embeddings typically overlook valuable textual information, resulting in suboptimal performance, while the approaches that incorporate text, which are often based on language models, fail to preserve the logical structure. In this work, we propose a new ontology embedding method OnT, which tunes a Pretrained Language Model (PLM) via geometric modeling in a hyperbolic space for effectively incorporating textual labels and simultaneously preserving class hierarchies and other logical relationships of Description Logic EL. Extensive experiments on four real-world ontologies show that OnT consistently outperforms the baselines including the state-of-the-art across both tasks of prediction and inference of axioms. OnT also demonstrates strong potential in real-world applications, indicated by its robust transfer learning abilities and effectiveness in real cases of constructing a new ontology from SNOMED CT. Data and code are available at https://github.com/HuiYang1997/OnT.

We propose a methodology that allows communication with Piping and Instrumentation Diagrams (P&IDs) using natural language. In particular, we represent P&IDs through the DEXPI data model as labeled property graphs and integrate them with Large Language Models (LLMs). The approach consists of three main parts: 1) P&IDs are cast into a graph representation from the DEXPI format using our pyDEXPI Python package. 2) A tool for generating P&ID knowledge graphs from pyDEXPI. 3) Integration of the P&ID knowledge graph to LLMs using graph-based retrieval augmented generation (graph-RAG). This approach allows users to communicate with P&IDs using natural language. It extends LLM's ability to retrieve contextual data from P&IDs and mitigate hallucinations. Leveraging the LLM's large corpus, the model is also able to interpret process information in PIDs, which could help engineers in their daily tasks. In the future, this work will also open up opportunities in the context of other generative Artificial Intelligence (genAI) solutions on P&IDs, and AI-assisted HAZOP studies.

We propose a framework for classifying the capabilities and behavior of Artificial General Intelligence (AGI) models and their precursors. This framework introduces levels of AGI performance, generality, and autonomy, providing a common language to compare models, assess risks, and measure progress along the path to AGI. To develop our framework, we analyze existing definitions of AGI, and distill six principles that a useful ontology for AGI should satisfy. With these principles in mind, we propose "Levels of AGI" based on depth (performance) and breadth (generality) of capabilities, and reflect on how current systems fit into this ontology. We discuss the challenging requirements for future benchmarks that quantify the behavior and capabilities of AGI models against these levels. Finally, we discuss how these levels of AGI interact with deployment considerations such as autonomy and risk, and emphasize the importance of carefully selecting Human-AI Interaction paradigms for responsible and safe deployment of highly capable AI systems.

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.

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.

AI-empowered music processing is a diverse field that encompasses dozens of tasks, ranging from generation tasks (e.g., timbre synthesis) to comprehension tasks (e.g., music classification). For developers and amateurs, it is very difficult to grasp all of these task to satisfy their requirements in music processing, especially considering the huge differences in the representations of music data and the model applicability across platforms among various tasks. Consequently, it is necessary to build a system to organize and integrate these tasks, and thus help practitioners to automatically analyze their demand and call suitable tools as solutions to fulfill their requirements. Inspired by the recent success of large language models (LLMs) in task automation, we develop a system, named MusicAgent, which integrates numerous music-related tools and an autonomous workflow to address user requirements. More specifically, we build 1) toolset that collects tools from diverse sources, including Hugging Face, GitHub, and Web API, etc. 2) an autonomous workflow empowered by LLMs (e.g., ChatGPT) to organize these tools and automatically decompose user requests into multiple sub-tasks and invoke corresponding music tools. The primary goal of this system is to free users from the intricacies of AI-music tools, enabling them to concentrate on the creative aspect. By granting users the freedom to effortlessly combine tools, the system offers a seamless and enriching music experience.

Music composition represents the creative side of humanity, and itself is a complex task that requires abilities to understand and generate information with long dependency and harmony constraints. While demonstrating impressive capabilities in STEM subjects, current LLMs easily fail in this task, generating ill-written music even when equipped with modern techniques like In-Context-Learning and Chain-of-Thoughts. To further explore and enhance LLMs' potential in music composition by leveraging their reasoning ability and the large knowledge base in music history and theory, we propose ComposerX, an agent-based symbolic music generation framework. We find that applying a multi-agent approach significantly improves the music composition quality of GPT-4. The results demonstrate that ComposerX is capable of producing coherent polyphonic music compositions with captivating melodies, while adhering to user instructions.

Competency Questions (CQs) are widely used in ontology development by guiding, among others, the scoping and validation stages. However, very limited guidance exists for formulating CQs and assessing whether they are good CQs, leading to issues such as ambiguity and unusable formulations. To solve this, one requires insight into the nature of CQs for ontologies and their constituent parts, as well as which ones are not. We aim to contribute to such theoretical foundations in this paper, which is informed by analysing questions, their uses, and the myriad of ontology development tasks. This resulted in a first Model for Competency Questions, which comprises five main types of CQs, each with a different purpose: Scoping (SCQ), Validating (VCQ), Foundational (FCQ), Relationship (RCQ), and Metaproperty (MpCQ) questions. This model enhances the clarity of CQs and therewith aims to improve on the effectiveness of CQs in ontology development, thanks to their respective identifiable distinct constituent elements. We illustrate and evaluate them with a user story and demonstrate where which type can be used in ontology development tasks. To foster use and research, we created an annotated repository of 438 CQs, the Repository of Ontology Competency QuestionS (ROCQS), incorporating an existing CQ dataset and new CQs and CQ templates, which further demonstrate distinctions among types of CQs.

Recent advances in Multimodal Large Language Models (MLLMs) have demonstrated impressive capabilities across various vision-language tasks. However, their reasoning abilities in the multimodal symbolic music domain remain largely unexplored. We introduce WildScore, the first in-the-wild multimodal symbolic music reasoning and analysis benchmark, designed to evaluate MLLMs' capacity to interpret real-world music scores and answer complex musicological queries. Each instance in WildScore is sourced from genuine musical compositions and accompanied by authentic user-generated questions and discussions, capturing the intricacies of practical music analysis. To facilitate systematic evaluation, we propose a systematic taxonomy, comprising both high-level and fine-grained musicological ontologies. Furthermore, we frame complex music reasoning as multiple-choice question answering, enabling controlled and scalable assessment of MLLMs' symbolic music understanding. Empirical benchmarking of state-of-the-art MLLMs on WildScore reveals intriguing patterns in their visual-symbolic reasoning, uncovering both promising directions and persistent challenges for MLLMs in symbolic music reasoning and analysis. We release the dataset and code.

We present Subtractive Training, a simple and novel method for synthesizing individual musical instrument stems given other instruments as context. This method pairs a dataset of complete music mixes with 1) a variant of the dataset lacking a specific stem, and 2) LLM-generated instructions describing how the missing stem should be reintroduced. We then fine-tune a pretrained text-to-audio diffusion model to generate the missing instrument stem, guided by both the existing stems and the text instruction. Our results demonstrate Subtractive Training's efficacy in creating authentic drum stems that seamlessly blend with the existing tracks. We also show that we can use the text instruction to control the generation of the inserted stem in terms of rhythm, dynamics, and genre, allowing us to modify the style of a single instrument in a full song while keeping the remaining instruments the same. Lastly, we extend this technique to MIDI formats, successfully generating compatible bass, drum, and guitar parts for incomplete arrangements.

We present and release MIDI-GPT, a generative system based on the Transformer architecture that is designed for computer-assisted music composition workflows. MIDI-GPT supports the infilling of musical material at the track and bar level, and can condition generation on attributes including: instrument type, musical style, note density, polyphony level, and note duration. In order to integrate these features, we employ an alternative representation for musical material, creating a time-ordered sequence of musical events for each track and concatenating several tracks into a single sequence, rather than using a single time-ordered sequence where the musical events corresponding to different tracks are interleaved. We also propose a variation of our representation allowing for expressiveness. We present experimental results that demonstrate that MIDI-GPT is able to consistently avoid duplicating the musical material it was trained on, generate music that is stylistically similar to the training dataset, and that attribute controls allow enforcing various constraints on the generated material. We also outline several real-world applications of MIDI-GPT, including collaborations with industry partners that explore the integration and evaluation of MIDI-GPT into commercial products, as well as several artistic works produced using it.

Emotions have played an important part in many sectors, including psychology, medicine, mental health, computer science, and so on, and categorizing them has proven extremely useful in separating one emotion from another. Emotions can be classified using the following two methods: (1) The supervised method's efficiency is strongly dependent on the size and domain of the data collected. A categorization established using relevant data from one domain may not work well in another. (2) An unsupervised method that uses either domain expertise or a knowledge base of emotion types already exists. Though this second approach provides a suitable and generic categorization of emotions and is cost-effective, the literature doesn't possess a publicly available knowledge base that can be directly applied to any emotion categorization-related task. This pushes us to create a knowledge base that can be used for emotion classification across domains, and ontology is often used for this purpose. In this study, we provide TONE, an emotion-based ontology that effectively creates an emotional hierarchy based on Dr. Gerrod Parrot's group of emotions. In addition to ontology development, we introduce a semi-automated vocabulary construction process to generate a detailed collection of terms for emotions at each tier of the hierarchy. We also demonstrate automated methods for establishing three sorts of dependencies in order to develop linkages between different emotions. Our human and automatic evaluation results show the ontology's quality. Furthermore, we describe three distinct use cases that demonstrate the applicability of our ontology.

Music foundation models possess impressive music generation capabilities. When people compose music, they may infuse their understanding of music into their work, by using notes and intervals to craft melodies, chords to build progressions, and tempo to create a rhythmic feel. To what extent is this true of music generation models? More specifically, are fundamental Western music theory concepts observable within the "inner workings" of these models? Recent work proposed leveraging latent audio representations from music generation models towards music information retrieval tasks (e.g. genre classification, emotion recognition), which suggests that high-level musical characteristics are encoded within these models. However, probing individual music theory concepts (e.g. tempo, pitch class, chord quality) remains under-explored. Thus, we introduce SynTheory, a synthetic MIDI and audio music theory dataset, consisting of tempos, time signatures, notes, intervals, scales, chords, and chord progressions concepts. We then propose a framework to probe for these music theory concepts in music foundation models (Jukebox and MusicGen) and assess how strongly they encode these concepts within their internal representations. Our findings suggest that music theory concepts are discernible within foundation models and that the degree to which they are detectable varies by model size and layer.

We propose the LLMs4OL approach, which utilizes Large Language Models (LLMs) for Ontology Learning (OL). LLMs have shown significant advancements in natural language processing, demonstrating their ability to capture complex language patterns in different knowledge domains. Our LLMs4OL paradigm investigates the following hypothesis: Can LLMs effectively apply their language pattern capturing capability to OL, which involves automatically extracting and structuring knowledge from natural language text? To test this hypothesis, we conduct a comprehensive evaluation using the zero-shot prompting method. We evaluate nine different LLM model families for three main OL tasks: term typing, taxonomy discovery, and extraction of non-taxonomic relations. Additionally, the evaluations encompass diverse genres of ontological knowledge, including lexicosemantic knowledge in WordNet, geographical knowledge in GeoNames, and medical knowledge in UMLS.

The ability to automatically detect and track surgical instruments in endoscopic videos can enable transformational interventions. Assessing surgical performance and efficiency, identifying skilled tool use and choreography, and planning operational and logistical aspects of OR resources are just a few of the applications that could benefit. Unfortunately, obtaining the annotations needed to train machine learning models to identify and localize surgical tools is a difficult task. Annotating bounding boxes frame-by-frame is tedious and time-consuming, yet large amounts of data with a wide variety of surgical tools and surgeries must be captured for robust training. Moreover, ongoing annotator training is needed to stay up to date with surgical instrument innovation. In robotic-assisted surgery, however, potentially informative data like timestamps of instrument installation and removal can be programmatically harvested. The ability to rely on tool installation data alone would significantly reduce the workload to train robust tool-tracking models. With this motivation in mind we invited the surgical data science community to participate in the challenge, SurgToolLoc 2022. The goal was to leverage tool presence data as weak labels for machine learning models trained to detect tools and localize them in video frames with bounding boxes. We present the results of this challenge along with many of the team's efforts. We conclude by discussing these results in the broader context of machine learning and surgical data science. The training data used for this challenge consisting of 24,695 video clips with tool presence labels is also being released publicly and can be accessed at https://console.cloud.google.com/storage/browser/isi-surgtoolloc-2022.

Background. In the last decades, several life science resources have structured data using the same framework and made these accessible using the same query language to facilitate interoperability. Knowledge graphs have seen increased adoption in bioinformatics due to their advantages for representing data in a generic graph format. For example, yummydata.org catalogs more than 60 knowledge graphs accessible through SPARQL, a technical query language. Although SPARQL allows powerful, expressive queries, even across physically distributed knowledge graphs, formulating such queries is a challenge for most users. Therefore, to guide users in retrieving the relevant data, many of these resources provide representative examples. These examples can also be an important source of information for machine learning, if a sufficiently large number of examples are provided and published in a common, machine-readable and standardized format across different resources. Findings. We introduce a large collection of human-written natural language questions and their corresponding SPARQL queries over federated bioinformatics knowledge graphs (KGs) collected for several years across different research groups at the SIB Swiss Institute of Bioinformatics. The collection comprises more than 1000 example questions and queries, including 65 federated queries. We propose a methodology to uniformly represent the examples with minimal metadata, based on existing standards. Furthermore, we introduce an extensive set of open-source applications, including query graph visualizations and smart query editors, easily reusable by KG maintainers who adopt the proposed methodology. Conclusions. We encourage the community to adopt and extend the proposed methodology, towards richer KG metadata and improved Semantic Web services.

The core obstacle towards a large-scale deployment of autonomous vehicles currently lies in the long tail of rare events. These are extremely challenging since they do not occur often in the utilized training data for deep neural networks. To tackle this problem, we propose the generation of additional synthetic training data, covering a wide variety of corner case scenarios. As ontologies can represent human expert knowledge while enabling computational processing, we use them to describe scenarios. Our proposed master ontology is capable to model scenarios from all common corner case categories found in the literature. From this one master ontology, arbitrary scenario-describing ontologies can be derived. In an automated fashion, these can be converted into the OpenSCENARIO format and subsequently executed in simulation. This way, also challenging test and evaluation scenarios can be generated.

Traditional ontologies describe domain structure but cannot generate novel artifacts. Large language models generate fluently but produce outputs lacking structural validity, hallucinating mechanisms without components, goals without end conditions. We introduce Generative Ontology, a framework synthesizing these complementary strengths: ontology provides the grammar; the LLM provides the creativity. Generative Ontology encodes domain knowledge as executable Pydantic schemas constraining LLM generation via DSPy signatures. A multi-agent pipeline assigns specialized roles: a Mechanics Architect designs game systems, a Theme Weaver integrates narrative, a Balance Critic identifies exploits, each carrying a professional "anxiety" that prevents shallow outputs. Retrieval-augmented generation grounds designs in precedents from existing exemplars. We demonstrate the framework through GameGrammar, generating complete tabletop game designs, and present three empirical studies. An ablation study (120 designs, 4 conditions) shows multi-agent specialization produces the largest quality gains (fun d=1.12, depth d=1.59; p<.001), while schema validation eliminates structural errors (d=4.78). A benchmark against 20 published board games reveals structural parity but a bounded creative gap (fun d=1.86): generated designs score 7-8 while published games score 8-9. A test-retest study (50 evaluations) validates the LLM-based evaluator, with 7/9 metrics achieving Good-to-Excellent reliability (ICC 0.836-0.989). The pattern generalizes beyond games. Any domain with expert vocabulary, validity constraints, and accumulated exemplars is a candidate for Generative Ontology.

This paper presents OG-RAG, an Ontology-Grounded Retrieval Augmented Generation method designed to enhance LLM-generated responses by anchoring retrieval processes in domain-specific ontologies. While LLMs are widely used for tasks like question answering and search, they struggle to adapt to specialized knowledge, such as industrial workflows or knowledge work, without expensive fine-tuning or sub-optimal retrieval methods. Existing retrieval-augmented models, such as RAG, offer improvements but fail to account for structured domain knowledge, leading to suboptimal context generation. Ontologies, which conceptually organize domain knowledge by defining entities and their interrelationships, offer a structured representation to address this gap. OG-RAG constructs a hypergraph representation of domain documents, where each hyperedge encapsulates clusters of factual knowledge grounded using domain-specific ontology. An optimization algorithm then retrieves the minimal set of hyperedges that constructs a precise, conceptually grounded context for the LLM. This method enables efficient retrieval while preserving the complex relationships between entities. OG-RAG applies to domains where fact-based reasoning is essential, particularly in tasks that require workflows or decision-making steps to follow predefined rules and procedures. These include industrial workflows in healthcare, legal, and agricultural sectors, as well as knowledge-driven tasks such as news journalism, investigative research, consulting and more. Our evaluations demonstrate that OG-RAG increases the recall of accurate facts by 55% and improves response correctness by 40% across four different LLMs. Additionally, OG-RAG enables 30% faster attribution of responses to context and boosts fact-based reasoning accuracy by 27% compared to baseline methods.

Investigating whether pre-trained language models (LMs) can function as knowledge bases (KBs) has raised wide research interests recently. However, existing works focus on simple, triple-based, relational KBs, but omit more sophisticated, logic-based, conceptualised KBs such as OWL ontologies. To investigate an LM's knowledge of ontologies, we propose OntoLAMA, a set of inference-based probing tasks and datasets from ontology subsumption axioms involving both atomic and complex concepts. We conduct extensive experiments on ontologies of different domains and scales, and our results demonstrate that LMs encode relatively less background knowledge of Subsumption Inference (SI) than traditional Natural Language Inference (NLI) but can improve on SI significantly when a small number of samples are given. We will open-source our code and datasets.

Artefact descriptions are the primary carriers of engineering design knowledge that is both an outcome and a driver of the design process. While an artefact could be described in different connotations, the design process requires a description to embody engineering design knowledge, which is expressed in the text through intricate placement of entities and relationships. As large-language models learn from all kinds of text merely as a sequence of characters/tokens, these are yet to generate text that embodies explicit engineering design facts. Existing ontological design theories are less likely to guide the large-language models whose applications are currently limited to ideation and learning purposes. In this article, we explicate engineering design knowledge as knowledge graphs from a large sample of 33,881 patent documents. We examine the constituents of these knowledge graphs to understand the linguistic and structural basis of engineering design knowledge. In terms of linguistic basis, we observe that entities and relationships could be generalised to 64 and 24 linguistic syntaxes. While relationships mainly capture attributes ('of'), structure ('in', 'with'), purpose ('to', 'for'), hierarchy ('include'), exemplification ('such as'), and behaviour ('to', 'from'), the hierarchical relationships could specifically be identified using 75 unique syntaxes. To understand the structural basis, we draw inspiration from various studies on biological/ecological networks and discover motifs from patent knowledge graphs. We identify four 3-node and four 4-node patterns that could further be converged and simplified into sequence [->...->], aggregation [->...<-], and hierarchy [<-...->]. Expected to guide large-language model based design tools, we propose few regulatory precepts for concretising abstract entities and relationships within subgraphs, while explicating hierarchical structures.

Leveraging generative Artificial Intelligence (AI), we have transformed a dataset comprising 1,000 scientific papers into an ontological knowledge graph. Through an in-depth structural analysis, we have calculated node degrees, identified communities and connectivities, and evaluated clustering coefficients and betweenness centrality of pivotal nodes, uncovering fascinating knowledge architectures. The graph has an inherently scale-free nature, is highly connected, and can be used for graph reasoning by taking advantage of transitive and isomorphic properties that reveal unprecedented interdisciplinary relationships that can be used to answer queries, identify gaps in knowledge, propose never-before-seen material designs, and predict material behaviors. We compute deep node embeddings for combinatorial node similarity ranking for use in a path sampling strategy links dissimilar concepts that have previously not been related. One comparison revealed structural parallels between biological materials and Beethoven's 9th Symphony, highlighting shared patterns of complexity through isomorphic mapping. In another example, the algorithm proposed a hierarchical mycelium-based composite based on integrating path sampling with principles extracted from Kandinsky's 'Composition VII' painting. The resulting material integrates an innovative set of concepts that include a balance of chaos/order, adjustable porosity, mechanical strength, and complex patterned chemical functionalization. We uncover other isomorphisms across science, technology and art, revealing a nuanced ontology of immanence that reveal a context-dependent heterarchical interplay of constituents. Graph-based generative AI achieves a far higher degree of novelty, explorative capacity, and technical detail, than conventional approaches and establishes a widely useful framework for innovation by revealing hidden connections.

We here summarize our experience running a challenge with open data for musical genre recognition. Those notes motivate the task and the challenge design, show some statistics about the submissions, and present the results.

Recent directions in automatic speech recognition (ASR) research have shown that applying deep learning models from image recognition challenges in computer vision is beneficial. As automatic music transcription (AMT) is superficially similar to ASR, in the sense that methods often rely on transforming spectrograms to symbolic sequences of events (e.g. words or notes), deep learning should benefit AMT as well. In this work, we outline an online polyphonic pitch detection system that streams audio to MIDI by ConvLSTMs. Our system achieves state-of-the-art results on the 2007 MIREX multi-F0 development set, with an F-measure of 83\% on the bassoon, clarinet, flute, horn and oboe ensemble recording without requiring any musical language modelling or assumptions of instrument timbre.

Scientific machine learning research spans diverse domains and data modalities, yet existing benchmark efforts remain siloed and lack standardization. This makes novel and transformative applications of machine learning to critical scientific use-cases more fragmented and less clear in pathways to impact. This paper introduces an ontology for scientific benchmarking developed through a unified, community-driven effort that extends the MLCommons ecosystem to cover physics, chemistry, materials science, biology, climate science, and more. Building on prior initiatives such as XAI-BENCH, FastML Science Benchmarks, PDEBench, and the SciMLBench framework, our effort consolidates a large set of disparate benchmarks and frameworks into a single taxonomy of scientific, application, and system-level benchmarks. New benchmarks can be added through an open submission workflow coordinated by the MLCommons Science Working Group and evaluated against a six-category rating rubric that promotes and identifies high-quality benchmarks, enabling stakeholders to select benchmarks that meet their specific needs. The architecture is extensible, supporting future scientific and AI/ML motifs, and we discuss methods for identifying emerging computing patterns for unique scientific workloads. The MLCommons Science Benchmarks Ontology provides a standardized, scalable foundation for reproducible, cross-domain benchmarking in scientific machine learning. A companion webpage for this work has also been developed as the effort evolves: https://mlcommons-science.github.io/benchmark/

Besides entity-centric knowledge, usually organized as Knowledge Graph (KG), events are also an essential kind of knowledge in the world, which trigger the spring up of event-centric knowledge representation form like Event KG (EKG). It plays an increasingly important role in many downstream applications, such as search, question-answering, recommendation, financial quantitative investments, and text generation. This paper provides a comprehensive survey of EKG from history, ontology, instance, and application views. Specifically, to characterize EKG thoroughly, we focus on its history, definition, schema induction, acquisition, related representative graphs/systems, and applications. The development processes and trends are studied therein. We further summarize prospective directions to facilitate future research on EKG.

Ontology Alignment (OA) is fundamental for achieving semantic interoperability across diverse knowledge systems. We present OntoAligner, a comprehensive, modular, and robust Python toolkit for ontology alignment, designed to address current limitations with existing tools faced by practitioners. Existing tools are limited in scalability, modularity, and ease of integration with recent AI advances. OntoAligner provides a flexible architecture integrating existing lightweight OA techniques such as fuzzy matching but goes beyond by supporting contemporary methods with retrieval-augmented generation and large language models for OA. The framework prioritizes extensibility, enabling researchers to integrate custom alignment algorithms and datasets. This paper details the design principles, architecture, and implementation of the OntoAligner, demonstrating its utility through benchmarks on standard OA tasks. Our evaluation highlights OntoAligner's ability to handle large-scale ontologies efficiently with few lines of code while delivering high alignment quality. By making OntoAligner open-source, we aim to provide a resource that fosters innovation and collaboration within the OA community, empowering researchers and practitioners with a toolkit for reproducible OA research and real-world applications.

Music tagging and content-based retrieval systems have traditionally been constructed using pre-defined ontologies covering a rigid set of music attributes or text queries. This paper presents MuLan: a first attempt at a new generation of acoustic models that link music audio directly to unconstrained natural language music descriptions. MuLan takes the form of a two-tower, joint audio-text embedding model trained using 44 million music recordings (370K hours) and weakly-associated, free-form text annotations. Through its compatibility with a wide range of music genres and text styles (including conventional music tags), the resulting audio-text representation subsumes existing ontologies while graduating to true zero-shot functionalities. We demonstrate the versatility of the MuLan embeddings with a range of experiments including transfer learning, zero-shot music tagging, language understanding in the music domain, and cross-modal retrieval applications.

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.

We investigate a dynamically adapting tuning scheme for microtonal tuning of musical instruments, allowing the performer to play music in just intonation in any key. Unlike other methods, which are based on a procedural analysis of the chordal structure, the tuning scheme continually solves a system of linear equations without making explicit decisions. In complex situations, where not all intervals of a chord can be tuned according to just frequency ratios, the method automatically yields a tempered compromise. We outline the implementation of the algorithm in an open-source software project that we have provided in order to demonstrate the feasibility of the tuning method.

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.

Ontologies and knowledge graphs (KGs) are general-purpose computable representations of some domain, such as human anatomy, and are frequently a crucial part of modern information systems. Most of these structures change over time, incorporating new knowledge or information that was previously missing. Managing these changes is a challenge, both in terms of communicating changes to users, and providing mechanisms to make it easier for multiple stakeholders to contribute. To fill that need, we have created KGCL, the Knowledge Graph Change Language, a standard data model for describing changes to KGs and ontologies at a high level, and an accompanying human-readable controlled natural language. This language serves two purposes: a curator can use it to request desired changes, and it can also be used to describe changes that have already happened, corresponding to the concepts of "apply patch" and "diff" commonly used for managing changes in text documents and computer programs. Another key feature of KGCL is that descriptions are at a high enough level to be useful and understood by a variety of stakeholders--for example, ontology edits can be specified by commands like "add synonym 'arm' to 'forelimb'" or "move 'Parkinson disease' under 'neurodegenerative disease'". We have also built a suite of tools for managing ontology changes. These include an automated agent that integrates with and monitors GitHub ontology repositories and applies any requested changes, and a new component in the BioPortal ontology resource that allows users to make change requests directly from within the BioPortal user interface. Overall, the KGCL data model, its controlled natural language, and associated tooling allow for easier management and processing of changes associated with the development of ontologies and KGs.

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.

We propose a transformer-based rhythm quantization model that incorporates beat and downbeat information to quantize MIDI performances into metrically-aligned, human-readable scores. We propose a beat-based preprocessing method that transfers score and performance data into a unified token representation. We optimize our model architecture and data representation and train on piano and guitar performances. Our model exceeds state-of-the-art performance based on the MUSTER metric.

This paper analyzes the proliferation of cybersecurity ontologies, arguing that this surge cannot be explained solely by technical shortcomings related to quality, but also by a credibility deficit - a lack of trust, endorsement, and adoption by users. This conclusion is based on our first contribution, which is a state-of-the-art review and categorization of cybersecurity ontologies using the Framework for Ontologies Classification framework. To address this gap, we propose a revised framework for assessing credibility, introducing indicators such as institutional support, academic recognition, day-to-day practitioner validation, and industrial adoption. Based on these new credibility indicators, we construct a classification scheme designed to guide the selection of ontologies that are relevant to specific security needs. We then apply this framework to a concrete use case: the Franco-Luxembourgish research project ANCILE, which illustrates how a credibility-aware evaluation can reshape ontology selection for operational contexts.

Recent advances in Language Models (LMs) have failed to mask their shortcomings particularly in the domain of reasoning. This limitation impacts several tasks, most notably those involving ontology engineering. As part of a PhD research, we investigate the consequences of incorporating formal methods on the performance of Small Language Models (SLMs) on reasoning tasks. Specifically, we aim to orient our work toward using SLMs to bootstrap ontology construction and set up a series of preliminary experiments to determine the impact of expressing logical problems with different grammars on the performance of SLMs on a predefined reasoning task. Our findings show that it is possible to substitute Natural Language (NL) with a more compact logical language while maintaining a strong performance on reasoning tasks and hope to use these results to further refine the role of SLMs in ontology engineering.

Failure mode and effects analysis (FMEA) is a critical tool for mitigating potential failures, particular during ramp-up phases of new products. However, its effectiveness is often limited by the missing reasoning capabilities of the FMEA tools, which are usually tabular structured. Meanwhile, large language models (LLMs) offer novel prospects for fine-tuning on custom datasets for reasoning within FMEA contexts. However, LLMs face challenges in tasks that require factual knowledge, a gap that retrieval-augmented generation (RAG) approaches aim to fill. RAG retrieves information from a non-parametric data store and uses a language model to generate responses. Building on this idea, we propose to advance the non-parametric data store with a knowledge graph (KG). By enhancing the RAG framework with a KG, our objective is to leverage analytical and semantic question-answering capabilities on FMEA data. This paper contributes by presenting a new ontology for FMEA observations, an algorithm for creating vector embeddings from the FMEA KG, and a KG enhanced RAG framework. Our approach is validated through a human study and we measure the performance of the context retrieval recall and precision.

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.

Symbolic music datasets are important for music information retrieval and musical analysis. However, there is a lack of large-scale symbolic datasets for classical piano music. In this article, we create a GiantMIDI-Piano (GP) dataset containing 38,700,838 transcribed notes and 10,855 unique solo piano works composed by 2,786 composers. We extract the names of music works and the names of composers from the International Music Score Library Project (IMSLP). We search and download their corresponding audio recordings from the internet. We further create a curated subset containing 7,236 works composed by 1,787 composers by constraining the titles of downloaded audio recordings containing the surnames of composers. We apply a convolutional neural network to detect solo piano works. Then, we transcribe those solo piano recordings into Musical Instrument Digital Interface (MIDI) files using a high-resolution piano transcription system. Each transcribed MIDI file contains the onset, offset, pitch, and velocity attributes of piano notes and pedals. GiantMIDI-Piano includes 90% live performance MIDI files and 10\% sequence input MIDI files. We analyse the statistics of GiantMIDI-Piano and show pitch class, interval, trichord, and tetrachord frequencies of six composers from different eras to show that GiantMIDI-Piano can be used for musical analysis. We evaluate the quality of GiantMIDI-Piano in terms of solo piano detection F1 scores, metadata accuracy, and transcription error rates. We release the source code for acquiring the GiantMIDI-Piano dataset at https://github.com/bytedance/GiantMIDI-Piano

This paper approaches the problem of separating the notes from a quantized symbolic music piece (e.g., a MIDI file) into multiple voices and staves. This is a fundamental part of the larger task of music score engraving (or score typesetting), which aims to produce readable musical scores for human performers. We focus on piano music and support homophonic voices, i.e., voices that can contain chords, and cross-staff voices, which are notably difficult tasks that have often been overlooked in previous research. We propose an end-to-end system based on graph neural networks that clusters notes that belong to the same chord and connects them with edges if they are part of a voice. Our results show clear and consistent improvements over a previous approach on two datasets of different styles. To aid the qualitative analysis of our results, we support the export in symbolic music formats and provide a direct visualization of our outputs graph over the musical score. All code and pre-trained models are available at https://github.com/CPJKU/piano_svsep

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.

Unlike melody extraction and other aspects of music transcription, research on playing technique detection is still in its early stages. Compared to existing work mostly focused on playing technique detection for individual single notes, we propose a general end-to-end method based on Sound Event Detection by FCN for musical instrument playing technique detection. In our case, we choose Erhu, a well-known Chinese bowed-stringed instrument, to experiment with our method. Because of the limitation of FCN, we present an algorithm to detect on variable length audio. The effectiveness of the proposed framework is tested on a new dataset, its categorization of techniques is similar to our training dataset. The highest accuracy of our 3 experiments on the new test set is 87.31%. Furthermore, we also evaluate the performance of the proposed framework on 10 real-world studio music (produced by midi) and 7 real-world recording samples to address the ability of generalization on our model.

In this work, we present Score MUsic Graph (SMUG)-Explain, a framework for generating and visualizing explanations of graph neural networks applied to arbitrary prediction tasks on musical scores. Our system allows the user to visualize the contribution of input notes (and note features) to the network output, directly in the context of the musical score. We provide an interactive interface based on the music notation engraving library Verovio. We showcase the usage of SMUG-Explain on the task of cadence detection in classical music. All code is available on https://github.com/manoskary/SMUG-Explain.

In applications such as personal assistants, large language models (LLMs) must consider the user's personal information and preferences. However, LLMs lack the inherent ability to learn from user interactions. This paper explores capturing personal information from user prompts using ontology and knowledge-graph approaches. We use a subset of the KNOW ontology, which models personal information, to train the language model on these concepts. We then evaluate the success of knowledge capture using a specially constructed dataset. Our code and datasets are publicly available at https://github.com/HaltiaAI/paper-PTODSKC

We introduce BeepBank-500, a compact, fully synthetic earcon/alert dataset (300-500 clips) designed for rapid, rights-clean experimentation in human-computer interaction and audio machine learning. Each clip is generated from a parametric recipe controlling waveform family (sine, square, triangle, FM), fundamental frequency, duration, amplitude envelope, amplitude modulation (AM), and lightweight Schroeder-style reverberation. We use three reverberation settings: dry, and two synthetic rooms denoted 'rir small' ('small') and 'rir medium' ('medium') throughout the paper and in the metadata. We release mono 48 kHz WAV audio (16-bit), a rich metadata table (signal/spectral features), and tiny reproducible baselines for (i) waveform-family classification and (ii) f0 regression on single tones. The corpus targets tasks such as earcon classification, timbre analyses, and onset detection, with clearly stated licensing and limitations. Audio is dedicated to the public domain via CC0-1.0; code is under MIT. Data DOI: https://doi.org/10.5281/zenodo.17172015. Code: https://github.com/mandip42/earcons-mini-500.

This thesis develops a Transformer model based on Whisper, which extracts melodies and chords from music audio and records them into ABC notation. A comprehensive data processing workflow is customized for ABC notation, including data cleansing, formatting, and conversion, and a mutation mechanism is implemented to increase the diversity and quality of training data. This thesis innovatively introduces the "Orpheus' Score", a custom notation system that converts music information into tokens, designs a custom vocabulary library, and trains a corresponding custom tokenizer. Experiments show that compared to traditional algorithms, the model has significantly improved accuracy and performance. While providing a convenient audio-to-score tool for music enthusiasts, this work also provides new ideas and tools for research in music information processing.

Segmentation of surgical instruments is crucial for enhancing surgeon performance and ensuring patient safety. Conventional techniques such as binary, semantic, and instance segmentation share a common drawback: they do not accommodate the parts of instruments obscured by tissues or other instruments. Precisely predicting the full extent of these occluded instruments can significantly improve laparoscopic surgeries by providing critical guidance during operations and assisting in the analysis of potential surgical errors, as well as serving educational purposes. In this paper, we introduce Amodal Segmentation to the realm of surgical instruments in the medical field. This technique identifies both the visible and occluded parts of an object. To achieve this, we introduce a new Amoal Instruments Segmentation (AIS) dataset, which was developed by reannotating each instrument with its complete mask, utilizing the 2017 MICCAI EndoVis Robotic Instrument Segmentation Challenge dataset. Additionally, we evaluate several leading amodal segmentation methods to establish a benchmark for this new dataset.

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.

AI systems for high quality music generation typically rely on extremely large musical datasets to train the AI models. This creates barriers to generating music beyond the genres represented in dominant datasets such as Western Classical music or pop music. We undertook a 4 month international research project summarised in this paper to explore the eXplainable AI (XAI) challenges and opportunities associated with reducing barriers to using marginalised genres of music with AI models. XAI opportunities identified included topics of improving transparency and control of AI models, explaining the ethics and bias of AI models, fine tuning large models with small datasets to reduce bias, and explaining style-transfer opportunities with AI models. Participants in the research emphasised that whilst it is hard to work with small datasets such as marginalised music and AI, such approaches strengthen cultural representation of underrepresented cultures and contribute to addressing issues of bias of deep learning models. We are now building on this project to bring together a global International Responsible AI Music community and invite people to join our network.

While the recent developments in large language models (LLMs) have successfully enabled generative recommenders with natural language interactions, their recommendation behavior is limited, leaving other simpler yet crucial components such as metadata or attribute filtering underutilized in the system. We propose an LLM-based music recommendation system with tool calling to serve as a unified retrieval-reranking pipeline. Our system positions an LLM as an end-to-end recommendation system that interprets user intent, plans tool invocations, and orchestrates specialized components: boolean filters (SQL), sparse retrieval (BM25), dense retrieval (embedding similarity), and generative retrieval (semantic IDs). Through tool planning, the system predicts which types of tools to use, their execution order, and the arguments needed to find music matching user preferences, supporting diverse modalities while seamlessly integrating multiple database filtering methods. We demonstrate that this unified tool-calling framework achieves competitive performance across diverse recommendation scenarios by selectively employing appropriate retrieval methods based on user queries, envisioning a new paradigm for conversational music recommendation systems.

We introduce materiomusic as a generative framework linking the hierarchical structures of matter with the compositional logic of music. Across proteins, spider webs and flame dynamics, vibrational and architectural principles recur as tonal hierarchies, harmonic progressions, and long-range musical form. Using reversible mappings, from molecular spectra to musical tones and from three-dimensional networks to playable instruments, we show how sound functions as a scientific probe, an epistemic inversion where listening becomes a mode of seeing and musical composition becomes a blueprint for matter. These mappings excavate deep time: patterns originating in femtosecond molecular vibrations or billion-year evolutionary histories become audible. We posit that novelty in science and art emerges when constraints cannot be satisfied within existing degrees of freedom, forcing expansion of the space of viable configurations. Selective imperfection provides the mechanism restoring balance between coherence and adaptability. Quantitative support comes from exhaustive enumeration of all 2^12 musical scales, revealing that culturally significant systems cluster in a mid-entropy, mid-defect corridor, directly paralleling the Hall-Petch optimum where intermediate defect densities maximize material strength. Iterating these mappings creates productive collisions between human creativity and physics, generating new information as musical structures encounter evolutionary constraints. We show how swarm-based AI models compose music exhibiting human-like structural signatures such as small-world connectivity, modular integration, long-range coherence, suggesting a route beyond interpolation toward invention. We show that science and art are generative acts of world-building under constraint, with vibration as a shared grammar organizing structure across scales.

This outing is part of a larger music technology research project. The objective is to find a method for materially enhancing music using hardware and software. There is a strong likelihood that there exists a new medium for experiencing music via a wearable device that ordinary listeners prefer over the current state of the art. If such a medium is discovered, it is a step towards altruistic, prosocial reform in the music industry. A new playback system infrastructure has a chance to soothe some of the societal problems tied to the larger entertainment industry ecosystem. Iola walker is a music playback system that allows musicians to compose music that changes in accordance with the listener's gait. Artifacts are available here: https://github.com/willbjames/iolawalker

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.

Deep learning has recently empowered and democratized generative modeling of images and text, with additional concurrent works exploring the possibility of generating more complex forms of data, such as audio. However, the high dimensionality, long-range dependencies, and lack of standardized datasets currently makes generative modeling of audio and music very challenging. We propose to model music as a series of discrete notes upon which we can use autoregressive natural language processing techniques for successful generative modeling. While previous works used similar pipelines on data such as sheet music and MIDI, we aim to extend such approaches to the under-studied medium of guitar tablature. Specifically, we develop the first work to our knowledge that models one specific genre as guitar tablature: heavy rock. Unlike other works in guitar tablature generation, we have a freely available public demo at https://huggingface.co/spaces/josuelmet/Metal_Music_Interpolator

The paper considers a new quantitative-qualitative proximity measure for the features of information objects, where data enters a common information resource from several sources independently. The goal is to determine the possibility of their relation to the same physical object (observation object). The proposed measure accounts for the possibility of differences in individual feature values - both quantitative and qualitative - caused by existing determination errors. To analyze the proximity of quantitative feature values, the author employs a probabilistic measure; for qualitative features, a measure of possibility is used. The paper demonstrates the feasibility of the proposed measure by checking its compliance with the axioms required of any measure. Unlike many known measures, the proposed approach does not require feature value transformation to ensure comparability. The work also proposes several variants of measures to determine the proximity of information objects (IO) based on a group of diverse features.

Symbolic music research has relied almost exclusively on MIDI-based datasets; text-based engraving formats such as LilyPond remain unexplored for music understanding. We present BMdataset, a musicologically curated dataset of 393 LilyPond scores (2,646 movements) transcribed by experts directly from original Baroque manuscripts, with metadata covering composer, musical form, instrumentation, and sectional attributes. Building on this resource, we introduce LilyBERT (weights can be found at https://huggingface.co/csc-unipd/lilybert), a CodeBERT-based encoder adapted to symbolic music through vocabulary extension with 115 LilyPond-specific tokens and masked language model pre-training. Linear probing on the out-of-domain Mutopia corpus shows that, despite its modest size (~90M tokens), fine-tuning on BMdataset alone outperforms continuous pre-training on the full PDMX corpus (~15B tokens) for both composer and style classification, demonstrating that small, expertly curated datasets can be more effective than large, noisy corpora for music understanding. Combining broad pre-training with domain-specific fine-tuning yields the best results overall (84.3% composer accuracy), confirming that the two data regimes are complementary. We release the dataset, tokenizer, and model to establish a baseline for representation learning on LilyPond.

We present a new large-scale emotion-labeled symbolic music dataset consisting of 12k MIDI songs. To create this dataset, we first trained emotion classification models on the GoEmotions dataset, achieving state-of-the-art results with a model half the size of the baseline. We then applied these models to lyrics from two large-scale MIDI datasets. Our dataset covers a wide range of fine-grained emotions, providing a valuable resource to explore the connection between music and emotions and, especially, to develop models that can generate music based on specific emotions. Our code for inference, trained models, and datasets are available online.

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/).

Even though they differ in the physical domain, digital video and audio share many characteristics. Both are temporal data streams often stored in buffers with 8-bit values. This paper investigates a method for creating harmonic sounds with a video signal as input. A musical instrument is proposed, that utilizes video in both a sound synthesis method, and in a controller interface for selecting musical notes at specific velocities. The resulting instrument was informally determined by the author to sound both pleasant and interesting, but hard to control, and therefore suited for synth pad sounds.

Multimodal models that jointly process audio and language hold great promise in audio understanding and are increasingly being adopted in the music domain. By allowing users to query via text and obtain information about a given audio input, these models have the potential to enable a variety of music understanding tasks via language-based interfaces. However, their evaluation poses considerable challenges, and it remains unclear how to effectively assess their ability to correctly interpret music-related inputs with current methods. Motivated by this, we introduce MuChoMusic, a benchmark for evaluating music understanding in multimodal language models focused on audio. MuChoMusic comprises 1,187 multiple-choice questions, all validated by human annotators, on 644 music tracks sourced from two publicly available music datasets, and covering a wide variety of genres. Questions in the benchmark are crafted to assess knowledge and reasoning abilities across several dimensions that cover fundamental musical concepts and their relation to cultural and functional contexts. Through the holistic analysis afforded by the benchmark, we evaluate five open-source models and identify several pitfalls, including an over-reliance on the language modality, pointing to a need for better multimodal integration. Data and code are open-sourced.

We describe a method, based on Jennifer Nado's proposal for classification procedures as targets of conceptual engineering, that implements such procedures by prompting a large language model. We apply this method, using data from the Wikidata knowledge graph, to evaluate stipulative definitions related to two paradigmatic conceptual engineering projects: the International Astronomical Union's redefinition of PLANET and Haslanger's ameliorative analysis of WOMAN. Our results show that classification procedures built using our approach can exhibit good classification performance and, through the generation of rationales for their classifications, can contribute to the identification of issues in either the definitions or the data against which they are being evaluated. We consider objections to this method, and discuss implications of this work for three aspects of theory and practice of conceptual engineering: the definition of its targets, empirical methods for their investigation, and their practical roles. The data and code used for our experiments, together with the experimental results, are available in a Github repository.

We introduce semantic towers, an extrinsic knowledge representation method, and compare it to intrinsic knowledge in large language models for ontology learning. Our experiments show a trade-off between performance and semantic grounding for extrinsic knowledge compared to a fine-tuned model intrinsic knowledge. We report our findings on the Large Language Models for Ontology Learning (LLMs4OL) 2024 challenge.

VisionScores presents a novel proposal being the first system-segmented image score dataset, aiming to offer structure-rich, high information-density images for machine and deep learning tasks. Delimited to two-handed piano pieces, it was built to consider not only certain graphic similarity but also composition patterns, as this creative process is highly instrument-dependent. It provides two scenarios in relation to composer and composition type. The first, formed by 14k samples, considers works from different authors but the same composition type, specifically, Sonatinas. The latter, consisting of 10.8K samples, presents the opposite case, various composition types from the same author, being the one selected Franz Liszt. All of the 24.8k samples are formatted as grayscale jpg images of 128 times 512 pixels. VisionScores supplies the users not only the formatted samples but the systems' order and pieces' metadata. Moreover, unsegmented full-page scores and the pre-formatted images are included for further analysis.

For centuries, researchers have sought out ways to connect disparate areas of knowledge. While early scholars (Galileo, da Vinci, etc.) were experts across fields, specialization has taken hold later. With the advent of Artificial Intelligence, we can now explore relationships across areas (e.g., mechanics-biology) or disparate domains (e.g., failure mechanics-art). To achieve this, we use a fine-tuned Large Language Model (LLM), here for a subset of knowledge in multiscale materials failure. The approach includes the use of a general-purpose LLM to distill question-answer pairs from raw sources followed by LLM fine-tuning. The resulting MechGPT LLM foundation model is used in a series of computational experiments to explore its capacity for knowledge retrieval, various language tasks, hypothesis generation, and connecting knowledge across disparate areas. While the model has some ability to recall knowledge from training, we find that LLMs are particularly useful to extract structural insights through Ontological Knowledge Graphs. These interpretable graph structures provide explanatory insights, frameworks for new research questions, and visual representations of knowledge that also can be used in retrieval-augmented generation. Three versions of MechGPT are discussed, featuring different sizes from 13 billion to 70 billion parameters, and reaching context lengths of more than 10,000 tokens. This provides ample capacity for sophisticated retrieval augmented strategies, as well as agent-based modeling where multiple LLMs interact collaboratively and/or adversarially, the incorporation of new data from the literature or web searches, as well as multimodality.

We introduce a new paradigm for building large causal models (LCMs) that exploits the enormous potential latent in today's large language models (LLMs). We describe our ongoing experiments with an implemented system called DEMOCRITUS (Decentralized Extraction of Manifold Ontologies of Causal Relations Integrating Topos Universal Slices) aimed at building, organizing, and visualizing LCMs that span disparate domains extracted from carefully targeted textual queries to LLMs. DEMOCRITUS is methodologically distinct from traditional narrow domain and hypothesis centered causal inference that builds causal models from experiments that produce numerical data. A high-quality LLM is used to propose topics, generate causal questions, and extract plausible causal statements from a diverse range of domains. The technical challenge is then to take these isolated, fragmented, potentially ambiguous and possibly conflicting causal claims, and weave them into a coherent whole, converting them into relational causal triples and embedding them into a LCM. Addressing this technical challenge required inventing new categorical machine learning methods, which we can only briefly summarize in this paper, as it is focused more on the systems side of building DEMOCRITUS. We describe the implementation pipeline for DEMOCRITUS comprising of six modules, examine its computational cost profile to determine where the current bottlenecks in scaling the system to larger models. We describe the results of using DEMOCRITUS over a wide range of domains, spanning archaeology, biology, climate change, economics, medicine and technology. We discuss the limitations of the current DEMOCRITUS system, and outline directions for extending its capabilities.

With the rapid development of Large Language Models (LLMs), AI agents have demonstrated increasing proficiency in scientific tasks, ranging from hypothesis generation and experimental design to manuscript writing. Such agent systems are commonly referred to as "AI Scientists." However, existing AI Scientists predominantly formulate scientific discovery as a standalone search or optimization problem, overlooking the fact that scientific research is inherently a social and collaborative endeavor. Real-world science relies on a complex scientific infrastructure composed of collaborative mechanisms, contribution attribution, peer review, and structured scientific knowledge networks. Due to the lack of modeling for these critical dimensions, current systems struggle to establish a genuine research ecosystem or interact deeply with the human scientific community. To bridge this gap, we introduce OmniScientist, a framework that explicitly encodes the underlying mechanisms of human research into the AI scientific workflow. OmniScientist not only achieves end-to-end automation across data foundation, literature review, research ideation, experiment automation, scientific writing, and peer review, but also provides comprehensive infrastructural support by simulating the human scientific system, comprising: (1) a structured knowledge system built upon citation networks and conceptual correlations; (2) a collaborative research protocol (OSP), which enables seamless multi-agent collaboration and human researcher participation; and (3) an open evaluation platform (ScienceArena) based on blind pairwise user voting and Elo rankings. This infrastructure empowers agents to not only comprehend and leverage human knowledge systems but also to collaborate and co-evolve, fostering a sustainable and scalable innovation ecosystem.

Noticing the urgent need to provide tools for fast and user-friendly qualitative analysis of large-scale textual corpora of the modern NLP, we propose to turn to the mature and well-tested methods from the domain of Information Retrieval (IR) - a research field with a long history of tackling TB-scale document collections. We discuss how Pyserini - a widely used toolkit for reproducible IR research can be integrated with the Hugging Face ecosystem of open-source AI libraries and artifacts. We leverage the existing functionalities of both platforms while proposing novel features further facilitating their integration. Our goal is to give NLP researchers tools that will allow them to develop retrieval-based instrumentation for their data analytics needs with ease and agility. We include a Jupyter Notebook-based walk through the core interoperability features, available on GitHub at https://github.com/huggingface/gaia. We then demonstrate how the ideas we present can be operationalized to create a powerful tool for qualitative data analysis in NLP. We present GAIA Search - a search engine built following previously laid out principles, giving access to four popular large-scale text collections. GAIA serves a dual purpose of illustrating the potential of methodologies we discuss but also as a standalone qualitative analysis tool that can be leveraged by NLP researchers aiming to understand datasets prior to using them in training. GAIA is hosted live on Hugging Face Spaces - https://huggingface.co/spaces/spacerini/gaia.

A person ontology comprising concepts, attributes and relationships of people has a number of applications in data protection, didentification, population of knowledge graphs for business intelligence and fraud prevention. While artificial neural networks have led to improvements in Entity Recognition, Entity Classification, and Relation Extraction, creating an ontology largely remains a manual process, because it requires a fixed set of semantic relations between concepts. In this work, we present a system for automatically populating a person ontology graph from unstructured data using neural models for Entity Classification and Relation Extraction. We introduce a new dataset for these tasks and discuss our results.

AI scientists are emerging computational systems that serve as collaborative partners in discovery. These systems remain difficult to build because they are bespoke, tied to rigid workflows, and lack shared environments that unify tools, data, and analyses into a common ecosystem. In omics, unified ecosystems have transformed research by enabling interoperability, reuse, and community-driven development; AI scientists require comparable infrastructure. We present ToolUniverse, an ecosystem for building AI scientists from any language or reasoning model, whether open or closed. TOOLUNIVERSE standardizes how AI scientists identify and call tools, integrating more than 600 machine learning models, datasets, APIs, and scientific packages for data analysis, knowledge retrieval, and experimental design. It automatically refines tool interfaces for correct use by AI scientists, creates new tools from natural language descriptions, iteratively optimizes tool specifications, and composes tools into agentic workflows. In a case study of hypercholesterolemia, ToolUniverse was used to create an AI scientist to identify a potent analog of a drug with favorable predicted properties. The open-source ToolUniverse is available at https://aiscientist.tools.

Given appropriate representations of the semantic relations between carpenter and wood and between mason and stone (for example, vectors in a vector space model), a suitable algorithm should be able to recognize that these relations are highly similar (carpenter is to wood as mason is to stone; the relations are analogous). Likewise, with representations of dog, house, and kennel, an algorithm should be able to recognize that the semantic composition of dog and house, dog house, is highly similar to kennel (dog house and kennel are synonymous). It seems that these two tasks, recognizing relations and compositions, are closely connected. However, up to now, the best models for relations are significantly different from the best models for compositions. In this paper, we introduce a dual-space model that unifies these two tasks. This model matches the performance of the best previous models for relations and compositions. The dual-space model consists of a space for measuring domain similarity and a space for measuring function similarity. Carpenter and wood share the same domain, the domain of carpentry. Mason and stone share the same domain, the domain of masonry. Carpenter and mason share the same function, the function of artisans. Wood and stone share the same function, the function of materials. In the composition dog house, kennel has some domain overlap with both dog and house (the domains of pets and buildings). The function of kennel is similar to the function of house (the function of shelters). By combining domain and function similarities in various ways, we can model relations, compositions, and other aspects of semantics.

This work investigates the applicability of recent generative Large Language Models (LLMs), such as the GPT series and Flan-T5, to ontology alignment for identifying concept equivalence mappings across ontologies. To test the zero-shot performance of Flan-T5-XXL and GPT-3.5-turbo, we leverage challenging subsets from two equivalence matching datasets of the OAEI Bio-ML track, taking into account concept labels and structural contexts. Preliminary findings suggest that LLMs have the potential to outperform existing ontology alignment systems like BERTMap, given careful framework and prompt design.

Knowledge Bases (KBs) find applications in many knowledge-intensive tasks and, most notably, in information retrieval. Wikidata is one of the largest public general-purpose KBs. Yet, its collaborative nature has led to a convoluted schema and taxonomy. The YAGO 4 KB cleaned up the taxonomy by incorporating the ontology of Schema.org, resulting in a cleaner structure amenable to automated reasoning. However, it also cut away large parts of the Wikidata taxonomy, which is essential for information retrieval. In this paper, we extend YAGO 4 with a large part of the Wikidata taxonomy - while respecting logical constraints and the distinction between classes and instances. This yields YAGO 4.5, a new, logically consistent version of YAGO that adds a rich layer of informative classes. An intrinsic and an extrinsic evaluation show the value of the new resource.

Diffusion models have shown promising results in cross-modal generation tasks involving audio and music, such as text-to-sound and text-to-music generation. These text-controlled music generation models typically focus on generating music by capturing global musical attributes like genre and mood. However, music composition is a complex, multilayered task that often involves musical arrangement as an integral part of the process. This process involves composing each instrument to align with existing ones in terms of beat, dynamics, harmony, and melody, requiring greater precision and control over tracks than text prompts usually provide. In this work, we address these challenges by extending the MusicLDM, a latent diffusion model for music, into a multi-track generative model. By learning the joint probability of tracks sharing a context, our model is capable of generating music across several tracks that correspond well to each other, either conditionally or unconditionally. Additionally, our model is capable of arrangement generation, where the model can generate any subset of tracks given the others (e.g., generating a piano track complementing given bass and drum tracks). We compared our model with an existing multi-track generative model and demonstrated that our model achieves considerable improvements across objective metrics for both total and arrangement generation tasks.

When training data are collected from human annotators, the design of the annotation instrument, the instructions given to annotators, the characteristics of the annotators, and their interactions can impact training data. This study demonstrates that design choices made when creating an annotation instrument also impact the models trained on the resulting annotations. We introduce the term annotation sensitivity to refer to the impact of annotation data collection methods on the annotations themselves and on downstream model performance and predictions. We collect annotations of hate speech and offensive language in five experimental conditions of an annotation instrument, randomly assigning annotators to conditions. We then fine-tune BERT models on each of the five resulting datasets and evaluate model performance on a holdout portion of each condition. We find considerable differences between the conditions for 1) the share of hate speech/offensive language annotations, 2) model performance, 3) model predictions, and 4) model learning curves. Our results emphasize the crucial role played by the annotation instrument which has received little attention in the machine learning literature. We call for additional research into how and why the instrument impacts the annotations to inform the development of best practices in instrument design.

Ontologies comprising of concepts, their attributes, and relationships are used in many knowledge based AI systems. While there have been efforts towards populating domain specific ontologies, we examine the role of document structure in learning ontological relationships between concepts in any document corpus. Inspired by ideas from hypernym discovery and explainability, our method performs about 15 points more accurate than a stand-alone R-GCN model for this task.

Music stem generation, the task of producing musically-synchronized and isolated instrument audio clips, offers the potential of greater user control and better alignment with musician workflows compared to conventional text-to-music models. Existing stem generation approaches, however, either rely on fixed architectures that output a predefined set of stems in parallel, or generate only one stem at a time, resulting in slow inference despite flexibility in stem combination. We propose Stemphonic, a diffusion-/flow-based framework that overcomes this trade-off and generates a variable set of synchronized stems in one inference pass. During training, we treat each stem as a batch element, group synchronized stems in a batch, and apply a shared noise latent to each group. At inference-time, we use a shared initial noise latent and stem-specific text inputs to generate synchronized multi-stem outputs in one pass. We further expand our approach to enable one-pass conditional multi-stem generation and stem-wise activity controls to empower users to iteratively generate and orchestrate the temporal layering of a mix. We benchmark our results on multiple open-source stem evaluation sets and show that Stemphonic produces higher-quality outputs while accelerating the full mix generation process by 25 to 50%. Demos at: https://stemphonic-demo.vercel.app.

Music understanding is a complex task that often requires reasoning over both structural and semantic elements of audio. We introduce BASS, designed to evaluate music understanding and reasoning in audio language models across four broad categories: structural segmentation, lyric transcription, musicological analysis, and artist collaboration. BASS comprises 2658 questions spanning 12 tasks, 1993 unique songs and covering over 138 hours of music from a wide range of genres and tracks, crafted to assess musicological knowledge and reasoning in real-world scenarios. We evaluate 14 open-source and frontier multimodal LMs, finding that even state-of-the-art models struggle on higher-level reasoning tasks such as structural segmentation and artist collaboration, while performing best on lyric transcription. Our analysis reveals that current models leverage linguistic priors effectively but remain limited in reasoning over musical structure, vocal, and musicological attributes. BASS provides an evaluation framework with widespread applications in music recommendation and search and has the potential to guide the development of audio LMs.

The discovery of novel materials and functional molecules can help to solve some of society's most urgent challenges, ranging from efficient energy harvesting and storage to uncovering novel pharmaceutical drug candidates. Traditionally matter engineering -- generally denoted as inverse design -- was based massively on human intuition and high-throughput virtual screening. The last few years have seen the emergence of significant interest in computer-inspired designs based on evolutionary or deep learning methods. The major challenge here is that the standard strings molecular representation SMILES shows substantial weaknesses in that task because large fractions of strings do not correspond to valid molecules. Here, we solve this problem at a fundamental level and introduce SELFIES (SELF-referencIng Embedded Strings), a string-based representation of molecules which is 100\% robust. Every SELFIES string corresponds to a valid molecule, and SELFIES can represent every molecule. SELFIES can be directly applied in arbitrary machine learning models without the adaptation of the models; each of the generated molecule candidates is valid. In our experiments, the model's internal memory stores two orders of magnitude more diverse molecules than a similar test with SMILES. Furthermore, as all molecules are valid, it allows for explanation and interpretation of the internal working of the generative models.

We present Spacerini, a modular framework for seamless building and deployment of interactive search applications, designed to facilitate the qualitative analysis of large scale research datasets. Spacerini integrates features from both the Pyserini toolkit and the Hugging Face ecosystem to ease the indexing text collections and deploy them as search engines for ad-hoc exploration and to make the retrieval of relevant data points quick and efficient. The user-friendly interface enables searching through massive datasets in a no-code fashion, making Spacerini broadly accessible to anyone looking to qualitatively audit their text collections. This is useful both to IR~researchers aiming to demonstrate the capabilities of their indexes in a simple and interactive way, and to NLP~researchers looking to better understand and audit the failure modes of large language models. The framework is open source and available on GitHub: https://github.com/castorini/hf-spacerini, and includes utilities to load, pre-process, index, and deploy local and web search applications. A portfolio of applications created with Spacerini for a multitude of use cases can be found by visiting https://hf.co/spacerini.

We present SAINE, an Scientific Annotation and Inference ENgine based on a set of standard open-source software, such as Label Studio and MLflow. We show that our annotation engine can benefit the further development of a more accurate classification. Based on our previous work on hierarchical discipline classifications, we demonstrate its application using SAINE in understanding the space for scholarly publications. The user study of our annotation results shows that user input collected with the help of our system can help us better understand the classification process. We believe that our work will help to foster greater transparency and better understand scientific research. Our annotation and inference engine can further support the downstream meta-science projects. We welcome collaboration and feedback from the scientific community on these projects. The demonstration video can be accessed from https://youtu.be/yToO-G9YQK4. A live demo website is available at https://app.heartex.com/user/signup/?token=e2435a2f97449fa1 upon free registration.

In this paper, we consider a novel research problem: music-to-text synaesthesia. Different from the classical music tagging problem that classifies a music recording into pre-defined categories, music-to-text synaesthesia aims to generate descriptive texts from music recordings with the same sentiment for further understanding. As existing music-related datasets do not contain the semantic descriptions on music recordings, we collect a new dataset that contains 1,955 aligned pairs of classical music recordings and text descriptions. Based on this, we build a computational model to generate sentences that can describe the content of the music recording. To tackle the highly non-discriminative classical music, we design a group topology-preservation loss, which considers more samples as a group reference and preserves the relative topology among different samples. Extensive experimental results qualitatively and quantitatively demonstrate the effectiveness of our proposed model over five heuristics or pre-trained competitive methods and their variants on our collected dataset.

The way in which data are shared can affect their utility and reusability. Here, we demonstrate how data that we had previously shared in bulk can be mobilized further through a knowledge graph that allows for much more granular exploration and interrogation. The original dataset is about the computational reproducibility of GitHub-hosted Jupyter notebooks associated with biomedical publications. It contains rich metadata about the publications, associated GitHub repositories and Jupyter notebooks, and the notebooks' reproducibility. We took this dataset, converted it into semantic triples and loaded these into a triple store to create a knowledge graph, FAIR Jupyter, that we made accessible via a web service. This enables granular data exploration and analysis through queries that can be tailored to specific use cases. Such queries may provide details about any of the variables from the original dataset, highlight relationships between them or combine some of the graph's content with materials from corresponding external resources. We provide a collection of example queries addressing a range of use cases in research and education. We also outline how sets of such queries can be used to profile specific content types, either individually or by class. We conclude by discussing how such a semantically enhanced sharing of complex datasets can both enhance their FAIRness, i.e., their findability, accessibility, interoperability, and reusability, and help identify and communicate best practices, particularly with regards to data quality, standardization, automation and reproducibility.

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.

The ability to summarize and organize knowledge into abstract concepts is key to learning and reasoning. Many industrial applications rely on the consistent and systematic use of concepts, especially when dealing with decision-critical knowledge. However, we demonstrate that, when methodically questioned, large language models (LLMs) often display and demonstrate significant inconsistencies in their knowledge. Computationally, the basic aspects of the conceptualization of a given domain can be represented as Is-A hierarchies in a knowledge graph (KG) or ontology, together with a few properties or axioms that enable straightforward reasoning. We show that even simple ontologies can be used to reveal conceptual inconsistencies across several LLMs. We also propose strategies that domain experts can use to evaluate and improve the coverage of key domain concepts in LLMs of various sizes. In particular, we have been able to significantly enhance the performance of LLMs of various sizes with openly available weights using simple knowledge-graph (KG) based prompting strategies.

Graphs can be leveraged to model polyphonic multitrack symbolic music, where notes, chords and entire sections may be linked at different levels of the musical hierarchy by tonal and rhythmic relationships. Nonetheless, there is a lack of works that consider graph representations in the context of deep learning systems for music generation. This paper bridges this gap by introducing a novel graph representation for music and a deep Variational Autoencoder that generates the structure and the content of musical graphs separately, one after the other, with a hierarchical architecture that matches the structural priors of music. By separating the structure and content of musical graphs, it is possible to condition generation by specifying which instruments are played at certain times. This opens the door to a new form of human-computer interaction in the context of music co-creation. After training the model on existing MIDI datasets, the experiments show that the model is able to generate appealing short and long musical sequences and to realistically interpolate between them, producing music that is tonally and rhythmically consistent. Finally, the visualization of the embeddings shows that the model is able to organize its latent space in accordance with known musical concepts.