Abstract

Deep learning is bringing breakthroughs to many computer vision subfields including Optical Music Recognition (OMR), which has seen a series of improvements to musical symbol detection achieved by using generic deep learning models. However, so far, each such proposal has been based on a specific dataset and different evaluation criteria, which made it difficult to quantify the new deep learning-based state-of-the-art and assess the relative merits of these detection models on music scores. In this paper, a baseline for general detection of musical symbols with deep learning is presented. We consider three datasets of heterogeneous typology but with the same annotation format, three neural models of different nature, and establish their performance in terms of a common evaluation standard. The experimental results confirm that the direct music object detection with deep learning is indeed promising, but at the same time illustrates some of the domain-specific shortcomings of the general detectors. A qualitative comparison then suggests avenues for OMR improvement, based both on properties of the detection model and how the datasets are defined. To the best of our knowledge, this is the first time that competing music object detection systems from the machine learning paradigm are directly compared to each other. We hope that this work will serve as a reference to measure the progress of future developments of OMR in music object detection.

Highlights

  • Optical Music Recognition (OMR) is the field of research that investigates how to computationally read music notation in documents

  • The aggregate detection performance of the individual models over each of the datasets is reported in Table 2, presenting both mean AP (mAP) and weighted mAP (w-mAP) as defined for the Common Objects in Context (COCO) challenge [17]

  • These results should serve as the baseline for further music object detection research

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Summary

Introduction

Optical Music Recognition (OMR) is the field of research that investigates how to computationally read music notation in documents. OMR has been approached by workflows composed of several stages, as outlined in the previous section. These stages were further subdivided into smaller steps. Inside of the music object detection stage, the key step used to be the staff-line detection and removal [20]. Even with an ideal staff-line removal algorithm, isolating musical symbols by means of connected components remains problematic, since multiple primitives could be connected to each other (e.g., a beam group can be a single connected component that includes several heads, stems, and beams) or a single unit can have multiple disconnected parts (e.g., a fermata, voltas, f-clef). The second case is severe in the context of handwritten notation, where symbols can be written with such a high variability (e.g., detached noteheads) that modeling all possible appearances becomes intractable

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