Staff, Symbol and Melody Detection of Medieval Manuscripts Written in Square Notation Using Deep Fully Convolutional Networks

Even today, the automatic digitisation of scanned documents in general, but especially the automatic optical music recognition (OMR) of historical manuscripts, still remains an enormous challenge, since both handwritten musical symbols and text have to be identified. This paper focuses on the Medieval so-called square notation developed in the 11th–12th century, which is already composed of staff lines, staves, clefs, accidentals, and neumes that are roughly spoken connected single notes. The aim is to develop an algorithm that captures both the neumes, and in particular its melody, which can be used to reconstruct the original writing. Our pipeline is similar to the standard OMR approach and comprises a novel staff line and symbol detection algorithm based on deep Fully Convolutional Networks (FCN), which perform pixel-based predictions for either staff lines or symbols and their respective types. Then, the staff line detection combines the extracted lines to staves and yields an F 1 -score of over 99% for both detecting lines and complete staves. For the music symbol detection, we choose a novel approach that skips the step to identify neumes and instead directly predicts note components (NCs) and their respective affiliation to a neume. Furthermore, the algorithm detects clefs and accidentals. Our algorithm predicts the symbol sequence of a staff with a diplomatic symbol accuracy rate (dSAR) of about 87%, which includes symbol type and location. If only the NCs without their respective connection to a neume, all clefs and accidentals are of interest, the algorithm reaches an harmonic symbol accuracy rate (hSAR) of approximately 90%. In general, the algorithm recognises a symbol in the manuscript with an F 1 -score of over 96%.

Staff, Symbol, and Melody Detection of Medieval Manuscripts Written in Square Notation Using Deep Fully Convolutional Networks

Even today, the automatic digitisation of scanned documents in general but especially the automatic optical music recognition (OMR) of historical manuscripts still remain an enormous challenge, since both handwritten musical symbols and text have to be identified. This paper focuses on the Medieval so-called square notation developed in the 11th-12th century, which is already composed of staff lines, staves, clefs, accidentals, and neumes, that are roughly spoken connected single notes. The aim is to develop an algorithm that captures both the neume and pitch, that is melody information that can be used to reconstruct the original writing. Our pipeline is similar to the standard OMR approach and comprises a novel staff line and symbol detection algorithm, based on deep Fully Convolutional Networks (FCN), which perform pixel-based predictions for either staff lines or symbols and their respective types. Then, the staff line detection combines the extracted lines to staves and yields an F1-score of over 99% for both detecting lines and complete staves. For the music symbol detection we choose a novel approach that skips the step to identify neumes and instead directly predicts note components (NCs) and their respective affiliation to a neume. Furthermore, the algorithm detects clefs and accidentals. Our algorithm recognises these symbols with an F1-score of over 96% if the type is ignored and predicts the true symbol sequence of a staff with a diplomatic symbol accuracy rate (dSAR) of about 87%. If only the NCs without their respective connection to a neume, all clefs, and accidentals are of interest the algorithm reaches an harmonic symbol accuracy rate (hSAR) of approximately 90%.

The Song, as well as the Piece. Assignments in Transcription for Beginning Pianists

The basis of piano repertoire for beginners, as it is well-known, is in many ways comprised of song material. Its exposition in piano texture (on two staves) frequently complicates the adequate perception of the melody ostensibly, which not infrequently leads to a distortion of semantic perception during the process of playing it. The methodological elaborations of the new trends in teaching music contain written and oral assignments on rewriting the music notated on two-staves into a one-staff line meant for vocal performance, as well as on the transformation of the one-line melody into two-staff notation for the goal of playing it with two hands on the piano. Such a form of tutorial assignments builds in the future musician coherent perceptions of the structure of the melody and the peculiarities of its musical notation in various performance-related contexts. This methodic elaboration is designed for the elementary classes of Children’s Music Schools and provides the fi rst step along the path of formation among the pupils of an integrated perception of the musical text and achievement of the foundations for its revision and transcription.