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Singing voice beat tracking is a challenging task, due to the lack of musical accompaniment that often contains robust rhythmic and harmonic patterns, something most existing beat tracking systems utilize and can be essential for estimating beats. In this paper, a novel temporal convolutional network-based beat-tracking approach featuring self-supervised learning (SSL) representations and adapter tuning is proposed to track the beat and downbeat of singing voices jointly. The SSL DistilHuBERT representations are utilized to capture the semantic information of singing voices and are further fused with the generic spectral features to facilitate beat estimation. Sources of variabilities that are particularly prominent with the non-homogeneous singing voice data are reduced by the efficient adapter tuning. Extensive experiments show that feature fusion and adapter tuning improve the performance individually, and the combination of both leads to significantly better performances than the un-adapted baseline system, with up to 31.6% and 42.4% absolute F1-score improvements on beat and downbeat tracking, respectively.

Beat tracking is a widely researched topic in music information retrieval. However, current beat tracking methods face challenges due to the scarcity of labeled data, which limits their ability to generalize across diverse musical styles and accurately capture complex rhythmic structures. To overcome these challenges, we propose a novel beat tracking paradigm BeatFM, which introduces a pre-trained music foundation model and leverages its rich semantic knowledge to improve beat tracking performance. Pre-training on diverse music datasets endows music foundation models with a robust understanding of music, thereby effectively addressing these challenges. To further adapt it for beat tracking, we design a plug-and-play multi-dimensional semantic aggregation module, which is composed of three parallel sub-modules, each focusing on semantic aggregation in the temporal, frequency, and channel domains, respectively. Extensive experiments demonstrate that our method achieves state-of-the-art performance in beat and downbeat tracking across multiple benchmark datasets.

Artificial Intelligence (AI) song generation has emerged as a popular topic, yet the focus on exploring the latent correlations between specific lyrical and rhythmic features remains limited. In contrast, this pilot study particularly investigates the relationships between keywords and rhythmically stressed features such as strong beats in songs. It focuses on several key elements: keywords or non-keywords, stressed or unstressed syllables, and strong or weak beats, with the aim of uncovering insightful correlations. Experimental results indicate that, on average, 80.8\% of keywords land on strong beats, whereas 62\% of non-keywords fall on weak beats. The relationship between stressed syllables and strong or weak beats is weak, revealing that keywords have the strongest relationships with strong beats. Additionally, the lyrics-rhythm matching score, a key matching metric measuring keywords on strong beats and non-keywords on weak beats across various time signatures, is 0.765, while the matching score for syllable types is 0.495. This study demonstrates that word types strongly align with their corresponding beat types, as evidenced by the distinct patterns, whereas syllable types

Beat tracking in musical performance MIDI is a challenging and important task for notation-level music transcription and rhythmical analysis, yet existing methods primarily focus on audio-based approaches. This paper proposes an end-to-end transformer-based model for beat and downbeat tracking in performance MIDI, leveraging an encoder-decoder architecture for sequence-to-sequence translation of MIDI input to beat annotations. Our approach introduces novel data preprocessing techniques, including dynamic augmentation and optimized tokenization strategies, to improve accuracy and generalizability across different datasets. We conduct extensive experiments using the A-MAPS, ASAP, GuitarSet, and Leduc datasets, comparing our model against state-of-the-art hidden Markov models (HMMs) and deep learning-based beat tracking methods. The results demonstrate that our model outperforms existing symbolic music beat tracking approaches, achieving competitive F1-scores across various musical styles and instruments. Our findings highlight the potential of transformer architectures for symbolic beat tracking and suggest future integration with automatic music transcription systems for enhanced mu

Recent beat and downbeat tracking models (e.g., RNNs, TCNs, Transformers) output frame-level activations. We propose reframing this task as object detection, where beats and downbeats are modeled as temporal "objects." Adapting the FCOS detector from computer vision to 1D audio, we replace its original backbone with WaveBeat's temporal feature extractor and add a Feature Pyramid Network to capture multi-scale temporal patterns. The model predicts overlapping beat/downbeat intervals with confidence scores, followed by non-maximum suppression (NMS) to select final predictions. This NMS step serves a similar role to DBNs in traditional trackers, but is simpler and less heuristic. Evaluated on standard music datasets, our approach achieves competitive results, showing that object detection techniques can effectively model musical beats with minimal adaptation.

Many deep learning models have achieved dominant performance on the offline beat tracking task. However, online beat tracking, in which only the past and present input features are available, still remains challenging. In this paper, we propose BEAt tracking Streaming Transformer (BEAST), an online joint beat and downbeat tracking system based on the streaming Transformer. To deal with online scenarios, BEAST applies contextual block processing in the Transformer encoder. Moreover, we adopt relative positional encoding in the attention layer of the streaming Transformer encoder to capture relative timing position which is critically important information in music. Carrying out beat and downbeat experiments on benchmark datasets for a low latency scenario with maximum latency under 50 ms, BEAST achieves an F1-measure of 80.04% in beat and 46.78% in downbeat, which is a substantial improvement of about 5 percentage points over the state-of-the-art online beat tracking model.

Beat and downbeat tracking models are predominantly developed using datasets with music in 4/4 meter, which decreases their generalization to repertories in other time signatures, such as Brazilian samba which is in 2/4. In this work, we propose a simple augmentation technique to increase the representation of time signatures beyond 4/4, namely 2/4 and 3/4. Our augmentation procedure works by removing beat intervals from 4/4 annotated tracks. We show that the augmented data helps to improve downbeat tracking for underrepresented meters while preserving the overall performance of beat tracking in two different models. We also show that this technique helps improve downbeat tracking in an unseen samba dataset.

Fine-tuning pre-trained foundation models has made significant progress in music information retrieval. However, applying these models to beat tracking tasks remains unexplored as the limited annotated data renders conventional fine-tuning methods ineffective. To address this challenge, we propose HingeNet, a novel and general parameter-efficient fine-tuning method specifically designed for beat tracking tasks. HingeNet is a lightweight and separable network, visually resembling a hinge, designed to tightly interface with pre-trained foundation models by using their intermediate feature representations as input. This unique architecture grants HingeNet broad generalizability, enabling effective integration with various pre-trained foundation models. Furthermore, considering the significance of harmonics in beat tracking, we introduce harmonic-aware mechanism during the fine-tuning process to better capture and emphasize the harmonic structures in musical signals. Experiments on benchmark datasets demonstrate that HingeNet achieves state-of-the-art performance in beat and downbeat tracking

An isolated supermassive black hole binary (SMBHB) produces an identical cross-correlation pattern of pulsar timings as an isotropic stochastic background gravitational waves (GWs) generated possibly by inflation. Can there remain the identical cross-correlation pattern in the presence of a secondary SMBHB? To address this issue, the present paper focuses on GWs with similar amplitudes but slightly different frequencies $f_1$ and $f_2$ coming from two different directions. Beats between the two GWs can modify angular correlation patterns. The beat-induced correlation patterns are not stationary but modulated with a beat frequency $f_{beat} \equiv |f_1 - f_2|$. We obtain an analytic solution that allows us to infer $f_{beat}$ from the modulated angular correlations.

The intersection between poetry and music provides an interesting case for computational creativity, yet remains relatively unexplored. This paper explores the integration of poetry and music through the lens of beat patterns, investigating whether a byte-based language model can generate words that fit specific beat patterns within the context of poetry. Drawing on earlier studies, we developed a method to train a byte-based transformer model, ByT5, to align poems with beat patterns. The results demonstrate a high level of beat alignment while maintaining semantic coherence. Future work will aim to improve the model's ability to create complete beat-aligned poems.

This paper present an electrocardiogram (ECG) beat classification method based on waveform similarity and RR interval. The purpose of the method is to classify six types of heart beats (normal beat, atrial premature beat, paced beat, premature ventricular beat, left bundle branch block beat and right bundle branch block beat). The electrocardiogram signal is first denoised using wavelet transform based techniques. Heart beats of 128 samples data centered on the R peak are extracted from the ECG signal and thence reduced to 16 samples data to constitute a feature. RR intervals surrounding the beat are also exploited as feature. A database of annotated beats is built for the classifier for waveform comparison to unknown beats. Tested on 46 records in the MIT/BIH arrhythmia database, the method shows classification rate of 97.52%.

For expressive music, the tempo may change over time, posing challenges to tracking the beats by an automatic model. The model may first tap to the correct tempo, but then may fail to adapt to a tempo change, or switch between several incorrect but perceptually plausible ones (e.g., half- or double-tempo). Existing evaluation metrics for beat tracking do not reflect such behaviors, as they typically assume a fixed relationship between the reference beats and estimated beats. In this paper, we propose a new performance analysis method, called annotation coverage ratio (ACR), that accounts for a variety of possible metric-level switching behaviors of beat trackers. The idea is to derive sequences of modified reference beats of all metrical levels for every two consecutive reference beats, and compare every sequence of modified reference beats to the subsequences of estimated beats. We show via experiments on three datasets of different genres the usefulness of ACR when utilized alongside existing metrics, and discuss the new insights to be gained.

In this paper, we propose a novel Self-Supervised-Learning scheme to train rhythm analysis systems and instantiate it for few-shot beat tracking. Taking inspiration from the Contrastive Predictive Coding paradigm, we propose to train a Log-Mel-Spectrogram Transformer encoder to contrast observations at times separated by hypothesized beat intervals from those that are not. We do this without the knowledge of ground-truth tempo or beat positions, as we rely on the local maxima of a Predominant Local Pulse function, considered as a proxy for Tatum positions, to define candidate anchors, candidate positives (located at a distance of a power of two from the anchor) and negatives (remaining time positions). We show that a model pre-trained using this approach on the unlabeled FMA, MTT and MTG-Jamendo datasets can successfully be fine-tuned in the few-shot regime, i.e. with just a few annotated examples to get a competitive beat-tracking performance.

Recent advances in Vision-Language Models (VLMs) have propelled embodied agents by enabling direct perception, reasoning, and planning task-oriented actions from visual inputs. However, such vision-driven embodied agents open a new attack surface: visual backdoor attacks, where the agent behaves normally until a visual trigger appears in the scene, then persistently executes an attacker-specified multi-step policy. We introduce BEAT, the first framework to inject such visual backdoors into VLM-based embodied agents using objects in the environments as triggers. Unlike textual triggers, object triggers exhibit wide variation across viewpoints and lighting, making them difficult to implant reliably. BEAT addresses this challenge by (1) constructing a training set that spans diverse scenes, tasks, and trigger placements to expose agents to trigger variability, and (2) introducing a two-stage training scheme that first applies supervised fine-tuning (SFT) and then our novel Contrastive Trigger Learning (CTL). CTL formulates trigger discrimination as preference learning between trigger-present and trigger-free inputs, explicitly sharpening the decision boundaries to ensure precise backd

Tracking beats of singing voices without the presence of musical accompaniment can find many applications in music production, automatic song arrangement, and social media interaction. Its main challenge is the lack of strong rhythmic and harmonic patterns that are important for music rhythmic analysis in general. Even for human listeners, this can be a challenging task. As a result, existing music beat tracking systems fail to deliver satisfactory performance on singing voices. In this paper, we propose singing beat tracking as a novel task, and propose the first approach to solving this task. Our approach leverages semantic information of singing voices by employing pre-trained self-supervised WavLM and DistilHuBERT speech representations as the front-end and uses a self-attention encoder layer to predict beats. To train and test the system, we obtain separated singing voices and their beat annotations using source separation and beat tracking on complete songs, followed by manual corrections. Experiments on the 741 separated vocal tracks of the GTZAN dataset show that the proposed system outperforms several state-of-the-art music beat tracking methods by a large margin in terms

We propose Beat Transformer, a novel Transformer encoder architecture for joint beat and downbeat tracking. Different from previous models that track beats solely based on the spectrogram of an audio mixture, our model deals with demixed spectrograms with multiple instrument channels. This is inspired by the fact that humans perceive metrical structures from richer musical contexts, such as chord progression and instrumentation. To this end, we develop a Transformer model with both time-wise attention and instrument-wise attention to capture deep-buried metrical cues. Moreover, our model adopts a novel dilated self-attention mechanism, which achieves powerful hierarchical modelling with only linear complexity. Experiments demonstrate a significant improvement in demixed beat tracking over the non-demixed version. Also, Beat Transformer achieves up to 4% point improvement in downbeat tracking accuracy over the TCN architectures. We further discover an interpretable attention pattern that mirrors our understanding of hierarchical metrical structures.

Many biological microorganisms and artificial microswimmers react to external cues of environmental gradients by changing their swimming directions. We study here the behavior of eukarytic flagellated microswimmers in linear viscosity gradients. We employ a model of flagellum consisting of a semi-flexible filament with a travelling wave of spontaneous curvature to study viscotaxis of actively beating flagella in two spatial dimensions. The propulsion of the flagellum in a fluid due to a hydrodynamic friction anisotropy is described by resistive-force theory. Using numerical simulations and analytical theory, we show that beating flagella exhibit positive viscotaxis, reorienting themselves toward higher viscosity areas. We quantify this behavior by characterization of the dependence of the rotational velocity on beat amplitude, swimming speed, and wave length. We also examining the effects of asymmetric flagellar wave forms, which imply circular trajectories in the absence of viscosity gradients; here, large asymmetry leads to trochoid-like trajectories perpendicular to the gradient in the form drifting circles. The flagellar deformability strongly reduce the beat amplitude and the

We propose a system for tracking beats and downbeats with two objectives: generality across a diverse music range, and high accuracy. We achieve generality by training on multiple datasets -- including solo instrument recordings, pieces with time signature changes, and classical music with high tempo variations -- and by removing the commonly used Dynamic Bayesian Network (DBN) postprocessing, which introduces constraints on the meter and tempo. For high accuracy, among other improvements, we develop a loss function tolerant to small time shifts of annotations, and an architecture alternating convolutions with transformers either over frequency or time. Our system surpasses the current state of the art in F1 score despite using no DBN. However, it can still fail, especially for difficult and underrepresented genres, and performs worse on continuity metrics, so we publish our model, code, and preprocessed datasets, and invite others to beat this.

Within the framework of the kinetic method, the process of interaction of a rarefied electron plasma with laser beat waves is investigated taking into account the initial spread in the velocities of plasma particles. Using the expression for the spectral distribution function of plasma particles in the presence of laser beat waves, an anisotropic tensor of the plasma dielectric permittivity is obtained. In this case, an expression for the nonequilibrium current density induced by the perturbed field and the constitutive equation connecting the conductivity tensor with the dielectric permittivity are determined. Assuming that in equilibrium the particle distribution function has the form of the Maxwellian distribution function, the dielectric tensor is diagonalized. Analytical expressions are obtained for the longitudinal and transverse components of the dielectric permittivity.