Musicnetwork Assessment (type 1) of Optical Music Recognition
Version 1.0, Date: 09-09-2003
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Addedd description at the end of the web page in date: 03/03/2014
see more on: P. Bellini, I. Bruno, P. Nesi, ``Assessing Optical Music Recognition Tools'', Computer Music Journal, MIT Press, Boston, USA, Vol.31, N.1, pp.68-94, Spring 2007 
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Original Image |
OMR 1 (vote) |
OMR 2 (vote) |
OMR 3 (vote) |
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File |
Vote |
File |
Vote |
File |
Vote |
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Symbol |
Name |
Vote |
Symbol |
Name |
Vote |
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Empty Note Head duration 4/4 |
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Beam 1 (duration 1/8) |
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Empty Note Head duration 2/4 |
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Beam 2 (duration 1/16) |
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Black Note Head duration -> 1/64 |
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Beam 3 (duration 1/32) |
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Rest duration 4/4 |
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Beam 4 (duration 1/64) |
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Rest duration 2/4 |
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Augmentation Dot |
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Rest duration 1/4 |
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Accent |
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Rest duration 1/8 |
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Number 1 |
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Rest duration 1/16 |
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Number 2 |
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Rest duration 1/32 |
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Number 3 |
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Rest duration 1/64 |
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Number 4 |
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Barline Single |
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Number 5 |
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Barline Double |
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Number 6 |
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Barline End |
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Number 8 |
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Barline Start Refrain |
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Number 9 |
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Barline End Refrain |
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Number 12 |
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Sharp |
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Number 16 |
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Flat |
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Slur |
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Natural |
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P (piano) |
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Double Sharp |
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F (forte) |
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Double Flat |
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Comma (breath) |
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Treble Clef |
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C |
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Bass Clef |
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Staccato |
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Baritone Clef |
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Fermata |
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Tenor Clef |
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Mordent |
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Contralto Clef |
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Turn |
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Mezzosoprano Clef |
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Grace Note |
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Soprano Clef |
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Trill |
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Hook 1 (duration 1/8) |
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Tenuto |
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Hook 2 (duration 1/16) |
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Hook 3 (duration 1/32) |
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Hook 4 (duration 1/64) |
Dwn
Up
Dwn
Up
Dwn
Up
Dwn
Up
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Complete Music Symbols & Relationships |
Vote |
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Note with pitch and duration |
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Note with accidentals |
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Groups of beamed notes |
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Rests |
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Time signature and time change |
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Key signature and key signature change |
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Symbols below or above notes (turn, trill, accent, staccato, etc) |
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Grace notes |
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Slurs (and ties) & bends |
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Augmentation dots |
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Clefs |
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Irregular notes groups |
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Number of measures |
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Number of staves |
- On the basis of your experience of what you expect to have from an optical music recognition please give a vote from 1 to 10 (mini to max) about the overall quality of reconstructed images by means of the three OMR applications with reference to the original images you found in the folder. In this assessment, please take into account only the results of the reconstruction and not the quality of printing resolution.
- This part of the questionnaire has been set up for identifying the relevance of the basic music notation symbols in the context of typical OMR application and recognition phases. On the basis of your experience, what is the importance you give in the recognition of the set of basic symbols listed below? Please, give a vote (Vote column) from 1 to 10 where 10 means the highest relevance.
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This part of the questionnaire has been set up for identifying the relevance of the complete and composed music notation symbols in the context of typical OMR application and recognition phases.
On the basis of your experience, what is the importance you give in the recognition of complete music symbols and relationships among symbols listed below? Please, give a vote from 1 to 10 where 10 means the highest relevance. -
On the basis of your experience as user of one of more music Editors we intend to estimate the typical work time to perform the data entry opertions. They are the typical actions for polishing a result of an OMR processing.
To this end, we ask you to evaluate in term of time (seconds) the editing operations listed below.
Please, fill the Time field, in seconds, with the average time of each operation and fill the music editor field with the name of the software tools you are referring to.
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Operation |
Music Editor |
Time |
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Inserting a symbol |
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Searching a symbol in the score |
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Deleting a symbol in the score |
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Preparing the page for editing |
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Page |
Average Time needed to edit from scratch |
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Original Image |
OMR 1 |
OMR 2 (verification time) |
OMR 3 (verification time) |
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File |
time |
File |
time |
File |
time |
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- On the basis of your experience as user of music Editors, how many minutes are needed to editing from scratch the 3 pages of music examples considered?
- On the basis of your experience as user of music Editors, how many minutes are needed to verify the correctness of the 3 pages of music examples considered, that consists in marking the errors in the page ?
- On the basis of your experience as user of music Editors, how many minutes are needed to perform the corrections of the 3 pages of music examples considered, that consists in polishing the score to mek it equal to the original.
Please state the music editor that you are supposed to use.
USED MUSIC EDITOR
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Original Image |
OMR 1 |
OMR 2 |
OMR 3 |
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File |
time |
File |
time |
File |
time |
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see more on P. Bellini, I. Bruno, P. Nesi, ``Assessing Optical Music Recognition Tools'', Computer Music Journal, MIT Press, Boston, USA, Vol.31, N.1, pp.68-94, Spring 2007
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Integration notes
The selected seven images, used as test set, are monophonic sheets music and are mainly exercise of “solfeggio”. They were taken/scanned from Italian music theory books (We suppose that some book is available also as international publication).
For each image of test set, alphanumeric strings (i.e. title, page number, exercise number, etc…) were manually removed in order to evaluate the behavior of OMR systems only with music symbols (OCR capability was out of scope). The selected images allow coping with:
- Different font size and shapes
- The most frequent music symbols in the repertoire of classical music
- Density and complex layout of musical symbols
- Different tuplets (triplets, quadruplets, quintuplets and sextuplets)
- Small musical symbols (appoggiaturas, cues, no alterations)
- Different symbols of beats subdivision (begin refrain, end refrain, end score, simple/double barline, etc.).
- Changes of time and key signatures
The following table lists for each image: book and reference, page(s) and exercise number(s).
| Original Image/Link | Book | Page(s) | Exercise(s) |
| esempio1.gif | (Pozzoli 3° corso) [1] | 10 | 9 |
| esempio2.gif | (Pozzoli 3° corso) [1] | 14 | 12 |
| esempio3.gif | (Gentilucci)[2] | 20 | 6 |
| esempio4.gif | (Curci) [3] | 33 | 213-214-215 |
| esempio5.gif | (Pozzoli 3° corso) [1] | 19 | 16-17 |
| esempio6.gif | (Pozzoli 3° corso) [1] | 31 | 25 |
| esempio7.gif | (Gentilucci) [2] | 11 | 3 |
Books/References
[1] Pozzoli, Ettore. “Solfeggi Parlati e Cantati 3° corso”, Edizioni Ricordi, Milano Italy (1973). ASIN B009LFPA0K
[2] Gentilucci, O. “13 Prove d’esame per la licenza di Solfeggio”, Edizioni Curci – Milano, Italy (1983) E.6032C.
[3] Alberto Curci, Tecnica Fondamentale del violino, Parte seconda, pag. 33 Copyright 1952 by Edizioni Curci, Milano. ISBN: 0215902513