MultiSynt/MT: Trillion-Token Multi-Parallel Pre-Training Data Translated Across 36 Languages

Open web-scale pre-training corpora remain concentrated in English, limiting multilingual LLM development. We introduce MultiSynt/MT, an open synthetic parallel corpus with approximately 4.8 trillion target-language tokens across 36 European languages, produced by translating 100 billion high-quality Nemotron-CC tokens with Tower+ and OPUS-MT/HPLT-MT systems. For many medium- and lower-resource European languages, this is the largest openly available pre-training resource. On a broad multilingual benchmark suite, reference LLMs trained on MultiSynt/MT reach the final score of HPLT 2.0, a native-data baseline, using roughly 72% fewer pre-training tokens, and outperform it by approximately 15% relative at a matched 100B-token training budget. Our analyses also identify evaluation blind spots: standard multiple-choice benchmarks miss translation-quality differences that a fluency-sensitive LLM-as-judge evaluation cleanly recovers on the trained LLMs (with no fluency deficit in MultiSynt itself), and Norwegian idiomatic and culturally grounded tasks remain better served by native data. We release the corpus, including row-aligned translations from multiple systems, to support controlled research on multilingual pre-training data and evaluation.

DEMUN: Fast and accurate discovery of music notation in very large collections

Much of written musical heritage is preserved and digitised at memory institutions: libraries, museums, and archives. Owing to their collection structures, sheet music tends to be concentrated in large subsets that are defined as collections of music, with corresponding metadata that makes the music findable. However, when studying musical life as opposed to individual works, relevant documents often lie outside of these specialised collections: in textbooks, newspapers, other periodicals, pamphlets, and other documents with extensive circulation. But these documents are typically not catalogued as musical documents, and though there may be a lot of such documents overall, in large library collections, they are still extremely sparse. Manual discovery is thus unfeasible. Automated discovery requires an extremely low false positive rate in order to be useful, and must also operate quickly. We present DEMUN: a two-stage lightweight detector of music notation with a false positive rate of 0.015 %. In the test scenario, 4 million images of a national-scale library were processed, out of which 1,500 pages with music notation were discovered, suggesting the entire collection may contain up to 20-30,000 unmarked documents of musical life.

Towards a foundational model for recognising diastematic Gregorian notation

Optical recognition of Gregorian notation has recently been attempted with end-to-end methods, with four datasets introduced. However, each of these datasets is in a different encoding. We design a common encoding based on the S-GABC proposal, convert all four datasets to this common encoding, and train a shared end-to-end foundational model for diastematic Gregorian notation that establishes a new state of the art across all four datasets.

A Flexible Encoding Model for Non-Unique Note Alignments

Symbolic music alignment links notes in a symbolic performance to their counterparts in a score. While existing alignment encoding formats provide unique correspondences between these notes, there are various musical practices and forms such as practice repetitions in rehearsal and improvised realizations in basso continuo that require a more flexible approach to encoding their alignments. In this paper, we propose a minimal, backward-compatible extension to the Match file format to support such non-unique and semantically complex alignments. We introduce two virtual pointer notes - virtual score notes and virtual performance notes - which allow to encode multiple links between performance and score notes. In addition we expand the Match file's 'section' line to include semantically meaningful annotations of performance regions beyond score-indicated musical repetitions. We further demonstrate the utility of these extensions through two representative use-cases in piano rehearsal and basso continuo.

Meet UD_Czech-PDTC: A Large and Genre-Rich Treebank in Universal Dependencies

Czech has been part of Universal Dependencies since its first release in 2015. It has also been one of the best represented languages, with the Prague Dependency Treebank being order of magnitude larger than most other UD treebanks. More recently, three other datasets from the Prague family were added and the annotations thoroughly revisited, forming the "Prague Dependency Treebank-Consolidated" (PDT-C). In comparison to the original PDT, PDT-C is more than twice as large, but it is also much more diverse in terms of genres and domains. In this paper, we describe the conversion of the new resource to Universal Dependencies. While the two annotation schemes are relatively similar at the first sight, there are numerous small differences in topology of the dependency structures and in granularity of the POS and relation type inventories. We demonstrate a selection of such differences on examples, discuss the diverging motivations, as well as ways to overcome the differences during conversion. We argue that while PDT is less "universal" and more tightly bound to one language, its multi-layer annotation is rich and provides all information needed for basic UD trees, and much more.

MorfFlex: Handling Rich Morphology

We present MorfFlex, a morphological dictionary architecture suitable for languages with extensive regularity in both inflection and derivation. As the primary example of MorfFlex in use we introduce MorfFlex CZ, a morphological dictionary of Czech. It is distributed as a simple, unstructured list of <wordform, lemma, tag> triplets, however, its manually maintained, unpublished source files and conversion scripts encode a sophisticated system of inflectional and derivational patterns. These patterns dramatically reduce the otherwise enormous size of the dictionary, which currently contains over 100 million wordforms and more than 1 million lemmas. The MorfFlex CZ dictionary serves as an essential resource for ensuring the consistency of manual morphological annotation in the Prague Dependency Treebanks and underpins state-of-the-art automatic tools such as MorphoDiTa. In this paper, we focus on: (i) presenting an effective method for managing the rich morphological system within the dictionary, and (ii) demonstrating the utility of such a language resource for maintaining annotation consistency in corpora and supporting the development of advanced NLP applications.

Prague Dependency Treebank -- Consolidated 2.0: Enriching a Complex Annotation Scheme

The Prague Dependency Treebank framework is unique in its attempt to systematically include and link different layers of language, including a meaning representation with several types of inter-sentential phenomena, especially coreference and discourse relations. We present its second consolidated version (PDT-C 2.0), which concludes almost 30-years long project of sustained development of the resource to a uniformly and coherently annotated, genre-diversified, almost 4 million token language resource of Czech language, with accompanying fully compatible lexicons. In addition to continuous linguistic research, the richly linguistically annotated corpus is also widely used in international comparisons of the development of traditional and novel NLP tools as well as in conversions into other formalisms. The corpus and the trained parsers are available under the CC BY-NC-SA licence.

Optical Music Recognition for Real-World Manuscripts with Synthetic Data

Optical Music Recognition (OMR) has seen major progress in model design, with end-to-end methods now capable of recognising notation at all levels of complexity. However, the impact of this progress has been limited by the visual domains of available training datasets, which are largely born-digital. Existing large collections of sheet music in libraries and other heritage institutions contain predominantly manuscripts, whose visual domains are highly diverse and different, so existing OMR systems fail when applied in the real world. These institutions are often resource-constrained, so large in-domain datasets cannot be expected. We provide a first baseline on real-world manuscripts with complex piano notation in the resource-constrained scenario. Using fine-grained music notation graph (MuNG) annotations and the Smashcima synthesis tool, we then show that while some direct transcriptions of in-domain data remain essential, domain adaptation using synthetic musical manuscript images brings significant improvement. Furthermore, the symbols used do not need to be in-domain, so the expensive fine-grained annotation can be avoided. We thus bring OMR closer to one of its stated goals: preserving and promoting musical cultural heritage.

A Dataset for the Recognition of Historical and Handwritten Music Scores in Western Notation

A large amount of musical heritage has been digitised by memory institutions: libraries, museums, and archives. Nevertheless, the field of Optical Music Recognition (OMR) has struggled with making this music machine-readable, despite advances in deep learning, mostly because no datasets for training systems in realistic conditions were available. The MusiCorpus dataset aims to remedy this situation by providing 1,309 pages of historical sheet music, primarily handwritten, with MusicXML transcriptions and symbol annotations. It is the largest dataset of handwritten music to date and the first dataset containing a realistic and representative sample of musical document collections from memory institutions, suitable for training and evaluating both end-to-end and object detection-based OMR systems and comparing their performance.

On Every Note a Griff: Looking for a Useful Representation of Basso Continuo Performance Style

Basso continuo is a baroque improvisatory accompaniment style which involves improvising multiple parts above a given bass line in a musical score on a harpsichord or organ. Basso continuo is not merely a matter of history; moreover, it is a historically inspired living practice, and The Aligned Continuo Dataset (ACoRD) records the first sample of modern-day basso continuo playing in the symbolic domain. This dataset, containing 175 MIDI recordings of 5 basso continuo scores performed by 7 players, allows us to start observing and analyzing the variety that basso continuo improvisation brings. A recently proposed basso continuo performance-to-score alignment system provides a way of mapping improvised performance notes to score notes. In order to study aligned basso continuo performances, we need an appropriate feature representation. We propose griff, a representation inspired by historical basso continuo treatises. It enables us to encode both pitch content and structure of a basso continuo realization in a transposition-invariant way. Griffs are directly extracted from aligned basso continuo performances by grouping together performance notes aligned to the same score note in a onset-time ordered way, and they provide meaningful tokens that form a feature space in which we can analyze basso continuo performance styles. We statistically describe griffs extracted from the ACoRD dataset recordings, and show in two experiments how griffs can be used for statistical analysis of individuality of different players' basso continuo performance styles. We finally present an argument why it is desirable to preserve the structure of a basso continuo improvisation in order to conduct a refined analysis of personal performance styles of individual basso continuo practitioners, and why griffs can provide a meaningful historically informed feature space worthy of a more robust empirical validation.