Abstract
The traditional task of locating suspects using forensic sketches posted on public spaces, news, and social media can be a difficult task. Recent methods that use computer vision to improve this process present limitations, as they either do not use end-to-end networks for sketch recognition in police databases (which generally improve performance) or/and do not offer a photo-realistic representation of the sketch that could be used as alternative if the automatic matching process fails. This paper proposes a method that combines these two properties, using a conditional generative adversarial network (cGAN) and a pre-trained face recognition network that are jointly optimised as an end-to-end model. While the model can identify a short list of potential suspects in a given database, the cGAN offers an intermediate realistic face representation to support an alternative manual matching process. Evaluation on sketch-photo pairs from the CUFS, CUFSF and CelebA databases reveal the proposed method outperforms the state-of-the-art in most tasks, and that forcing an intermediate photo-realistic representation only results in a small performance decrease.

Abstract
The preservation of many music works produced in the past entails their digitalization and consequent accessibility in an easy-to-manage digital format. Carrying this task manually is very time consuming and error prone. While optical music recognition systems usually perform well on printed scores, the processing of handwritten musical scores by computers remain far from ideal. One of the fundamental stages to carry out this task is the staff line detection. In this paper a new method for the automatic detection of music staff lines based on a connected path approach is presented. Lines affected by curvature, discontinuities, and inclination are robustly detected. Experimental results show that the proposed technique consistently outperforms well-established algorithms.

Abstract
Many musical works produced in the past are still currently available only as original manuscripts or as photocopies. The preservation of these works requires their digitalization and transformation into a machine-readable format. However, and despite the many research activities on optical music recognition (OMR), the results for handwritten musical scores are far from ideal. Each of the proposed methods lays the emphasis on different properties and therefore makes it difficult to evaluate the efficiency of a proposed method. We present in this article a comparative study of several recognition algorithms of music symbols. After a review of the most common procedures used in this context, their respective performances are compared using both real and synthetic scores. The database of scores was augmented with replicas of the existing patterns, transformed according to an elastic deformation technique. Such transformations aim to introduce invariances in the prediction with respect to the known variability in the symbols, particularly relevant on handwritten works. The following study and the adopted databases can constitute a reference scheme for any researcher who wants to confront a new OMR algorithm face to well-known ones.

Abstract
Many music works produced in the last century still exist only as original manuscripts or as photocopies. Preserving them entails their digitalization and consequent accessibility in a digital format easy-to-manage which encourages browsing, retrieval, search and analysis while providing a generalized access to the digital material. The manual process to carry out this task is very time consuming and error prone. Automatic optical music recognition (OMR) has emerged as a partial solution to this problem. However, the full potential of this process only reveals itself when integrated in a system that provides seamless access to browsing, retrieval, search and analysis. We address this demand by proposing a modular, flexible and scalable framework that fully integrates the abovementioned functionalities. A web based system to carry out the automatic recognition process, allowing the creation and management of a music corpus, while providing generalized access to it, is a unique and innovative approach to the problem. A prototype has been implemented and is being used as a test platform for OMR algorithms.

Abstract
Many music works produced in the past are currently available only as original manuscripts or as photocopies. Preserving them entails their digitalization and consequent accessibility in a machine-readable format, which encourages browsing, retrieval, search and analysis while providing a generalized access to the digital material. Carrying this task manually is very time consuming and error prone. While optical music recognition (OMR) systems usually perform well on printed scores, the processing of handwritten music by computers remains below the expectations. One of the fundamental stages to carry out this task is the detection and subsequent removal of staff lines. In this paper we integrate a general-purpose, knowledge-free method for the automatic detection of staff lines based on stable paths, into a recently developed staff line removal toolkit. Lines affected by curvature, discontinuities, and inclination are robustly detected. We have also developed a staff removal algorithm adapting an existing line removal approach to use the stable path algorithm at the detection stage, Experimental results show that the proposed technique outperforms well-established algorithms. The developed algorithm will now be integrated in a web based system providing seamless access to browsing, retrieval, search and analysis of submitted scores.

Abstract
The optical recognition of handwritten musical scores by computers remains far from ideal. Most OMR algorithms rely on an estimation of the staffline thickness and the vertical line distance within the same staff. Subsequent operation can use these values as references, dismissing the need for some predetermined threshold values. In this work we improve on previous conventional estimates for these two reference lengths. We start by proposing a new method for binarized music scores and then extend the approach for gray-level music scores. An experimental study with 50 images is used to assess the interest of the novel method. © 2010 IEEE.