Daily Papers

While large language model (LLM)-based text-to-speech (TTS) systems have achieved high-quality speech synthesis, most existing systems focus on English and Chinese. Japanese, however, remains under-explored, and its unique linguistic challenges, such as widespread context-dependent kanji polyphony, have yet to be adequately tackled. Here we introduce Sarashina2.2-TTS (https://github.com/sbintuitions/sarashina2.2-tts), a Japanese-centric LLM-TTS system that tackles these challenges through a dual approach: data strategy and evaluation methodology. First, we scale training to approximately 361k hours of speech, incorporating a balanced mix of Japanese and English data. Furthermore, we design a targeted data augmentation pipeline covering all 2,136 Joyo (regular-use) kanji designated by Japan's Agency for Cultural Affairs to efficiently address kanji polyphony disambiguation. Second, we introduce the Joyo Kanji Yomi Benchmark (https://github.com/sbintuitions/JoyoKanji-Yomi-Benchmark), covering all 2,136 Joyo kanji and their 4,378 readings. Alongside this benchmark, we propose Kana-CER, a metric that compares synthesized speech against reference readings in the kana space, eliminating orthographic variations to directly measure pronunciation correctness. Experiments demonstrate that our targeted data augmentation significantly improves reading accuracy. Overall, Sarashina2.2-TTS achieves state-of-the-art kanji-level reading accuracy and matches top baselines on general sentence-level pronunciation, while delivering the highest speaker similarity in zero-shot Japanese speech synthesis. Furthermore, cross-lingual evaluation reveals that Sarashina2.2-TTS is the only system that maintains stable Japanese pronunciation regardless of the prompt language, confirming that our balanced training approach improves cross-lingual robustness.

Thanks to improvements in machine learning techniques, including deep learning, speech synthesis is becoming a machine learning task. To accelerate speech synthesis research, we are developing Japanese voice corpora reasonably accessible from not only academic institutions but also commercial companies. In 2017, we released the JSUT corpus, which contains 10 hours of reading-style speech uttered by a single speaker, for end-to-end text-to-speech synthesis. For more general use in speech synthesis research, e.g., voice conversion and multi-speaker modeling, in this paper, we construct the JVS corpus, which contains voice data of 100 speakers in three styles (normal, whisper, and falsetto). The corpus contains 30 hours of voice data including 22 hours of parallel normal voices. This paper describes how we designed the corpus and summarizes the specifications. The corpus is available at our project page.

This work aims to promote Chinese opera research in both musical and speech domains, with a primary focus on overcoming the data limitations. We introduce KunquDB, a relatively large-scale, well-annotated audio-visual dataset comprising 339 speakers and 128 hours of content. Originating from the Kunqu Opera Art Canon (Kunqu yishu dadian), KunquDB is meticulously structured by dialogue lines, providing explicit annotations including character names, speaker names, gender information, vocal manner classifications, and accompanied by preliminary text transcriptions. KunquDB provides a versatile foundation for role-centric acoustic studies and advancements in speech-related research, including Automatic Speaker Verification (ASV). Beyond enriching opera research, this dataset bridges the gap between artistic expression and technological innovation. Pioneering the exploration of ASV in Chinese opera, we construct four test trials considering two distinct vocal manners in opera voices: stage speech (ST) and singing (S). Implementing domain adaptation methods effectively mitigates domain mismatches induced by these vocal manner variations while there is still room for further improvement as a benchmark.

Music performance synthesis aims to synthesize a musical score into a natural performance. In this paper, we borrow recent advances in text-to-speech synthesis and present the Deep Performer -- a novel system for score-to-audio music performance synthesis. Unlike speech, music often contains polyphony and long notes. Hence, we propose two new techniques for handling polyphonic inputs and providing a fine-grained conditioning in a transformer encoder-decoder model. To train our proposed system, we present a new violin dataset consisting of paired recordings and scores along with estimated alignments between them. We show that our proposed model can synthesize music with clear polyphony and harmonic structures. In a listening test, we achieve competitive quality against the baseline model, a conditional generative audio model, in terms of pitch accuracy, timbre and noise level. Moreover, our proposed model significantly outperforms the baseline on an existing piano dataset in overall quality.

We have been investigating rakugo speech synthesis as a challenging example of speech synthesis that entertains audiences. Rakugo is a traditional Japanese form of verbal entertainment similar to a combination of one-person stand-up comedy and comic storytelling and is popular even today. In rakugo, a performer plays multiple characters, and conversations or dialogues between the characters make the story progress. To investigate how close the quality of synthesized rakugo speech can approach that of professionals' speech, we modeled rakugo speech using Tacotron 2, a state-of-the-art speech synthesis system that can produce speech that sounds as natural as human speech albeit under limited conditions, and an enhanced version of it with self-attention to better consider long-term dependencies. We also used global style tokens and manually labeled context features to enrich speaking styles. Through a listening test, we measured not only naturalness but also distinguishability of characters, understandability of the content, and the degree of entertainment. Although we found that the speech synthesis models could not yet reach the professional level, the results of the listening test provided interesting insights: 1) we should not focus only on the naturalness of synthesized speech but also the distinguishability of characters and the understandability of the content to further entertain audiences; 2) the fundamental frequency (fo) expressions of synthesized speech are poorer than those of human speech, and more entertaining speech should have richer fo expression. Although there is room for improvement, we believe this is an important stepping stone toward achieving entertaining speech synthesis at the professional level.

Thanks to improvements in machine learning techniques including deep learning, a free large-scale speech corpus that can be shared between academic institutions and commercial companies has an important role. However, such a corpus for Japanese speech synthesis does not exist. In this paper, we designed a novel Japanese speech corpus, named the "JSUT corpus," that is aimed at achieving end-to-end speech synthesis. The corpus consists of 10 hours of reading-style speech data and its transcription and covers all of the main pronunciations of daily-use Japanese characters. In this paper, we describe how we designed and analyzed the corpus. The corpus is freely available online.

We construct a corpus of Japanese a cappella vocal ensembles (jaCappella corpus) for vocal ensemble separation and synthesis. It consists of 35 copyright-cleared vocal ensemble songs and their audio recordings of individual voice parts. These songs were arranged from out-of-copyright Japanese children's songs and have six voice parts (lead vocal, soprano, alto, tenor, bass, and vocal percussion). They are divided into seven subsets, each of which features typical characteristics of a music genre such as jazz and enka. The variety in genre and voice part match vocal ensembles recently widespread in social media services such as YouTube, although the main targets of conventional vocal ensemble datasets are choral singing made up of soprano, alto, tenor, and bass. Experimental evaluation demonstrates that our corpus is a challenging resource for vocal ensemble separation. Our corpus is available on our project page (https://tomohikonakamura.github.io/jaCappella_corpus/).

We present the JVNV, a Japanese emotional speech corpus with verbal content and nonverbal vocalizations whose scripts are generated by a large-scale language model. Existing emotional speech corpora lack not only proper emotional scripts but also nonverbal vocalizations (NVs) that are essential expressions in spoken language to express emotions. We propose an automatic script generation method to produce emotional scripts by providing seed words with sentiment polarity and phrases of nonverbal vocalizations to ChatGPT using prompt engineering. We select 514 scripts with balanced phoneme coverage from the generated candidate scripts with the assistance of emotion confidence scores and language fluency scores. We demonstrate the effectiveness of JVNV by showing that JVNV has better phoneme coverage and emotion recognizability than previous Japanese emotional speech corpora. We then benchmark JVNV on emotional text-to-speech synthesis using discrete codes to represent NVs. We show that there still exists a gap between the performance of synthesizing read-aloud speech and emotional speech, and adding NVs in the speech makes the task even harder, which brings new challenges for this task and makes JVNV a valuable resource for relevant works in the future. To our best knowledge, JVNV is the first speech corpus that generates scripts automatically using large language models.

"Kawaii" is the Japanese concept of cute, which carries sociocultural connotations related to social identities and emotional responses. Yet, virtually all work to date has focused on the visual side of kawaii, including in studies of computer agents and social robots. In pursuit of formalizing the new science of kawaii vocalics, we explored what elements of voice relate to kawaii and how they might be manipulated, manually and automatically. We conducted a four-phase study (grand N = 512) with two varieties of computer voices: text-to-speech (TTS) and game character voices. We found kawaii "sweet spots" through manipulation of fundamental and formant frequencies, but only for certain voices and to a certain extent. Findings also suggest a ceiling effect for the kawaii vocalics of certain voices. We offer empirical validation of the preliminary kawaii vocalics model and an elementary method for manipulating kawaii perceptions of computer voice.

SpeechLLMs typically combine ASR-trained encoders with text-based LLM backbones, leading them to inherit written-style output patterns unsuitable for text-to-speech synthesis. This mismatch is particularly pronounced in Japanese, where spoken and written registers differ substantially in politeness markers, sentence-final particles, and syntactic complexity. We propose a preference-based alignment approach to adapt Japanese SpeechLLMs for speech-worthy outputs: text that is concise, conversational, and readily synthesized as natural speech. To rigorously evaluate this task, we introduce SpokenElyza, a benchmark for Japanese speech-worthiness derived from ELYZA-tasks-100 with auditory verification by native experts. Experiments show that our approach achieves substantial improvement on SpokenElyza while largely preserving performance on the original written-style evaluation. We will release SpokenElyza to support future research on Japanese spoken dialog systems.

We present a multi-speaker Japanese audiobook text-to-speech (TTS) system that leverages multimodal context information of preceding acoustic context and bilateral textual context to improve the prosody of synthetic speech. Previous work either uses unilateral or single-modality context, which does not fully represent the context information. The proposed method uses an acoustic context encoder and a textual context encoder to aggregate context information and feeds it to the TTS model, which enables the model to predict context-dependent prosody. We conducted comprehensive objective and subjective evaluations on a multi-speaker Japanese audiobook dataset. Experimental results demonstrate that the proposed method significantly outperforms two previous works. Additionally, we present insights about the different choices of context - modalities, lateral information and length - for audiobook TTS that have never been discussed in the literature before.

This paper approaches the problem of separating the notes from a quantized symbolic music piece (e.g., a MIDI file) into multiple voices and staves. This is a fundamental part of the larger task of music score engraving (or score typesetting), which aims to produce readable musical scores for human performers. We focus on piano music and support homophonic voices, i.e., voices that can contain chords, and cross-staff voices, which are notably difficult tasks that have often been overlooked in previous research. We propose an end-to-end system based on graph neural networks that clusters notes that belong to the same chord and connects them with edges if they are part of a voice. Our results show clear and consistent improvements over a previous approach on two datasets of different styles. To aid the qualitative analysis of our results, we support the export in symbolic music formats and provide a direct visualization of our outputs graph over the musical score. All code and pre-trained models are available at https://github.com/CPJKU/piano_svsep

We investigate the problem of modeling symbolic sequences of polyphonic music in a completely general piano-roll representation. We introduce a probabilistic model based on distribution estimators conditioned on a recurrent neural network that is able to discover temporal dependencies in high-dimensional sequences. Our approach outperforms many traditional models of polyphonic music on a variety of realistic datasets. We show how our musical language model can serve as a symbolic prior to improve the accuracy of polyphonic transcription.

This paper introduces Opencpop, a publicly available high-quality Mandarin singing corpus designed for singing voice synthesis (SVS). The corpus consists of 100 popular Mandarin songs performed by a female professional singer. Audio files are recorded with studio quality at a sampling rate of 44,100 Hz and the corresponding lyrics and musical scores are provided. All singing recordings have been phonetically annotated with phoneme boundaries and syllable (note) boundaries. To demonstrate the reliability of the released data and to provide a baseline for future research, we built baseline deep neural network-based SVS models and evaluated them with both objective metrics and subjective mean opinion score (MOS) measure. Experimental results show that the best SVS model trained on our database achieves 3.70 MOS, indicating the reliability of the provided corpus. Opencpop is released to the open-source community WeNet, and the corpus, as well as synthesized demos, can be found on the project homepage.

Full-duplex spoken dialogue systems, which can model simultaneous bidirectional features of human conversations such as speech overlaps and backchannels, have attracted significant attention recently. However, the study of full-duplex spoken dialogue systems for the Japanese language has been limited, and the research on their development in Japanese remains scarce. In this paper, we present the first publicly available full-duplex spoken dialogue model in Japanese, which is built upon Moshi, a full-duplex dialogue model in English. Our model is trained through a two-stage process: pre-training on a large-scale spoken dialogue data in Japanese, followed by fine-tuning on high-quality stereo spoken dialogue data. We further enhance the model's performance by incorporating synthetic dialogue data generated by a multi-stream text-to-speech system. Evaluation experiments demonstrate that the trained model outperforms Japanese baseline models in both naturalness and meaningfulness.

Large Audio Language Models (LALMs) are increasingly capable of reasoning over audio. However, existing benchmarks provide limited coverage of reasoning in polyphonic audio, where multiple sound events co-occur and induce compositional structure. In this work, we introduce PolyBench, a benchmark designed to evaluate compositional reasoning in polyphonic audio. PolyBench comprises five evaluation subsets covering counting, classification, detection, concurrency, and duration estimation, requiring reasoning over multiple concurrent events and their relations. Evaluation of state-of-the-art LALMs reveals consistent performance degradation in polyphonic audio, indicating a fundamental bottleneck in current LALMs.

Korean is a morphologically rich language with a featural writing system in which each character is systematically composed of subcharacter units known as Jamo. These subcharacters not only determine the visual structure of Korean but also encode frequent and linguistically meaningful morphophonological processes. However, most current Korean language models (LMs) are based on subword tokenization schemes, which are not explicitly designed to capture the internal compositional structure of characters. To address this limitation, we propose SCRIPT, a model-agnostic module that injects subcharacter compositional knowledge into Korean PLMs. SCRIPT allows to enhance subword embeddings with structural granularity, without requiring architectural changes or additional pre-training. As a result, SCRIPT enhances all baselines across various Korean natural language understanding (NLU) and generation (NLG) tasks. Moreover, beyond performance gains, detailed linguistic analyses show that SCRIPT reshapes the embedding space in a way that better captures grammatical regularities and semantically cohesive variations. Our code is available at https://github.com/SungHo3268/SCRIPT.

For a large portion of real-life utterances, the intention cannot be solely decided by either their semantic or syntactic characteristics. Although not all the sociolinguistic and pragmatic information can be digitized, at least phonetic features are indispensable in understanding the spoken language. Especially in head-final languages such as Korean, sentence-final prosody has great importance in identifying the speaker's intention. This paper suggests a system which identifies the inherent intention of a spoken utterance given its transcript, in some cases using auxiliary acoustic features. The main point here is a separate distinction for cases where discrimination of intention requires an acoustic cue. Thus, the proposed classification system decides whether the given utterance is a fragment, statement, question, command, or a rhetorical question/command, utilizing the intonation-dependency coming from the head-finality. Based on an intuitive understanding of the Korean language that is engaged in the data annotation, we construct a network which identifies the intention of a speech, and validate its utility with the test sentences. The system, if combined with up-to-date speech recognizers, is expected to be flexibly inserted into various language understanding modules.