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Kristen Yeon-Ji Yun

dblp:397/2272 · DBLP profile ↗
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1ranked-venue papers
0as first author
1since 2021 · last 2025
—ORCID · none

Domains — the database's venue-derived domains; a paper can count in several

Artificial intelligence and machine learning · 1 · 1 since 2021Graphics, computer vision, multimedia, augmented reality and games · 1 · 1 since 2021

Expertise — from the expertise taxonomy: the topics of the expert's papers under the CCF categories. A weight counts papers with recency: 1 for a paper about the topic, 0.3 when the topic is its context, halved every five years.

Computer graphics and multimedia
1 paper
Audio and music processing · 100%
Artificial intelligence
1 paper
Deep learning architectures and training · 100%

Topics — the 3 heaviest of 3, each with the papers that count most for it

TopicWeightPapersLastEvidence papers
Audio and music processing › music analysis
music performance analysis
0.912025
Detecting Music Performance Errors with Transformers · AAAI 2025
Audio and music processing
music transcription
0.912025
Detecting Music Performance Errors with Transformers · AAAI 2025
Machine learning › Deep learning architectures and training
transformer
0.312025
Detecting Music Performance Errors with Transformers · AAAI 2025

Methods — techniques the papers use, named apart from their topics

transformer · 1.7synthetic data generation · 1.7latent alignment · 1.7
YearPublicationVenuePosition
2025 Detecting Music Performance Errors with Transformers
abstract
Beginner musicians often struggle to identify specific errors in their performances, such as playing incorrect notes or rhythms. There are two limitations in existing tools for music error detection: (1) Existing approaches rely on automatic alignment; therefore, they are prone to errors caused by small deviations between alignment targets; (2) There is insufficient data to train music error detection models, resulting in over-reliance on heuristics. To address (1), we propose a novel transformer model, Polytune, that takes audio inputs and outputs annotated music scores. This model can be trained end-to-end to implicitly align and compare performance audio with music scores through latent space representations. To address (2), we present a novel data generation technique capable of creating large-scale synthetic music error datasets. Our approach achieves a 64.1% average Error Detection F1 score, improving upon prior work by 40 percentage points across 14 instruments. Additionally, our model can handle multiple instruments compared with existing transcription methods repurposed for music error detection.
Benjamin Shiue-Hal Chou, Purvish Jajal, Nicholas Eliopoulos, Tim Nadolsky, Cheng-Yun Yang, Nikita Ravi, James C. Davis 0001, Kristen Yeon-Ji Yun, Yung-Hsiang Lu
AAAI8