Abstract: The broad access to digital cameras, personal computers and Internet, has lead to the generation of large volumes of data in digital form. If we want an effective usage of this huge amount of data, we need automatic tools to allow the retrieval of relevant information. Image data is a particular type of information that requires specific techniques of description and indexing. The computer vision field that studies these kind of techniques is called Content-Based Image Retrieval (CBIR). Instead of using text-based descriptions, a system of CBIR deals on properties that are inherent in the images themselves. Hence, the feature-based description provides a universal via of image expression in contrast with the more than 6000 languages spoken in the world.
Nowadays, the CBIR is a dynamic focus of research that has derived in important applications for many professional groups. The potential fields of application can be such diverse as: the medical domain, the crime prevention, the protection of the intel- lectual property, the journalism, the graphic design, the web search, the preservation of cultural heritage, etc.
The definition on the role of the user is a key point in the development of a CBIR application. The user is in charge to formulate the queries from which the images are retrieved. We have centered our attention on the image retrieval techniques that use queries based on pictorial information. We have identified a taxonomy composed by four main query paradigms: query-by-selection, query-by-iconic-composition, query- by-sketch and query-by-paint. Each one of these paradigms allows a different degree of user expressivity. From a simple image selection, to a complete painting of the query, the user takes control of the input in the CBIR system.
Along the chapters of this thesis we have analyzed the influence that each query paradigm imposes in the internal operations of a CBIR system. Moreover, we have proposed a set of contributions that we have exemplified in the context of a final application.

Abstract: The transcription of sheet music into some machine-readable format can be carried out manually. However, the complexity of music notation inevitably leads to burdensome software for music score editing, which makes the whole process
very time-consuming and prone to errors. Consequently, automatic transcription
systems for musical documents represent interesting tools.
Document analysis is the subject that deals with the extraction and processing
of documents through image and pattern recognition. It is a branch of computer
vision. Taking music scores as source, the field devoted to address this task is
known as Optical Music Recognition (OMR). Typically, an OMR system takes an
image of a music score and automatically extracts its content into some symbolic
structure such as MEI or MusicXML.
In this dissertation, we have investigated different methods for recognizing a
single staff section (e.g. scores for violin, flute, etc.), much in the same way as most text recognition research focuses on recognizing words appearing in a given line image. These methods are based in two different methodologies. On the one hand, we present two methods based on Recurrent Neural Networks, in particular, the
Long Short-Term Memory Neural Network. On the other hand, a method based on Sequence to Sequence models is detailed.
Music context is needed to improve the OMR results, just like language models
and dictionaries help in handwriting recognition. For example, syntactical rules
and grammars could be easily defined to cope with the ambiguities in the rhythm.
In music theory, for example, the time signature defines the amount of beats per
bar unit. Thus, in the second part of this dissertation, different methodologies
have been investigated to improve the OMR recognition. We have explored three
different methods: (a) a graphic tree-structure representation, Dendrograms, that
joins, at each level, its primitives following a set of rules, (b) the incorporation of Language Models to model the probability of a sequence of tokens, and (c) graph neural networks to analyze the music scores to avoid meaningless relationships between music primitives.
Finally, to train all these methodologies, and given the method-specificity of
the datasets in the literature, we have created four different music datasets. Two of them are synthetic with a modern or old handwritten appearance, whereas the
other two are real handwritten scores, being one of them modern and the other
old.