Abstract: Handwritten documents are not only preserved in historical archives but also widely used in administrative documents such as cheques and claims. With the rise of the deep learning era, many state-of-the-art approaches have achieved good performance on specific datasets for Handwritten Text Recognition (HTR). However, it is still challenging to solve real use cases because of the varied handwriting styles across different writers and the limited labeled data. Thus, both explorin a more robust handwriting recognition architectures and proposing methods to diminish the gap between the source and target data in an unsupervised way are
demanded.
In this thesis, firstly, we explore novel architectures for HTR, from Sequence-to-Sequence (Seq2Seq) method with attention mechanism to non-recurrent Transformer-based method. Secondly, we focus on diminishing the performance gap between source and target data in an unsupervised way. Finally, we propose a group of generative methods for handwritten text images, which could be utilized to increase the training set to obtain a more robust recognizer. In addition, by simply modifying the generative method and joining it with a recognizer, we end up with an effective disentanglement method to distill textual content from handwriting styles so as to achieve a generalized recognition performance.
We outperform state-of-the-art HTR performances in the experimental results among different scientific and industrial datasets, which prove the effectiveness of the proposed methods. To the best of our knowledge, the non-recurrent recognizer and the disentanglement method are the first contributions in the handwriting recognition field. Furthermore, we have outlined the potential research lines, which would be interesting to explore in the future.

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.