Daily Papers

Music composition represents the creative side of humanity, and itself is a complex task that requires abilities to understand and generate information with long dependency and harmony constraints. While demonstrating impressive capabilities in STEM subjects, current LLMs easily fail in this task, generating ill-written music even when equipped with modern techniques like In-Context-Learning and Chain-of-Thoughts. To further explore and enhance LLMs' potential in music composition by leveraging their reasoning ability and the large knowledge base in music history and theory, we propose ComposerX, an agent-based symbolic music generation framework. We find that applying a multi-agent approach significantly improves the music composition quality of GPT-4. The results demonstrate that ComposerX is capable of producing coherent polyphonic music compositions with captivating melodies, while adhering to user instructions.

A great number of deep learning based models have been recently proposed for automatic music composition. Among these models, the Transformer stands out as a prominent approach for generating expressive classical piano performance with a coherent structure of up to one minute. The model is powerful in that it learns abstractions of data on its own, without much human-imposed domain knowledge or constraints. In contrast with this general approach, this paper shows that Transformers can do even better for music modeling, when we improve the way a musical score is converted into the data fed to a Transformer model. In particular, we seek to impose a metrical structure in the input data, so that Transformers can be more easily aware of the beat-bar-phrase hierarchical structure in music. The new data representation maintains the flexibility of local tempo changes, and provides hurdles to control the rhythmic and harmonic structure of music. With this approach, we build a Pop Music Transformer that composes Pop piano music with better rhythmic structure than existing Transformer models.

We show that coherent, long-form musical composition can emerge from a decentralized swarm of identical, frozen foundation models that coordinate via stigmergic, peer-to-peer signals, without any weight updates. We compare a centralized multi-agent system with a global critic to a fully decentralized swarm in which bar-wise agents sense and deposit harmonic, rhythmic, and structural cues, adapt short-term memory, and reach consensus. Across symbolic, audio, and graph-theoretic analyses, the swarm yields superior quality while delivering greater diversity and structural variety and leads across creativity metrics. The dynamics contract toward a stable configuration of complementary roles, and self-similarity networks reveal a small-world architecture with efficient long-range connectivity and specialized bridging motifs, clarifying how local novelties consolidate into global musical form. By shifting specialization from parameter updates to interaction rules, shared memory, and dynamic consensus, MusicSwarm provides a compute- and data-efficient route to long-horizon creative structure that is immediately transferable beyond music to collaborative writing, design, and scientific discovery.

This outing is part of a larger music technology research project. The objective is to find a method for materially enhancing music using hardware and software. There is a strong likelihood that there exists a new medium for experiencing music via a wearable device that ordinary listeners prefer over the current state of the art. If such a medium is discovered, it is a step towards altruistic, prosocial reform in the music industry. A new playback system infrastructure has a chance to soothe some of the societal problems tied to the larger entertainment industry ecosystem. Iola walker is a music playback system that allows musicians to compose music that changes in accordance with the listener's gait. Artifacts are available here: https://github.com/willbjames/iolawalker

We present and release MIDI-GPT, a generative system based on the Transformer architecture that is designed for computer-assisted music composition workflows. MIDI-GPT supports the infilling of musical material at the track and bar level, and can condition generation on attributes including: instrument type, musical style, note density, polyphony level, and note duration. In order to integrate these features, we employ an alternative representation for musical material, creating a time-ordered sequence of musical events for each track and concatenating several tracks into a single sequence, rather than using a single time-ordered sequence where the musical events corresponding to different tracks are interleaved. We also propose a variation of our representation allowing for expressiveness. We present experimental results that demonstrate that MIDI-GPT is able to consistently avoid duplicating the musical material it was trained on, generate music that is stylistically similar to the training dataset, and that attribute controls allow enforcing various constraints on the generated material. We also outline several real-world applications of MIDI-GPT, including collaborations with industry partners that explore the integration and evaluation of MIDI-GPT into commercial products, as well as several artistic works produced using it.

Diffusion models have shown promising results in cross-modal generation tasks involving audio and music, such as text-to-sound and text-to-music generation. These text-controlled music generation models typically focus on generating music by capturing global musical attributes like genre and mood. However, music composition is a complex, multilayered task that often involves musical arrangement as an integral part of the process. This process involves composing each instrument to align with existing ones in terms of beat, dynamics, harmony, and melody, requiring greater precision and control over tracks than text prompts usually provide. In this work, we address these challenges by extending the MusicLDM, a latent diffusion model for music, into a multi-track generative model. By learning the joint probability of tracks sharing a context, our model is capable of generating music across several tracks that correspond well to each other, either conditionally or unconditionally. Additionally, our model is capable of arrangement generation, where the model can generate any subset of tracks given the others (e.g., generating a piano track complementing given bass and drum tracks). We compared our model with an existing multi-track generative model and demonstrated that our model achieves considerable improvements across objective metrics for both total and arrangement generation tasks.

Generating music from text descriptions is a user-friendly mode since the text is a relatively easy interface for user engagement. While some approaches utilize texts to control music audio generation, editing musical elements in generated audio is challenging for users. In contrast, symbolic music offers ease of editing, making it more accessible for users to manipulate specific musical elements. In this paper, we propose MuseCoco, which generates symbolic music from text descriptions with musical attributes as the bridge to break down the task into text-to-attribute understanding and attribute-to-music generation stages. MuseCoCo stands for Music Composition Copilot that empowers musicians to generate music directly from given text descriptions, offering a significant improvement in efficiency compared to creating music entirely from scratch. The system has two main advantages: Firstly, it is data efficient. In the attribute-to-music generation stage, the attributes can be directly extracted from music sequences, making the model training self-supervised. In the text-to-attribute understanding stage, the text is synthesized and refined by ChatGPT based on the defined attribute templates. Secondly, the system can achieve precise control with specific attributes in text descriptions and offers multiple control options through attribute-conditioned or text-conditioned approaches. MuseCoco outperforms baseline systems in terms of musicality, controllability, and overall score by at least 1.27, 1.08, and 1.32 respectively. Besides, there is a notable enhancement of about 20% in objective control accuracy. In addition, we have developed a robust large-scale model with 1.2 billion parameters, showcasing exceptional controllability and musicality.

Subword tokenization has been widely successful in text-based natural language processing (NLP) tasks with Transformer-based models. As Transformer models become increasingly popular in symbolic music-related studies, it is imperative to investigate the efficacy of subword tokenization in the symbolic music domain. In this paper, we explore subword tokenization techniques, such as byte-pair encoding (BPE), in symbolic music generation and its impact on the overall structure of generated songs. Our experiments are based on three types of MIDI datasets: single track-melody only, multi-track with a single instrument, and multi-track and multi-instrument. We apply subword tokenization on post-musical tokenization schemes and find that it enables the generation of longer songs at the same time and improves the overall structure of the generated music in terms of objective metrics like structure indicator (SI), Pitch Class Entropy, etc. We also compare two subword tokenization methods, BPE and Unigram, and observe that both methods lead to consistent improvements. Our study suggests that subword tokenization is a promising technique for symbolic music generation and may have broader implications for music composition, particularly in cases involving complex data such as multi-track songs.

Autoregressive (AR) models have demonstrated impressive capabilities in generating high-fidelity music. However, the conventional next-token prediction paradigm in AR models does not align with the human creative process in music composition, potentially compromising the musicality of generated samples. To overcome this limitation, we introduce MusiCoT, a novel chain-of-thought (CoT) prompting technique tailored for music generation. MusiCoT empowers the AR model to first outline an overall music structure before generating audio tokens, thereby enhancing the coherence and creativity of the resulting compositions. By leveraging the contrastive language-audio pretraining (CLAP) model, we establish a chain of "musical thoughts", making MusiCoT scalable and independent of human-labeled data, in contrast to conventional CoT methods. Moreover, MusiCoT allows for in-depth analysis of music structure, such as instrumental arrangements, and supports music referencing -- accepting variable-length audio inputs as optional style references. This innovative approach effectively addresses copying issues, positioning MusiCoT as a vital practical method for music prompting. Our experimental results indicate that MusiCoT consistently achieves superior performance across both objective and subjective metrics, producing music quality that rivals state-of-the-art generation models. Our samples are available at https://MusiCoT.github.io/.

The field of automatic music composition has seen great progress in recent years, specifically with the invention of transformer-based architectures. When using any deep learning model which considers music as a sequence of events with multiple complex dependencies, the selection of a proper data representation is crucial. In this paper, we tackle the task of conditional drums generation using a novel data encoding scheme inspired by the Compound Word representation, a tokenization process of sequential data. Therefore, we present a sequence-to-sequence architecture where a Bidirectional Long short-term memory (BiLSTM) Encoder receives information about the conditioning parameters (i.e., accompanying tracks and musical attributes), while a Transformer-based Decoder with relative global attention produces the generated drum sequences. We conducted experiments to thoroughly compare the effectiveness of our method to several baselines. Quantitative evaluation shows that our model is able to generate drums sequences that have similar statistical distributions and characteristics to the training corpus. These features include syncopation, compression ratio, and symmetry among others. We also verified, through a listening test, that generated drum sequences sound pleasant, natural and coherent while they "groove" with the given accompaniment.

The field of automatic music composition has seen great progress in the last few years, much of which can be attributed to advances in deep neural networks. There are numerous studies that present different strategies for generating sheet music from scratch. The inclusion of high-level musical characteristics (e.g., perceived emotional qualities), however, as conditions for controlling the generation output remains a challenge. In this paper, we present a novel approach for calculating the valence (the positivity or negativity of the perceived emotion) of a chord progression within a lead sheet, using pre-defined mood tags proposed by music experts. Based on this approach, we propose a novel strategy for conditional lead sheet generation that allows us to steer the music generation in terms of valence, phrasing, and time signature. Our approach is similar to a Neural Machine Translation (NMT) problem, as we include high-level conditions in the encoder part of the sequence-to-sequence architectures used (i.e., long-short term memory networks, and a Transformer network). We conducted experiments to thoroughly analyze these two architectures. The results show that the proposed strategy is able to generate lead sheets in a controllable manner, resulting in distributions of musical attributes similar to those of the training dataset. We also verified through a subjective listening test that our approach is effective in controlling the valence of a generated chord progression.

Customizable multilingual zero-shot singing voice synthesis (SVS) has various potential applications in music composition and short video dubbing. However, existing SVS models overly depend on phoneme and note boundary annotations, limiting their robustness in zero-shot scenarios and producing poor transitions between phonemes and notes. Moreover, they also lack effective multi-level style control via diverse prompts. To overcome these challenges, we introduce TCSinger 2, a multi-task multilingual zero-shot SVS model with style transfer and style control based on various prompts. TCSinger 2 mainly includes three key modules: 1) Blurred Boundary Content (BBC) Encoder, predicts duration, extends content embedding, and applies masking to the boundaries to enable smooth transitions. 2) Custom Audio Encoder, uses contrastive learning to extract aligned representations from singing, speech, and textual prompts. 3) Flow-based Custom Transformer, leverages Cus-MOE, with F0 supervision, enhancing both the synthesis quality and style modeling of the generated singing voice. Experimental results show that TCSinger 2 outperforms baseline models in both subjective and objective metrics across multiple related tasks. Singing voice samples are available at https://aaronz345.github.io/TCSinger2Demo/.

With rapid advances in generative artificial intelligence, the text-to-music synthesis task has emerged as a promising direction for music generation from scratch. However, finer-grained control over multi-track generation remains an open challenge. Existing models exhibit strong raw generation capability but lack the flexibility to compose separate tracks and combine them in a controllable manner, differing from typical workflows of human composers. To address this issue, we propose JEN-1 Composer, a unified framework to efficiently model marginal, conditional, and joint distributions over multi-track music via a single model. JEN-1 Composer framework exhibits the capacity to seamlessly incorporate any diffusion-based music generation system, e.g. Jen-1, enhancing its capacity for versatile multi-track music generation. We introduce a curriculum training strategy aimed at incrementally instructing the model in the transition from single-track generation to the flexible generation of multi-track combinations. During the inference, users have the ability to iteratively produce and choose music tracks that meet their preferences, subsequently creating an entire musical composition incrementally following the proposed Human-AI co-composition workflow. Quantitative and qualitative assessments demonstrate state-of-the-art performance in controllable and high-fidelity multi-track music synthesis. The proposed JEN-1 Composer represents a significant advance toward interactive AI-facilitated music creation and composition. Demos will be available at https://jenmusic.ai/audio-demos.

Music relies heavily on repetition to build structure and meaning. Self-reference occurs on multiple timescales, from motifs to phrases to reusing of entire sections of music, such as in pieces with ABA structure. The Transformer (Vaswani et al., 2017), a sequence model based on self-attention, has achieved compelling results in many generation tasks that require maintaining long-range coherence. This suggests that self-attention might also be well-suited to modeling music. In musical composition and performance, however, relative timing is critically important. Existing approaches for representing relative positional information in the Transformer modulate attention based on pairwise distance (Shaw et al., 2018). This is impractical for long sequences such as musical compositions since their memory complexity for intermediate relative information is quadratic in the sequence length. We propose an algorithm that reduces their intermediate memory requirement to linear in the sequence length. This enables us to demonstrate that a Transformer with our modified relative attention mechanism can generate minute-long compositions (thousands of steps, four times the length modeled in Oore et al., 2018) with compelling structure, generate continuations that coherently elaborate on a given motif, and in a seq2seq setup generate accompaniments conditioned on melodies. We evaluate the Transformer with our relative attention mechanism on two datasets, JSB Chorales and Piano-e-Competition, and obtain state-of-the-art results on the latter.

Learning musical structures and composition patterns is necessary for both music generation and understanding, but current methods do not make uniform use of learned features to generate and comprehend music simultaneously. In this paper, we propose PianoBART, a pre-trained model that uses BART for both symbolic piano music generation and understanding. We devise a multi-level object selection strategy for different pre-training tasks of PianoBART, which can prevent information leakage or loss and enhance learning ability. The musical semantics captured in pre-training are fine-tuned for music generation and understanding tasks. Experiments demonstrate that PianoBART efficiently learns musical patterns and achieves outstanding performance in generating high-quality coherent pieces and comprehending music. Our code and supplementary material are available at https://github.com/RS2002/PianoBart.

Controllable music generation promotes the interaction between humans and composition systems by projecting the users' intent on their desired music. The challenge of introducing controllability is an increasingly important issue in the symbolic music generation field. When building controllable generative popular multi-instrument music systems, two main challenges typically present themselves, namely weak controllability and poor music quality. To address these issues, we first propose spatiotemporal features as powerful and fine-grained controls to enhance the controllability of the generative model. In addition, an efficient music representation called REMI_Track is designed to convert multitrack music into multiple parallel music sequences and shorten the sequence length of each track with Byte Pair Encoding (BPE) techniques. Subsequently, we release BandControlNet, a conditional model based on parallel Transformers, to tackle the multiple music sequences and generate high-quality music samples that are conditioned to the given spatiotemporal control features. More concretely, the two specially designed modules of BandControlNet, namely structure-enhanced self-attention (SE-SA) and Cross-Track Transformer (CTT), are utilized to strengthen the resulting musical structure and inter-track harmony modeling respectively. Experimental results tested on two popular music datasets of different lengths demonstrate that the proposed BandControlNet outperforms other conditional music generation models on most objective metrics in terms of fidelity and inference speed and shows great robustness in generating long music samples. The subjective evaluations show BandControlNet trained on short datasets can generate music with comparable quality to state-of-the-art models, while outperforming them significantly using longer datasets.

We present SongComposer, an innovative LLM designed for song composition. It could understand and generate melodies and lyrics in symbolic song representations, by leveraging the capability of LLM. Existing music-related LLM treated the music as quantized audio signals, while such implicit encoding leads to inefficient encoding and poor flexibility. In contrast, we resort to symbolic song representation, the mature and efficient way humans designed for music, and enable LLM to explicitly compose songs like humans. In practice, we design a novel tuple design to format lyric and three note attributes (pitch, duration, and rest duration) in the melody, which guarantees the correct LLM understanding of musical symbols and realizes precise alignment between lyrics and melody. To impart basic music understanding to LLM, we carefully collected SongCompose-PT, a large-scale song pretraining dataset that includes lyrics, melodies, and paired lyrics-melodies in either Chinese or English. After adequate pre-training, 10K carefully crafted QA pairs are used to empower the LLM with the instruction-following capability and solve diverse tasks. With extensive experiments, SongComposer demonstrates superior performance in lyric-to-melody generation, melody-to-lyric generation, song continuation, and text-to-song creation, outperforming advanced LLMs like GPT-4.

We present X-Dancer, a novel zero-shot music-driven image animation pipeline that creates diverse and long-range lifelike human dance videos from a single static image. As its core, we introduce a unified transformer-diffusion framework, featuring an autoregressive transformer model that synthesize extended and music-synchronized token sequences for 2D body, head and hands poses, which then guide a diffusion model to produce coherent and realistic dance video frames. Unlike traditional methods that primarily generate human motion in 3D, X-Dancer addresses data limitations and enhances scalability by modeling a wide spectrum of 2D dance motions, capturing their nuanced alignment with musical beats through readily available monocular videos. To achieve this, we first build a spatially compositional token representation from 2D human pose labels associated with keypoint confidences, encoding both large articulated body movements (e.g., upper and lower body) and fine-grained motions (e.g., head and hands). We then design a music-to-motion transformer model that autoregressively generates music-aligned dance pose token sequences, incorporating global attention to both musical style and prior motion context. Finally we leverage a diffusion backbone to animate the reference image with these synthesized pose tokens through AdaIN, forming a fully differentiable end-to-end framework. Experimental results demonstrate that X-Dancer is able to produce both diverse and characterized dance videos, substantially outperforming state-of-the-art methods in term of diversity, expressiveness and realism. Code and model will be available for research purposes.

Existing work in automatic music generation has primarily focused on end-to-end systems that produce complete compositions or continuations. However, because musical composition is typically an iterative process, such systems make it difficult to engage in the back-and-forth between human and machine that is essential to computer-assisted creativity. In this study, we address the task of personalizable, multi-track, long-context, and controllable symbolic music infilling to enhance the process of computer-assisted composition. We present MIDI-RWKV, a novel model based on the RWKV-7 linear architecture, to enable efficient and coherent musical cocreation on edge devices. We also demonstrate that MIDI-RWKV admits an effective method of finetuning its initial state for personalization in the very-low-sample regime. We evaluate MIDI-RWKV and its state tuning on several quantitative and qualitative metrics, and release model weights and code at https://github.com/christianazinn/MIDI-RWKV.

We introduce a film score generation framework to harmonize visual pixels and music melodies utilizing a latent diffusion model. Our framework processes film clips as input and generates music that aligns with a general theme while offering the capability to tailor outputs to a specific composition style. Our model directly produces music from video, utilizing a streamlined and efficient tuning mechanism on ControlNet. It also integrates a film encoder adept at understanding the film's semantic depth, emotional impact, and aesthetic appeal. Additionally, we introduce a novel, effective yet straightforward evaluation metric to evaluate the originality and recognizability of music within film scores. To fill this gap for film scores, we curate a comprehensive dataset of film videos and legendary original scores, injecting domain-specific knowledge into our data-driven generation model. Our model outperforms existing methodologies in creating film scores, capable of generating music that reflects the guidance of a maestro's style, thereby redefining the benchmark for automated film scores and laying a robust groundwork for future research in this domain. The code and generated samples are available at https://anonymous.4open.science/r/HPM.

Recent advances in generative AI for music have achieved remarkable fidelity and stylistic diversity, yet these systems often fail to align with nuanced human preferences due to the specific loss functions they use. This paper advocates for the systematic application of preference alignment techniques to music generation, addressing the fundamental gap between computational optimization and human musical appreciation. Drawing on recent breakthroughs including MusicRL's large-scale preference learning, multi-preference alignment frameworks like diffusion-based preference optimization in DiffRhythm+, and inference-time optimization techniques like Text2midi-InferAlign, we discuss how these techniques can address music's unique challenges: temporal coherence, harmonic consistency, and subjective quality assessment. We identify key research challenges including scalability to long-form compositions, reliability amongst others in preference modelling. Looking forward, we envision preference-aligned music generation enabling transformative applications in interactive composition tools and personalized music services. This work calls for sustained interdisciplinary research combining advances in machine learning, music-theory to create music AI systems that truly serve human creative and experiential needs.

With the rise of short video platforms represented by TikTok, the trend of users expressing their creativity through photos and videos has increased dramatically. However, ordinary users lack the professional skills to produce high-quality videos using professional creation software. To meet the demand for intelligent and user-friendly video creation tools, we propose the Dynamic Visual Composition (DVC) task, an interesting and challenging task that aims to automatically integrate various media elements based on user requirements and create storytelling videos. We propose an Intelligent Director framework, utilizing LENS to generate descriptions for images and video frames and combining ChatGPT to generate coherent captions while recommending appropriate music names. Then, the best-matched music is obtained through music retrieval. Then, materials such as captions, images, videos, and music are integrated to seamlessly synthesize the video. Finally, we apply AnimeGANv2 for style transfer. We construct UCF101-DVC and Personal Album datasets and verified the effectiveness of our framework in solving DVC through qualitative and quantitative comparisons, along with user studies, demonstrating its substantial potential.

Large Language Models (LLMs) have shown great promise in integrating diverse expert models to tackle intricate language and vision tasks. Despite their significance in advancing the field of Artificial Intelligence Generated Content (AIGC), their potential in intelligent audio content creation remains unexplored. In this work, we tackle the problem of creating audio content with storylines encompassing speech, music, and sound effects, guided by text instructions. We present WavJourney, a system that leverages LLMs to connect various audio models for audio content generation. Given a text description of an auditory scene, WavJourney first prompts LLMs to generate a structured script dedicated to audio storytelling. The audio script incorporates diverse audio elements, organized based on their spatio-temporal relationships. As a conceptual representation of audio, the audio script provides an interactive and interpretable rationale for human engagement. Afterward, the audio script is fed into a script compiler, converting it into a computer program. Each line of the program calls a task-specific audio generation model or computational operation function (e.g., concatenate, mix). The computer program is then executed to obtain an explainable solution for audio generation. We demonstrate the practicality of WavJourney across diverse real-world scenarios, including science fiction, education, and radio play. The explainable and interactive design of WavJourney fosters human-machine co-creation in multi-round dialogues, enhancing creative control and adaptability in audio production. WavJourney audiolizes the human imagination, opening up new avenues for creativity in multimedia content creation.

Recent advances in Multimodal Large Language Models (MLLMs) have demonstrated impressive capabilities across various vision-language tasks. However, their reasoning abilities in the multimodal symbolic music domain remain largely unexplored. We introduce WildScore, the first in-the-wild multimodal symbolic music reasoning and analysis benchmark, designed to evaluate MLLMs' capacity to interpret real-world music scores and answer complex musicological queries. Each instance in WildScore is sourced from genuine musical compositions and accompanied by authentic user-generated questions and discussions, capturing the intricacies of practical music analysis. To facilitate systematic evaluation, we propose a systematic taxonomy, comprising both high-level and fine-grained musicological ontologies. Furthermore, we frame complex music reasoning as multiple-choice question answering, enabling controlled and scalable assessment of MLLMs' symbolic music understanding. Empirical benchmarking of state-of-the-art MLLMs on WildScore reveals intriguing patterns in their visual-symbolic reasoning, uncovering both promising directions and persistent challenges for MLLMs in symbolic music reasoning and analysis. We release the dataset and code.

Conditional human motion generation is an important topic with many applications in virtual reality, gaming, and robotics. While prior works have focused on generating motion guided by text, music, or scenes, these typically result in isolated motions confined to short durations. Instead, we address the generation of long, continuous sequences guided by a series of varying textual descriptions. In this context, we introduce FlowMDM, the first diffusion-based model that generates seamless Human Motion Compositions (HMC) without any postprocessing or redundant denoising steps. For this, we introduce the Blended Positional Encodings, a technique that leverages both absolute and relative positional encodings in the denoising chain. More specifically, global motion coherence is recovered at the absolute stage, whereas smooth and realistic transitions are built at the relative stage. As a result, we achieve state-of-the-art results in terms of accuracy, realism, and smoothness on the Babel and HumanML3D datasets. FlowMDM excels when trained with only a single description per motion sequence thanks to its Pose-Centric Cross-ATtention, which makes it robust against varying text descriptions at inference time. Finally, to address the limitations of existing HMC metrics, we propose two new metrics: the Peak Jerk and the Area Under the Jerk, to detect abrupt transitions.

Existing music captioning methods are limited to generating concise global descriptions of short music clips, which fail to capture fine-grained musical characteristics and time-aware musical changes. To address these limitations, we propose FUTGA, a model equipped with fined-grained music understanding capabilities through learning from generative augmentation with temporal compositions. We leverage existing music caption datasets and large language models (LLMs) to synthesize fine-grained music captions with structural descriptions and time boundaries for full-length songs. Augmented by the proposed synthetic dataset, FUTGA is enabled to identify the music's temporal changes at key transition points and their musical functions, as well as generate detailed descriptions for each music segment. We further introduce a full-length music caption dataset generated by FUTGA, as the augmentation of the MusicCaps and the Song Describer datasets. We evaluate the automatically generated captions on several downstream tasks, including music generation and retrieval. The experiments demonstrate the quality of the generated captions and the better performance in various downstream tasks achieved by the proposed music captioning approach. Our code and datasets can be found in https://huggingface.co/JoshuaW1997/FUTGA{blue{https://huggingface.co/JoshuaW1997/FUTGA}}.

In this paper, we explore the application of Large Language Models (LLMs) to the pre-training of music. While the prevalent use of MIDI in music modeling is well-established, our findings suggest that LLMs are inherently more compatible with ABC Notation, which aligns more closely with their design and strengths, thereby enhancing the model's performance in musical composition. To address the challenges associated with misaligned measures from different tracks during generation, we propose the development of a Synchronized Multi-Track ABC Notation (SMT-ABC Notation), which aims to preserve coherence across multiple musical tracks. Our contributions include a series of models capable of handling up to 8192 tokens, covering 90\% of the symbolic music data in our training set. Furthermore, we explore the implications of the Symbolic Music Scaling Law (SMS Law) on model performance. The results indicate a promising direction for future research in music generation, offering extensive resources for community-led research through our open-source contributions.

An ideal music synthesizer should be both interactive and expressive, generating high-fidelity audio in realtime for arbitrary combinations of instruments and notes. Recent neural synthesizers have exhibited a tradeoff between domain-specific models that offer detailed control of only specific instruments, or raw waveform models that can train on any music but with minimal control and slow generation. In this work, we focus on a middle ground of neural synthesizers that can generate audio from MIDI sequences with arbitrary combinations of instruments in realtime. This enables training on a wide range of transcription datasets with a single model, which in turn offers note-level control of composition and instrumentation across a wide range of instruments. We use a simple two-stage process: MIDI to spectrograms with an encoder-decoder Transformer, then spectrograms to audio with a generative adversarial network (GAN) spectrogram inverter. We compare training the decoder as an autoregressive model and as a Denoising Diffusion Probabilistic Model (DDPM) and find that the DDPM approach is superior both qualitatively and as measured by audio reconstruction and Fr\'echet distance metrics. Given the interactivity and generality of this approach, we find this to be a promising first step towards interactive and expressive neural synthesis for arbitrary combinations of instruments and notes.

We present Text2midi-InferAlign, a novel technique for improving symbolic music generation at inference time. Our method leverages text-to-audio alignment and music structural alignment rewards during inference to encourage the generated music to be consistent with the input caption. Specifically, we introduce two objectives scores: a text-audio consistency score that measures rhythmic alignment between the generated music and the original text caption, and a harmonic consistency score that penalizes generated music containing notes inconsistent with the key. By optimizing these alignment-based objectives during the generation process, our model produces symbolic music that is more closely tied to the input captions, thereby improving the overall quality and coherence of the generated compositions. Our approach can extend any existing autoregressive model without requiring further training or fine-tuning. We evaluate our work on top of Text2midi - an existing text-to-midi generation model, demonstrating significant improvements in both objective and subjective evaluation metrics.

We introduce NotaGen, a symbolic music generation model aiming to explore the potential of producing high-quality classical sheet music. Inspired by the success of Large Language Models (LLMs), NotaGen adopts pre-training, fine-tuning, and reinforcement learning paradigms (henceforth referred to as the LLM training paradigms). It is pre-trained on 1.6M pieces of music, and then fine-tuned on approximately 9K high-quality classical compositions conditioned on "period-composer-instrumentation" prompts. For reinforcement learning, we propose the CLaMP-DPO method, which further enhances generation quality and controllability without requiring human annotations or predefined rewards. Our experiments demonstrate the efficacy of CLaMP-DPO in symbolic music generation models with different architectures and encoding schemes. Furthermore, subjective A/B tests show that NotaGen outperforms baseline models against human compositions, greatly advancing musical aesthetics in symbolic music generation.The project homepage is https://electricalexis.github.io/notagen-demo.

Word embedding pioneered by Mikolov et al. is a staple technique for word representations in natural language processing (NLP) research which has also found popularity in music information retrieval tasks. Depending on the type of text data for word embedding, however, vocabulary size and the degree of musical pertinence can significantly vary. In this work, we (1) train the distributed representation of words using combinations of both general text data and music-specific data and (2) evaluate the system in terms of how they associate listening contexts with musical compositions.

Recent progress in text-to-music generation has enabled models to synthesize high-quality musical segments, full compositions, and even respond to fine-grained control signals, e.g. chord progressions. State-of-the-art (SOTA) systems differ significantly across many dimensions, such as training datasets, modeling paradigms, and architectural choices. This diversity complicates efforts to evaluate models fairly and pinpoint which design choices most influence performance. While factors like data and architecture are important, in this study we focus exclusively on the modeling paradigm. We conduct a systematic empirical analysis to isolate its effects, offering insights into associated trade-offs and emergent behaviors that can guide future text-to-music generation systems. Specifically, we compare the two arguably most common modeling paradigms: Auto-Regressive decoding and Conditional Flow-Matching. We conduct a controlled comparison by training all models from scratch using identical datasets, training configurations, and similar backbone architectures. Performance is evaluated across multiple axes, including generation quality, robustness to inference configurations, scalability, adherence to both textual and temporally aligned conditioning, and editing capabilities in the form of audio inpainting. This comparative study sheds light on distinct strengths and limitations of each paradigm, providing actionable insights that can inform future architectural and training decisions in the evolving landscape of text-to-music generation. Audio sampled examples are available at: https://huggingface.co/spaces/ortal1602/ARvsFM

A vital aspect of Indian Classical Music (ICM) is Raga, which serves as a melodic framework for compositions and improvisations alike. Raga Recognition is an important music information retrieval task in ICM as it can aid numerous downstream applications ranging from music recommendations to organizing huge music collections. In this work, we propose a deep learning based approach to Raga recognition. Our approach employs efficient pre possessing and learns temporal sequences in music data using Long Short Term Memory based Recurrent Neural Networks (LSTM-RNN). We train and test the network on smaller sequences sampled from the original audio while the final inference is performed on the audio as a whole. Our method achieves an accuracy of 88.1% and 97 % during inference on the Comp Music Carnatic dataset and its 10 Raga subset respectively making it the state-of-the-art for the Raga recognition task. Our approach also enables sequence ranking which aids us in retrieving melodic patterns from a given music data base that are closely related to the presented query sequence.

This paper presents the Jazz Transformer, a generative model that utilizes a neural sequence model called the Transformer-XL for modeling lead sheets of Jazz music. Moreover, the model endeavors to incorporate structural events present in the Weimar Jazz Database (WJazzD) for inducing structures in the generated music. While we are able to reduce the training loss to a low value, our listening test suggests however a clear gap between the average ratings of the generated and real compositions. We therefore go one step further and conduct a series of computational analysis of the generated compositions from different perspectives. This includes analyzing the statistics of the pitch class, grooving, and chord progression, assessing the structureness of the music with the help of the fitness scape plot, and evaluating the model's understanding of Jazz music through a MIREX-like continuation prediction task. Our work presents in an analytical manner why machine-generated music to date still falls short of the artwork of humanity, and sets some goals for future work on automatic composition to further pursue.

Singing voice detection (SVD), to recognize vocal parts in the song, is an essential task in music information retrieval (MIR). The task remains challenging since singing voice varies and intertwines with the accompaniment music, especially for some complicated polyphonic music such as choral music recordings. To address this problem, we investigate singing voice detection while discarding the interference from the accompaniment. The proposed SVD has two steps: i. The singing voice separation (SVS) technique is first utilized to filter out the singing voice's potential part coarsely. ii. Upon the continuity of vocal in the time domain, Long-term Recurrent Convolutional Networks (LRCN) is used to learn compositional features. Moreover, to eliminate the outliers, we choose to use a median filter for time-domain smoothing. Experimental results show that the proposed method outperforms the existing state-of-the-art works on two public datasets, the Jamendo Corpus and the RWC pop dataset.

The scarcity of high-quality and multi-task singing datasets significantly hinders the development of diverse controllable and personalized singing tasks, as existing singing datasets suffer from low quality, limited diversity of languages and singers, absence of multi-technique information and realistic music scores, and poor task suitability. To tackle these problems, we present GTSinger, a large Global, multi-Technique, free-to-use, high-quality singing corpus with realistic music scores, designed for all singing tasks, along with its benchmarks. Particularly, (1) we collect 80.59 hours of high-quality singing voices, forming the largest recorded singing dataset; (2) 20 professional singers across nine widely spoken languages offer diverse timbres and styles; (3) we provide controlled comparison and phoneme-level annotations of six commonly used singing techniques, helping technique modeling and control; (4) GTSinger offers realistic music scores, assisting real-world musical composition; (5) singing voices are accompanied by manual phoneme-to-audio alignments, global style labels, and 16.16 hours of paired speech for various singing tasks. Moreover, to facilitate the use of GTSinger, we conduct four benchmark experiments: technique-controllable singing voice synthesis, technique recognition, style transfer, and speech-to-singing conversion. The corpus and demos can be found at http://gtsinger.github.io. We provide the dataset and the code for processing data and conducting benchmarks at https://huggingface.co/datasets/GTSinger/GTSinger and https://github.com/GTSinger/GTSinger.

Modern music producers commonly use MIDI (Musical Instrument Digital Interface) to store their musical compositions. However, MIDI files created with digital software may lack the expressive characteristics of human performances, essentially leaving the velocity parameter - a control for note loudness - undefined, which defaults to a flat value. The task of filling MIDI velocity is termed MIDI velocity prediction, which uses regression models to enhance music expressiveness by adjusting only this parameter. In this paper, we introduce the U-Net, a widely adopted architecture in image colorization, to this task. By conceptualizing MIDI data as images, we adopt window attention and develop a custom loss function to address the sparsity of MIDI-converted images. Current dataset availability restricts our experiments to piano data. Evaluated on the MAESTRO v3 and SMD datasets, our proposed method for filling MIDI velocity outperforms previous approaches in both quantitative metrics and qualitative listening tests.

Generative models guided by text prompts are increasingly becoming more popular. However, no text-to-MIDI models currently exist, mostly due to the lack of a captioned MIDI dataset. This work aims to enable research that combines LLMs with symbolic music by presenting the first large-scale MIDI dataset with text captions that is openly available: MidiCaps. MIDI (Musical Instrument Digital Interface) files are a widely used format for encoding musical information. Their structured format captures the nuances of musical composition and has practical applications by music producers, composers, musicologists, as well as performers. Inspired by recent advancements in captioning techniques applied to various domains, we present a large-scale curated dataset of over 168k MIDI files accompanied by textual descriptions. Each MIDI caption succinctly describes the musical content, encompassing tempo, chord progression, time signature, instruments present, genre and mood; thereby facilitating multi-modal exploration and analysis. The dataset contains a mix of various genres, styles, and complexities, offering a rich source for training and evaluating models for tasks such as music information retrieval, music understanding and cross-modal translation. We provide detailed statistics about the dataset and have assessed the quality of the captions in an extensive listening study. We anticipate that this resource will stimulate further research in the intersection of music and natural language processing, fostering advancements in both fields.

While recent generative models can produce engaging music, their utility is limited. The variation in the music is often left to chance, resulting in compositions that lack structure. Pieces extending beyond a minute can become incoherent or repetitive. This paper introduces an approach for generating structured, arbitrarily long musical pieces. Central to this approach is the creation of musical segments using a conditional generative model, with transitions between these segments. The generation of prompts that determine the high-level composition is distinct from the creation of finer, lower-level details. A large language model is then used to suggest the musical form.

Large models for text-to-music generation have achieved significant progress, facilitating the creation of high-quality and varied musical compositions from provided text prompts. However, input text prompts may not precisely capture user requirements, particularly when the objective is to generate music that embodies a specific concept derived from a designated reference collection. In this paper, we propose a novel method for customized text-to-music generation, which can capture the concept from a two-minute reference music and generate a new piece of music conforming to the concept. We achieve this by fine-tuning a pretrained text-to-music model using the reference music. However, directly fine-tuning all parameters leads to overfitting issues. To address this problem, we propose a Pivotal Parameters Tuning method that enables the model to assimilate the new concept while preserving its original generative capabilities. Additionally, we identify a potential concept conflict when introducing multiple concepts into the pretrained model. We present a concept enhancement strategy to distinguish multiple concepts, enabling the fine-tuned model to generate music incorporating either individual or multiple concepts simultaneously. Since we are the first to work on the customized music generation task, we also introduce a new dataset and evaluation protocol for the new task. Our proposed Jen1-DreamStyler outperforms several baselines in both qualitative and quantitative evaluations. Demos will be available at https://www.jenmusic.ai/research#DreamStyler.

Music is an integral part of human culture, embodying human intelligence and creativity, of which songs compose an essential part. While various aspects of song generation have been explored by previous works, such as singing voice, vocal composition and instrumental arrangement, etc., generating songs with both vocals and accompaniment given lyrics remains a significant challenge, hindering the application of music generation models in the real world. In this light, we propose SongCreator, a song-generation system designed to tackle this challenge. The model features two novel designs: a meticulously designed dual-sequence language model (DSLM) to capture the information of vocals and accompaniment for song generation, and an additional attention mask strategy for DSLM, which allows our model to understand, generate and edit songs, making it suitable for various song-related generation tasks. Extensive experiments demonstrate the effectiveness of SongCreator by achieving state-of-the-art or competitive performances on all eight tasks. Notably, it surpasses previous works by a large margin in lyrics-to-song and lyrics-to-vocals. Additionally, it is able to independently control the acoustic conditions of the vocals and accompaniment in the generated song through different prompts, exhibiting its potential applicability. Our samples are available at https://songcreator.github.io/.