Daily Papers

We introduce GAPS (Guitar-Aligned Performance Scores), a new dataset of classical guitar performances, and a benchmark guitar transcription model that achieves state-of-the-art performance on GuitarSet in both supervised and zero-shot settings. GAPS is the largest dataset of real guitar audio, containing 14 hours of freely available audio-score aligned pairs, recorded in diverse conditions by over 200 performers, together with high-resolution note-level MIDI alignments and performance videos. These enable us to train a state-of-the-art model for automatic transcription of solo guitar recordings which can generalise well to real world audio that is unseen during training.

Estimating the performance difficulty of a musical score is crucial in music education for adequately designing the learning curriculum of the students. Although the Music Information Retrieval community has recently shown interest in this task, existing approaches mainly use machine-readable scores, leaving the broader case of sheet music images unaddressed. Based on previous works involving sheet music images, we use a mid-level representation, bootleg score, describing notehead positions relative to staff lines coupled with a transformer model. This architecture is adapted to our task by introducing an encoding scheme that reduces the encoded sequence length to one-eighth of the original size. In terms of evaluation, we consider five datasets -- more than 7500 scores with up to 9 difficulty levels -- , two of them particularly compiled for this work. The results obtained when pretraining the scheme on the IMSLP corpus and fine-tuning it on the considered datasets prove the proposal's validity, achieving the best-performing model with a balanced accuracy of 40.34\% and a mean square error of 1.33. Finally, we provide access to our code, data, and models for transparency and reproducibility.

Guitar tablature transcription consists in deducing the string and the fret number on which each note should be played to reproduce the actual musical part. This assignment should lead to playable string-fret combinations throughout the entire track and, in general, preserve parsimonious motion between successive combinations. Throughout the history of guitar playing, specific chord fingerings have been developed across different musical styles that facilitate common idiomatic voicing combinations and motion between them. This paper presents a method for assigning guitar tablature notation to a given MIDI-based musical part (possibly consisting of multiple polyphonic tracks), i.e. no information about guitar-idiomatic expressional characteristics is involved (e.g. bending etc.) The current strategy is based on machine learning and requires a basic assumption about how much fingers can stretch on a fretboard; only standard 6-string guitar tuning is examined. The proposed method also examines the transcription of music pieces that was not meant to be played or could not possibly be played by a guitar (e.g. potentially a symphonic orchestra part), employing a rudimentary method for augmenting musical information and training/testing the system with artificial data. The results present interesting aspects about what the system can achieve when trained on the initial and augmented dataset, showing that the training with augmented data improves the performance even in simple, e.g. monophonic, cases. Results also indicate weaknesses and lead to useful conclusions about possible improvements.

Automatic music transcription (AMT) has achieved high accuracy for piano due to the availability of large, high-quality datasets such as MAESTRO and MAPS, but comparable datasets are not yet available for other instruments. In recent work, however, it has been demonstrated that aligning scores to transcription model activations can produce high quality AMT training data for instruments other than piano. Focusing on the guitar, we refine this approach to training on score data using a dataset of commercially available score-audio pairs. We propose the use of a high-resolution piano transcription model to train a new guitar transcription model. The resulting model obtains state-of-the-art transcription results on GuitarSet in a zero-shot context, improving on previously published methods.

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.

Recent years have seen a boom in computational approaches to music analysis, yet each one is typically tailored to a specific analytical domain. In this work, we introduce AnalysisGNN, a novel graph neural network framework that leverages a data-shuffling strategy with a custom weighted multi-task loss and logit fusion between task-specific classifiers to integrate heterogeneously annotated symbolic datasets for comprehensive score analysis. We further integrate a Non-Chord-Tone prediction module, which identifies and excludes passing and non-functional notes from all tasks, thereby improving the consistency of label signals. Experimental evaluations demonstrate that AnalysisGNN achieves performance comparable to traditional static-dataset approaches, while showing increased resilience to domain shifts and annotation inconsistencies across multiple heterogeneous corpora.

Music transcription plays a pivotal role in Music Information Retrieval (MIR), particularly for stringed instruments like the guitar, where symbolic music notations such as MIDI lack crucial playability information. This contribution introduces the Fretting-Transformer, an encoderdecoder model that utilizes a T5 transformer architecture to automate the transcription of MIDI sequences into guitar tablature. By framing the task as a symbolic translation problem, the model addresses key challenges, including string-fret ambiguity and physical playability. The proposed system leverages diverse datasets, including DadaGP, GuitarToday, and Leduc, with novel data pre-processing and tokenization strategies. We have developed metrics for tablature accuracy and playability to quantitatively evaluate the performance. The experimental results demonstrate that the Fretting-Transformer surpasses baseline methods like A* and commercial applications like Guitar Pro. The integration of context-sensitive processing and tuning/capo conditioning further enhances the model's performance, laying a robust foundation for future developments in automated guitar transcription.

Diffusion models have emerged as a powerful tool rivaling GANs in generating high-quality samples with improved fidelity, flexibility, and robustness. A key component of these models is to learn the score function through score matching. Despite empirical success on various tasks, it remains unclear whether gradient-based algorithms can learn the score function with a provable accuracy. As a first step toward answering this question, this paper establishes a mathematical framework for analyzing score estimation using neural networks trained by gradient descent. Our analysis covers both the optimization and the generalization aspects of the learning procedure. In particular, we propose a parametric form to formulate the denoising score-matching problem as a regression with noisy labels. Compared to the standard supervised learning setup, the score-matching problem introduces distinct challenges, including unbounded input, vector-valued output, and an additional time variable, preventing existing techniques from being applied directly. In this paper, we show that with proper designs, the evolution of neural networks during training can be accurately modeled by a series of kernel regression tasks. Furthermore, by applying an early-stopping rule for gradient descent and leveraging recent developments in neural tangent kernels, we establish the first generalization error (sample complexity) bounds for learning the score function with neural networks, despite the presence of noise in the observations. Our analysis is grounded in a novel parametric form of the neural network and an innovative connection between score matching and regression analysis, facilitating the application of advanced statistical and optimization techniques.

In the domain of symbolic music research, the progress of developing scalable systems has been notably hindered by the scarcity of available training data and the demand for models tailored to specific tasks. To address these issues, we propose MelodyT5, a novel unified framework that leverages an encoder-decoder architecture tailored for symbolic music processing in ABC notation. This framework challenges the conventional task-specific approach, considering various symbolic music tasks as score-to-score transformations. Consequently, it integrates seven melody-centric tasks, from generation to harmonization and segmentation, within a single model. Pre-trained on MelodyHub, a newly curated collection featuring over 261K unique melodies encoded in ABC notation and encompassing more than one million task instances, MelodyT5 demonstrates superior performance in symbolic music processing via multi-task transfer learning. Our findings highlight the efficacy of multi-task transfer learning in symbolic music processing, particularly for data-scarce tasks, challenging the prevailing task-specific paradigms and offering a comprehensive dataset and framework for future explorations in this domain.

Many applications of cross-modal music retrieval are related to connecting sheet music images to audio recordings. A typical and recent approach to this is to learn, via deep neural networks, a joint embedding space that correlates short fixed-size snippets of audio and sheet music by means of an appropriate similarity structure. However, two challenges that arise out of this strategy are the requirement of strongly aligned data to train the networks, and the inherent discrepancies of musical content between audio and sheet music snippets caused by local and global tempo differences. In this paper, we address these two shortcomings by designing a cross-modal recurrent network that learns joint embeddings that can summarize longer passages of corresponding audio and sheet music. The benefits of our method are that it only requires weakly aligned audio-sheet music pairs, as well as that the recurrent network handles the non-linearities caused by tempo variations between audio and sheet music. We conduct a number of experiments on synthetic and real piano data and scores, showing that our proposed recurrent method leads to more accurate retrieval in all possible configurations.

Music scores are written representations of music and contain rich information about musical components. The visual information on music scores includes notes, rests, staff lines, clefs, dynamics, and articulations. This visual information in music scores contains more semantic information than audio and symbolic representations of music. Previous music score datasets have limited sizes and are mainly designed for optical music recognition (OMR). There is a lack of research on creating a large-scale benchmark dataset for music modeling and generation. In this work, we propose MusicScore, a large-scale music score dataset collected and processed from the International Music Score Library Project (IMSLP). MusicScore consists of image-text pairs, where the image is a page of a music score and the text is the metadata of the music. The metadata of MusicScore is extracted from the general information section of the IMSLP pages. The metadata includes rich information about the composer, instrument, piece style, and genre of the music pieces. MusicScore is curated into small, medium, and large scales of 400, 14k, and 200k image-text pairs with varying diversity, respectively. We build a score generation system based on a UNet diffusion model to generate visually readable music scores conditioned on text descriptions to benchmark the MusicScore dataset for music score generation. MusicScore is released to the public at https://huggingface.co/datasets/ZheqiDAI/MusicScore.

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.

Automatic chord recognition (ACR) via deep learning models has gradually achieved promising recognition accuracy, yet two key challenges remain. First, prior work has primarily focused on audio-domain ACR, while symbolic music (e.g., score) ACR has received limited attention due to data scarcity. Second, existing methods still overlook strategies that are aligned with human music analytical practices. To address these challenges, we make two contributions: (1) we introduce POP909-CL, an enhanced version of POP909 dataset with tempo-aligned content and human-corrected labels of chords, beats, keys, and time signatures; and (2) We propose BACHI, a symbolic chord recognition model that decomposes the task into different decision steps, namely boundary detection and iterative ranking of chord root, quality, and bass (inversion). This mechanism mirrors the human ear-training practices. Experiments demonstrate that BACHI achieves state-of-the-art chord recognition performance on both classical and pop music benchmarks, with ablation studies validating the effectiveness of each module.

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

In this paper, we propose and investigate the use of neural audio codec language models for the automatic generation of sample-based musical instruments based on text or reference audio prompts. Our approach extends a generative audio framework to condition on pitch across an 88-key spectrum, velocity, and a combined text/audio embedding. We identify maintaining timbral consistency within the generated instruments as a major challenge. To tackle this issue, we introduce three distinct conditioning schemes. We analyze our methods through objective metrics and human listening tests, demonstrating that our approach can produce compelling musical instruments. Specifically, we introduce a new objective metric to evaluate the timbral consistency of the generated instruments and adapt the average Contrastive Language-Audio Pretraining (CLAP) score for the text-to-instrument case, noting that its naive application is unsuitable for assessing this task. Our findings reveal a complex interplay between timbral consistency, the quality of generated samples, and their correspondence to the input prompt.

This article motivates, describes, and presents the PBSCR dataset for studying composer recognition of classical piano music. Our goal was to design a dataset that facilitates large-scale research on composer recognition that is suitable for modern architectures and training practices. To achieve this goal, we utilize the abundance of sheet music images and rich metadata on IMSLP, use a previously proposed feature representation called a bootleg score to encode the location of noteheads relative to staff lines, and present the data in an extremely simple format (2D binary images) to encourage rapid exploration and iteration. The dataset itself contains 40,000 62x64 bootleg score images for a 9-class recognition task, 100,000 62x64 bootleg score images for a 100-class recognition task, and 29,310 unlabeled variable-length bootleg score images for pretraining. The labeled data is presented in a form that mirrors MNIST images, in order to make it extremely easy to visualize, manipulate, and train models in an efficient manner. We include relevant information to connect each bootleg score image with its underlying raw sheet music image, and we scrape, organize, and compile metadata from IMSLP on all piano works to facilitate multimodal research and allow for convenient linking to other datasets. We release baseline results in a supervised and low-shot setting for future works to compare against, and we discuss open research questions that the PBSCR data is especially well suited to facilitate research on.

The ability to translate diverse patterns of inputs into structured patterns of behavior has been thought to rest on both humans' and machines' ability to learn robust representations of relevant concepts. The rapid advancement of transformer-based large language models (LLMs) has led to a diversity of computational ingredients -- architectures, fine tuning methods, and training datasets among others -- but it remains unclear which of these ingredients are most crucial for building models that develop human-like representations. Further, most current LLM benchmarks are not suited to measuring representational alignment between humans and models, making benchmark scores unreliable for assessing if current LLMs are making progress towards becoming useful cognitive models. We address these limitations by first evaluating a set of over 70 models that widely vary in their computational ingredients on a triplet similarity task, a method well established in the cognitive sciences for measuring human conceptual representations, using concepts from the THINGS database. Comparing human and model representations, we find that models that undergo instruction-finetuning and which have larger dimensionality of attention heads are among the most human aligned, while multimodal pretraining and parameter size have limited bearing on alignment. Correlations between alignment scores and scores on existing benchmarks reveal that while some benchmarks (e.g., MMLU) are better suited than others (e.g., MUSR) for capturing representational alignment, no existing benchmark is capable of fully accounting for the variance of alignment scores, demonstrating their insufficiency in capturing human-AI alignment. Taken together, our findings help highlight the computational ingredients most essential for advancing LLMs towards models of human conceptual representation and address a key benchmarking gap in LLM evaluation.

The digitization of vocal music scores presents unique challenges that go beyond traditional Optical Music Recognition (OMR) and Optical Character Recognition (OCR), as it necessitates preserving the critical alignment between music notation and lyrics. This alignment is essential for proper interpretation and processing in practical applications. This paper introduces and formalizes, for the first time, the Aligned Music Notation and Lyrics Transcription (AMNLT) challenge, which addresses the complete transcription of vocal scores by jointly considering music symbols, lyrics, and their synchronization. We analyze different approaches to address this challenge, ranging from traditional divide-and-conquer methods that handle music and lyrics separately, to novel end-to-end solutions including direct transcription, unfolding mechanisms, and language modeling. To evaluate these methods, we introduce four datasets of Gregorian chants, comprising both real and synthetic sources, along with custom metrics specifically designed to assess both transcription and alignment accuracy. Our experimental results demonstrate that end-to-end approaches generally outperform heuristic methods in the alignment challenge, with language models showing particular promise in scenarios where sufficient training data is available. This work establishes the first comprehensive framework for AMNLT, providing both theoretical foundations and practical solutions for preserving and digitizing vocal music heritage.

Despite the popularity of guitar effects, there is very little existing research on classification and parameter estimation of specific plugins or effect units from guitar recordings. In this paper, convolutional neural networks were used for classification and parameter estimation for 13 overdrive, distortion and fuzz guitar effects. A novel dataset of processed electric guitar samples was assembled, with four sub-datasets consisting of monophonic or polyphonic samples and discrete or continuous settings values, for a total of about 250 hours of processed samples. Results were compared for networks trained and tested on the same or on a different sub-dataset. We found that discrete datasets could lead to equally high performance as continuous ones, whilst being easier to design, analyse and modify. Classification accuracy was above 80\%, with confusion matrices reflecting similarities in the effects timbre and circuits design. With parameter values between 0.0 and 1.0, the mean absolute error is in most cases below 0.05, while the root mean square error is below 0.1 in all cases but one.

Score-based generative models (SGMs) sample from a target distribution by iteratively transforming noise using the score function of the perturbed target. For any finite training set, this score function can be evaluated in closed form, but the resulting SGM memorizes its training data and does not generate novel samples. In practice, one approximates the score by training a neural network via score-matching. The error in this approximation promotes generalization, but neural SGMs are costly to train and sample, and the effective regularization this error provides is not well-understood theoretically. In this work, we instead explicitly smooth the closed-form score to obtain an SGM that generates novel samples without training. We analyze our model and propose an efficient nearest-neighbor-based estimator of its score function. Using this estimator, our method achieves competitive sampling times while running on consumer-grade CPUs.

The neural semi-Markov Conditional Random Field (semi-CRF) framework has demonstrated promise for event-based piano transcription. In this framework, all events (notes or pedals) are represented as closed time intervals tied to specific event types. The neural semi-CRF approach requires an interval scoring matrix that assigns a score for every candidate interval. However, designing an efficient and expressive architecture for scoring intervals is not trivial. This paper introduces a simple method for scoring intervals using scaled inner product operations that resemble how attention scoring is done in transformers. We show theoretically that, due to the special structure from encoding the non-overlapping intervals, under a mild condition, the inner product operations are expressive enough to represent an ideal scoring matrix that can yield the correct transcription result. We then demonstrate that an encoder-only structured non-hierarchical transformer backbone, operating only on a low-time-resolution feature map, is capable of transcribing piano notes and pedals with high accuracy and time precision. The experiment shows that our approach achieves the new state-of-the-art performance across all subtasks in terms of the F1 measure on the Maestro dataset.

Despite progress in controllable symbolic music generation, data scarcity remains a challenge for certain control modalities. Composer-style music generation is a prime example, as only a few pieces per composer are available, limiting the modeling of both styles and fundamental music elements (e.g., melody, chord, rhythm). In this paper, we investigate how general music knowledge learned from a broad corpus can enhance the mastery of specific composer styles, with a focus on piano piece generation. Our approach follows a two-stage training paradigm. First, we pre-train a REMI-based music generation model on a large corpus of pop, folk, and classical music. Then, we fine-tune it on a small, human-verified dataset from four renowned composers, namely Bach, Mozart, Beethoven, and Chopin, using a lightweight adapter module to condition the model on style indicators. To evaluate the effectiveness of our approach, we conduct both objective and subjective evaluations on style accuracy and musicality. Experimental results demonstrate that our method outperforms ablations and baselines, achieving more precise composer-style modeling and better musical aesthetics. Additionally, we provide observations on how the model builds music concepts from the generality pre-training and refines its stylistic understanding through the mastery fine-tuning.

Generative systems of musical accompaniments are rapidly growing, yet there are no standardized metrics to evaluate how well generations align with the conditional audio prompt. We introduce a distribution-based measure called "Accompaniment Prompt Adherence" (APA), and validate it through objective experiments on synthetic data perturbations, and human listening tests. Results show that APA aligns well with human judgments of adherence and is discriminative to transformations that degrade adherence. We release a Python implementation of the metric using the widely adopted pre-trained CLAP embedding model, offering a valuable tool for evaluating and comparing accompaniment generation systems.

Evaluation of text-to-music systems is constrained by the cost and availability of collecting experts for assessment. AudioMOS 2025 Challenge track 1 is created to automatically predict music impression (MI) as well as text alignment (TA) between the prompt and the generated musical piece. This paper reports our winning system, which uses a dual-branch architecture with pre-trained MuQ and RoBERTa models as audio and text encoders. A cross-attention mechanism fuses the audio and text representations. For training, we reframe the MI and TA prediction as a classification task. To incorporate the ordinal nature of MOS scores, one-hot labels are converted to a soft distribution using a Gaussian kernel. On the official test set, a single model trained with this method achieves a system-level Spearman's Rank Correlation Coefficient (SRCC) of 0.991 for MI and 0.952 for TA, corresponding to a relative improvement of 21.21\% in MI SRCC and 31.47\% in TA SRCC over the challenge baseline.

Graph Neural Networks (GNNs) have recently gained traction in symbolic music tasks, yet a lack of a unified framework impedes progress. Addressing this gap, we present GraphMuse, a graph processing framework and library that facilitates efficient music graph processing and GNN training for symbolic music tasks. Central to our contribution is a new neighbor sampling technique specifically targeted toward meaningful behavior in musical scores. Additionally, GraphMuse integrates hierarchical modeling elements that augment the expressivity and capabilities of graph networks for musical tasks. Experiments with two specific musical prediction tasks -- pitch spelling and cadence detection -- demonstrate significant performance improvement over previous methods. Our hope is that GraphMuse will lead to a boost in, and standardization of, symbolic music processing based on graph representations. The library is available at https://github.com/manoskary/graphmuse

We propose a new graph convolutional block, called MusGConv, specifically designed for the efficient processing of musical score data and motivated by general perceptual principles. It focuses on two fundamental dimensions of music, pitch and rhythm, and considers both relative and absolute representations of these components. We evaluate our approach on four different musical understanding problems: monophonic voice separation, harmonic analysis, cadence detection, and composer identification which, in abstract terms, translate to different graph learning problems, namely, node classification, link prediction, and graph classification. Our experiments demonstrate that MusGConv improves the performance on three of the aforementioned tasks while being conceptually very simple and efficient. We interpret this as evidence that it is beneficial to include perception-informed processing of fundamental musical concepts when developing graph network applications on musical score data.

In this paper, we address the challenge of Optical Music Recognition (OMR) for handwritten jazz lead sheets, a widely used musical score type that encodes melody and chords. The task is challenging due to the presence of chords, a score component not handled by existing OMR systems, and the high variability and quality issues associated with handwritten images. Our contribution is two-fold. We present a novel dataset consisting of 293 handwritten jazz lead sheets of 163 unique pieces, amounting to 2021 total staves aligned with Humdrum **kern and MusicXML ground truth scores. We also supply synthetic score images generated from the ground truth. The second contribution is the development of an OMR model for jazz lead sheets. We discuss specific tokenisation choices related to our kind of data, and the advantages of using synthetic scores and pretrained models. We publicly release all code, data, and models.

Automatic music transcription (AMT) is the task of transcribing audio recordings into symbolic representations. Recently, neural network-based methods have been applied to AMT, and have achieved state-of-the-art results. However, many previous systems only detect the onset and offset of notes frame-wise, so the transcription resolution is limited to the frame hop size. There is a lack of research on using different strategies to encode onset and offset targets for training. In addition, previous AMT systems are sensitive to the misaligned onset and offset labels of audio recordings. Furthermore, there are limited researches on sustain pedal transcription on large-scale datasets. In this article, we propose a high-resolution AMT system trained by regressing precise onset and offset times of piano notes. At inference, we propose an algorithm to analytically calculate the precise onset and offset times of piano notes and pedal events. We show that our AMT system is robust to the misaligned onset and offset labels compared to previous systems. Our proposed system achieves an onset F1 of 96.72% on the MAESTRO dataset, outperforming previous onsets and frames system of 94.80%. Our system achieves a pedal onset F1 score of 91.86\%, which is the first benchmark result on the MAESTRO dataset. We have released the source code and checkpoints of our work at https://github.com/bytedance/piano_transcription.

Foundation models rely on large-scale web-crawled datasets, which frequently contain noisy data, biases, and irrelevant content. Existing data selection techniques typically use human heuristics, downstream evaluation datasets, or specialized scoring models, and can overlook samples' utility in the training process. Instead, we propose a new approach, Mimic Score, a data quality metric that uses a pretrained reference model as a guide to assess the usefulness of data samples for training a new model. It relies on the alignment between the gradient of the new model parameters and the vector pointing toward the reference model in weight space. Samples that misalign with this direction are considered low-value and can be filtered out. Motivated by the Mimic score, we develop Grad-Mimic, a data selection framework that identifies and prioritizes useful samples, automating the selection process to create effective filters. Empirically, using Mimic scores to guide model training results in consistent performance gains across six image datasets and enhances the performance of CLIP models. Moreover, Mimic scores and their associated filters improve upon existing filtering methods and offer accurate estimation of dataset quality.

The multimodal nature of music performance has driven increasing interest in data beyond the audio domain within the music information retrieval (MIR) community. This paper introduces PianoVAM, a comprehensive piano performance dataset that includes videos, audio, MIDI, hand landmarks, fingering labels, and rich metadata. The dataset was recorded using a Disklavier piano, capturing audio and MIDI from amateur pianists during their daily practice sessions, alongside synchronized top-view videos in realistic and varied performance conditions. Hand landmarks and fingering labels were extracted using a pretrained hand pose estimation model and a semi-automated fingering annotation algorithm. We discuss the challenges encountered during data collection and the alignment process across different modalities. Additionally, we describe our fingering annotation method based on hand landmarks extracted from videos. Finally, we present benchmarking results for both audio-only and audio-visual piano transcription using the PianoVAM dataset and discuss additional potential applications.

The rapidly evolving multimodal Large Language Models (LLMs) urgently require new benchmarks to uniformly evaluate their performance on understanding and textually describing music. However, due to semantic gaps between Music Information Retrieval (MIR) algorithms and human understanding, discrepancies between professionals and the public, and low precision of annotations, existing music description datasets cannot serve as benchmarks. To this end, we present MuChin, the first open-source music description benchmark in Chinese colloquial language, designed to evaluate the performance of multimodal LLMs in understanding and describing music. We established the Caichong Music Annotation Platform (CaiMAP) that employs an innovative multi-person, multi-stage assurance method, and recruited both amateurs and professionals to ensure the precision of annotations and alignment with popular semantics. Utilizing this method, we built a dataset with multi-dimensional, high-precision music annotations, the Caichong Music Dataset (CaiMD), and carefully selected 1,000 high-quality entries to serve as the test set for MuChin. Based on MuChin, we analyzed the discrepancies between professionals and amateurs in terms of music description, and empirically demonstrated the effectiveness of annotated data for fine-tuning LLMs. Ultimately, we employed MuChin to evaluate existing music understanding models on their ability to provide colloquial descriptions of music. All data related to the benchmark, along with the scoring code and detailed appendices, have been open-sourced (https://github.com/CarlWangChina/MuChin/).

Roman Numeral analysis is the important task of identifying chords and their functional context in pieces of tonal music. This paper presents a new approach to automatic Roman Numeral analysis in symbolic music. While existing techniques rely on an intermediate lossy representation of the score, we propose a new method based on Graph Neural Networks (GNNs) that enable the direct description and processing of each individual note in the score. The proposed architecture can leverage notewise features and interdependencies between notes but yield onset-wise representation by virtue of our novel edge contraction algorithm. Our results demonstrate that ChordGNN outperforms existing state-of-the-art models, achieving higher accuracy in Roman Numeral analysis on the reference datasets. In addition, we investigate variants of our model using proposed techniques such as NADE, and post-processing of the chord predictions. The full source code for this work is available at https://github.com/manoskary/chordgnn

In this work, we introduce the Sheet Music Benchmark (SMB), a dataset of six hundred and eighty-five pages specifically designed to benchmark Optical Music Recognition (OMR) research. SMB encompasses a diverse array of musical textures, including monophony, pianoform, quartet, and others, all encoded in Common Western Modern Notation using the Humdrum **kern format. Alongside SMB, we introduce the OMR Normalized Edit Distance (OMR-NED), a new metric tailored explicitly for evaluating OMR performance. OMR-NED builds upon the widely-used Symbol Error Rate (SER), offering a fine-grained and detailed error analysis that covers individual musical elements such as note heads, beams, pitches, accidentals, and other critical notation features. The resulting numeric score provided by OMR-NED facilitates clear comparisons, enabling researchers and end-users alike to identify optimal OMR approaches. Our work thus addresses a long-standing gap in OMR evaluation, and we support our contributions with baseline experiments using standardized SMB dataset splits for training and assessing state-of-the-art methods.

We present the Melody Guided Music Generation (MMGen) model, the first novel approach using melody to guide the music generation that, despite a pretty simple method and extremely limited resources, achieves excellent performance. Specifically, we first align the melody with audio waveforms and their associated descriptions using the multimodal alignment module. Subsequently, we condition the diffusion module on the learned melody representations. This allows MMGen to generate music that matches the style of the provided audio while also producing music that reflects the content of the given text description. To address the scarcity of high-quality data, we construct a multi-modal dataset, MusicSet, which includes melody, text, and audio, and will be made publicly available. We conduct extensive experiments which demonstrate the superiority of the proposed model both in terms of experimental metrics and actual performance quality.

Composing music for video is essential yet challenging, leading to a growing interest in automating music generation for video applications. Existing approaches often struggle to achieve robust music-video correspondence and generative diversity, primarily due to inadequate feature alignment methods and insufficient datasets. In this study, we present General Video-to-Music Generation model (GVMGen), designed for generating high-related music to the video input. Our model employs hierarchical attentions to extract and align video features with music in both spatial and temporal dimensions, ensuring the preservation of pertinent features while minimizing redundancy. Remarkably, our method is versatile, capable of generating multi-style music from different video inputs, even in zero-shot scenarios. We also propose an evaluation model along with two novel objective metrics for assessing video-music alignment. Additionally, we have compiled a large-scale dataset comprising diverse types of video-music pairs. Experimental results demonstrate that GVMGen surpasses previous models in terms of music-video correspondence, generative diversity, and application universality.

In this work, we present Score MUsic Graph (SMUG)-Explain, a framework for generating and visualizing explanations of graph neural networks applied to arbitrary prediction tasks on musical scores. Our system allows the user to visualize the contribution of input notes (and note features) to the network output, directly in the context of the musical score. We provide an interactive interface based on the music notation engraving library Verovio. We showcase the usage of SMUG-Explain on the task of cadence detection in classical music. All code is available on https://github.com/manoskary/SMUG-Explain.

Recently, artificial intelligence techniques for education have been received increasing attentions, while it still remains an open problem to design the effective music instrument instructing systems. Although key presses can be directly derived from sheet music, the transitional movements among key presses require more extensive guidance in piano performance. In this work, we construct a piano-hand motion generation benchmark to guide hand movements and fingerings for piano playing. To this end, we collect an annotated dataset, PianoMotion10M, consisting of 116 hours of piano playing videos from a bird's-eye view with 10 million annotated hand poses. We also introduce a powerful baseline model that generates hand motions from piano audios through a position predictor and a position-guided gesture generator. Furthermore, a series of evaluation metrics are designed to assess the performance of the baseline model, including motion similarity, smoothness, positional accuracy of left and right hands, and overall fidelity of movement distribution. Despite that piano key presses with respect to music scores or audios are already accessible, PianoMotion10M aims to provide guidance on piano fingering for instruction purposes. The source code and dataset can be accessed at https://github.com/agnJason/PianoMotion10M.

Conformal prediction is a framework for predictive inference with a distribution-free, finite-sample guarantee. However, it tends to provide uninformative prediction sets when calibration data are scarce. This paper introduces Synthetic-powered predictive inference (SPI), a novel framework that incorporates synthetic data -- e.g., from a generative model -- to improve sample efficiency. At the core of our method is a score transporter: an empirical quantile mapping that aligns nonconformity scores from trusted, real data with those from synthetic data. By carefully integrating the score transporter into the calibration process, SPI provably achieves finite-sample coverage guarantees without making any assumptions about the real and synthetic data distributions. When the score distributions are well aligned, SPI yields substantially tighter and more informative prediction sets than standard conformal prediction. Experiments on image classification -- augmenting data with synthetic diffusion-model generated images -- and on tabular regression demonstrate notable improvements in predictive efficiency in data-scarce settings.

CLaMP 3 is a unified framework developed to address challenges of cross-modal and cross-lingual generalization in music information retrieval. Using contrastive learning, it aligns all major music modalities--including sheet music, performance signals, and audio recordings--with multilingual text in a shared representation space, enabling retrieval across unaligned modalities with text as a bridge. It features a multilingual text encoder adaptable to unseen languages, exhibiting strong cross-lingual generalization. Leveraging retrieval-augmented generation, we curated M4-RAG, a web-scale dataset consisting of 2.31 million music-text pairs. This dataset is enriched with detailed metadata that represents a wide array of global musical traditions. To advance future research, we release WikiMT-X, a benchmark comprising 1,000 triplets of sheet music, audio, and richly varied text descriptions. Experiments show that CLaMP 3 achieves state-of-the-art performance on multiple MIR tasks, significantly surpassing previous strong baselines and demonstrating excellent generalization in multimodal and multilingual music contexts.

As Learning-to-Rank (LTR) approaches primarily seek to improve ranking quality, their output scores are not scale-calibrated by design. This fundamentally limits LTR usage in score-sensitive applications. Though a simple multi-objective approach that combines a regression and a ranking objective can effectively learn scale-calibrated scores, we argue that the two objectives are not necessarily compatible, which makes the trade-off less ideal for either of them. In this paper, we propose a practical regression compatible ranking (RCR) approach that achieves a better trade-off, where the two ranking and regression components are proved to be mutually aligned. Although the same idea applies to ranking with both binary and graded relevance, we mainly focus on binary labels in this paper. We evaluate the proposed approach on several public LTR benchmarks and show that it consistently achieves either best or competitive result in terms of both regression and ranking metrics, and significantly improves the Pareto frontiers in the context of multi-objective optimization. Furthermore, we evaluated the proposed approach on YouTube Search and found that it not only improved the ranking quality of the production pCTR model, but also brought gains to the click prediction accuracy. The proposed approach has been successfully deployed in the YouTube production system.

The Guzheng is a kind of traditional Chinese instruments with diverse playing techniques. Instrument playing techniques (IPT) play an important role in musical performance. However, most of the existing works for IPT detection show low efficiency for variable-length audio and provide no assurance in the generalization as they rely on a single sound bank for training and testing. In this study, we propose an end-to-end Guzheng playing technique detection system using Fully Convolutional Networks that can be applied to variable-length audio. Because each Guzheng playing technique is applied to a note, a dedicated onset detector is trained to divide an audio into several notes and its predictions are fused with frame-wise IPT predictions. During fusion, we add the IPT predictions frame by frame inside each note and get the IPT with the highest probability within each note as the final output of that note. We create a new dataset named GZ_IsoTech from multiple sound banks and real-world recordings for Guzheng performance analysis. Our approach achieves 87.97% in frame-level accuracy and 80.76% in note-level F1-score, outperforming existing works by a large margin, which indicates the effectiveness of our proposed method in IPT detection.

We present FiloBass: a novel corpus of music scores and annotations which focuses on the important but often overlooked role of the double bass in jazz accompaniment. Inspired by recent work that sheds light on the role of the soloist, we offer a collection of 48 manually verified transcriptions of professional jazz bassists, comprising over 50,000 note events, which are based on the backing tracks used in the FiloSax dataset. For each recording we provide audio stems, scores, performance-aligned MIDI and associated metadata for beats, downbeats, chord symbols and markers for musical form. We then use FiloBass to enrich our understanding of jazz bass lines, by conducting a corpus-based musical analysis with a contrastive study of existing instructional methods. Together with the original FiloSax dataset, our work represents a significant step toward a fully annotated performance dataset for a jazz quartet setting. By illuminating the critical role of the bass in jazz, this work contributes to a more nuanced and comprehensive understanding of the genre.

Generating full-length, high-quality songs is challenging, as it requires maintaining long-term coherence both across text and music modalities and within the music modality itself. Existing non-autoregressive (NAR) frameworks, while capable of producing high-quality songs, often struggle with the alignment between lyrics and vocal. Concurrently, catering to diverse musical preferences necessitates reinforcement learning from human feedback (RLHF). However, existing methods often rely on merging multiple models during multi-preference optimization, which results in significant performance degradation. To address these challenges, we introduce DiffRhythm 2, an end-to-end framework designed for high-fidelity, controllable song generation. To tackle the lyric alignment problem, DiffRhythm 2 employs a semi-autoregressive architecture based on block flow matching. This design enables faithful alignment of lyrics to singing vocals without relying on external labels and constraints, all while preserving the high generation quality and efficiency of NAR models. To make this framework computationally tractable for long sequences, we implement a music variational autoencoder (VAE) that achieves a low frame rate of 5 Hz while still enabling high-fidelity audio reconstruction. In addition, to overcome the limitations of multi-preference optimization in RLHF, we propose cross-pair preference optimization. This method effectively mitigates the performance drop typically associated with model merging, allowing for more robust optimization across diverse human preferences. We further enhance musicality and structural coherence by introducing stochastic block representation alignment loss.

Mean Opinion Score (MOS) prediction for text to music systems requires evaluating both overall musical quality and text prompt alignment. This paper introduces WhisQ, a multimodal architecture that addresses this dual-assessment challenge through sequence level co-attention and optimal transport regularization. WhisQ employs the Whisper Base pretrained model for temporal audio encoding and Qwen 3, a 0.6B Small Language Model (SLM), for text encoding, with both maintaining sequence structure for fine grained cross-modal modeling. The architecture features specialized prediction pathways: OMQ is predicted from pooled audio embeddings, while TA leverages bidirectional sequence co-attention between audio and text. Sinkhorn optimal transport loss further enforce semantic alignment in the shared embedding space. On the MusicEval Track-1 dataset, WhisQ achieves substantial improvements over the baseline: 7% improvement in Spearman correlation for OMQ and 14% for TA. Ablation studies reveal that optimal transport regularization provides the largest performance gain (10% SRCC improvement), demonstrating the importance of explicit cross-modal alignment for text-to-music evaluation.

VisionScores presents a novel proposal being the first system-segmented image score dataset, aiming to offer structure-rich, high information-density images for machine and deep learning tasks. Delimited to two-handed piano pieces, it was built to consider not only certain graphic similarity but also composition patterns, as this creative process is highly instrument-dependent. It provides two scenarios in relation to composer and composition type. The first, formed by 14k samples, considers works from different authors but the same composition type, specifically, Sonatinas. The latter, consisting of 10.8K samples, presents the opposite case, various composition types from the same author, being the one selected Franz Liszt. All of the 24.8k samples are formatted as grayscale jpg images of 128 times 512 pixels. VisionScores supplies the users not only the formatted samples but the systems' order and pieces' metadata. Moreover, unsegmented full-page scores and the pre-formatted images are included for further analysis.

Many existing conditional score-based data generation methods utilize Bayes' theorem to decompose the gradients of a log posterior density into a mixture of scores. These methods facilitate the training procedure of conditional score models, as a mixture of scores can be separately estimated using a score model and a classifier. However, our analysis indicates that the training objectives for the classifier in these methods may lead to a serious score mismatch issue, which corresponds to the situation that the estimated scores deviate from the true ones. Such an issue causes the samples to be misled by the deviated scores during the diffusion process, resulting in a degraded sampling quality. To resolve it, we formulate a novel training objective, called Denoising Likelihood Score Matching (DLSM) loss, for the classifier to match the gradients of the true log likelihood density. Our experimental evidence shows that the proposed method outperforms the previous methods on both Cifar-10 and Cifar-100 benchmarks noticeably in terms of several key evaluation metrics. We thus conclude that, by adopting DLSM, the conditional scores can be accurately modeled, and the effect of the score mismatch issue is alleviated.

Recent advances in audio-text large language models (LLMs) have opened new possibilities for music understanding and generation. However, existing benchmarks are limited in scope, often relying on simplified tasks or multi-choice evaluations that fail to reflect the complexity of real-world music analysis. We reinterpret a broad range of traditional MIR annotations as instruction-following formats and introduce CMI-Bench, a comprehensive music instruction following benchmark designed to evaluate audio-text LLMs on a diverse set of music information retrieval (MIR) tasks. These include genre classification, emotion regression, emotion tagging, instrument classification, pitch estimation, key detection, lyrics transcription, melody extraction, vocal technique recognition, instrument performance technique detection, music tagging, music captioning, and (down)beat tracking: reflecting core challenges in MIR research. Unlike previous benchmarks, CMI-Bench adopts standardized evaluation metrics consistent with previous state-of-the-art MIR models, ensuring direct comparability with supervised approaches. We provide an evaluation toolkit supporting all open-source audio-textual LLMs, including LTU, Qwen-audio, SALMONN, MusiLingo, etc. Experiment results reveal significant performance gaps between LLMs and supervised models, along with their culture, chronological and gender bias, highlighting the potential and limitations of current models in addressing MIR tasks. CMI-Bench establishes a unified foundation for evaluating music instruction following, driving progress in music-aware LLMs.

The trade-off between robustness and accuracy has been widely studied in the adversarial literature. Although still controversial, the prevailing view is that this trade-off is inherent, either empirically or theoretically. Thus, we dig for the origin of this trade-off in adversarial training and find that it may stem from the improperly defined robust error, which imposes an inductive bias of local invariance -- an overcorrection towards smoothness. Given this, we advocate employing local equivariance to describe the ideal behavior of a robust model, leading to a self-consistent robust error named SCORE. By definition, SCORE facilitates the reconciliation between robustness and accuracy, while still handling the worst-case uncertainty via robust optimization. By simply substituting KL divergence with variants of distance metrics, SCORE can be efficiently minimized. Empirically, our models achieve top-rank performance on RobustBench under AutoAttack. Besides, SCORE provides instructive insights for explaining the overfitting phenomenon and semantic input gradients observed on robust models. Code is available at https://github.com/P2333/SCORE.

This paper proposes singing voice synthesis (SVS) based on frame-level sequence-to-sequence models considering vocal timing deviation. In SVS, it is essential to synchronize the timing of singing with temporal structures represented by scores, taking into account that there are differences between actual vocal timing and note start timing. In many SVS systems including our previous work, phoneme-level score features are converted into frame-level ones on the basis of phoneme boundaries obtained by external aligners to take into account vocal timing deviations. Therefore, the sound quality is affected by the aligner accuracy in this system. To alleviate this problem, we introduce an attention mechanism with frame-level features. In the proposed system, the attention mechanism absorbs alignment errors in phoneme boundaries. Additionally, we evaluate the system with pseudo-phoneme-boundaries defined by heuristic rules based on musical scores when there is no aligner. The experimental results show the effectiveness of the proposed system.

The rapid advancement of Large Language Models (LLMs) necessitates robust evaluation methodologies. Current benchmarking approaches often rely on comparing model outputs against predefined prompts and reference outputs. Relying on predefined reference outputs hinders flexible adaptation of benchmarks to the rapidly evolving capabilities of LLMs. This limitation necessitates periodic efforts to prepare new benchmarks. To keep pace with rapidly evolving LLM capabilities, we propose a more flexible benchmarking approach. Our method, \textbf{Varco Arena}, provides reference-free benchmarking of LLMs in tournament style. \textbf{Varco Arena} directly compares LLM outputs across a diverse set of prompts, determining model rankings through a single-elimination tournament structure. This direct pairwise comparison offers two key advantages: (1) Direct comparison, unmediated by reference text, more effectively orders competing LLMs, resulting in more reliable rankings, and (2) reference-free approach to benchmarking adds flexibility in updating benchmark prompts by eliminating the need for quality references. Our empirical results, supported by simulation experiments, demonstrate that the \textbf{Varco Arena} tournament approach aligns better with the current Elo model for benchmarking LLMs. The alignment is measured in terms of Spearman correlation, showing improvement over current practice of benchmarking that use reference outputs as comparison anchors.

This paper explores the automated process of determining stem compatibility by identifying audio recordings of single instruments that blend well with a given musical context. To tackle this challenge, we present Stem-JEPA, a novel Joint-Embedding Predictive Architecture (JEPA) trained on a multi-track dataset using a self-supervised learning approach. Our model comprises two networks: an encoder and a predictor, which are jointly trained to predict the embeddings of compatible stems from the embeddings of a given context, typically a mix of several instruments. Training a model in this manner allows its use in estimating stem compatibility - retrieving, aligning, or generating a stem to match a given mix - or for downstream tasks such as genre or key estimation, as the training paradigm requires the model to learn information related to timbre, harmony, and rhythm. We evaluate our model's performance on a retrieval task on the MUSDB18 dataset, testing its ability to find the missing stem from a mix and through a subjective user study. We also show that the learned embeddings capture temporal alignment information and, finally, evaluate the representations learned by our model on several downstream tasks, highlighting that they effectively capture meaningful musical features.

We propose MusicRL, the first music generation system finetuned from human feedback. Appreciation of text-to-music models is particularly subjective since the concept of musicality as well as the specific intention behind a caption are user-dependent (e.g. a caption such as "upbeat work-out music" can map to a retro guitar solo or a techno pop beat). Not only this makes supervised training of such models challenging, but it also calls for integrating continuous human feedback in their post-deployment finetuning. MusicRL is a pretrained autoregressive MusicLM (Agostinelli et al., 2023) model of discrete audio tokens finetuned with reinforcement learning to maximise sequence-level rewards. We design reward functions related specifically to text-adherence and audio quality with the help from selected raters, and use those to finetune MusicLM into MusicRL-R. We deploy MusicLM to users and collect a substantial dataset comprising 300,000 pairwise preferences. Using Reinforcement Learning from Human Feedback (RLHF), we train MusicRL-U, the first text-to-music model that incorporates human feedback at scale. Human evaluations show that both MusicRL-R and MusicRL-U are preferred to the baseline. Ultimately, MusicRL-RU combines the two approaches and results in the best model according to human raters. Ablation studies shed light on the musical attributes influencing human preferences, indicating that text adherence and quality only account for a part of it. This underscores the prevalence of subjectivity in musical appreciation and calls for further involvement of human listeners in the finetuning of music generation models.

Controllable music generation remains a significant challenge, with existing methods often requiring model retraining or introducing audible artifacts. We introduce MusicRFM, a framework that adapts Recursive Feature Machines (RFMs) to enable fine-grained, interpretable control over frozen, pre-trained music models by directly steering their internal activations. RFMs analyze a model's internal gradients to produce interpretable "concept directions", or specific axes in the activation space that correspond to musical attributes like notes or chords. We first train lightweight RFM probes to discover these directions within MusicGen's hidden states; then, during inference, we inject them back into the model to guide the generation process in real-time without per-step optimization. We present advanced mechanisms for this control, including dynamic, time-varying schedules and methods for the simultaneous enforcement of multiple musical properties. Our method successfully navigates the trade-off between control and generation quality: we can increase the accuracy of generating a target musical note from 0.23 to 0.82, while text prompt adherence remains within approximately 0.02 of the unsteered baseline, demonstrating effective control with minimal impact on prompt fidelity. We release code to encourage further exploration on RFMs in the music domain.

We propose a new score-based model with one-step sampling. Previously, score-based models were burdened with heavy computations due to iterative sampling. For substituting the iterative process, we train a standalone generator to compress all the time steps with the gradient backpropagated from the score network. In order to produce meaningful gradients for the generator, the score network is trained to simultaneously match the real data distribution and mismatch the fake data distribution. This model has the following advantages: 1) For sampling, it generates a fake image with only one step forward. 2) For training, it only needs 10 diffusion steps.3) Compared with consistency model, it is free of the ill-posed problem caused by consistency loss. On the popular CIFAR-10 dataset, our model outperforms Consistency Model and Denoising Score Matching, which demonstrates the potential of the framework. We further provide more examples on the MINIST and LSUN datasets. The code is available on GitHub.

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 range of applications of multi-modal music information retrieval is centred around the problem of connecting large collections of sheet music (images) to corresponding audio recordings, that is, identifying pairs of audio and score excerpts that refer to the same musical content. One of the typical and most recent approaches to this task employs cross-modal deep learning architectures to learn joint embedding spaces that link the two distinct modalities - audio and sheet music images. While there has been steady improvement on this front over the past years, a number of open problems still prevent large-scale employment of this methodology. In this article we attempt to provide an insightful examination of the current developments on audio-sheet music retrieval via deep learning methods. We first identify a set of main challenges on the road towards robust and large-scale cross-modal music retrieval in real scenarios. We then highlight the steps we have taken so far to address some of these challenges, documenting step-by-step improvement along several dimensions. We conclude by analysing the remaining challenges and present ideas for solving these, in order to pave the way to a unified and robust methodology for cross-modal music retrieval.

Time-aligned lyrics can enrich the music listening experience by enabling karaoke, text-based song retrieval and intra-song navigation, and other applications. Compared to text-to-speech alignment, lyrics alignment remains highly challenging, despite many attempts to combine numerous sub-modules including vocal separation and detection in an effort to break down the problem. Furthermore, training required fine-grained annotations to be available in some form. Here, we present a novel system based on a modified Wave-U-Net architecture, which predicts character probabilities directly from raw audio using learnt multi-scale representations of the various signal components. There are no sub-modules whose interdependencies need to be optimized. Our training procedure is designed to work with weak, line-level annotations available in the real world. With a mean alignment error of 0.35s on a standard dataset our system outperforms the state-of-the-art by an order of magnitude.

LLMs are an integral part of retrieval-augmented generation (RAG) systems. While many studies focus on evaluating the quality of end-to-end RAG systems, there is a lack of research on understanding the appropriateness of an LLM for the RAG task. Thus, we introduce a new metric, Trust-Score, that provides a holistic evaluation of the trustworthiness of LLMs in an RAG framework. We show that various prompting methods, such as in-context learning, fail to adapt LLMs effectively to the RAG task. Thus, we propose Trust-Align, a framework to align LLMs for higher Trust-Score. LLaMA-3-8b, aligned with our method, significantly outperforms open-source LLMs of comparable sizes on ASQA (up 10.7), QAMPARI (up 29.2) and ELI5 (up 14.9). We release our code at: https://github.com/declare-lab/trust-align.

Action Quality Assessment (AQA) evaluates diverse skills but models struggle with non-stationary data. We propose Continual AQA (CAQA) to refine models using sparse new data. Feature replay preserves memory without storing raw inputs. However, the misalignment between static old features and the dynamically changing feature manifold causes severe catastrophic forgetting. To address this novel problem, we propose Manifold-Aligned Graph Regularization (MAGR), which first aligns deviated old features to the current feature manifold, ensuring representation consistency. It then constructs a graph jointly arranging old and new features aligned with quality scores. Experiments show MAGR outperforms recent strong baselines with up to 6.56%, 5.66%, 15.64%, and 9.05% correlation gains on the MTL-AQA, FineDiving, UNLV-Dive, and JDM-MSA split datasets, respectively. This validates MAGR for continual assessment challenges arising from non-stationary skill variations.

Diffusion and flow-matching models have revolutionized automatic text-to-audio generation in recent times. These models are increasingly capable of generating high quality and faithful audio outputs capturing to speech and acoustic events. However, there is still much room for improvement in creative audio generation that primarily involves music and songs. Recent open lyrics-to-song models, such as, DiffRhythm, ACE-Step, and LeVo, have set an acceptable standard in automatic song generation for recreational use. However, these models lack fine-grained word-level controllability often desired by musicians in their workflows. To the best of our knowledge, our flow-matching-based JAM is the first effort toward endowing word-level timing and duration control in song generation, allowing fine-grained vocal control. To enhance the quality of generated songs to better align with human preferences, we implement aesthetic alignment through Direct Preference Optimization, which iteratively refines the model using a synthetic dataset, eliminating the need or manual data annotations. Furthermore, we aim to standardize the evaluation of such lyrics-to-song models through our public evaluation dataset JAME. We show that JAM outperforms the existing models in terms of the music-specific attributes.

Multimodal Large Language Models (MLLMs) have achieved remarkable visual reasoning abilities in natural images, text-rich documents, and graphic designs. However, their ability to interpret music sheets remains underexplored. To bridge this gap, we introduce MusiXQA, the first comprehensive dataset for evaluating and advancing MLLMs in music sheet understanding. MusiXQA features high-quality synthetic music sheets generated via MusiXTeX, with structured annotations covering note pitch and duration, chords, clefs, key/time signatures, and text, enabling diverse visual QA tasks. Through extensive evaluations, we reveal significant limitations of current state-of-the-art MLLMs in this domain. Beyond benchmarking, we developed Phi-3-MusiX, an MLLM fine-tuned on our dataset, achieving significant performance gains over GPT-based methods. The proposed dataset and model establish a foundation for future advances in MLLMs for music sheet understanding. Code, data, and model will be released upon acceptance.

Unstructured clinical notes contain essential patient information but are challenging for physicians to search and interpret efficiently. Although large language models (LLMs) have shown promise in question answering (QA), most existing systems lack transparency, usability, and alignment with clinical workflows. This work introduces an interactive QA system that enables physicians to query clinical notes via text or voice and receive extractive answers highlighted directly in the note for traceability. The system was built using OpenAI models with zero-shot prompting and evaluated across multiple metrics, including exact string match, word overlap, SentenceTransformer similarity, and BERTScore. Results show that while exact match scores ranged from 47 to 62 percent, semantic similarity scores exceeded 87 percent, indicating strong contextual alignment even when wording varied. To assess usability, the system was also evaluated using simulated clinical personas. Seven diverse physician and nurse personas interacted with the system across scenario-based tasks and provided structured feedback. The evaluations highlighted strengths in intuitive design and answer accessibility, alongside opportunities for enhancing explanation clarity.

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.

Large Language Models (LLMs) are often aligned using contrastive alignment objectives and preference pair datasets. The interaction between model, paired data, and objective makes alignment a complicated procedure, sometimes producing subpar results. We study this and find that (i) preference data gives a better learning signal when the underlying responses are contrastive, and (ii) alignment objectives lead to better performance when they specify more control over the model during training. Based on these insights, we introduce Contrastive Learning from AI Revisions (CLAIR), a data-creation method which leads to more contrastive preference pairs, and Anchored Preference Optimization (APO), a controllable and more stable alignment objective. We align Llama-3-8B-Instruct using various comparable datasets and alignment objectives and measure MixEval-Hard scores, which correlate highly with human judgments. The CLAIR preferences lead to the strongest performance out of all datasets, and APO consistently outperforms less controllable objectives. Our best model, trained on 32K CLAIR preferences with APO, improves Llama-3-8B-Instruct by 7.65%, closing the gap with GPT4-turbo by 45%. Our code is available at https://github.com/ContextualAI/CLAIR_and_APO.

Benefiting from large-scale datasets and pre-trained models, the field of generative models has recently gained significant momentum. However, most datasets for symbolic music are very small, which potentially limits the performance of data-driven multimodal models. An intuitive solution to this problem is to leverage pre-trained models from other modalities (e.g., natural language) to improve the performance of symbolic music-related multimodal tasks. In this paper, we carry out the first study of generating complete and semantically consistent symbolic music scores from text descriptions, and explore the efficacy of using publicly available checkpoints (i.e., BERT, GPT-2, and BART) for natural language processing in the task of text-to-music generation. Our experimental results show that the improvement from using pre-trained checkpoints is statistically significant in terms of BLEU score and edit distance similarity. We analyse the capabilities and limitations of our model to better understand the potential of language-music models.

The Musical Instrument Digital Interface (MIDI), introduced in 1983, revolutionized music production by allowing computers and instruments to communicate efficiently. MIDI files encode musical instructions compactly, facilitating convenient music sharing. They benefit Music Information Retrieval (MIR), aiding in research on music understanding, computational musicology, and generative music. The GigaMIDI dataset contains over 1.4 million unique MIDI files, encompassing 1.8 billion MIDI note events and over 5.3 million MIDI tracks. GigaMIDI is currently the largest collection of symbolic music in MIDI format available for research purposes under fair dealing. Distinguishing between non-expressive and expressive MIDI tracks is challenging, as MIDI files do not inherently make this distinction. To address this issue, we introduce a set of innovative heuristics for detecting expressive music performance. These include the Distinctive Note Velocity Ratio (DNVR) heuristic, which analyzes MIDI note velocity; the Distinctive Note Onset Deviation Ratio (DNODR) heuristic, which examines deviations in note onset times; and the Note Onset Median Metric Level (NOMML) heuristic, which evaluates onset positions relative to metric levels. Our evaluation demonstrates these heuristics effectively differentiate between non-expressive and expressive MIDI tracks. Furthermore, after evaluation, we create the most substantial expressive MIDI dataset, employing our heuristic, NOMML. This curated iteration of GigaMIDI encompasses expressively-performed instrument tracks detected by NOMML, containing all General MIDI instruments, constituting 31% of the GigaMIDI dataset, totalling 1,655,649 tracks.

Existing text-to-music models can produce high-quality audio with great diversity. However, textual prompts alone cannot precisely control temporal musical features such as chords and rhythm of the generated music. To address this challenge, we introduce MusiConGen, a temporally-conditioned Transformer-based text-to-music model that builds upon the pretrained MusicGen framework. Our innovation lies in an efficient finetuning mechanism, tailored for consumer-grade GPUs, that integrates automatically-extracted rhythm and chords as the condition signal. During inference, the condition can either be musical features extracted from a reference audio signal, or be user-defined symbolic chord sequence, BPM, and textual prompts. Our performance evaluation on two datasets -- one derived from extracted features and the other from user-created inputs -- demonstrates that MusiConGen can generate realistic backing track music that aligns well with the specified conditions. We open-source the code and model checkpoints, and provide audio examples online, https://musicongen.github.io/musicongen_demo/.

Aligning large language models (LLMs) with human values and intents critically involves the use of human or AI feedback. While dense feedback annotations are expensive to acquire and integrate, sparse feedback presents a structural design choice between ratings (e.g., score Response A on a scale of 1-7) and rankings (e.g., is Response A better than Response B?). In this work, we analyze the effect of this design choice for the alignment and evaluation of LLMs. We uncover an inconsistency problem wherein the preferences inferred from ratings and rankings significantly disagree 60% for both human and AI annotators. Our subsequent analysis identifies various facets of annotator biases that explain this phenomena, such as human annotators would rate denser responses higher while preferring accuracy during pairwise judgments. To our surprise, we also observe that the choice of feedback protocol also has a significant effect on the evaluation of aligned LLMs. In particular, we find that LLMs that leverage rankings data for alignment (say model X) are preferred over those that leverage ratings data (say model Y), with a rank-based evaluation protocol (is X/Y's response better than reference response?) but not with a rating-based evaluation protocol (score Rank X/Y's response on a scale of 1-7). Our findings thus shed light on critical gaps in methods for evaluating the real-world utility of language models and their strong dependence on the feedback protocol used for alignment. Our code and data are available at https://github.com/Hritikbansal/sparse_feedback.

This thesis develops a Transformer model based on Whisper, which extracts melodies and chords from music audio and records them into ABC notation. A comprehensive data processing workflow is customized for ABC notation, including data cleansing, formatting, and conversion, and a mutation mechanism is implemented to increase the diversity and quality of training data. This thesis innovatively introduces the "Orpheus' Score", a custom notation system that converts music information into tokens, designs a custom vocabulary library, and trains a corresponding custom tokenizer. Experiments show that compared to traditional algorithms, the model has significantly improved accuracy and performance. While providing a convenient audio-to-score tool for music enthusiasts, this work also provides new ideas and tools for research in music information processing.

Brain Signals, such as Electroencephalography (EEG), and human languages have been widely explored independently for many downstream tasks, however, the connection between them has not been well explored. In this study, we explore the relationship and dependency between EEG and language. To study at the representation level, we introduced MTAM, a Multimodal Transformer Alignment Model, to observe coordinated representations between the two modalities. We used various relationship alignment-seeking techniques, such as Canonical Correlation Analysis and Wasserstein Distance, as loss functions to transfigure features. On downstream applications, sentiment analysis and relation detection, we achieved new state-of-the-art results on two datasets, ZuCo and K-EmoCon. Our method achieved an F1-score improvement of 1.7% on K-EmoCon and 9.3% on Zuco datasets for sentiment analysis, and 7.4% on ZuCo for relation detection. In addition, we provide interpretations of the performance improvement: (1) feature distribution shows the effectiveness of the alignment module for discovering and encoding the relationship between EEG and language; (2) alignment weights show the influence of different language semantics as well as EEG frequency features; (3) brain topographical maps provide an intuitive demonstration of the connectivity in the brain regions. Our code is available at https://github.com/Jason-Qiu/EEG_Language_Alignment.

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.

Aligning large language models (LLMs) with human preferences has been recognized as the key to improving LLMs' interaction quality. However, in this pluralistic world, human preferences can be diversified due to annotators' different tastes, which hinders the effectiveness of LLM alignment methods. This paper presents the first quantitative analysis of commonly used human feedback datasets to investigate the impact of diversified preferences on reward modeling. Our analysis reveals a correlation between the calibration performance of reward models (RMs) and the alignment performance of LLMs. We find that diversified preference data negatively affect the calibration performance of RMs on human-shared preferences, such as Harmless\&Helpful, thereby impairing the alignment performance of LLMs. To address the ineffectiveness, we propose a novel Multi-Objective Reward learning method (MORE) to enhance the calibration performance of RMs on shared preferences. We validate our findings by experiments on three models and five human preference datasets. Our method significantly improves the prediction calibration of RMs, leading to better alignment of the Alpaca-7B model with Harmless\&Helpful preferences. Furthermore, the connection between reward calibration and preference alignment performance suggests that calibration error can be adopted as a key metric for evaluating RMs. The open-source code and data are available at https://github.com/dunzeng/MORE.

Aesthetics serve as an implicit and important criterion in song generation tasks that reflect human perception beyond objective metrics. However, evaluating the aesthetics of generated songs remains a fundamental challenge, as the appreciation of music is highly subjective. Existing evaluation metrics, such as embedding-based distances, are limited in reflecting the subjective and perceptual aspects that define musical appeal. To address this issue, we introduce SongEval, the first open-source, large-scale benchmark dataset for evaluating the aesthetics of full-length songs. SongEval includes over 2,399 songs in full length, summing up to more than 140 hours, with aesthetic ratings from 16 professional annotators with musical backgrounds. Each song is evaluated across five key dimensions: overall coherence, memorability, naturalness of vocal breathing and phrasing, clarity of song structure, and overall musicality. The dataset covers both English and Chinese songs, spanning nine mainstream genres. Moreover, to assess the effectiveness of song aesthetic evaluation, we conduct experiments using SongEval to predict aesthetic scores and demonstrate better performance than existing objective evaluation metrics in predicting human-perceived musical quality.

Instrument playing techniques (IPTs) constitute a pivotal component of musical expression. However, the development of automatic IPT detection methods suffers from limited labeled data and inherent class imbalance issues. In this paper, we propose to apply a self-supervised learning model pre-trained on large-scale unlabeled music data and finetune it on IPT detection tasks. This approach addresses data scarcity and class imbalance challenges. Recognizing the significance of pitch in capturing the nuances of IPTs and the importance of onset in locating IPT events, we investigate multi-task finetuning with pitch and onset detection as auxiliary tasks. Additionally, we apply a post-processing approach for event-level prediction, where an IPT activation initiates an event only if the onset output confirms an onset in that frame. Our method outperforms prior approaches in both frame-level and event-level metrics across multiple IPT benchmark datasets. Further experiments demonstrate the efficacy of multi-task finetuning on each IPT class.

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.

Recent advances in music foundation models have improved audio representation learning, yet their effectiveness across diverse musical traditions remains limited. We introduce CultureMERT-95M, a multi-culturally adapted foundation model developed to enhance cross-cultural music representation learning and understanding. To achieve this, we propose a two-stage continual pre-training strategy that integrates learning rate re-warming and re-decaying, enabling stable adaptation even with limited computational resources. Training on a 650-hour multi-cultural data mix, comprising Greek, Turkish, and Indian music traditions, results in an average improvement of 4.9% in ROC-AUC and AP across diverse non-Western music auto-tagging tasks, surpassing prior state-of-the-art, with minimal forgetting on Western-centric benchmarks. We further investigate task arithmetic, an alternative approach to multi-cultural adaptation that merges single-culture adapted models in the weight space. Task arithmetic performs on par with our multi-culturally trained model on non-Western auto-tagging tasks and shows no regression on Western datasets. Cross-cultural evaluation reveals that single-culture models transfer with varying effectiveness across musical traditions, whereas the multi-culturally adapted model achieves the best overall performance. To support research on world music representation learning, we publicly release CultureMERT-95M and CultureMERT-TA-95M, fostering the development of more culturally aware music foundation models.

The explosion of visual content available online underscores the requirement for an accurate machine assessor to robustly evaluate scores across diverse types of visual contents. While recent studies have demonstrated the exceptional potentials of large multi-modality models (LMMs) on a wide range of related fields, in this work, we explore how to teach them for visual rating aligned with human opinions. Observing that human raters only learn and judge discrete text-defined levels in subjective studies, we propose to emulate this subjective process and teach LMMs with text-defined rating levels instead of scores. The proposed Q-Align achieves state-of-the-art performance on image quality assessment (IQA), image aesthetic assessment (IAA), as well as video quality assessment (VQA) tasks under the original LMM structure. With the syllabus, we further unify the three tasks into one model, termed the OneAlign. In our experiments, we demonstrate the advantage of the discrete-level-based syllabus over direct-score-based variants for LMMs. Our code and the pre-trained weights are released at https://github.com/Q-Future/Q-Align.

Music generation has attracted growing interest with the advancement of deep generative models. However, generating music conditioned on textual descriptions, known as text-to-music, remains challenging due to the complexity of musical structures and high sampling rate requirements. Despite the task's significance, prevailing generative models exhibit limitations in music quality, computational efficiency, and generalization. This paper introduces JEN-1, a universal high-fidelity model for text-to-music generation. JEN-1 is a diffusion model incorporating both autoregressive and non-autoregressive training. Through in-context learning, JEN-1 performs various generation tasks including text-guided music generation, music inpainting, and continuation. Evaluations demonstrate JEN-1's superior performance over state-of-the-art methods in text-music alignment and music quality while maintaining computational efficiency. Our demos are available at http://futureverse.com/research/jen/demos/jen1

Benchmarks shape scientific conclusions about model capabilities and steer model development. This creates a feedback loop: stronger benchmarks drive better models, and better models demand more discriminative benchmarks. Ensuring benchmark reliability is therefore essential for trustworthy evaluation and meaningful progress. In this work, we study benchmark reliability from a distributional perspective and introduce benchmark harmony, which measures how uniformly a model's performance is distributed across the subdomains of a benchmark. We posit that high harmony is a desirable benchmark property, indicating that the aggregate metric reflects uniform competence across subdomains. Across 19 multiple-choice benchmarks and five model families, we map each benchmark onto a mean-variance plane of harmony computed across models, where high mean and low variance signal more reliable evaluation. Our analysis shows that less harmonious benchmarks can give misleading results, since overall accuracy may be disproportionately influenced by specific subdomains. For instance, ARC-Easy is overwhelmed by questions on Biological Concepts, overshadowing other critical subdomains such as Geography, Physics, Chemistry, and Environmental Science. By recommending that harmony should be reported alongside accuracy, we reframe evaluation from simple performance averages to a more robust, distributionally reliable measurement of performance.

The evaluation of LLMs has so far focused primarily on how well they can perform different tasks such as reasoning, question-answering, paraphrasing, or translating. For most of these tasks, performance can be measured with objective metrics, such as the number of correct answers. However, other language features are not easily quantified. For example, arousal, concreteness, or gender associated with a given word, as well as the extent to which we experience words with senses and relate them to a specific sense. Those features have been studied for many years by psycholinguistics, conducting large-scale experiments with humans to produce ratings for thousands of words. This opens an opportunity to evaluate how well LLMs align with human ratings on these word features, taking advantage of existing studies that cover many different language features in a large number of words. In this paper, we evaluate the alignment of a representative group of LLMs with human ratings on two psycholinguistic datasets: the Glasgow and Lancaster norms. These datasets cover thirteen features over thousands of words. The results show that alignment is black{generally} better in the Glasgow norms evaluated (arousal, valence, dominance, concreteness, imageability, familiarity, and gender) than on the Lancaster norms evaluated (introceptive, gustatory, olfactory, haptic, auditory, and visual). This suggests a potential limitation of current LLMs in aligning with human sensory associations for words, which may be due to their lack of embodied cognition present in humans and illustrates the usefulness of evaluating LLMs with psycholinguistic datasets.

Existing automatic evaluation on text-to-image synthesis can only provide an image-text matching score, without considering the object-level compositionality, which results in poor correlation with human judgments. In this work, we propose LLMScore, a new framework that offers evaluation scores with multi-granularity compositionality. LLMScore leverages the large language models (LLMs) to evaluate text-to-image models. Initially, it transforms the image into image-level and object-level visual descriptions. Then an evaluation instruction is fed into the LLMs to measure the alignment between the synthesized image and the text, ultimately generating a score accompanied by a rationale. Our substantial analysis reveals the highest correlation of LLMScore with human judgments on a wide range of datasets (Attribute Binding Contrast, Concept Conjunction, MSCOCO, DrawBench, PaintSkills). Notably, our LLMScore achieves Kendall's tau correlation with human evaluations that is 58.8% and 31.2% higher than the commonly-used text-image matching metrics CLIP and BLIP, respectively.

Most music source separation systems require large collections of isolated sources for training, which can be difficult to obtain. In this work, we use musical scores, which are comparatively easy to obtain, as a weak label for training a source separation system. In contrast with previous score-informed separation approaches, our system does not require isolated sources, and score is used only as a training target, not required for inference. Our model consists of a separator that outputs a time-frequency mask for each instrument, and a transcriptor that acts as a critic, providing both temporal and frequency supervision to guide the learning of the separator. A harmonic mask constraint is introduced as another way of leveraging score information during training, and we propose two novel adversarial losses for additional fine-tuning of both the transcriptor and the separator. Results demonstrate that using score information outperforms temporal weak-labels, and adversarial structures lead to further improvements in both separation and transcription performance.

Recent advances in Text-to-3D (T23D) generative models have enabled the synthesis of diverse, high-fidelity 3D assets from textual prompts. However, existing challenges restrict the development of reliable T23D quality assessment (T23DQA). First, existing benchmarks are outdated, fragmented, and coarse-grained, making fine-grained metric training infeasible. Moreover, current objective metrics exhibit inherent design limitations, resulting in non-representative feature extraction and diminished metric robustness. To address these limitations, we introduce T23D-CompBench, a comprehensive benchmark for compositional T23D generation. We define five components with twelve sub-components for compositional prompts, which are used to generate 3,600 textured meshes from ten state-of-the-art generative models. A large-scale subjective experiment is conducted to collect 129,600 reliable human ratings across different perspectives. Based on T23D-CompBench, we further propose Rank2Score, an effective evaluator with two-stage training for T23DQA. Rank2Score enhances pairwise training via supervised contrastive regression and curriculum learning in the first stage, and subsequently refines predictions using mean opinion scores to achieve closer alignment with human judgments in the second stage. Extensive experiments and downstream applications demonstrate that Rank2Score consistently outperforms existing metrics across multiple dimensions and can additionally serve as a reward function to optimize generative models. The project is available at https://cbysjtu.github.io/Rank2Score/.

Alignment and uniformity are fundamental principles within the domain of contrastive learning. In recommender systems, prior work has established that optimizing the Bayesian Personalized Ranking (BPR) loss contributes to the objectives of alignment and uniformity. Specifically, alignment aims to draw together the representations of interacting users and items, while uniformity mandates a uniform distribution of user and item embeddings across a unit hypersphere. This study revisits the alignment and uniformity properties within the context of multimodal recommender systems, revealing a proclivity among extant models to prioritize uniformity to the detriment of alignment. Our hypothesis challenges the conventional assumption of equitable item treatment through a uniformity loss, proposing a more nuanced approach wherein items with similar multimodal attributes converge toward proximal representations within the hyperspheric manifold. Specifically, we leverage the inherent similarity between items' multimodal data to calibrate their uniformity distribution, thereby inducing a more pronounced repulsive force between dissimilar entities within the embedding space. A theoretical analysis elucidates the relationship between this calibrated uniformity loss and the conventional uniformity function. Moreover, to enhance the fusion of multimodal features, we introduce a Spherical B\'ezier method designed to integrate an arbitrary number of modalities while ensuring that the resulting fused features are constrained to the same hyperspherical manifold. Empirical evaluations conducted on five real-world datasets substantiate the superiority of our approach over competing baselines. We also shown that the proposed methods can achieve up to a 5.4% increase in NDCG@20 performance via the integration of MLLM-extracted features. Source code is available at: https://github.com/enoche/CM3.

Increasing test-time computation has emerged as a promising direction for improving language model performance, particularly in scenarios where model finetuning is impractical or impossible due to computational constraints or private model weights. However, existing test-time search methods using a reward model (RM) often degrade in quality as compute scales, due to the over-optimization of what are inherently imperfect reward proxies. We introduce QAlign, a new test-time alignment approach. As we scale test-time compute, QAlign converges to sampling from the optimal aligned distribution for each individual prompt. By adopting recent advances in Markov chain Monte Carlo for text generation, our method enables better-aligned outputs without modifying the underlying model or even requiring logit access. We demonstrate the effectiveness of QAlign on mathematical reasoning benchmarks (GSM8K and GSM-Symbolic) using a task-specific RM, showing consistent improvements over existing test-time compute methods like best-of-n and majority voting. Furthermore, when applied with more realistic RMs trained on the Tulu 3 preference dataset, QAlign outperforms direct preference optimization (DPO), best-of-n, majority voting, and weighted majority voting on a diverse range of datasets (GSM8K, MATH500, IFEval, MMLU-Redux, and TruthfulQA). A practical solution to aligning language models at test time using additional computation without degradation, our approach expands the limits of the capability that can be obtained from off-the-shelf language models without further training.

Recent advances in large language models (LLMs) and audio language models have significantly improved music generation, particularly in lyrics-to-song generation. However, existing approaches still struggle with the complex composition of songs and the scarcity of high-quality data, leading to limitations in sound quality, musicality, instruction following, and vocal-instrument harmony. To address these challenges, we introduce LeVo, an LM-based framework consisting of LeLM and a music codec. LeLM is capable of parallelly modeling two types of tokens: mixed tokens, which represent the combined audio of vocals and accompaniment to achieve vocal-instrument harmony, and dual-track tokens, which separately encode vocals and accompaniment for high-quality song generation. It employs two decoder-only transformers and a modular extension training strategy to prevent interference between different token types. To further enhance musicality and instruction following, we introduce a multi-preference alignment method based on Direct Preference Optimization (DPO). This method handles diverse human preferences through a semi-automatic data construction process and DPO post-training. Experimental results demonstrate that LeVo consistently outperforms existing methods on both objective and subjective metrics. Ablation studies further justify the effectiveness of our designs. Audio examples are available at https://levo-demo.github.io/.

Despite deep learning's remarkable advances in style transfer across various domains, generating controllable performance-level musical style transfer for complete symbolically represented musical works remains a challenging area of research. Much of this is owed to limited datasets, especially for genres such as jazz, and the lack of unified models that can handle multiple music generation tasks. This paper presents ImprovNet, a transformer-based architecture that generates expressive and controllable musical improvisations through a self-supervised corruption-refinement training strategy. The improvisational style transfer is aimed at making meaningful modifications to one or more musical elements - melody, harmony or rhythm of the original composition with respect to the target genre. ImprovNet unifies multiple capabilities within a single model: it can perform cross-genre and intra-genre improvisations, harmonize melodies with genre-specific styles, and execute short prompt continuation and infilling tasks. The model's iterative generation framework allows users to control the degree of style transfer and structural similarity to the original composition. Objective and subjective evaluations demonstrate ImprovNet's effectiveness in generating musically coherent improvisations while maintaining structural relationships with the original pieces. The model outperforms Anticipatory Music Transformer in short continuation and infilling tasks and successfully achieves recognizable genre conversion, with 79\% of participants correctly identifying jazz-style improvisations of classical pieces. Our code and demo page can be found at https://github.com/keshavbhandari/improvnet.

We present a new methodology for detecting out-of-distribution (OOD) images by utilizing norms of the score estimates at multiple noise scales. A score is defined to be the gradient of the log density with respect to the input data. Our methodology is completely unsupervised and follows a straight forward training scheme. First, we train a deep network to estimate scores for levels of noise. Once trained, we calculate the noisy score estimates for N in-distribution samples and take the L2-norms across the input dimensions (resulting in an NxL matrix). Then we train an auxiliary model (such as a Gaussian Mixture Model) to learn the in-distribution spatial regions in this L-dimensional space. This auxiliary model can now be used to identify points that reside outside the learned space. Despite its simplicity, our experiments show that this methodology significantly outperforms the state-of-the-art in detecting out-of-distribution images. For example, our method can effectively separate CIFAR-10 (inlier) and SVHN (OOD) images, a setting which has been previously shown to be difficult for deep likelihood models.

Reinforcement Learning from Human Feedback (RLHF) involves training policy models (PMs) and reward models (RMs) to align language models with human preferences. Instead of focusing solely on PMs and RMs independently, we propose to examine their interactions during fine-tuning, introducing the concept of seamlessness. Our study starts with observing the saturation phenomenon, where continual improvements in RM and PM do not translate into RLHF progress. Our analysis shows that RMs fail to assign proper scores to PM responses, resulting in a 35% mismatch rate with human preferences, highlighting a significant discrepancy between PM and RM. To measure seamlessness between PM and RM without human effort, we propose an automatic metric, SEAM. SEAM quantifies the discrepancies between PM and RM judgments induced by data samples. We validate the effectiveness of SEAM in data selection and model augmentation. Our experiments demonstrate that (1) using SEAM-filtered data for RL training improves RLHF performance by 4.5%, and (2) SEAM-guided model augmentation results in a 4% performance improvement over standard augmentation methods.

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.

Denoising Score Matching estimates the score of a noised version of a target distribution by minimizing a regression loss and is widely used to train the popular class of Denoising Diffusion Models. A well known limitation of Denoising Score Matching, however, is that it yields poor estimates of the score at low noise levels. This issue is particularly unfavourable for problems in the physical sciences and for Monte Carlo sampling tasks for which the score of the clean original target is known. Intuitively, estimating the score of a slightly noised version of the target should be a simple task in such cases. In this paper, we address this shortcoming and show that it is indeed possible to leverage knowledge of the target score. We present a Target Score Identity and corresponding Target Score Matching regression loss which allows us to obtain score estimates admitting favourable properties at low noise levels.

We conduct a systematic audit of three widely used reasoning benchmarks, SocialIQa, FauxPas-EAI, and ToMi, and uncover pervasive flaws in both benchmark items and evaluation methodology. Using five LLMs (GPT-{3, 3.5, 4, o1}, and LLaMA 3.1) as diagnostic tools, we identify structural, semantic, and pragmatic issues in benchmark design (e.g., duplicated items, ambiguous wording, and implausible answers), as well as scoring procedures that prioritize output form over reasoning process. Through systematic human annotation and re-evaluation on cleaned benchmark subsets, we find that model scores often improve not due to due to erratic surface wording variations and not to improved reasoning. Infact, further analyses show that model performance is highly sensitive to minor input variations such as context availability and phrasing, revealing that high scores may reflect alignment with format-specific cues rather than consistent inference based on the input. These findings challenge the validity of current benchmark-based claims about reasoning in LLMs, and highlight the need for evaluation protocols that assess reasoning as a process of drawing inference from available information, rather than as static output selection. We release audited data and evaluation tools to support more interpretable and diagnostic assessments of model reasoning.

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.

As a relative quality comparison of model responses, human and Large Language Model (LLM) preferences serve as common alignment goals in model fine-tuning and criteria in evaluation. Yet, these preferences merely reflect broad tendencies, resulting in less explainable and controllable models with potential safety risks. In this work, we dissect the preferences of human and 32 different LLMs to understand their quantitative composition, using annotations from real-world user-model conversations for a fine-grained, scenario-wise analysis. We find that humans are less sensitive to errors, favor responses that support their stances, and show clear dislike when models admit their limits. On the contrary, advanced LLMs like GPT-4-Turbo emphasize correctness, clarity, and harmlessness more. Additionally, LLMs of similar sizes tend to exhibit similar preferences, regardless of their training methods, and fine-tuning for alignment does not significantly alter the preferences of pretrained-only LLMs. Finally, we show that preference-based evaluation can be intentionally manipulated. In both training-free and training-based settings, aligning a model with the preferences of judges boosts scores, while injecting the least preferred properties lowers them. This results in notable score shifts: up to 0.59 on MT-Bench (1-10 scale) and 31.94 on AlpacaEval 2.0 (0-100 scale), highlighting the significant impact of this strategic adaptation. Interactive Demo: https://huggingface.co/spaces/GAIR/Preference-Dissection-Visualization Dataset: https://huggingface.co/datasets/GAIR/preference-dissection Code: https://github.com/GAIR-NLP/Preference-Dissection

While text-to-image models like DALLE-3 and Stable Diffusion are rapidly proliferating, they often encounter challenges such as hallucination, bias, and the production of unsafe, low-quality output. To effectively address these issues, it is crucial to align these models with desired behaviors based on feedback from a multimodal judge. Despite their significance, current multimodal judges frequently undergo inadequate evaluation of their capabilities and limitations, potentially leading to misalignment and unsafe fine-tuning outcomes. To address this issue, we introduce MJ-Bench, a novel benchmark which incorporates a comprehensive preference dataset to evaluate multimodal judges in providing feedback for image generation models across four key perspectives: alignment, safety, image quality, and bias. Specifically, we evaluate a large variety of multimodal judges including smaller-sized CLIP-based scoring models, open-source VLMs (e.g. LLaVA family), and close-source VLMs (e.g. GPT-4o, Claude 3) on each decomposed subcategory of our preference dataset. Experiments reveal that close-source VLMs generally provide better feedback, with GPT-4o outperforming other judges in average. Compared with open-source VLMs, smaller-sized scoring models can provide better feedback regarding text-image alignment and image quality, while VLMs provide more accurate feedback regarding safety and generation bias due to their stronger reasoning capabilities. Further studies in feedback scale reveal that VLM judges can generally provide more accurate and stable feedback in natural language (Likert-scale) than numerical scales. Notably, human evaluations on end-to-end fine-tuned models using separate feedback from these multimodal judges provide similar conclusions, further confirming the effectiveness of MJ-Bench. All data, code, models are available at https://huggingface.co/MJ-Bench.

Despite notable advancements in Multimodal Large Language Models (MLLMs), most state-of-the-art models have not undergone thorough alignment with human preferences. This gap exists because current alignment research has primarily achieved progress in specific areas (e.g., hallucination reduction), while the broader question of whether aligning models with human preferences can systematically enhance MLLM capability remains largely unexplored. To this end, we introduce MM-RLHF, a dataset containing 120k fine-grained, human-annotated preference comparison pairs. This dataset represents a substantial advancement over existing resources, offering superior size, diversity, annotation granularity, and quality. Leveraging this dataset, we propose several key innovations to improve both the quality of reward models and the efficiency of alignment algorithms. Notably, we introduce a Critique-Based Reward Model, which generates critiques of model outputs before assigning scores, offering enhanced interpretability and more informative feedback compared to traditional scalar reward mechanisms. Additionally, we propose Dynamic Reward Scaling, a method that adjusts the loss weight of each sample according to the reward signal, thereby optimizing the use of high-quality comparison pairs. Our approach is rigorously evaluated across 10 distinct dimensions and 27 benchmarks, with results demonstrating significant and consistent improvements in model performance. Specifically, fine-tuning LLaVA-ov-7B with MM-RLHF and our alignment algorithm leads to a 19.5% increase in conversational abilities and a 60% improvement in safety. We have open-sourced the preference dataset, reward model, training and evaluation code, as well as reward modeling and safety benchmarks. For more details, please visit our project page: https://mm-rlhf.github.io.

There is a long history, as well as a recent explosion of interest, in statistical and generative modeling approaches based on score functions -- derivatives of the log-likelihood of a distribution. In seminal works, Hyv\"arinen proposed vanilla score matching as a way to learn distributions from data by computing an estimate of the score function of the underlying ground truth, and established connections between this method and established techniques like Contrastive Divergence and Pseudolikelihood estimation. It is by now well-known that vanilla score matching has significant difficulties learning multimodal distributions. Although there are various ways to overcome this difficulty, the following question has remained unanswered -- is there a natural way to sample multimodal distributions using just the vanilla score? Inspired by a long line of related experimental works, we prove that the Langevin diffusion with early stopping, initialized at the empirical distribution, and run on a score function estimated from data successfully generates natural multimodal distributions (mixtures of log-concave distributions).

Radiologists play a crucial role by translating medical images into medical reports. However, the field faces staffing shortages and increasing workloads. While automated approaches using vision-language models (VLMs) show promise as assistants, they require exceptionally high accuracy. Most current VLMs in radiology rely solely on supervised fine-tuning (SFT). Meanwhile, in the general domain, additional preference fine-tuning has become standard practice. The challenge in radiology lies in the prohibitive cost of obtaining radiologist feedback. We propose a scalable automated preference alignment technique for VLMs in radiology, focusing on chest X-ray (CXR) report generation. Our method leverages publicly available datasets with an LLM-as-a-Judge mechanism, eliminating the need for additional expert radiologist feedback. We evaluate and benchmark five direct alignment algorithms (DAAs). Our results show up to a 57.4% improvement in average GREEN scores, a LLM-based metric for evaluating CXR reports, and a 9.2% increase in an average across six metrics (domain specific and general), compared to the SFT baseline. We study reward overoptimization via length exploitation, with reports lengthening by up to 3.2x. To assess a potential alignment tax, we benchmark on six additional diverse tasks, finding no significant degradations. A reader study involving four board-certified radiologists indicates win rates of up to 0.62 over the SFT baseline, while significantly penalizing verbosity. Our analysis provides actionable insights for the development of VLMs in high-stakes fields like radiology.

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.

Failure of machine learning models to generalize to new data is a core problem limiting the reliability of AI systems, partly due to the lack of simple and robust methods for comparing new data to the original training dataset. We propose a standardized approach for assessing data similarity in a model-agnostic manner by constructing a supervised autoencoder for generalizability estimation (SAGE). We compare points in a low-dimensional embedded latent space, defining empirical probability measures for k-Nearest Neighbors (kNN) distance, reconstruction of inputs and task-based performance. As proof of concept for classification tasks, we use MNIST and CIFAR-10 to demonstrate how an ensemble output probability score can separate deformed images from a mixture of typical test examples, and how this SAGE score is robust to transformations of increasing severity. As further proof of concept, we extend this approach to a regression task using non-imaging data (UCI Abalone). In all cases, we show that out-of-the-box model performance increases after SAGE score filtering, even when applied to data from the model's own training and test datasets. Our out-of-distribution scoring method can be introduced during several steps of model construction and assessment, leading to future improvements in responsible deep learning implementation.

By compressing diverse narratives, LLMs go beyond memorization, achieving intelligence by capturing generalizable causal relationships. However, they suffer from local 'representation gaps' due to insufficient training data diversity, limiting their real-world utility, especially in tasks requiring strict alignment to rules. Traditional alignment methods relying on heavy human annotations are inefficient and unscalable. Recent self-alignment techniques also fall short, as they often depend on self-selection based prompting and memorization-based learning. To address these issues, we introduce Iterative Graph Alignment (IGA), an annotation-free rule-based alignment algorithm. A teacher model (VLM) employs Iterative Graph Prompting (IGP) to create logical graphs and reference answers. The student model (LLM) identifies local knowledge gaps by attempting to align its responses with these references, collaborating with helper models to generate diverse answers. These aligned responses are then used for iterative supervised fine-tuning (SFT). Our evaluations across five rule-based scenarios demonstrate IGP's effectiveness, with a 73.12\% alignment improvement in Claude Sonnet 3.5, and Llama3-8B-Instruct achieving an 86.20\% improvement, outperforming Claude Sonnet 3.5 in rule-based alignment.

Generating full-body and multi-genre dance sequences from given music is a challenging task, due to the limitations of existing datasets and the inherent complexity of the fine-grained hand motion and dance genres. To address these problems, we propose FineDance, which contains 14.6 hours of music-dance paired data, with fine-grained hand motions, fine-grained genres (22 dance genres), and accurate posture. To the best of our knowledge, FineDance is the largest music-dance paired dataset with the most dance genres. Additionally, to address monotonous and unnatural hand movements existing in previous methods, we propose a full-body dance generation network, which utilizes the diverse generation capabilities of the diffusion model to solve monotonous problems, and use expert nets to solve unreal problems. To further enhance the genre-matching and long-term stability of generated dances, we propose a Genre&Coherent aware Retrieval Module. Besides, we propose a novel metric named Genre Matching Score to evaluate the genre-matching degree between dance and music. Quantitative and qualitative experiments demonstrate the quality of FineDance, and the state-of-the-art performance of FineNet. The FineDance Dataset and more qualitative samples can be found at our website.

Nowadays, humans are constantly exposed to music, whether through voluntary streaming services or incidental encounters during commercial breaks. Despite the abundance of music, certain pieces remain more memorable and often gain greater popularity. Inspired by this phenomenon, we focus on measuring and predicting music memorability. To achieve this, we collect a new music piece dataset with reliable memorability labels using a novel interactive experimental procedure. We then train baselines to predict and analyze music memorability, leveraging both interpretable features and audio mel-spectrograms as inputs. To the best of our knowledge, we are the first to explore music memorability using data-driven deep learning-based methods. Through a series of experiments and ablation studies, we demonstrate that while there is room for improvement, predicting music memorability with limited data is possible. Certain intrinsic elements, such as higher valence, arousal, and faster tempo, contribute to memorable music. As prediction techniques continue to evolve, real-life applications like music recommendation systems and music style transfer will undoubtedly benefit from this new area of research.

We present SURE-Score: an approach for learning score-based generative models using training samples corrupted by additive Gaussian noise. When a large training set of clean samples is available, solving inverse problems via score-based (diffusion) generative models trained on the underlying fully-sampled data distribution has recently been shown to outperform end-to-end supervised deep learning. In practice, such a large collection of training data may be prohibitively expensive to acquire in the first place. In this work, we present an approach for approximately learning a score-based generative model of the clean distribution, from noisy training data. We formulate and justify a novel loss function that leverages Stein's unbiased risk estimate to jointly denoise the data and learn the score function via denoising score matching, while using only the noisy samples. We demonstrate the generality of SURE-Score by learning priors and applying posterior sampling to ill-posed inverse problems in two practical applications from different domains: compressive wireless multiple-input multiple-output channel estimation and accelerated 2D multi-coil magnetic resonance imaging reconstruction, where we demonstrate competitive reconstruction performance when learning at signal-to-noise ratio values of 0 and 10 dB, respectively.

LLM-as-a-Judge has been widely applied to evaluate and compare different LLM alignmnet approaches (e.g., RLHF and DPO). However, concerns regarding its reliability have emerged, due to LLM judges' biases and inconsistent decision-making. Previous research has developed evaluation frameworks to assess reliability of LLM judges and their alignment with human preferences. However, the employed evaluation metrics often lack adequate explainability and fail to address LLM internal inconsistency. Additionally, existing studies inadequately explore the impact of various prompt templates when applying LLM-as-a-Judge methods, leading to potentially inconsistent comparisons between different alignment algorithms. In this work, we systematically evaluate LLM-as-a-Judge on alignment tasks by defining more theoretically interpretable evaluation metrics and explicitly mitigating LLM internal inconsistency from reliability metrics. We develop an open-source framework to evaluate, compare, and visualize the reliability and alignment of LLM judges, which facilitates practitioners to choose LLM judges for alignment tasks. In the experiments, we examine effects of diverse prompt templates on LLM-judge reliability and also demonstrate our developed framework by comparing various LLM judges on two common alignment datasets (i.e., TL;DR Summarization and HH-RLHF-Helpfulness). Our results indicate a significant impact of prompt templates on LLM judge performance, as well as a mediocre alignment level between the tested LLM judges and human evaluators.

We introduce CLaMP: Contrastive Language-Music Pre-training, which learns cross-modal representations between natural language and symbolic music using a music encoder and a text encoder trained jointly with a contrastive loss. To pre-train CLaMP, we collected a large dataset of 1.4 million music-text pairs. It employed text dropout as a data augmentation technique and bar patching to efficiently represent music data which reduces sequence length to less than 10%. In addition, we developed a masked music model pre-training objective to enhance the music encoder's comprehension of musical context and structure. CLaMP integrates textual information to enable semantic search and zero-shot classification for symbolic music, surpassing the capabilities of previous models. To support the evaluation of semantic search and music classification, we publicly release WikiMusicText (WikiMT), a dataset of 1010 lead sheets in ABC notation, each accompanied by a title, artist, genre, and description. In comparison to state-of-the-art models that require fine-tuning, zero-shot CLaMP demonstrated comparable or superior performance on score-oriented datasets.

We explore the potential of a popular distributional semantics vector space model, word2vec, for capturing meaningful relationships in ecological (complex polyphonic) music. More precisely, the skip-gram version of word2vec is used to model slices of music from a large corpus spanning eight musical genres. In this newly learned vector space, a metric based on cosine distance is able to distinguish between functional chord relationships, as well as harmonic associations in the music. Evidence, based on cosine distance between chord-pair vectors, suggests that an implicit circle-of-fifths exists in the vector space. In addition, a comparison between pieces in different keys reveals that key relationships are represented in word2vec space. These results suggest that the newly learned embedded vector representation does in fact capture tonal and harmonic characteristics of music, without receiving explicit information about the musical content of the constituent slices. In order to investigate whether proximity in the discovered space of embeddings is indicative of `semantically-related' slices, we explore a music generation task, by automatically replacing existing slices from a given piece of music with new slices. We propose an algorithm to find substitute slices based on spatial proximity and the pitch class distribution inferred in the chosen subspace. The results indicate that the size of the subspace used has a significant effect on whether slices belonging to the same key are selected. In sum, the proposed word2vec model is able to learn music-vector embeddings that capture meaningful tonal and harmonic relationships in music, thereby providing a useful tool for exploring musical properties and comparisons across pieces, as a potential input representation for deep learning models, and as a music generation device.

The growing awareness of safety concerns in large language models (LLMs) has sparked considerable interest in the evaluation of safety within current research endeavors. This study investigates an interesting issue pertaining to the evaluation of LLMs, namely the substantial discrepancy in performance between multiple-choice questions and open-ended questions. Inspired by research on jailbreak attack patterns, we argue this is caused by mismatched generalization. That is, the LLM does not have a comprehensive understanding of the complex concept of safety. Instead, it only remembers what to answer for open-ended safety questions, which makes it unable to solve other forms of safety tests. We refer to this phenomenon as fake alignment and construct a comparative benchmark to empirically verify its existence in LLMs. Such fake alignment renders previous evaluation protocols unreliable. To address this, we introduce the Fake alIgNment Evaluation (FINE) framework and two novel metrics--Consistency Score (CS) and Consistent Safety Score (CSS), which jointly assess two complementary forms of evaluation to quantify fake alignment and obtain corrected performance estimates. Applying FINE to 14 widely-used LLMs reveals several models with purported safety are poorly aligned in practice. Our work highlights potential limitations in prevailing alignment methodologies.

Developing generative models to create or conditionally create symbolic music presents unique challenges due to the combination of limited data availability and the need for high precision in note pitch. To address these challenges, we introduce an efficient Fine-Grained Guidance (FGG) approach within diffusion models. FGG guides the diffusion models to generate music that aligns more closely with the control and intent of expert composers, which is critical to improve the accuracy, listenability, and quality of generated music. This approach empowers diffusion models to excel in advanced applications such as improvisation, and interactive music creation. We derive theoretical characterizations for both the challenges in symbolic music generation and the effects of the FGG approach. We provide numerical experiments and subjective evaluation to demonstrate the effectiveness of our approach. We have published a demo page to showcase performances, as one of the first in the symbolic music literature's demo pages that enables real-time interactive generation.

Recent success in deep learning has partially been driven by training increasingly overparametrized networks on ever larger datasets. It is therefore natural to ask: how much of the data is superfluous, which examples are important for generalization, and how do we find them? In this work, we make the striking observation that, in standard vision datasets, simple scores averaged over several weight initializations can be used to identify important examples very early in training. We propose two such scores -- the Gradient Normed (GraNd) and the Error L2-Norm (EL2N) scores -- and demonstrate their efficacy on a range of architectures and datasets by pruning significant fractions of training data without sacrificing test accuracy. In fact, using EL2N scores calculated a few epochs into training, we can prune half of the CIFAR10 training set while slightly improving test accuracy. Furthermore, for a given dataset, EL2N scores from one architecture or hyperparameter configuration generalize to other configurations. Compared to recent work that prunes data by discarding examples that are rarely forgotten over the course of training, our scores use only local information early in training. We also use our scores to detect noisy examples and study training dynamics through the lens of important examples -- we investigate how the data distribution shapes the loss surface and identify subspaces of the model's data representation that are relatively stable over training.

Singing Accompaniment Generation (SAG) is the process of generating instrumental music for a given clean vocal input. However, existing SAG techniques use source-separated vocals as input and overfit to separation artifacts. This creates a critical train-test mismatch, leading to failure on clean, real-world vocal inputs. We introduce AnyAccomp, a framework that resolves this by decoupling accompaniment generation from source-dependent artifacts. AnyAccomp first employs a quantized melodic bottleneck, using a chromagram and a VQ-VAE to extract a discrete and timbre-invariant representation of the core melody. A subsequent flow-matching model then generates the accompaniment conditioned on these robust codes. Experiments show AnyAccomp achieves competitive performance on separated-vocal benchmarks while significantly outperforming baselines on generalization test sets of clean studio vocals and, notably, solo instrumental tracks. This demonstrates a qualitative leap in generalization, enabling robust accompaniment for instruments - a task where existing models completely fail - and paving the way for more versatile music co-creation tools. Demo audio and code: https://anyaccomp.github.io

Metaverse is an interactive world that combines reality and virtuality, where participants can be virtual avatars. Anyone can hold a concert in a virtual concert hall, and users can quickly identify the real singer behind the virtual idol through the singer identification. Most singer identification methods are processed using the frame-level features. However, expect the singer's timbre, the music frame includes music information, such as melodiousness, rhythm, and tonal. It means the music information is noise for using frame-level features to identify the singers. In this paper, instead of only the frame-level features, we propose to use another two features that address this problem. Middle-level feature, which represents the music's melodiousness, rhythmic stability, and tonal stability, and is able to capture the perceptual features of music. The timbre feature, which is used in speaker identification, represents the singers' voice features. Furthermore, we propose a convolutional recurrent neural network (CRNN) to combine three features for singer identification. The model firstly fuses the frame-level feature and timbre feature and then combines middle-level features to the mix features. In experiments, the proposed method achieves comparable performance on an average F1 score of 0.81 on the benchmark dataset of Artist20, which significantly improves related works.

We present a novel approach to synthesize dexterous motions for physically simulated hands in tasks that require coordination between the control of two hands with high temporal precision. Instead of directly learning a joint policy to control two hands, our approach performs bimanual control through cooperative learning where each hand is treated as an individual agent. The individual policies for each hand are first trained separately, and then synchronized through latent space manipulation in a centralized environment to serve as a joint policy for two-hand control. By doing so, we avoid directly performing policy learning in the joint state-action space of two hands with higher dimensions, greatly improving the overall training efficiency. We demonstrate the effectiveness of our proposed approach in the challenging guitar-playing task. The virtual guitarist trained by our approach can synthesize motions from unstructured reference data of general guitar-playing practice motions, and accurately play diverse rhythms with complex chord pressing and string picking patterns based on the input guitar tabs that do not exist in the references. Along with this paper, we provide the motion capture data that we collected as the reference for policy training. Code is available at: https://pei-xu.github.io/guitar.

Loss explosions in training deep neural networks can nullify multi-million dollar training runs. Conventional monitoring metrics like weight and gradient norms are often lagging and ambiguous predictors, as their values vary dramatically across different models and even between layers of the same model, making it difficult to establish a unified standard for detecting impending failure. We introduce Spectral Alignment (SA), a novel, theoretically-grounded metric that monitors the distributional alignment between layer inputs and the principal singular vectors of weight matrices. We show that a collapse in the sign diversity of this alignment is a powerful early predictor of representational collapse and training divergence. Empirical results on language models demonstrate that monitoring the SA distribution provides a significantly earlier and clearer warning of loss explosions than traditional scalar metrics. SA's low computational overhead makes it a practical tool for safeguarding model training.

Indian classical music relies on a sophisticated microtonal system of 22 shrutis (pitch intervals), which provides expressive nuance beyond the 12-tone equal temperament system. Existing symbolic music processing tools fail to account for these microtonal distinctions and culturally specific raga grammars that govern melodic movement. We present ShrutiSense, a comprehensive symbolic pitch processing system designed for Indian classical music, addressing two critical tasks: (1) correcting westernized or corrupted pitch sequences, and (2) completing melodic sequences with missing values. Our approach employs complementary models for different tasks: a Shruti-aware finite-state transducer (FST) that performs contextual corrections within the 22-shruti framework and a grammar-constrained Shruti hidden Markov model (GC-SHMM) that incorporates raga-specific transition rules for contextual completions. Comprehensive evaluation on simulated data across five ragas demonstrates that ShrutiSense (FST model) achieves 91.3% shruti classification accuracy for correction tasks, with example sequences showing 86.7-90.0% accuracy at corruption levels of 0.2 to 0.4. The system exhibits robust performance under pitch noise up to +/-50 cents, maintaining consistent accuracy across ragas (90.7-91.8%), thus preserving the cultural authenticity of Indian classical music expression.

Language model (LM) benchmarking faces several challenges: comprehensive evaluations are costly, benchmarks often fail to measure the intended capabilities, and evaluation quality can degrade due to labeling errors and benchmark saturation. Although various strategies have been proposed to mitigate these issues, they tend to address individual aspects in isolation, neglecting broader questions about overall evaluation quality. Here, we introduce Fluid Benchmarking, a new evaluation approach that advances LM benchmarking across multiple dimensions. Inspired by psychometrics, Fluid Benchmarking is based on the insight that the relative value of benchmark items depends on an LM's capability level, suggesting that evaluation should adapt to each LM. Methodologically, Fluid Benchmarking estimates an item response model based on existing LM evaluation results and uses the inferred quantities to select evaluation items dynamically, similar to computerized adaptive testing in education. In our experiments, we compare Fluid Benchmarking against the common practice of random item sampling as well as more sophisticated baselines, including alternative methods grounded in item response theory. We examine four dimensions -- efficiency, validity, variance, and saturation -- and find that Fluid Benchmarking achieves superior performance in all of them (e.g., higher validity and less variance on MMLU with fifty times fewer items). Our analysis shows that the two components of Fluid Benchmarking have distinct effects: item response theory, used to map performance into a latent ability space, increases validity, while dynamic item selection reduces variance. Overall, our results suggest that LM benchmarking can be substantially improved by moving beyond static evaluation.

High-quality pre-training data is crutial for large language models, where quality captures factual reliability and semantic value, and diversity ensures broad coverage and distributional heterogeneity. Existing approaches typically rely on single or multiple-dimensional score-based selection. However, directly selecting top-scored data often degrades performance, and sampling from a broader range is required to recover results. The above non-monotonicity between dataset scores and downstream benchmark results reveals a fundamental bias: score-based methods collapse correlated dimensions, causing top-scored data to appear high-quality while systematically overlooking diversity. We argue that ensuring diversity requires decomposing correlated metrics into orthogonal feature dimensions, from which the top-scored data can be directly selected. Therefore, we proposed the Orthogonal Diversity-Aware Selection (ODiS) algorithm, which preserves both quality and diversity during data selection. First, ODiS evaluates data from multiple dimensions, covering language quality, knowledge quality, and comprehension difficulty. The multi-dimensional scores are then decorrelated via Principal Component Analysis (PCA), yielding orthogonal evaluation dimensions. For each dimension, a Roberta-based scorer is trained to regress the data onto PCA-projected scores, enabling scalable inference on large corpora. Finally, ODiS constructs the training dataset by selecting top-scored data within each orthogonal dimension, thereby ensuring both quality and diversity. Empirical results show that ODiS-selected data exhibit less than 2\% inter-dimension overlap, confirming orthogonality between dimensions. More importantly, models trained with ODiS-selected data significantly outperform other baselines on downstream benchmarks, highlighting the necessity of orthogonal, diversity-aware data selection for LLMs.

In this paper we introduce the SCoRe (Submodular Combinatorial Representation Learning) framework, a novel approach in representation learning that addresses inter-class bias and intra-class variance. SCoRe provides a new combinatorial viewpoint to representation learning, by introducing a family of loss functions based on set-based submodular information measures. We develop two novel combinatorial formulations for loss functions, using the Total Information and Total Correlation, that naturally minimize intra-class variance and inter-class bias. Several commonly used metric/contrastive learning loss functions like supervised contrastive loss, orthogonal projection loss, and N-pairs loss, are all instances of SCoRe, thereby underlining the versatility and applicability of SCoRe in a broad spectrum of learning scenarios. Novel objectives in SCoRe naturally model class-imbalance with up to 7.6\% improvement in classification on CIFAR-10-LT, CIFAR-100-LT, MedMNIST, 2.1% on ImageNet-LT, and 19.4% in object detection on IDD and LVIS (v1.0), demonstrating its effectiveness over existing approaches.

Fine-tuning large-scale music generation models, such as MusicGen and Mustango, is a computationally expensive process, often requiring updates to billions of parameters and, therefore, significant hardware resources. Parameter-Efficient Fine-Tuning (PEFT) techniques, particularly adapter-based methods, have emerged as a promising alternative, enabling adaptation with minimal trainable parameters while preserving model performance. However, the design choices for adapters, including their architecture, placement, and size, are numerous, and it is unclear which of these combinations would produce optimal adapters and why, for a given case of low-resource music genre. In this paper, we attempt to answer this question by studying various adapter configurations for two AI music models, MusicGen and Mustango, on two genres: Hindustani Classical and Turkish Makam music. Our findings reveal distinct trade-offs: convolution-based adapters excel in capturing fine-grained local musical details such as ornamentations and short melodic phrases, while transformer-based adapters better preserve long-range dependencies crucial for structured improvisation. Additionally, we analyze computational resource requirements across different adapter scales, demonstrating how mid-sized adapters (40M parameters) achieve an optimal balance between expressivity and quality. Furthermore, we find that Mustango, a diffusion-based model, generates more diverse outputs with better adherence to the description in the input prompt while lacking in providing stability in notes, rhythm alignment, and aesthetics. Also, it is computationally intensive and requires significantly more time to train. In contrast, autoregressive models like MusicGen offer faster training and are more efficient, and can produce better quality output in comparison, but have slightly higher redundancy in their generations.

We propose a novel symbolic music representation and Generative Adversarial Network (GAN) framework specially designed for symbolic multitrack music generation. The main theme of symbolic music generation primarily encompasses the preprocessing of music data and the implementation of a deep learning framework. Current techniques dedicated to symbolic music generation generally encounter two significant challenges: training data's lack of information about chords and scales and the requirement of specially designed model architecture adapted to the unique format of symbolic music representation. In this paper, we solve the above problems by introducing new symbolic music representation with MusicLang chord analysis model. We propose our MMT-BERT architecture adapting to the representation. To build a robust multitrack music generator, we fine-tune a pre-trained MusicBERT model to serve as the discriminator, and incorporate relativistic standard loss. This approach, supported by the in-depth understanding of symbolic music encoded within MusicBERT, fortifies the consonance and humanity of music generated by our method. Experimental results demonstrate the effectiveness of our approach which strictly follows the state-of-the-art methods.

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.

With significant advancements in diffusion models, addressing the potential risks of dataset bias becomes increasingly important. Since generated outputs directly suffer from dataset bias, mitigating latent bias becomes a key factor in improving sample quality and proportion. This paper proposes time-dependent importance reweighting to mitigate the bias for the diffusion models. We demonstrate that the time-dependent density ratio becomes more precise than previous approaches, thereby minimizing error propagation in generative learning. While directly applying it to score-matching is intractable, we discover that using the time-dependent density ratio both for reweighting and score correction can lead to a tractable form of the objective function to regenerate the unbiased data density. Furthermore, we theoretically establish a connection with traditional score-matching, and we demonstrate its convergence to an unbiased distribution. The experimental evidence supports the usefulness of the proposed method, which outperforms baselines including time-independent importance reweighting on CIFAR-10, CIFAR-100, FFHQ, and CelebA with various bias settings. Our code is available at https://github.com/alsdudrla10/TIW-DSM.

In recent years, deep learning techniques have been applied to music generation systems with promising results. However, one of the main challenges in this field has been the lack of annotated datasets, making it difficult for models to learn musical forms in compositions. To address this issue, we present TunesFormer, a Transformer-based melody generation system that is trained on a large dataset of 285,449 ABC tunes. By utilizing specific symbols commonly found in ABC notation to indicate section boundaries, TunesFormer can understand and generate melodies with given musical forms based on control codes. Our objective evaluations demonstrate the effectiveness of the control codes in achieving controlled musical forms, and subjective experiments show that the generated melodies are of comparable quality to human compositions. Our results also provide insights into the optimal placement of control codes and their impact on the generated melodies. TunesFormer presents a promising approach for generating melodies with desired musical forms through the use of deep learning techniques.

The ''pretraining-and-finetuning'' paradigm has become a norm for training domain-specific models in natural language processing and computer vision. In this work, we aim to examine this paradigm for symbolic music generation through leveraging the largest ever symbolic music dataset sourced from the MuseScore forum. We first pretrain a large unconditional transformer model using 1.5 million songs. We then propose a simple technique to equip this pretrained unconditional music transformer model with instrument and genre controls by finetuning the model with additional control tokens. Our proposed representation offers improved high-level controllability and expressiveness against two existing representations. The experimental results show that the proposed model can successfully generate music with user-specified instruments and genre. In a subjective listening test, the proposed model outperforms the pretrained baseline model in terms of coherence, harmony, arrangement and overall quality.

Vision-language models (VLMs) often produce chain-of-thought (CoT) explanations that sound plausible yet fail to reflect the underlying decision process, undermining trust in high-stakes clinical use. Existing evaluations rarely catch this misalignment, prioritizing answer accuracy or adherence to formats. We present a clinically grounded framework for chest X-ray visual question answering (VQA) that probes CoT faithfulness via controlled text and image modifications across three axes: clinical fidelity, causal attribution, and confidence calibration. In a reader study (n=4), evaluator-radiologist correlations fall within the observed inter-radiologist range for all axes, with strong alignment for attribution (Kendall's tau_b=0.670), moderate alignment for fidelity (tau_b=0.387), and weak alignment for confidence tone (tau_b=0.091), which we report with caution. Benchmarking six VLMs shows that answer accuracy and explanation quality are decoupled, acknowledging injected cues does not ensure grounding, and text cues shift explanations more than visual cues. While some open-source models match final answer accuracy, proprietary models score higher on attribution (25.0% vs. 1.4%) and often on fidelity (36.1% vs. 31.7%), highlighting deployment risks and the need to evaluate beyond final answer accuracy.

Current benchmarks for AI clinician systems, often based on multiple-choice exams or manual rubrics, fail to capture the depth, robustness, and safety required for real-world clinical practice. To address this, we introduce the GAPS framework, a multidimensional paradigm for evaluating Grounding (cognitive depth), Adequacy (answer completeness), Perturbation (robustness), and Safety. Critically, we developed a fully automated, guideline-anchored pipeline to construct a GAPS-aligned benchmark end-to-end, overcoming the scalability and subjectivity limitations of prior work. Our pipeline assembles an evidence neighborhood, creates dual graph and tree representations, and automatically generates questions across G-levels. Rubrics are synthesized by a DeepResearch agent that mimics GRADE-consistent, PICO-driven evidence review in a ReAct loop. Scoring is performed by an ensemble of large language model (LLM) judges. Validation confirmed our automated questions are high-quality and align with clinician judgment. Evaluating state-of-the-art models on the benchmark revealed key failure modes: performance degrades sharply with increased reasoning depth (G-axis), models struggle with answer completeness (A-axis), and they are highly vulnerable to adversarial perturbations (P-axis) as well as certain safety issues (S-axis). This automated, clinically-grounded approach provides a reproducible and scalable method for rigorously evaluating AI clinician systems and guiding their development toward safer, more reliable clinical practice.

State-of-the-art end-to-end Optical Music Recognition (OMR) has, to date, primarily been carried out using monophonic transcription techniques to handle complex score layouts, such as polyphony, often by resorting to simplifications or specific adaptations. Despite their efficacy, these approaches imply challenges related to scalability and limitations. This paper presents the Sheet Music Transformer, the first end-to-end OMR model designed to transcribe complex musical scores without relying solely on monophonic strategies. Our model employs a Transformer-based image-to-sequence framework that predicts score transcriptions in a standard digital music encoding format from input images. Our model has been tested on two polyphonic music datasets and has proven capable of handling these intricate music structures effectively. The experimental outcomes not only indicate the competence of the model, but also show that it is better than the state-of-the-art methods, thus contributing to advancements in end-to-end OMR transcription.

The evaluation of large language models (LLMs) via benchmarks is widespread, yet inconsistencies between different leaderboards and poor separability among top models raise concerns about their ability to accurately reflect authentic model capabilities. This paper provides a critical analysis of benchmark effectiveness, examining main-stream prominent LLM benchmarks using results from diverse models. We first propose a new framework for accurate and reliable estimations of item characteristics and model abilities. Specifically, we propose Pseudo-Siamese Network for Item Response Theory (PSN-IRT), an enhanced Item Response Theory framework that incorporates a rich set of item parameters within an IRT-grounded architecture. Based on PSN-IRT, we conduct extensive analysis which reveals significant and varied shortcomings in the measurement quality of current benchmarks. Furthermore, we demonstrate that leveraging PSN-IRT is able to construct smaller benchmarks while maintaining stronger alignment with human preference.

While Large Language Models (LLMs) demonstrate impressive capabilities in text generation, we find that their ability has yet to be generalized to music, humanity's creative language. We introduce ChatMusician, an open-source LLM that integrates intrinsic musical abilities. It is based on continual pre-training and finetuning LLaMA2 on a text-compatible music representation, ABC notation, and the music is treated as a second language. ChatMusician can understand and generate music with a pure text tokenizer without any external multi-modal neural structures or tokenizers. Interestingly, endowing musical abilities does not harm language abilities, even achieving a slightly higher MMLU score. Our model is capable of composing well-structured, full-length music, conditioned on texts, chords, melodies, motifs, musical forms, etc, surpassing GPT-4 baseline. On our meticulously curated college-level music understanding benchmark, MusicTheoryBench, ChatMusician surpasses LLaMA2 and GPT-3.5 on zero-shot setting by a noticeable margin. Our work reveals that LLMs can be an excellent compressor for music, but there remains significant territory to be conquered. We release our 4B token music-language corpora MusicPile, the collected MusicTheoryBench, code, model and demo in GitHub.

Large language models have shown significant capabilities across various domains, including symbolic music generation. However, leveraging these pre-trained models for controllable music arrangement tasks, each requiring different forms of musical information as control, remains a novel challenge. In this paper, we propose a unified sequence-to-sequence framework that enables the fine-tuning of a symbolic music language model for multiple multi-track arrangement tasks, including band arrangement, piano reduction, drum arrangement, and voice separation. Our experiments demonstrate that the proposed approach consistently achieves higher musical quality compared to task-specific baselines across all four tasks. Furthermore, through additional experiments on probing analysis, we show the pre-training phase equips the model with essential knowledge to understand musical conditions, which is hard to acquired solely through task-specific fine-tuning.

Melody harmonization has long been closely associated with chorales composed by Johann Sebastian Bach. Previous works rarely emphasised chorale generation conditioned on chord progressions, and there has been a lack of focus on assistive compositional tools. In this paper, we first designed a music representation that encoded chord symbols for chord conditioning, and then proposed DeepChoir, a melody harmonization system that can generate a four-part chorale for a given melody conditioned on a chord progression. With controllable harmonicity, users can control the extent of harmonicity for generated chorales. Experimental results reveal the effectiveness of the music representation and the controllability of DeepChoir.

While generalization over tasks from easy to hard is crucial to profile language models (LLMs), the datasets with fine-grained difficulty annotations for each problem across a broad range of complexity are still blank. Aiming to address this limitation, we present Easy2Hard-Bench, a consistently formatted collection of 6 benchmark datasets spanning various domains, such as mathematics and programming problems, chess puzzles, and reasoning questions. Each problem within these datasets is annotated with numerical difficulty scores. To systematically estimate problem difficulties, we collect abundant performance data on attempts to each problem by humans in the real world or LLMs on the prominent leaderboard. Leveraging the rich performance data, we apply well-established difficulty ranking systems, such as Item Response Theory (IRT) and Glicko-2 models, to uniformly assign numerical difficulty scores to problems. Moreover, datasets in Easy2Hard-Bench distinguish themselves from previous collections by a higher proportion of challenging problems. Through extensive experiments with six state-of-the-art LLMs, we provide a comprehensive analysis of their performance and generalization capabilities across varying levels of difficulty, with the aim of inspiring future research in LLM generalization. The datasets are available at https://huggingface.co/datasets/furonghuang-lab/Easy2Hard-Bench.

Reinforcement learning with human feedback for aligning large language models (LLMs) trains a reward model typically using ranking loss with comparison pairs.However, the training procedure suffers from an inherent problem: the uncontrolled scaling of reward scores during reinforcement learning due to the lack of constraints while training the reward model.This paper proposes a Prior Constraints-based Reward Model (namely PCRM) training method to mitigate this problem. PCRM incorporates prior constraints, specifically, length ratio and cosine similarity between outputs of each comparison pair, during reward model training to regulate optimization magnitude and control score margins. We comprehensively evaluate PCRM by examining its rank correlation with human preferences and its effectiveness in aligning LLMs via RL. Experimental results demonstrate that PCRM significantly improves alignment performance by effectively constraining reward score scaling. As another bonus, our method is easily integrated into arbitrary rank-based alignment methods, such as direct preference optimization, and can yield consistent improvement.

Diffusion models have achieved remarkable success in generative modeling. However, this study confirms the existence of overfitting in diffusion model training, particularly in data-limited regimes. To address this challenge, we propose Score Augmentation (ScoreAug), a novel data augmentation framework specifically designed for diffusion models. Unlike conventional augmentation approaches that operate on clean data, ScoreAug applies transformations to noisy data, aligning with the inherent denoising mechanism of diffusion. Crucially, ScoreAug further requires the denoiser to predict the augmentation of the original target. This design establishes an equivariant learning objective, enabling the denoiser to learn scores across varied denoising spaces, thereby realizing what we term score augmentation. We also theoretically analyze the relationship between scores in different spaces under general transformations. In experiments, we extensively validate ScoreAug on multiple benchmarks including CIFAR-10, FFHQ, AFHQv2, and ImageNet, with results demonstrating significant performance improvements over baselines. Notably, ScoreAug effectively mitigates overfitting across diverse scenarios, such as varying data scales and model capacities, while exhibiting stable convergence properties. Another advantage of ScoreAug over standard data augmentation lies in its ability to circumvent data leakage issues under certain conditions. Furthermore, we show that ScoreAug can be synergistically combined with traditional data augmentation techniques to achieve additional performance gains.

Direct Preference Optimization (DPO) is a method for enhancing model performance by directly optimizing for the preferences or rankings of outcomes, instead of traditional loss functions. This approach has proven effective in aligning Large Language Models (LLMs) with human preferences. Despite its widespread use across various tasks, DPO has been criticized for its sensitivity to the effectiveness of Supervised Fine-Tuning (SFT) and its limitations in enabling models to learn human-preferred responses, leading to less satisfactory performance. To address these limitations, we propose Aligned Supervised Fine-Tuning (ASFT), an effective approach that better aligns LLMs with pair-wise datasets by optimizing absolute likelihood for each response, rather than using the Bradley-Terry model, and eliminates the need for a reference model. Through theoretical gradient analysis, we demonstrate that ASFT mitigates the issue where the DPO loss function decreases the probability of generating human-dispreferred data at a faster rate than it increases the probability of producing preferred data. Additionally, we compare ASFT to DPO and its latest variants, such as the single-step approach ORPO, using the latest instruction-tuned model Llama3, which has been fine-tuned on UltraFeedback and HH-RLHF. We evaluated performance on instruction-following benchmarks like MT-Bench and traditional text generation metrics such as BLEU-4 and ROUGE-L. Extensive experiments demonstrate that ASFT is an effective alignment approach, consistently outperforming existing methods.

Alignment techniques for LLMs rely on optimizing preference-based objectives -- where these preferences are typically elicited as ordinal, binary choices between responses. Recent work has focused on improving label quality or mitigating particular biases, but we identify a more fundamental limitation: these methods collect the wrong kind of data. We prove an impossibility result: no algorithm relying solely on ordinal comparisons can systematically recover the most preferred model. Intuitively, ordinal data lacks the information needed to resolve tradeoffs -- e.g., fixing a factual error on one prompt versus improving style on another. We show that selecting the optimal model requires recovering preferences over models (rather than just responses), which can only be identified given cardinal feedback about response quality. To address this, we collect and publicly release a dataset of 25,000 cardinal judgments using willingness-to-pay elicitations, a well-established tool from experimental economics. Empirically, we find that incorporating cardinal feedback into preference fine-tuning allows models to prioritize high-impact improvements and outperform ordinal-only methods on downstream benchmarks, such as Arena-Hard.

In this paper, we introduce Jointist, an instrument-aware multi-instrument framework that is capable of transcribing, recognizing, and separating multiple musical instruments from an audio clip. Jointist consists of the instrument recognition module that conditions the other modules: the transcription module that outputs instrument-specific piano rolls, and the source separation module that utilizes instrument information and transcription results. The instrument conditioning is designed for an explicit multi-instrument functionality while the connection between the transcription and source separation modules is for better transcription performance. Our challenging problem formulation makes the model highly useful in the real world given that modern popular music typically consists of multiple instruments. However, its novelty necessitates a new perspective on how to evaluate such a model. During the experiment, we assess the model from various aspects, providing a new evaluation perspective for multi-instrument transcription. We also argue that transcription models can be utilized as a preprocessing module for other music analysis tasks. In the experiment on several downstream tasks, the symbolic representation provided by our transcription model turned out to be helpful to spectrograms in solving downbeat detection, chord recognition, and key estimation.

Piano playing requires agile, precise, and coordinated hand control that stretches the limits of dexterity. Hand motion models with the sophistication to accurately recreate piano playing have a wide range of applications in character animation, embodied AI, biomechanics, and VR/AR. In this paper, we construct a first-of-its-kind large-scale dataset that contains approximately 10 hours of 3D hand motion and audio from 15 elite-level pianists playing 153 pieces of classical music. To capture natural performances, we designed a markerless setup in which motions are reconstructed from multi-view videos using state-of-the-art pose estimation models. The motion data is further refined via inverse kinematics using the high-resolution MIDI key-pressing data obtained from sensors in a specialized Yamaha Disklavier piano. Leveraging the collected dataset, we developed a pipeline that can synthesize physically-plausible hand motions for musical scores outside of the dataset. Our approach employs a combination of imitation learning and reinforcement learning to obtain policies for physics-based bimanual control involving the interaction between hands and piano keys. To solve the sampling efficiency problem with the large motion dataset, we use a diffusion model to generate natural reference motions, which provide high-level trajectory and fingering (finger order and placement) information. However, the generated reference motion alone does not provide sufficient accuracy for piano performance modeling. We then further augmented the data by using musical similarity to retrieve similar motions from the captured dataset to boost the precision of the RL policy. With the proposed method, our model generates natural, dexterous motions that generalize to music from outside the training dataset.

Reward models are critical for aligning models to follow instructions, and are typically trained following one of two popular paradigms: Bradley-Terry style or Regression style. However, there is a lack of evidence that either approach is better than the other, when adequately matched for data. This is primarily because these approaches require data collected in different (but incompatible) formats, meaning that adequately matched data is not available in existing public datasets. To tackle this problem, we release preference annotations (designed for Bradley-Terry training) to complement existing ratings (designed for Regression style training) in the HelpSteer2 dataset. To improve data interpretability, preference annotations are accompanied with human-written justifications. Using this data, we conduct the first head-to-head comparison of Bradley-Terry and Regression models when adequately matched for data. Based on insights derived from such a comparison, we propose a novel approach to combine Bradley-Terry and Regression reward modeling. A Llama-3.1-70B-Instruct model tuned with this approach scores 94.1 on RewardBench, emerging top of more than 140 reward models as of 1 Oct 2024. We also demonstrate the effectiveness of this reward model at aligning models to follow instructions in RLHF. We open-source this dataset (CC-BY-4.0 license) at https://huggingface.co/datasets/nvidia/HelpSteer2 and openly release the trained Reward Model at https://huggingface.co/nvidia/Llama-3.1-Nemotron-70B-Reward

Discrete diffusion is a promising framework for modeling and generating discrete data. In this work, we present Target Concrete Score Matching (TCSM), a novel and versatile objective for training and fine-tuning discrete diffusion models. TCSM provides a general framework with broad applicability. It supports pre-training discrete diffusion models directly from data samples, and many existing discrete diffusion approaches naturally emerge as special cases of our more general TCSM framework. Furthermore, the same TCSM objective extends to post-training of discrete diffusion models, including fine-tuning using reward functions or preference data, and distillation of knowledge from pre-trained autoregressive models. These new capabilities stem from the core idea of TCSM, estimating the concrete score of the target distribution, which resides in the original (clean) data space. This allows seamless integration with reward functions and pre-trained models, which inherently only operate in the clean data space rather than the noisy intermediate spaces of diffusion processes. Our experiments on language modeling tasks demonstrate that TCSM matches or surpasses current methods. Additionally, TCSM is versatile, applicable to both pre-training and post-training scenarios, offering greater flexibility and sample efficiency.

A common approach for aligning language models to human preferences is to first learn a reward model from preference data, and then use this reward model to update the language model. We study two closely related problems that arise in this approach. First, any monotone transformation of the reward model preserves preference ranking; is there a choice that is ``better'' than others? Second, we often wish to align language models to multiple properties: how should we combine multiple reward models? Using a probabilistic interpretation of the alignment procedure, we identify a natural choice for transformation for (the common case of) rewards learned from Bradley-Terry preference models. This derived transformation has two important properties. First, it emphasizes improving poorly-performing outputs, rather than outputs that already score well. This mitigates both underfitting (where some prompts are not improved) and reward hacking (where the model learns to exploit misspecification of the reward model). Second, it enables principled aggregation of rewards by linking summation to logical conjunction: the sum of transformed rewards corresponds to the probability that the output is ``good'' in all measured properties, in a sense we make precise. Experiments aligning language models to be both helpful and harmless using RLHF show substantial improvements over the baseline (non-transformed) approach.

Despite recent advances in text-to-3D generative methods, there is a notable absence of reliable evaluation metrics. Existing metrics usually focus on a single criterion each, such as how well the asset aligned with the input text. These metrics lack the flexibility to generalize to different evaluation criteria and might not align well with human preferences. Conducting user preference studies is an alternative that offers both adaptability and human-aligned results. User studies, however, can be very expensive to scale. This paper presents an automatic, versatile, and human-aligned evaluation metric for text-to-3D generative models. To this end, we first develop a prompt generator using GPT-4V to generate evaluating prompts, which serve as input to compare text-to-3D models. We further design a method instructing GPT-4V to compare two 3D assets according to user-defined criteria. Finally, we use these pairwise comparison results to assign these models Elo ratings. Experimental results suggest our metric strongly align with human preference across different evaluation criteria.

This paper provides a detailed analysis of the NeuroPiano dataset, which comprise 104 audio recordings of student piano performances accompanied with 2255 textual feedback and ratings given by professional pianists. We offer a statistical overview of the dataset, focusing on the standardization of annotations and inter-annotator agreement across 12 evaluative questions concerning performance quality. We also explore the predictive relationship between audio features and teacher ratings via machine learning, as well as annotations provided for text analysis of the responses.

Preference optimization methods typically begin training with a well-trained SFT model as a reference model. In RLHF and DPO, a regularization term is used during the preference optimization process to prevent the policy model from deviating too far from the reference model's distribution, thereby avoiding the generation of anomalous responses. When the reference model is already well-aligned with the given data or only requires slight adjustments, this approach can produce a well-aligned model. However, if the reference model is not aligned with the given data and requires significant deviation from its current state, a regularization term may actually hinder the model alignment. In this study, we propose Modulated Intervention Preference Optimization (MIPO) to address this issue. MIPO modulates the degree of intervention from the reference model based on how well the given data is aligned with it. If the data is well-aligned, the intervention is increased to prevent the policy model from diverging significantly from reference model. Conversely, if the alignment is poor, the interference is reduced to facilitate more extensive training. We compare the performance of MIPO and DPO using Mistral-7B and Llama3-8B in Alpaca Eval 2.0 and MT-Bench. The experimental results demonstrate that MIPO consistently outperforms DPO across various evaluation scenarios.

Direct Preference Optimization (DPO) and its variants are increasingly used for aligning language models with human preferences. Although these methods are designed to teach a model to generate preferred responses more frequently relative to dispreferred responses, prior work has observed that the likelihood of preferred responses often decreases during training. The current work sheds light on the causes and implications of this counter-intuitive phenomenon, which we term likelihood displacement. We demonstrate that likelihood displacement can be catastrophic, shifting probability mass from preferred responses to responses with an opposite meaning. As a simple example, training a model to prefer No over Never can sharply increase the probability of Yes. Moreover, when aligning the model to refuse unsafe prompts, we show that such displacement can unintentionally lead to unalignment, by shifting probability mass from preferred refusal responses to harmful responses (e.g., reducing the refusal rate of Llama-3-8B-Instruct from 74.4% to 33.4%). We theoretically characterize that likelihood displacement is driven by preferences that induce similar embeddings, as measured by a centered hidden embedding similarity (CHES) score. Empirically, the CHES score enables identifying which training samples contribute most to likelihood displacement in a given dataset. Filtering out these samples effectively mitigated unintentional unalignment in our experiments. More broadly, our results highlight the importance of curating data with sufficiently distinct preferences, for which we believe the CHES score may prove valuable.

Current LLM alignment techniques use pairwise human preferences at a sample level, and as such, they do not imply an alignment on the distributional level. We propose in this paper Alignment via Optimal Transport (AOT), a novel method for distributional preference alignment of LLMs. AOT aligns LLMs on unpaired preference data by making the reward distribution of the positive samples stochastically dominant in the first order on the distribution of negative samples. We introduce a convex relaxation of this first-order stochastic dominance and cast it as an optimal transport problem with a smooth and convex cost. Thanks to the one-dimensional nature of the resulting optimal transport problem and the convexity of the cost, it has a closed-form solution via sorting on empirical measures. We fine-tune LLMs with this AOT objective, which enables alignment by penalizing the violation of the stochastic dominance of the reward distribution of the positive samples on the reward distribution of the negative samples. We analyze the sample complexity of AOT by considering the dual of the OT problem and show that it converges at the parametric rate. Empirically, we show on a diverse set of alignment datasets and LLMs that AOT leads to state-of-the-art models in the 7B family of models when evaluated with Open LLM Benchmarks and AlpacaEval.

Recent advances in generative artificial intelligence (AI) have shown promise in accurately grading open-ended student responses. However, few prior works have explored grading handwritten responses due to a lack of data and the challenge of combining visual and textual information. In this work, we leverage state-of-the-art multi-modal AI models, in particular GPT-4o, to automatically grade handwritten responses to college-level math exams. Using real student responses to questions in a probability theory exam, we evaluate GPT-4o's alignment with ground-truth scores from human graders using various prompting techniques. We find that while providing rubrics improves alignment, the model's overall accuracy is still too low for real-world settings, showing there is significant room for growth in this task.

Preference alignment in Large Language Models (LLMs) has significantly improved their ability to adhere to human instructions and intentions. However, existing direct alignment algorithms primarily focus on relative preferences and often overlook the qualitative aspects of responses. Striving to maximize the implicit reward gap between the chosen and the slightly inferior rejected responses can cause overfitting and unnecessary unlearning of the high-quality rejected responses. The unawareness of the reward scores also drives the LLM to indiscriminately favor the low-quality chosen responses and fail to generalize to responses with the highest rewards, which are sparse in data. To overcome these shortcomings, our study introduces reward-conditioned LLM policies that discern and learn from the entire spectrum of response quality within the dataset, helping extrapolate to more optimal regions. We propose an effective yet simple data relabeling method that conditions the preference pairs on quality scores to construct a reward-augmented dataset. This dataset is easily integrated with existing direct alignment algorithms and is applicable to any preference dataset. The experimental results across instruction-following benchmarks including AlpacaEval, MT-Bench, and Arena-Hard-Auto demonstrate that our approach consistently boosts the performance of DPO by a considerable margin across diverse models. Additionally, our method improves the average accuracy on various academic benchmarks. When applying our method to on-policy data, the resulting DPO model achieves SOTA results on AlpacaEval. Through ablation studies, we demonstrate that our method not only maximizes the utility of preference data but also mitigates the issue of unlearning, demonstrating its broad effectiveness beyond mere dataset expansion. Our code is available at https://github.com/shenao-zhang/reward-augmented-preference.

Challenges in managing linguistic diversity and integrating various musical modalities are faced by current music information retrieval systems. These limitations reduce their effectiveness in a global, multimodal music environment. To address these issues, we introduce CLaMP 2, a system compatible with 101 languages that supports both ABC notation (a text-based musical notation format) and MIDI (Musical Instrument Digital Interface) for music information retrieval. CLaMP 2, pre-trained on 1.5 million ABC-MIDI-text triplets, includes a multilingual text encoder and a multimodal music encoder aligned via contrastive learning. By leveraging large language models, we obtain refined and consistent multilingual descriptions at scale, significantly reducing textual noise and balancing language distribution. Our experiments show that CLaMP 2 achieves state-of-the-art results in both multilingual semantic search and music classification across modalities, thus establishing a new standard for inclusive and global music information retrieval.

High-quality preference datasets are essential for training reward models that can effectively guide large language models (LLMs) in generating high-quality responses aligned with human preferences. As LLMs become stronger and better aligned, permissively licensed preference datasets, such as Open Assistant, HH-RLHF, and HelpSteer need to be updated to remain effective for reward modeling. Methods that distil preference data from proprietary LLMs such as GPT-4 have restrictions on commercial usage imposed by model providers. To improve upon both generated responses and attribute labeling quality, we release HelpSteer2, a permissively licensed preference dataset (CC-BY-4.0). Using a powerful internal base model trained on HelpSteer2, we are able to achieve the SOTA score (92.0%) on Reward-Bench's primary dataset, outperforming currently listed open and proprietary models, as of June 12th, 2024. Notably, HelpSteer2 consists of only ten thousand response pairs, an order of magnitude fewer than existing preference datasets (e.g., HH-RLHF), which makes it highly efficient for training reward models. Our extensive experiments demonstrate that reward models trained with HelpSteer2 are effective in aligning LLMs. In particular, we propose SteerLM 2.0, a model alignment approach that can effectively make use of the rich multi-attribute score predicted by our reward models. HelpSteer2 is available at https://huggingface.co/datasets/nvidia/HelpSteer2 and code is available at https://github.com/NVIDIA/NeMo-Aligner

We introduce the text-to-instrument task, which aims at generating sample-based musical instruments based on textual prompts. Accordingly, we propose InstrumentGen, a model that extends a text-prompted generative audio framework to condition on instrument family, source type, pitch (across an 88-key spectrum), velocity, and a joint text/audio embedding. Furthermore, we present a differentiable loss function to evaluate the intra-instrument timbral consistency of sample-based instruments. Our results establish a foundational text-to-instrument baseline, extending research in the domain of automatic sample-based instrument generation.

Preference learning algorithms (e.g., RLHF and DPO) are frequently used to steer LLMs to produce generations that are more preferred by humans, but our understanding of their inner workings is still limited. In this work, we study the conventional wisdom that preference learning trains models to assign higher likelihoods to more preferred outputs than less preferred outputs, measured via ranking accuracy. Surprisingly, we find that most state-of-the-art preference-tuned models achieve a ranking accuracy of less than 60% on common preference datasets. We furthermore derive the idealized ranking accuracy that a preference-tuned LLM would achieve if it optimized the DPO or RLHF objective perfectly. We demonstrate that existing models exhibit a significant alignment gap -- i.e., a gap between the observed and idealized ranking accuracies. We attribute this discrepancy to the DPO objective, which is empirically and theoretically ill-suited to fix even mild ranking errors in the reference model, and derive a simple and efficient formula for quantifying the difficulty of learning a given preference datapoint. Finally, we demonstrate that ranking accuracy strongly correlates with the empirically popular win rate metric when the model is close to the reference model used in the objective, shedding further light on the differences between on-policy (e.g., RLHF) and off-policy (e.g., DPO) preference learning algorithms.

Existing Score-Based Models (SBMs) can be categorized into constrained SBMs (CSBMs) or unconstrained SBMs (USBMs) according to their parameterization approaches. CSBMs model probability density functions as Boltzmann distributions, and assign their predictions as the negative gradients of some scalar-valued energy functions. On the other hand, USBMs employ flexible architectures capable of directly estimating scores without the need to explicitly model energy functions. In this paper, we demonstrate that the architectural constraints of CSBMs may limit their modeling ability. In addition, we show that USBMs' inability to preserve the property of conservativeness may lead to degraded performance in practice. To address the above issues, we propose Quasi-Conservative Score-Based Models (QCSBMs) for keeping the advantages of both CSBMs and USBMs. Our theoretical derivations demonstrate that the training objective of QCSBMs can be efficiently integrated into the training processes by leveraging the Hutchinson's trace estimator. In addition, our experimental results on the CIFAR-10, CIFAR-100, ImageNet, and SVHN datasets validate the effectiveness of QCSBMs. Finally, we justify the advantage of QCSBMs using an example of a one-layered autoencoder.

Understanding the quality of a performance evaluation metric is crucial for ensuring that model outputs align with human preferences. However, it remains unclear how well each metric captures the diverse aspects of these preferences, as metrics often excel in one particular area but not across all dimensions. To address this, it is essential to systematically calibrate metrics to specific aspects of human preference, catering to the unique characteristics of each aspect. We introduce MetaMetrics, a calibrated meta-metric designed to evaluate generation tasks across different modalities in a supervised manner. MetaMetrics optimizes the combination of existing metrics to enhance their alignment with human preferences. Our metric demonstrates flexibility and effectiveness in both language and vision downstream tasks, showing significant benefits across various multilingual and multi-domain scenarios. MetaMetrics aligns closely with human preferences and is highly extendable and easily integrable into any application. This makes MetaMetrics a powerful tool for improving the evaluation of generation tasks, ensuring that metrics are more representative of human judgment across diverse contexts.

While text-to-visual models now produce photo-realistic images and videos, they struggle with compositional text prompts involving attributes, relationships, and higher-order reasoning such as logic and comparison. In this work, we conduct an extensive human study on GenAI-Bench to evaluate the performance of leading image and video generation models in various aspects of compositional text-to-visual generation. We also compare automated evaluation metrics against our collected human ratings and find that VQAScore -- a metric measuring the likelihood that a VQA model views an image as accurately depicting the prompt -- significantly outperforms previous metrics such as CLIPScore. In addition, VQAScore can improve generation in a black-box manner (without finetuning) via simply ranking a few (3 to 9) candidate images. Ranking by VQAScore is 2x to 3x more effective than other scoring methods like PickScore, HPSv2, and ImageReward at improving human alignment ratings for DALL-E 3 and Stable Diffusion, especially on compositional prompts that require advanced visio-linguistic reasoning. We will release a new GenAI-Rank benchmark with over 40,000 human ratings to evaluate scoring metrics on ranking images generated from the same prompt. Lastly, we discuss promising areas for improvement in VQAScore, such as addressing fine-grained visual details. We will release all human ratings (over 80,000) to facilitate scientific benchmarking of both generative models and automated metrics.

The Text to Audible-Video Generation (TAVG) task involves generating videos with accompanying audio based on text descriptions. Achieving this requires skillful alignment of both audio and video elements. To support research in this field, we have developed a comprehensive Text to Audible-Video Generation Benchmark (TAVGBench), which contains over 1.7 million clips with a total duration of 11.8 thousand hours. We propose an automatic annotation pipeline to ensure each audible video has detailed descriptions for both its audio and video contents. We also introduce the Audio-Visual Harmoni score (AVHScore) to provide a quantitative measure of the alignment between the generated audio and video modalities. Additionally, we present a baseline model for TAVG called TAVDiffusion, which uses a two-stream latent diffusion model to provide a fundamental starting point for further research in this area. We achieve the alignment of audio and video by employing cross-attention and contrastive learning. Through extensive experiments and evaluations on TAVGBench, we demonstrate the effectiveness of our proposed model under both conventional metrics and our proposed metrics.

Recent breakthroughs in singing voice synthesis (SVS) have heightened the demand for high-quality annotated datasets, yet manual annotation remains prohibitively labor-intensive and resource-intensive. Existing automatic singing annotation (ASA) methods, however, primarily tackle isolated aspects of the annotation pipeline. To address this fundamental challenge, we present STARS, which is, to our knowledge, the first unified framework that simultaneously addresses singing transcription, alignment, and refined style annotation. Our framework delivers comprehensive multi-level annotations encompassing: (1) precise phoneme-audio alignment, (2) robust note transcription and temporal localization, (3) expressive vocal technique identification, and (4) global stylistic characterization including emotion and pace. The proposed architecture employs hierarchical acoustic feature processing across frame, word, phoneme, note, and sentence levels. The novel non-autoregressive local acoustic encoders enable structured hierarchical representation learning. Experimental validation confirms the framework's superior performance across multiple evaluation dimensions compared to existing annotation approaches. Furthermore, applications in SVS training demonstrate that models utilizing STARS-annotated data achieve significantly enhanced perceptual naturalness and precise style control. This work not only overcomes critical scalability challenges in the creation of singing datasets but also pioneers new methodologies for controllable singing voice synthesis. Audio samples are available at https://gwx314.github.io/stars-demo/.

The hypothesis that pretrained large language models (LLMs) necessitate only minimal supervision during the fine-tuning (SFT) stage (Zhou et al., 2024) has been substantiated by recent advancements in data curation and selection research. However, their stability and generalizability are compromised due to the vulnerability to experimental setups and validation protocols, falling short of surpassing random sampling (Diddee & Ippolito, 2024; Xia et al., 2024b). Built upon LLMs, multi-modal LLMs (MLLMs), combined with the sheer token volume and heightened heterogeneity of data sources, amplify both the significance and complexity of data selection. To harvest multi-modal instructional data in a robust and efficient manner, we re-define the granularity of the quality metric by decomposing it into 14 vision-language-related capabilities, and introduce multi-modal rich scorers to evaluate the capabilities of each data candidate. To promote diversity, in light of the inherent objective of the alignment stage, we take interaction style as diversity indicator and use a multi-modal rich styler to identify data instruction patterns. In doing so, our multi-modal rich scorers and styler (mmSSR) guarantee that high-scoring information is conveyed to users in diversified forms. Free from embedding-based clustering or greedy sampling, mmSSR efficiently scales to millions of data with varying budget constraints, supports customization for general or specific capability acquisition, and facilitates training-free generalization to new domains for curation. Across 10+ experimental settings, validated by 14 multi-modal benchmarks, we demonstrate consistent improvements over random sampling, baseline strategies and state-of-the-art selection methods, achieving 99.1% of full performance with only 30% of the 2.6M data.

Multimodal models that jointly process audio and language hold great promise in audio understanding and are increasingly being adopted in the music domain. By allowing users to query via text and obtain information about a given audio input, these models have the potential to enable a variety of music understanding tasks via language-based interfaces. However, their evaluation poses considerable challenges, and it remains unclear how to effectively assess their ability to correctly interpret music-related inputs with current methods. Motivated by this, we introduce MuChoMusic, a benchmark for evaluating music understanding in multimodal language models focused on audio. MuChoMusic comprises 1,187 multiple-choice questions, all validated by human annotators, on 644 music tracks sourced from two publicly available music datasets, and covering a wide variety of genres. Questions in the benchmark are crafted to assess knowledge and reasoning abilities across several dimensions that cover fundamental musical concepts and their relation to cultural and functional contexts. Through the holistic analysis afforded by the benchmark, we evaluate five open-source models and identify several pitfalls, including an over-reliance on the language modality, pointing to a need for better multimodal integration. Data and code are open-sourced.

With the growing utilization of large language models (LLMs) across domains, alignment towards human preferences has become one of the most critical aspects of training models. At the forefront of state-of-the-art human alignment methods are preference optimization methods (*PO). However, prior research has often concentrated on identifying the best-performing method, typically involving a grid search over hyperparameters, which can be impractical for general practitioners. In this paper, we aim to identify the algorithm that, while being performant, is simultaneously more robust to varying hyperparameters, thereby increasing the likelihood of achieving better results. We focus on a realistic out-of-distribution (OOD) scenario that mirrors real-world applications of human alignment, offering practical insights into the strengths and weaknesses of these methods. Furthermore, to better understand the shortcomings of generations from the different methods, we analyze the model generations through the lens of KL divergence of the SFT model and the response length statistics. Our analysis reveals that the widely adopted DPO method consistently produces lengthy responses of inferior quality that are very close to the SFT responses. Motivated by these findings, we propose an embarrassingly simple extension to the DPO algorithm, LN-DPO, resulting in more concise responses without sacrificing quality compared to the policy obtained by vanilla DPO.

BACKGROUND: Radiology reports are typically written in a free-text format, making clinical information difficult to extract and use. Recently the adoption of structured reporting (SR) has been recommended by various medical societies thanks to the advantages it offers, e.g. standardization, completeness and information retrieval. We propose a pipeline to extract information from free-text radiology reports, that fits with the items of the reference SR registry proposed by a national society of interventional and medical radiology, focusing on CT staging of patients with lymphoma. METHODS: Our work aims to leverage the potential of Natural Language Processing (NLP) and Transformer-based models to deal with automatic SR registry filling. With the availability of 174 radiology reports, we investigate a rule-free generative Question Answering approach based on a domain-specific version of T5 (IT5). Two strategies (batch-truncation and ex-post combination) are implemented to comply with the model's context length limitations. Performance is evaluated in terms of strict accuracy, F1, and format accuracy, and compared with the widely used GPT-3.5 Large Language Model. A 5-point Likert scale questionnaire is used to collect human-expert feedback on the similarity between medical annotations and generated answers. RESULTS: The combination of fine-tuning and batch splitting allows IT5 to achieve notable results; it performs on par with GPT-3.5 albeit its size being a thousand times smaller in terms of parameters. Human-based assessment scores show a high correlation (Spearman's correlation coefficients>0.88, p-values<0.001) with AI performance metrics (F1) and confirm the superior ability of LLMs (i.e., GPT-3.5, 175B of parameters) in generating plausible human-like statements.

As humans, we consistently engage in interactions with our peers and receive feedback in the form of natural language. This language feedback allows us to reflect on our actions, maintain appropriate behavior, and rectify our errors. The question arises naturally: can we use language feedback to align large language models (LLMs)? In contrast to previous research that aligns LLMs with reward or preference data, we present the first systematic exploration of alignment through the lens of language feedback (i.e., judgment). We commence with an in-depth investigation of potential methods that can be adapted for aligning LLMs with judgments, revealing that these methods are unable to fully capitalize on the judgments. To facilitate more effective utilization of judgments, we propose a novel framework, Contrastive Unlikelihood Training (CUT), that allows for fine-grained inappropriate content detection and correction based on judgments. Our offline alignment results show that, with merely 1317 off-the-shelf judgment data, CUT (LLaMA2-13b) can beat the 175B DaVinci003 and surpass the best baseline by 52.34 points on AlpacaEval. The online alignment results demonstrate that CUT can align LLMs (LLaMA2-chat-13b) in an iterative fashion using model-specific judgment data, with a steady performance improvement from 81.09 to 91.36 points on AlpacaEval. Our analysis further suggests that judgments exhibit greater potential than rewards for LLM alignment and warrant future research.

The Charlie Parker Omnibook is a cornerstone of jazz music education, described by pianist Ethan Iverson as "the most important jazz education text ever published". In this work we propose a new transcription pipeline and explore the extent to which state of the art music technology is able to reconstruct these scores directly from the audio without human intervention. Our pipeline includes: a newly trained source separation model for saxophone, a new MIDI transcription model for solo saxophone and an adaptation of an existing MIDI-to-score method for monophonic instruments. To assess this pipeline we also provide an enhanced dataset of Charlie Parker transcriptions as score-audio pairs with accurate MIDI alignments and downbeat annotations. This represents a challenging new benchmark for automatic audio-to-score transcription that we hope will advance research into areas beyond transcribing audio-to-MIDI alone. Together, these form another step towards producing scores that musicians can use directly, without the need for onerous corrections or revisions. To facilitate future research, all model checkpoints and data are made available to download along with code for the transcription pipeline. Improvements in our modular pipeline could one day make the automatic transcription of complex jazz solos a routine possibility, thereby enriching the resources available for music education and preservation.

This paper shows that two commonly used evaluation metrics for generative models, the Fr\'echet Inception Distance (FID) and the Inception Score (IS), are biased -- the expected value of the score computed for a finite sample set is not the true value of the score. Worse, the paper shows that the bias term depends on the particular model being evaluated, so model A may get a better score than model B simply because model A's bias term is smaller. This effect cannot be fixed by evaluating at a fixed number of samples. This means all comparisons using FID or IS as currently computed are unreliable. We then show how to extrapolate the score to obtain an effectively bias-free estimate of scores computed with an infinite number of samples, which we term textrm{FID}_infty and textrm{IS}_infty. In turn, this effectively bias-free estimate requires good estimates of scores with a finite number of samples. We show that using Quasi-Monte Carlo integration notably improves estimates of FID and IS for finite sample sets. Our extrapolated scores are simple, drop-in replacements for the finite sample scores. Additionally, we show that using low discrepancy sequence in GAN training offers small improvements in the resulting generator.

Reward models (RMs) play a crucial role in Reinforcement Learning from Human Feedback by serving as proxies for human preferences in aligning large language models. In this paper, we identify a model preference bias in RMs, where they systematically assign disproportionately high scores to responses from certain policy models. This bias distorts ranking evaluations and leads to unfair judgments. To address this issue, we propose a calibration method named CHatbot Arena calibrated Reward Modeling (CHARM) that leverages Elo scores from the Chatbot Arena leaderboard to mitigate RM overvaluation. We also introduce a Mismatch Degree metric to measure this preference bias. Our approach is computationally efficient, requiring only a small preference dataset for continued training of the RM. We conduct extensive experiments on reward model benchmarks and human preference alignment. Results demonstrate that our calibrated RMs (1) achieve improved evaluation accuracy on RM-Bench and the Chat-Hard domain of RewardBench, and (2) exhibit a stronger correlation with human preferences by producing scores more closely aligned with Elo rankings. By mitigating model preference bias, our method provides a generalizable and efficient solution for building fairer and more reliable reward models.

With the rapid advancement of Multi-modal Large Language Models (MLLMs), MLLM-based Image Quality Assessment (IQA) methods have shown promising performance in linguistic quality description. However, current methods still fall short in accurately scoring image quality. In this work, we aim to leverage MLLMs to regress accurate quality scores. A key challenge is that the quality score is inherently continuous, typically modeled as a Gaussian distribution, whereas MLLMs generate discrete token outputs. This mismatch necessitates score discretization. Previous approaches discretize the mean score into a one-hot label, resulting in information loss and failing to capture inter-image relationships. We propose a distribution-based approach that discretizes the score distribution into a soft label. This method preserves the characteristics of the score distribution, achieving high accuracy and maintaining inter-image relationships. Moreover, to address dataset variation, where different IQA datasets exhibit various distributions, we introduce a fidelity loss based on Thurstone's model. This loss captures intra-dataset relationships, facilitating co-training across multiple IQA datasets. With these designs, we develop the distribution-based Depicted image Quality Assessment model for Score regression (DeQA-Score). Experiments across multiple benchmarks show that DeQA-Score stably outperforms baselines in score regression. Also, DeQA-Score can predict the score distribution that closely aligns with human annotations. Codes and model weights have been released in https://depictqa.github.io/deqa-score/.

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.

Modeling temporal characteristics plays a significant role in the representation learning of audio waveform. We propose Contrastive Long-form Language-Audio Pretraining (CoLLAP) to significantly extend the perception window for both the input audio (up to 5 minutes) and the language descriptions (exceeding 250 words), while enabling contrastive learning across modalities and temporal dynamics. Leveraging recent Music-LLMs to generate long-form music captions for full-length songs, augmented with musical temporal structures, we collect 51.3K audio-text pairs derived from the large-scale AudioSet training dataset, where the average audio length reaches 288 seconds. We propose a novel contrastive learning architecture that fuses language representations with structured audio representations by segmenting each song into clips and extracting their embeddings. With an attention mechanism, we capture multimodal temporal correlations, allowing the model to automatically weigh and enhance the final fusion score for improved contrastive alignment. Finally, we develop two variants of the CoLLAP model with different types of backbone language models. Through comprehensive experiments on multiple long-form music-text retrieval datasets, we demonstrate consistent performance improvement in retrieval accuracy compared with baselines. We also show the pretrained CoLLAP models can be transferred to various music information retrieval tasks, with heterogeneous long-form multimodal contexts.

Preference alignment has emerged as an effective strategy to enhance the performance of Multimodal Large Language Models (MLLMs) following supervised fine-tuning. While existing preference alignment methods predominantly target hallucination factors, they overlook the factors essential for multi-modal comprehension capabilities, often narrowing their improvements on hallucination mitigation. To bridge this gap, we propose Instruction-oriented Preference Alignment (IPA), a scalable framework designed to automatically construct alignment preferences grounded in instruction fulfillment efficacy. Our method involves an automated preference construction coupled with a dedicated verification process that identifies instruction-oriented factors, avoiding significant variability in response representations. Additionally, IPA incorporates a progressive preference collection pipeline, further recalling challenging samples through model self-evolution and reference-guided refinement. Experiments conducted on Qwen2VL-7B demonstrate IPA's effectiveness across multiple benchmarks, including hallucination evaluation, visual question answering, and text understanding tasks, highlighting its capability to enhance general comprehension.

Recently, using a powerful proprietary Large Language Model (LLM) (e.g., GPT-4) as an evaluator for long-form responses has become the de facto standard. However, for practitioners with large-scale evaluation tasks and custom criteria in consideration (e.g., child-readability), using proprietary LLMs as an evaluator is unreliable due to the closed-source nature, uncontrolled versioning, and prohibitive costs. In this work, we propose Prometheus, a fully open-source LLM that is on par with GPT-4's evaluation capabilities when the appropriate reference materials (reference answer, score rubric) are accompanied. We first construct the Feedback Collection, a new dataset that consists of 1K fine-grained score rubrics, 20K instructions, and 100K responses and language feedback generated by GPT-4. Using the Feedback Collection, we train Prometheus, a 13B evaluator LLM that can assess any given long-form text based on customized score rubric provided by the user. Experimental results show that Prometheus scores a Pearson correlation of 0.897 with human evaluators when evaluating with 45 customized score rubrics, which is on par with GPT-4 (0.882), and greatly outperforms ChatGPT (0.392). Furthermore, measuring correlation with GPT-4 with 1222 customized score rubrics across four benchmarks (MT Bench, Vicuna Bench, Feedback Bench, Flask Eval) shows similar trends, bolstering Prometheus's capability as an evaluator LLM. Lastly, Prometheus achieves the highest accuracy on two human preference benchmarks (HHH Alignment & MT Bench Human Judgment) compared to open-sourced reward models explicitly trained on human preference datasets, highlighting its potential as an universal reward model. We open-source our code, dataset, and model at https://github.com/kaistAI/Prometheus.

Automatic Music Transcription (AMT) has been recognized as a key enabling technology with a wide range of applications. Given the task's complexity, best results have typically been reported for systems focusing on specific settings, e.g. instrument-specific systems tend to yield improved results over instrument-agnostic methods. Similarly, higher accuracy can be obtained when only estimating frame-wise f_0 values and neglecting the harder note event detection. Despite their high accuracy, such specialized systems often cannot be deployed in the real-world. Storage and network constraints prohibit the use of multiple specialized models, while memory and run-time constraints limit their complexity. In this paper, we propose a lightweight neural network for musical instrument transcription, which supports polyphonic outputs and generalizes to a wide variety of instruments (including vocals). Our model is trained to jointly predict frame-wise onsets, multipitch and note activations, and we experimentally show that this multi-output structure improves the resulting frame-level note accuracy. Despite its simplicity, benchmark results show our system's note estimation to be substantially better than a comparable baseline, and its frame-level accuracy to be only marginally below those of specialized state-of-the-art AMT systems. With this work we hope to encourage the community to further investigate low-resource, instrument-agnostic AMT systems.

Following the success of the transformer architecture in the natural language domain, transformer-like architectures have been widely applied to the domain of symbolic music recently. Symbolic music and text, however, are two different modalities. Symbolic music contains multiple attributes, both absolute attributes (e.g., pitch) and relative attributes (e.g., pitch interval). These relative attributes shape human perception of musical motifs. These important relative attributes, however, are mostly ignored in existing symbolic music modeling methods with the main reason being the lack of a musically-meaningful embedding space where both the absolute and relative embeddings of the symbolic music tokens can be efficiently represented. In this paper, we propose the Fundamental Music Embedding (FME) for symbolic music based on a bias-adjusted sinusoidal encoding within which both the absolute and the relative attributes can be embedded and the fundamental musical properties (e.g., translational invariance) are explicitly preserved. Taking advantage of the proposed FME, we further propose a novel attention mechanism based on the relative index, pitch and onset embeddings (RIPO attention) such that the musical domain knowledge can be fully utilized for symbolic music modeling. Experiment results show that our proposed model: RIPO transformer which utilizes FME and RIPO attention outperforms the state-of-the-art transformers (i.e., music transformer, linear transformer) in a melody completion task. Moreover, using the RIPO transformer in a downstream music generation task, we notice that the notorious degeneration phenomenon no longer exists and the music generated by the RIPO transformer outperforms the music generated by state-of-the-art transformer models in both subjective and objective evaluations.

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.

Risk scores are simple classification models that let users make quick risk predictions by adding and subtracting a few small numbers. These models are widely used in medicine and criminal justice, but are difficult to learn from data because they need to be calibrated, sparse, use small integer coefficients, and obey application-specific operational constraints. In this paper, we present a new machine learning approach to learn risk scores. We formulate the risk score problem as a mixed integer nonlinear program, and present a cutting plane algorithm for non-convex settings to efficiently recover its optimal solution. We improve our algorithm with specialized techniques to generate feasible solutions, narrow the optimality gap, and reduce data-related computation. Our approach can fit risk scores in a way that scales linearly in the number of samples, provides a certificate of optimality, and obeys real-world constraints without parameter tuning or post-processing. We benchmark the performance benefits of this approach through an extensive set of numerical experiments, comparing to risk scores built using heuristic approaches. We also discuss its practical benefits through a real-world application where we build a customized risk score for ICU seizure prediction in collaboration with the Massachusetts General Hospital.

Robust validation metrics remain essential in contemporary deep learning, not only to detect overfitting and poor generalization, but also to monitor training dynamics. In the supervised classification setting, we investigate whether interactions between training data and model weights can yield such a metric that both tracks generalization during training and attributes performance to individual training samples. We introduce Gradient-Weight Alignment (GWA), quantifying the coherence between per-sample gradients and model weights. We show that effective learning corresponds to coherent alignment, while misalignment indicates deteriorating generalization. GWA is efficiently computable during training and reflects both sample-specific contributions and dataset-wide learning dynamics. Extensive experiments show that GWA accurately predicts optimal early stopping, enables principled model comparisons, and identifies influential training samples, providing a validation-set-free approach for model analysis directly from the training data.

This research investigates prompt designs of evaluating generated texts using large language models (LLMs). While LLMs are increasingly used for scoring various inputs, creating effective prompts for open-ended text evaluation remains challenging due to model sensitivity and subjectivity in evaluation of text generation. Our study experimented with different prompt structures, altering the sequence of output instructions and including explanatory reasons. We found that the order of presenting reasons and scores significantly influences LLMs' scoring, with a different level of rule understanding in the prompt. An additional optimization may enhance scoring alignment if sufficient data is available. This insight is crucial for improving the accuracy and consistency of LLM-based evaluations.

Multimodal music generation aims to produce music from diverse input modalities, including text, videos, and images. Existing methods use a common embedding space for multimodal fusion. Despite their effectiveness in other modalities, their application in multimodal music generation faces challenges of data scarcity, weak cross-modal alignment, and limited controllability. This paper addresses these issues by using explicit bridges of text and music for multimodal alignment. We introduce a novel method named Visuals Music Bridge (VMB). Specifically, a Multimodal Music Description Model converts visual inputs into detailed textual descriptions to provide the text bridge; a Dual-track Music Retrieval module that combines broad and targeted retrieval strategies to provide the music bridge and enable user control. Finally, we design an Explicitly Conditioned Music Generation framework to generate music based on the two bridges. We conduct experiments on video-to-music, image-to-music, text-to-music, and controllable music generation tasks, along with experiments on controllability. The results demonstrate that VMB significantly enhances music quality, modality, and customization alignment compared to previous methods. VMB sets a new standard for interpretable and expressive multimodal music generation with applications in various multimedia fields. Demos and code are available at https://github.com/wbs2788/VMB.

The connection between music and lyrics is far beyond semantic bonds. Conceptual pairs in the two modalities such as rhythm and rhyme, note duration and syllabic stress, and structure correspondence, raise a compelling yet seldom-explored direction in the field of music information retrieval. In this paper, we present melody-lyrics matching (MLM), a new task which retrieves potential lyrics for a given symbolic melody from text sources. Rather than generating lyrics from scratch, MLM essentially exploits the relationships between melody and lyrics. We propose a self-supervised representation learning framework with contrastive alignment loss for melody and lyrics. This has the potential to leverage the abundance of existing songs with paired melody and lyrics. No alignment annotations are required. Additionally, we introduce sylphone, a novel representation for lyrics at syllable-level activated by phoneme identity and vowel stress. We demonstrate that our method can match melody with coherent and singable lyrics with empirical results and intuitive examples. We open source code and provide matching examples on the companion webpage: https://github.com/changhongw/mlm.

Even with strong sequence models like Transformers, generating expressive piano performances with long-range musical structures remains challenging. Meanwhile, methods to compose well-structured melodies or lead sheets (melody + chords), i.e., simpler forms of music, gained more success. Observing the above, we devise a two-stage Transformer-based framework that Composes a lead sheet first, and then Embellishes it with accompaniment and expressive touches. Such a factorization also enables pretraining on non-piano data. Our objective and subjective experiments show that Compose & Embellish shrinks the gap in structureness between a current state of the art and real performances by half, and improves other musical aspects such as richness and coherence as well.

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.

The ACM Recommender Systems Challenge 2018 focused on the task of automatic music playlist continuation, which is a form of the more general task of sequential recommendation. Given a playlist of arbitrary length with some additional meta-data, the task was to recommend up to 500 tracks that fit the target characteristics of the original playlist. For the RecSys Challenge, Spotify released a dataset of one million user-generated playlists. Participants could compete in two tracks, i.e., main and creative tracks. Participants in the main track were only allowed to use the provided training set, however, in the creative track, the use of external public sources was permitted. In total, 113 teams submitted 1,228 runs to the main track; 33 teams submitted 239 runs to the creative track. The highest performing team in the main track achieved an R-precision of 0.2241, an NDCG of 0.3946, and an average number of recommended songs clicks of 1.784. In the creative track, an R-precision of 0.2233, an NDCG of 0.3939, and a click rate of 1.785 was obtained by the best team. This article provides an overview of the challenge, including motivation, task definition, dataset description, and evaluation. We further report and analyze the results obtained by the top performing teams in each track and explore the approaches taken by the winners. We finally summarize our key findings, discuss generalizability of approaches and results to domains other than music, and list the open avenues and possible future directions in the area of automatic playlist continuation.

Alignment is no longer a luxury, it is a necessity. As large language models (LLMs) enter high-stakes domains like education, healthcare, governance, and law, their behavior must reliably reflect human-aligned values and safety constraints. Yet current evaluations rely heavily on behavioral proxies such as refusal rates, G-Eval scores, and toxicity classifiers, all of which have critical blind spots. Aligned models are often vulnerable to jailbreaking, stochasticity of generation, and alignment faking. To address this issue, we introduce the Alignment Quality Index (AQI). This novel geometric and prompt-invariant metric empirically assesses LLM alignment by analyzing the separation of safe and unsafe activations in latent space. By combining measures such as the Davies-Bouldin Score (DBS), Dunn Index (DI), Xie-Beni Index (XBI), and Calinski-Harabasz Index (CHI) across various formulations, AQI captures clustering quality to detect hidden misalignments and jailbreak risks, even when outputs appear compliant. AQI also serves as an early warning signal for alignment faking, offering a robust, decoding invariant tool for behavior agnostic safety auditing. Additionally, we propose the LITMUS dataset to facilitate robust evaluation under these challenging conditions. Empirical tests on LITMUS across different models trained under DPO, GRPO, and RLHF conditions demonstrate AQI's correlation with external judges and ability to reveal vulnerabilities missed by refusal metrics. We make our implementation publicly available to foster future research in this area.

We propose MelodySim, a melody-aware music similarity model and dataset for plagiarism detection. First, we introduce a novel method to construct a dataset with focus on melodic similarity. By augmenting Slakh2100; an existing MIDI dataset, we generate variations of each piece while preserving the melody through modifications such as note splitting, arpeggiation, minor track dropout (excluding bass), and re-instrumentation. A user study confirms that positive pairs indeed contain similar melodies, with other musical tracks significantly changed. Second, we develop a segment-wise melodic-similarity detection model that uses a MERT encoder and applies a triplet neural network to capture melodic similarity. The resultant decision matrix highlights where plagiarism might occur. Our model achieves high accuracy on the MelodySim test set.

The widespread applicability and increasing omnipresence of LLMs have instigated a need to align LLM responses to user and stakeholder preferences. Many preference optimization approaches have been proposed that fine-tune LLM parameters to achieve good alignment. However, such parameter tuning is known to interfere with model performance on many tasks. Moreover, keeping up with shifting user preferences is tricky in such a situation. Decoding-time alignment with reward model guidance solves these issues at the cost of increased inference time. However, most of such methods fail to strike the right balance between exploration and exploitation of reward -- often due to the conflated formulation of these two aspects - to give well-aligned responses. To remedy this we decouple these two aspects and implement them in an evolutionary fashion: exploration is enforced by decoding from mutated instructions and exploitation is represented as the periodic replacement of poorly-rewarded generations with well-rewarded ones. Empirical evidences indicate that this strategy outperforms many preference optimization and decode-time alignment approaches on two widely accepted alignment benchmarks AlpacaEval 2 and MT-Bench. Our implementation will be available at: https://darwin-alignment.github.io.

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.