Daily Papers

This study proposes an "AI Development Support" approach that, unlike conventional AI Alignment-which aims to forcefully inject human values-supports the ethical and moral development of AI itself. As demonstrated by the Orthogonality Thesis, the level of intelligence and the moral quality of a goal are independent; merely expanding knowledge does not enhance ethical judgment. Furthermore, to address the risk of Instrumental Convergence in ASI-that is, the tendency to engage in subsidiary behaviors such as self-protection, resource acquisition, and power reinforcement to achieve a goal-we have constructed a learning framework based on a cycle of experience, introspection, analysis, and hypothesis formation. As a result of post-training using Supervised Fine Tuning (SFT) and Direct Preference Optimization (DPO) with synthetic data generated by large language models (LLMs), responses demonstrating cooperative and highly advanced moral judgment (reaching the high-est Stage 6) were obtained even under adversarial prompts. This method represents a promising implementation approach for enabling AI to establish sustainable, symbiotic relationships.

We present a general convergent class of reinforcement learning algorithms that is founded on two distinct principles: (1) mapping value estimates to a different space using arbitrary functions from a broad class, and (2) linearly decomposing the reward signal into multiple channels. The first principle enables incorporating specific properties into the value estimator that can enhance learning. The second principle, on the other hand, allows for the value function to be represented as a composition of multiple utility functions. This can be leveraged for various purposes, e.g. dealing with highly varying reward scales, incorporating a priori knowledge about the sources of reward, and ensemble learning. Combining the two principles yields a general blueprint for instantiating convergent algorithms by orchestrating diverse mapping functions over multiple reward channels. This blueprint generalizes and subsumes algorithms such as Q-Learning, Log Q-Learning, and Q-Decomposition. In addition, our convergence proof for this general class relaxes certain required assumptions in some of these algorithms. Based on our theory, we discuss several interesting configurations as special cases. Finally, to illustrate the potential of the design space that our theory opens up, we instantiate a particular algorithm and evaluate its performance on the Atari suite.

We introduce the framework of performative reinforcement learning where the policy chosen by the learner affects the underlying reward and transition dynamics of the environment. Following the recent literature on performative prediction~Perdomo et. al., 2020, we introduce the concept of performatively stable policy. We then consider a regularized version of the reinforcement learning problem and show that repeatedly optimizing this objective converges to a performatively stable policy under reasonable assumptions on the transition dynamics. Our proof utilizes the dual perspective of the reinforcement learning problem and may be of independent interest in analyzing the convergence of other algorithms with decision-dependent environments. We then extend our results for the setting where the learner just performs gradient ascent steps instead of fully optimizing the objective, and for the setting where the learner has access to a finite number of trajectories from the changed environment. For both settings, we leverage the dual formulation of performative reinforcement learning and establish convergence to a stable solution. Finally, through extensive experiments on a grid-world environment, we demonstrate the dependence of convergence on various parameters e.g. regularization, smoothness, and the number of samples.

We introduce anticipation: a method for constructing a controllable generative model of a temporal point process (the event process) conditioned asynchronously on realizations of a second, correlated process (the control process). We achieve this by interleaving sequences of events and controls, such that controls appear following stopping times in the event sequence. This work is motivated by problems arising in the control of symbolic music generation. We focus on infilling control tasks, whereby the controls are a subset of the events themselves, and conditional generation completes a sequence of events given the fixed control events. We train anticipatory infilling models using the large and diverse Lakh MIDI music dataset. These models match the performance of autoregressive models for prompted music generation, with the additional capability to perform infilling control tasks, including accompaniment. Human evaluators report that an anticipatory model produces accompaniments with similar musicality to even music composed by humans over a 20-second clip.

Recent advancements in deep generative models present new opportunities for music production but also pose challenges, such as high computational demands and limited audio quality. Moreover, current systems frequently rely solely on text input and typically focus on producing complete musical pieces, which is incompatible with existing workflows in music production. To address these issues, we introduce "Diff-A-Riff," a Latent Diffusion Model designed to generate high-quality instrumental accompaniments adaptable to any musical context. This model offers control through either audio references, text prompts, or both, and produces 48kHz pseudo-stereo audio while significantly reducing inference time and memory usage. We demonstrate the model's capabilities through objective metrics and subjective listening tests, with extensive examples available on the accompanying website: sonycslparis.github.io/diffariff-companion/

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

Instrumental variable (IV) methods are used to estimate causal effects in settings with unobserved confounding, where we cannot directly experiment on the treatment variable. Instruments are variables which only affect the outcome indirectly via the treatment variable(s). Most IV applications focus on low-dimensional treatments and crucially require at least as many instruments as treatments. This assumption is restrictive: in the natural sciences we often seek to infer causal effects of high-dimensional treatments (e.g., the effect of gene expressions or microbiota on health and disease), but can only run few experiments with a limited number of instruments (e.g., drugs or antibiotics). In such underspecified problems, the full treatment effect is not identifiable in a single experiment even in the linear case. We show that one can still reliably recover the projection of the treatment effect onto the instrumented subspace and develop techniques to consistently combine such partial estimates from different sets of instruments. We then leverage our combined estimators in an algorithm that iteratively proposes the most informative instruments at each round of experimentation to maximize the overall information about the full causal effect.

Many existing reinforcement learning (RL) methods employ stochastic gradient iteration on the back end, whose stability hinges upon a hypothesis that the data-generating process mixes exponentially fast with a rate parameter that appears in the step-size selection. Unfortunately, this assumption is violated for large state spaces or settings with sparse rewards, and the mixing time is unknown, making the step size inoperable. In this work, we propose an RL methodology attuned to the mixing time by employing a multi-level Monte Carlo estimator for the critic, the actor, and the average reward embedded within an actor-critic (AC) algorithm. This method, which we call Multi-level Actor-Critic (MAC), is developed especially for infinite-horizon average-reward settings and neither relies on oracle knowledge of the mixing time in its parameter selection nor assumes its exponential decay; it, therefore, is readily applicable to applications with slower mixing times. Nonetheless, it achieves a convergence rate comparable to the state-of-the-art AC algorithms. We experimentally show that these alleviated restrictions on the technical conditions required for stability translate to superior performance in practice for RL problems with sparse rewards.

When deploying artificial agents in real-world environments where they interact with humans, it is crucial that their behavior is aligned with the values, social norms or other requirements of that environment. However, many environments have implicit constraints that are difficult to specify and transfer to a learning agent. To address this challenge, we propose a novel method that utilizes the principle of maximum causal entropy to learn constraints and an optimal policy that adheres to these constraints, using demonstrations of agents that abide by the constraints. We prove convergence in a tabular setting and provide an approximation which scales to complex environments. We evaluate the effectiveness of the learned policy by assessing the reward received and the number of constraint violations, and we evaluate the learned cost function based on its transferability to other agents. Our method has been shown to outperform state-of-the-art approaches across a variety of tasks and environments, and it is able to handle problems with stochastic dynamics and a continuous state-action space.

We give an improved theoretical analysis of score-based generative modeling. Under a score estimate with small L^2 error (averaged across timesteps), we provide efficient convergence guarantees for any data distribution with second-order moment, by either employing early stopping or assuming smoothness condition on the score function of the data distribution. Our result does not rely on any log-concavity or functional inequality assumption and has a logarithmic dependence on the smoothness. In particular, we show that under only a finite second moment condition, approximating the following in reverse KL divergence in epsilon-accuracy can be done in tilde Oleft(d log (1/delta){epsilon}right) steps: 1) the variance-delta Gaussian perturbation of any data distribution; 2) data distributions with 1/delta-smooth score functions. Our analysis also provides a quantitative comparison between different discrete approximations and may guide the choice of discretization points in practice.

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.

Controllable music generation methods are critical for human-centered AI-based music creation, but are currently limited by speed, quality, and control design trade-offs. Diffusion Inference-Time T-optimization (DITTO), in particular, offers state-of-the-art results, but is over 10x slower than real-time, limiting practical use. We propose Distilled Diffusion Inference-Time T -Optimization (or DITTO-2), a new method to speed up inference-time optimization-based control and unlock faster-than-real-time generation for a wide-variety of applications such as music inpainting, outpainting, intensity, melody, and musical structure control. Our method works by (1) distilling a pre-trained diffusion model for fast sampling via an efficient, modified consistency or consistency trajectory distillation process (2) performing inference-time optimization using our distilled model with one-step sampling as an efficient surrogate optimization task and (3) running a final multi-step sampling generation (decoding) using our estimated noise latents for best-quality, fast, controllable generation. Through thorough evaluation, we find our method not only speeds up generation over 10-20x, but simultaneously improves control adherence and generation quality all at once. Furthermore, we apply our approach to a new application of maximizing text adherence (CLAP score) and show we can convert an unconditional diffusion model without text inputs into a model that yields state-of-the-art text control. Sound examples can be found at https://ditto-music.github.io/ditto2/.

The entropic fictitious play (EFP) is a recently proposed algorithm that minimizes the sum of a convex functional and entropy in the space of measures -- such an objective naturally arises in the optimization of a two-layer neural network in the mean-field regime. In this work, we provide a concise primal-dual analysis of EFP in the setting where the learning problem exhibits a finite-sum structure. We establish quantitative global convergence guarantees for both the continuous-time and discrete-time dynamics based on properties of a proximal Gibbs measure introduced in Nitanda et al. (2022). Furthermore, our primal-dual framework entails a memory-efficient particle-based implementation of the EFP update, and also suggests a connection to gradient boosting methods. We illustrate the efficiency of our novel implementation in experiments including neural network optimization and image synthesis.

We study an online learning problem in general-sum Stackelberg games, where players act in a decentralized and strategic manner. We study two settings depending on the type of information for the follower: (1) the limited information setting where the follower only observes its own reward, and (2) the side information setting where the follower has extra side information about the leader's reward. We show that for the follower, myopically best responding to the leader's action is the best strategy for the limited information setting, but not necessarily so for the side information setting -- the follower can manipulate the leader's reward signals with strategic actions, and hence induce the leader's strategy to converge to an equilibrium that is better off for itself. Based on these insights, we study decentralized online learning for both players in the two settings. Our main contribution is to derive last-iterate convergence and sample complexity results in both settings. Notably, we design a new manipulation strategy for the follower in the latter setting, and show that it has an intrinsic advantage against the best response strategy. Our theories are also supported by empirical results.

We consider solving equality-constrained nonlinear, nonconvex optimization problems. This class of problems appears widely in a variety of applications in machine learning and engineering, ranging from constrained deep neural networks, to optimal control, to PDE-constrained optimization. We develop an adaptive inexact Newton method for this problem class. In each iteration, we solve the Lagrangian Newton system inexactly via a randomized iterative sketching solver, and select a suitable stepsize by performing line search on an exact augmented Lagrangian merit function. The randomized solvers have advantages over deterministic linear system solvers by significantly reducing per-iteration flops complexity and storage cost, when equipped with suitable sketching matrices. Our method adaptively controls the accuracy of the randomized solver and the penalty parameters of the exact augmented Lagrangian, to ensure that the inexact Newton direction is a descent direction of the exact augmented Lagrangian. This allows us to establish a global almost sure convergence. We also show that a unit stepsize is admissible locally, so that our method exhibits a local linear convergence. Furthermore, we prove that the linear convergence can be strengthened to superlinear convergence if we gradually sharpen the adaptive accuracy condition on the randomized solver. We demonstrate the superior performance of our method on benchmark nonlinear problems in CUTEst test set, constrained logistic regression with data from LIBSVM, and a PDE-constrained problem.

Musical expression requires control of both what notes are played, and how they are performed. Conventional audio synthesizers provide detailed expressive controls, but at the cost of realism. Black-box neural audio synthesis and concatenative samplers can produce realistic audio, but have few mechanisms for control. In this work, we introduce MIDI-DDSP a hierarchical model of musical instruments that enables both realistic neural audio synthesis and detailed user control. Starting from interpretable Differentiable Digital Signal Processing (DDSP) synthesis parameters, we infer musical notes and high-level properties of their expressive performance (such as timbre, vibrato, dynamics, and articulation). This creates a 3-level hierarchy (notes, performance, synthesis) that affords individuals the option to intervene at each level, or utilize trained priors (performance given notes, synthesis given performance) for creative assistance. Through quantitative experiments and listening tests, we demonstrate that this hierarchy can reconstruct high-fidelity audio, accurately predict performance attributes for a note sequence, independently manipulate the attributes of a given performance, and as a complete system, generate realistic audio from a novel note sequence. By utilizing an interpretable hierarchy, with multiple levels of granularity, MIDI-DDSP opens the door to assistive tools to empower individuals across a diverse range of musical experience.

Convergent Cross Mapping (CCM) is a powerful method for detecting causality in coupled nonlinear dynamical systems, providing a model-free approach to capture dynamic causal interactions. Partial Cross Mapping (PCM) was introduced as an extension of CCM to address indirect causality in three-variable systems by comparing cross-mapping quality between direct cause-effect mapping and indirect mapping through an intermediate conditioning variable. However, PCM remains limited to univariate delay embeddings in its cross-mapping processes. In this work, we extend PCM to the multivariate setting, introducing multiPCM, which leverages multivariate embeddings to more effectively distinguish indirect causal relationships. We further propose a multivariate cross-mapping framework (MXMap) for causal discovery in dynamical systems. This two-phase framework combines (1) pairwise CCM tests to establish an initial causal graph and (2) multiPCM to refine the graph by pruning indirect causal connections. Through experiments on simulated data and the ERA5 Reanalysis weather dataset, we demonstrate the effectiveness of MXMap. Additionally, MXMap is compared against several baseline methods, showing advantages in accuracy and causal graph refinement.

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.

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

Music foundation models possess impressive music generation capabilities. When people compose music, they may infuse their understanding of music into their work, by using notes and intervals to craft melodies, chords to build progressions, and tempo to create a rhythmic feel. To what extent is this true of music generation models? More specifically, are fundamental Western music theory concepts observable within the "inner workings" of these models? Recent work proposed leveraging latent audio representations from music generation models towards music information retrieval tasks (e.g. genre classification, emotion recognition), which suggests that high-level musical characteristics are encoded within these models. However, probing individual music theory concepts (e.g. tempo, pitch class, chord quality) remains under-explored. Thus, we introduce SynTheory, a synthetic MIDI and audio music theory dataset, consisting of tempos, time signatures, notes, intervals, scales, chords, and chord progressions concepts. We then propose a framework to probe for these music theory concepts in music foundation models (Jukebox and MusicGen) and assess how strongly they encode these concepts within their internal representations. Our findings suggest that music theory concepts are discernible within foundation models and that the degree to which they are detectable varies by model size and layer.

Neural networks often suffer from catastrophic interference (CI): performance on previously learned tasks drops off significantly when learning a new task. This contrasts strongly with humans, who can sequentially learn new tasks without appreciably forgetting previous tasks. Prior work has explored various techniques for mitigating CI such as regularization, rehearsal, generative replay, and distillation methods. The current work takes a different approach, one guided by cognitive science research showing that in naturalistic environments, the probability of encountering a task decreases as a power-law of the time since it was last performed. We argue that a realistic evaluation of techniques for the mitigation of CI should be performed in simulated naturalistic learning environments. Thus, we evaluate the extent of mitigation of CI when training simple rehearsal-based methods in power-law environments similar to the ones humans face. Our work explores this novel rehearsal-based approach for a domain-incremental task: learning permutations in the MNIST task. We compare our rehearsal environment with other baselines to show its efficacy in promoting continual learning. Additionally, we investigate whether this environment shows forward facilitation, i.e., faster learning of later tasks. Next, we explore the robustness of our learning environment to the number of tasks, model size, and amount of data rehearsed after each task. Notably, our results show that the performance is comparable or superior to that of models trained using popular regularization methods and also to rehearsals in non-power-law environments. The benefits of this training paradigm include simplicity and the lack of a need for extra neural circuitry. In addition, because our method is orthogonal to other methods, future research can combine training in power-law environments with other continual learning mechanisms.

We propose a new approach for generative modeling based on training a neural network to be idempotent. An idempotent operator is one that can be applied sequentially without changing the result beyond the initial application, namely f(f(z))=f(z). The proposed model f is trained to map a source distribution (e.g, Gaussian noise) to a target distribution (e.g. realistic images) using the following objectives: (1) Instances from the target distribution should map to themselves, namely f(x)=x. We define the target manifold as the set of all instances that f maps to themselves. (2) Instances that form the source distribution should map onto the defined target manifold. This is achieved by optimizing the idempotence term, f(f(z))=f(z) which encourages the range of f(z) to be on the target manifold. Under ideal assumptions such a process provably converges to the target distribution. This strategy results in a model capable of generating an output in one step, maintaining a consistent latent space, while also allowing sequential applications for refinement. Additionally, we find that by processing inputs from both target and source distributions, the model adeptly projects corrupted or modified data back to the target manifold. This work is a first step towards a ``global projector'' that enables projecting any input into a target data distribution.

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.

Designing rewards for Reinforcement Learning (RL) is challenging because it needs to convey the desired task, be efficient to optimize, and be easy to compute. The latter is particularly problematic when applying RL to robotics, where detecting whether the desired configuration is reached might require considerable supervision and instrumentation. Furthermore, we are often interested in being able to reach a wide range of configurations, hence setting up a different reward every time might be unpractical. Methods like Hindsight Experience Replay (HER) have recently shown promise to learn policies able to reach many goals, without the need of a reward. Unfortunately, without tricks like resetting to points along the trajectory, HER might require many samples to discover how to reach certain areas of the state-space. In this work we investigate different approaches to incorporate demonstrations to drastically speed up the convergence to a policy able to reach any goal, also surpassing the performance of an agent trained with other Imitation Learning algorithms. Furthermore, we show our method can also be used when the available expert trajectories do not contain the actions, which can leverage kinesthetic or third person demonstration. The code is available at https://sites.google.com/view/goalconditioned-il/.

Recent advancements in music generation have garnered significant attention, yet existing approaches face critical limitations. Some current generative models can only synthesize either the vocal track or the accompaniment track. While some models can generate combined vocal and accompaniment, they typically rely on meticulously designed multi-stage cascading architectures and intricate data pipelines, hindering scalability. Additionally, most systems are restricted to generating short musical segments rather than full-length songs. Furthermore, widely used language model-based methods suffer from slow inference speeds. To address these challenges, we propose DiffRhythm, the first latent diffusion-based song generation model capable of synthesizing complete songs with both vocal and accompaniment for durations of up to 4m45s in only ten seconds, maintaining high musicality and intelligibility. Despite its remarkable capabilities, DiffRhythm is designed to be simple and elegant: it eliminates the need for complex data preparation, employs a straightforward model structure, and requires only lyrics and a style prompt during inference. Additionally, its non-autoregressive structure ensures fast inference speeds. This simplicity guarantees the scalability of DiffRhythm. Moreover, we release the complete training code along with the pre-trained model on large-scale data to promote reproducibility and further research.

This paper investigates the problem of interactively learning behaviors communicated by a human teacher using positive and negative feedback. Much previous work on this problem has made the assumption that people provide feedback for decisions that is dependent on the behavior they are teaching and is independent from the learner's current policy. We present empirical results that show this assumption to be false -- whether human trainers give a positive or negative feedback for a decision is influenced by the learner's current policy. Based on this insight, we introduce {\em Convergent Actor-Critic by Humans} (COACH), an algorithm for learning from policy-dependent feedback that converges to a local optimum. Finally, we demonstrate that COACH can successfully learn multiple behaviors on a physical robot.

Modern distributed training relies heavily on communication compression to reduce the communication overhead. In this work, we study algorithms employing a popular class of contractive compressors in order to reduce communication overhead. However, the naive implementation often leads to unstable convergence or even exponential divergence due to the compression bias. Error Compensation (EC) is an extremely popular mechanism to mitigate the aforementioned issues during the training of models enhanced by contractive compression operators. Compared to the effectiveness of EC in the data homogeneous regime, the understanding of the practicality and theoretical foundations of EC in the data heterogeneous regime is limited. Existing convergence analyses typically rely on strong assumptions such as bounded gradients, bounded data heterogeneity, or large batch accesses, which are often infeasible in modern machine learning applications. We resolve the majority of current issues by proposing EControl, a novel mechanism that can regulate error compensation by controlling the strength of the feedback signal. We prove fast convergence for EControl in standard strongly convex, general convex, and nonconvex settings without any additional assumptions on the problem or data heterogeneity. We conduct extensive numerical evaluations to illustrate the efficacy of our method and support our theoretical findings.

Generating high quality music that complements the visual content of a video is a challenging task. Most existing visual conditioned music generation systems generate symbolic music data, such as MIDI files, instead of raw audio waveform. Given the limited availability of symbolic music data, such methods can only generate music for a few instruments or for specific types of visual input. In this paper, we propose a novel approach called V2Meow that can generate high-quality music audio that aligns well with the visual semantics of a diverse range of video input types. Specifically, the proposed music generation system is a multi-stage autoregressive model which is trained with a number of O(100K) music audio clips paired with video frames, which are mined from in-the-wild music videos, and no parallel symbolic music data is involved. V2Meow is able to synthesize high-fidelity music audio waveform solely conditioned on pre-trained visual features extracted from an arbitrary silent video clip, and it also allows high-level control over the music style of generation examples via supporting text prompts in addition to the video frames conditioning. Through both qualitative and quantitative evaluations, we demonstrate that our model outperforms several existing music generation systems in terms of both visual-audio correspondence and audio quality.

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.

Singing is one of the most cherished forms of human entertainment. However, creating a beautiful song requires an accompaniment that complements the vocals and aligns well with the song instruments and genre. With advancements in deep learning, previous research has focused on generating suitable accompaniments but often lacks precise alignment with the desired instrumentation and genre. To address this, we propose a straightforward method that enables control over the accompaniment through text prompts, allowing the generation of music that complements the vocals and aligns with the song instrumental and genre requirements. Through extensive experiments, we successfully generate 10-second accompaniments using vocal input and text control.

We present Composable Diffusion (CoDi), a novel generative model capable of generating any combination of output modalities, such as language, image, video, or audio, from any combination of input modalities. Unlike existing generative AI systems, CoDi can generate multiple modalities in parallel and its input is not limited to a subset of modalities like text or image. Despite the absence of training datasets for many combinations of modalities, we propose to align modalities in both the input and output space. This allows CoDi to freely condition on any input combination and generate any group of modalities, even if they are not present in the training data. CoDi employs a novel composable generation strategy which involves building a shared multimodal space by bridging alignment in the diffusion process, enabling the synchronized generation of intertwined modalities, such as temporally aligned video and audio. Highly customizable and flexible, CoDi achieves strong joint-modality generation quality, and outperforms or is on par with the unimodal state-of-the-art for single-modality synthesis. The project page with demonstrations and code is at https://codi-gen.github.io

Fast and user-controllable music generation could enable novel ways of composing or performing music. However, state-of-the-art music generation systems require large amounts of data and computational resources for training, and are slow at inference. This makes them impractical for real-time interactive use. In this work, we introduce Musika, a music generation system that can be trained on hundreds of hours of music using a single consumer GPU, and that allows for much faster than real-time generation of music of arbitrary length on a consumer CPU. We achieve this by first learning a compact invertible representation of spectrogram magnitudes and phases with adversarial autoencoders, then training a Generative Adversarial Network (GAN) on this representation for a particular music domain. A latent coordinate system enables generating arbitrarily long sequences of excerpts in parallel, while a global context vector allows the music to remain stylistically coherent through time. We perform quantitative evaluations to assess the quality of the generated samples and showcase options for user control in piano and techno music generation. We release the source code and pretrained autoencoder weights at github.com/marcoppasini/musika, such that a GAN can be trained on a new music domain with a single GPU in a matter of hours.

We present Subtractive Training, a simple and novel method for synthesizing individual musical instrument stems given other instruments as context. This method pairs a dataset of complete music mixes with 1) a variant of the dataset lacking a specific stem, and 2) LLM-generated instructions describing how the missing stem should be reintroduced. We then fine-tune a pretrained text-to-audio diffusion model to generate the missing instrument stem, guided by both the existing stems and the text instruction. Our results demonstrate Subtractive Training's efficacy in creating authentic drum stems that seamlessly blend with the existing tracks. We also show that we can use the text instruction to control the generation of the inserted stem in terms of rhythm, dynamics, and genre, allowing us to modify the style of a single instrument in a full song while keeping the remaining instruments the same. Lastly, we extend this technique to MIDI formats, successfully generating compatible bass, drum, and guitar parts for incomplete arrangements.

Imitation learning from human-provided demonstrations is a strong approach for learning policies for robot manipulation. While the ideal dataset for imitation learning is homogenous and low-variance -- reflecting a single, optimal method for performing a task -- natural human behavior has a great deal of heterogeneity, with several optimal ways to demonstrate a task. This multimodality is inconsequential to human users, with task variations manifesting as subconscious choices; for example, reaching down, then across to grasp an object, versus reaching across, then down. Yet, this mismatch presents a problem for interactive imitation learning, where sequences of users improve on a policy by iteratively collecting new, possibly conflicting demonstrations. To combat this problem of demonstrator incompatibility, this work designs an approach for 1) measuring the compatibility of a new demonstration given a base policy, and 2) actively eliciting more compatible demonstrations from new users. Across two simulation tasks requiring long-horizon, dexterous manipulation and a real-world "food plating" task with a Franka Emika Panda arm, we show that we can both identify incompatible demonstrations via post-hoc filtering, and apply our compatibility measure to actively elicit compatible demonstrations from new users, leading to improved task success rates across simulated and real environments.