Daily Papers

We propose a method to recommend music for an input video while allowing a user to guide music selection with free-form natural language. A key challenge of this problem setting is that existing music video datasets provide the needed (video, music) training pairs, but lack text descriptions of the music. This work addresses this challenge with the following three contributions. First, we propose a text-synthesis approach that relies on an analogy-based prompting procedure to generate natural language music descriptions from a large-scale language model (BLOOM-176B) given pre-trained music tagger outputs and a small number of human text descriptions. Second, we use these synthesized music descriptions to train a new trimodal model, which fuses text and video input representations to query music samples. For training, we introduce a text dropout regularization mechanism which we show is critical to model performance. Our model design allows for the retrieved music audio to agree with the two input modalities by matching visual style depicted in the video and musical genre, mood, or instrumentation described in the natural language query. Third, to evaluate our approach, we collect a testing dataset for our problem by annotating a subset of 4k clips from the YT8M-MusicVideo dataset with natural language music descriptions which we make publicly available. We show that our approach can match or exceed the performance of prior methods on video-to-music retrieval while significantly improving retrieval accuracy when using text guidance.

We present TalkPlay, a multimodal music recommendation system that reformulates the recommendation task as large language model token generation. TalkPlay represents music through an expanded token vocabulary that encodes multiple modalities - audio, lyrics, metadata, semantic tags, and playlist co-occurrence. Using these rich representations, the model learns to generate recommendations through next-token prediction on music recommendation conversations, that requires learning the associations natural language query and response, as well as music items. In other words, the formulation transforms music recommendation into a natural language understanding task, where the model's ability to predict conversation tokens directly optimizes query-item relevance. Our approach eliminates traditional recommendation-dialogue pipeline complexity, enabling end-to-end learning of query-aware music recommendations. In the experiment, TalkPlay is successfully trained and outperforms baseline methods in various aspects, demonstrating strong context understanding as a conversational music recommender.

We introduce MuseChat, an innovative dialog-based music recommendation system. This unique platform not only offers interactive user engagement but also suggests music tailored for input videos, so that users can refine and personalize their music selections. In contrast, previous systems predominantly emphasized content compatibility, often overlooking the nuances of users' individual preferences. For example, all the datasets only provide basic music-video pairings or such pairings with textual music descriptions. To address this gap, our research offers three contributions. First, we devise a conversation-synthesis method that simulates a two-turn interaction between a user and a recommendation system, which leverages pre-trained music tags and artist information. In this interaction, users submit a video to the system, which then suggests a suitable music piece with a rationale. Afterwards, users communicate their musical preferences, and the system presents a refined music recommendation with reasoning. Second, we introduce a multi-modal recommendation engine that matches music either by aligning it with visual cues from the video or by harmonizing visual information, feedback from previously recommended music, and the user's textual input. Third, we bridge music representations and textual data with a Large Language Model(Vicuna-7B). This alignment equips MuseChat to deliver music recommendations and their underlying reasoning in a manner resembling human communication. Our evaluations show that MuseChat surpasses existing state-of-the-art models in music retrieval tasks and pioneers the integration of the recommendation process within a natural language framework.

Playlists have become a significant part of our listening experience because of the digital cloud-based services such as Spotify, Pandora, Apple Music. Owing to the meteoric rise in the usage of playlists, recommending playlists is crucial to music services today. Although there has been a lot of work done in playlist prediction, the area of playlist representation hasn't received that level of attention. Over the last few years, sequence-to-sequence models, especially in the field of natural language processing, have shown the effectiveness of learned embeddings in capturing the semantic characteristics of sequences. We can apply similar concepts to music to learn fixed length representations for playlists and use those representations for downstream tasks such as playlist discovery, browsing, and recommendation. In this work, we formulate the problem of learning a fixed-length playlist representation in an unsupervised manner, using Sequence-to-sequence (Seq2seq) models, interpreting playlists as sentences and songs as words. We compare our model with two other encoding architectures for baseline comparison. We evaluate our work using the suite of tasks commonly used for assessing sentence embeddings, along with a few additional tasks pertaining to music, and a recommendation task to study the traits captured by the playlist embeddings and their effectiveness for the purpose of music recommendation.

Music streaming services often leverage sequential recommender systems to predict the best music to showcase to users based on past sequences of listening sessions. Nonetheless, most sequential recommendation methods ignore or insufficiently account for repetitive behaviors. This is a crucial limitation for music recommendation, as repeatedly listening to the same song over time is a common phenomenon that can even change the way users perceive this song. In this paper, we introduce PISA (Psychology-Informed Session embedding using ACT-R), a session-level sequential recommender system that overcomes this limitation. PISA employs a Transformer architecture learning embedding representations of listening sessions and users using attention mechanisms inspired by Anderson's ACT-R (Adaptive Control of Thought-Rational), a cognitive architecture modeling human information access and memory dynamics. This approach enables us to capture dynamic and repetitive patterns from user behaviors, allowing us to effectively predict the songs they will listen to in subsequent sessions, whether they are repeated or new ones. We demonstrate the empirical relevance of PISA using both publicly available listening data from Last.fm and proprietary data from Deezer, a global music streaming service, confirming the critical importance of repetition modeling for sequential listening session recommendation. Along with this paper, we publicly release our proprietary dataset to foster future research in this field, as well as the source code of PISA to facilitate its future use.

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.

Music Emotion Recognition involves the automatic identification of emotional elements within music tracks, and it has garnered significant attention due to its broad applicability in the field of Music Information Retrieval. It can also be used as the upstream task of many other human-related tasks such as emotional music generation and music recommendation. Due to existing psychology research, music emotion is determined by multiple factors such as the Timbre, Velocity, and Structure of the music. Incorporating multiple factors in MER helps achieve more interpretable and finer-grained methods. However, most prior works were uni-domain and showed weak consistency between arousal modeling performance and valence modeling performance. Based on this background, we designed a multi-domain emotion modeling method for instrumental music that combines symbolic analysis and acoustic analysis. At the same time, because of the rarity of music data and the difficulty of labeling, our multi-domain approach can make full use of limited data. Our approach was implemented and assessed using the publicly available piano dataset EMOPIA, resulting in a notable improvement over our baseline model with a 2.4% increase in overall accuracy, establishing its state-of-the-art performance.

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

Even for us, it can be challenging to comprehend the meaning of songs. As part of this project, we explore the process of generating the meaning of songs. Despite the widespread use of text-to-text models, few attempts have been made to achieve a similar objective. Songs are primarily studied in the context of sentiment analysis. This involves identifying opinions and emotions in texts, evaluating them as positive or negative, and utilizing these evaluations to make music recommendations. In this paper, we present a generative model that offers implicit meanings for several lines of a song. Our model uses a decoder Transformer architecture GPT-2, where the input is the lyrics of a song. Furthermore, we compared the performance of this architecture with that of the encoder-decoder Transformer architecture of the T5 model. We also examined the effect of different prompt types with the option of appending additional information, such as the name of the artist and the title of the song. Moreover, we tested different decoding methods with different training parameters and evaluated our results using ROUGE. In order to build our dataset, we utilized the 'Genious' API, which allowed us to acquire the lyrics of songs and their explanations, as well as their rich metadata.

The rise of generative artificial intelligence, particularly Large Language Models (LLMs), has intensified the imperative to scrutinize fairness alongside accuracy. Recent studies have begun to investigate fairness evaluations for LLMs within domains such as recommendations. Given that personalization is an intrinsic aspect of recommendation systems, its incorporation into fairness assessments is paramount. Yet, the degree to which current fairness evaluation frameworks account for personalization remains unclear. Our comprehensive literature review aims to fill this gap by examining how existing frameworks handle fairness evaluations of LLMs, with a focus on the integration of personalization factors. Despite an exhaustive collection and analysis of relevant works, we discovered that most evaluations overlook personalization, a critical facet of recommendation systems, thereby inadvertently perpetuating unfair practices. Our findings shed light on this oversight and underscore the urgent need for more nuanced fairness evaluations that acknowledge personalization. Such improvements are vital for fostering equitable development within the AI community.

The remarkable achievements of Large Language Models (LLMs) have led to the emergence of a novel recommendation paradigm -- Recommendation via LLM (RecLLM). Nevertheless, it is important to note that LLMs may contain social prejudices, and therefore, the fairness of recommendations made by RecLLM requires further investigation. To avoid the potential risks of RecLLM, it is imperative to evaluate the fairness of RecLLM with respect to various sensitive attributes on the user side. Due to the differences between the RecLLM paradigm and the traditional recommendation paradigm, it is problematic to directly use the fairness benchmark of traditional recommendation. To address the dilemma, we propose a novel benchmark called Fairness of Recommendation via LLM (FaiRLLM). This benchmark comprises carefully crafted metrics and a dataset that accounts for eight sensitive attributes1 in two recommendation scenarios: music and movies. By utilizing our FaiRLLM benchmark, we conducted an evaluation of ChatGPT and discovered that it still exhibits unfairness to some sensitive attributes when generating recommendations. Our code and dataset can be found at https://github.com/jizhi-zhang/FaiRLLM.

In the ever-evolving digital audio landscape, Spotify, well-known for its music and talk content, has recently introduced audiobooks to its vast user base. While promising, this move presents significant challenges for personalized recommendations. Unlike music and podcasts, audiobooks, initially available for a fee, cannot be easily skimmed before purchase, posing higher stakes for the relevance of recommendations. Furthermore, introducing a new content type into an existing platform confronts extreme data sparsity, as most users are unfamiliar with this new content type. Lastly, recommending content to millions of users requires the model to react fast and be scalable. To address these challenges, we leverage podcast and music user preferences and introduce 2T-HGNN, a scalable recommendation system comprising Heterogeneous Graph Neural Networks (HGNNs) and a Two Tower (2T) model. This novel approach uncovers nuanced item relationships while ensuring low latency and complexity. We decouple users from the HGNN graph and propose an innovative multi-link neighbor sampler. These choices, together with the 2T component, significantly reduce the complexity of the HGNN model. Empirical evaluations involving millions of users show significant improvement in the quality of personalized recommendations, resulting in a +46% increase in new audiobooks start rate and a +23% boost in streaming rates. Intriguingly, our model's impact extends beyond audiobooks, benefiting established products like podcasts.

At the core of many important machine learning problems faced by online streaming services is a need to model how users interact with the content they are served. Unfortunately, there are no public datasets currently available that enable researchers to explore this topic. In order to spur that research, we release the Music Streaming Sessions Dataset (MSSD), which consists of 160 million listening sessions and associated user actions. Furthermore, we provide audio features and metadata for the approximately 3.7 million unique tracks referred to in the logs. This is the largest collection of such track metadata currently available to the public. This dataset enables research on important problems including how to model user listening and interaction behaviour in streaming, as well as Music Information Retrieval (MIR), and session-based sequential recommendations. Additionally, a subset of sessions were collected using a uniformly random recommendation setting, enabling their use for counterfactual evaluation of such sequential recommendations. Finally, we provide an analysis of user behavior and suggest further research problems which can be addressed using the dataset.

Web3Recommend is a decentralized Social Recommender System implementation that enables Web3 Platforms on Android to generate recommendations that balance trust and relevance. Generating recommendations in decentralized networks is a non-trivial problem because these networks lack a global perspective due to the absence of a central authority. Further, decentralized networks are prone to Sybil Attacks in which a single malicious user can generate multiple fake or Sybil identities. Web3Recommend relies on a novel graph-based content recommendation design inspired by GraphJet, a recommendation system used in Twitter enhanced with MeritRank, a decentralized reputation scheme that provides Sybil-resistance to the system. By adding MeritRank's decay parameters to the vanilla Social Recommender Systems' personalized SALSA graph algorithm, we can provide theoretical guarantees against Sybil Attacks in the generated recommendations. Similar to GraphJet, we focus on generating real-time recommendations by only acting on recent interactions in the social network, allowing us to cater temporally contextual recommendations while keeping a tight bound on the memory usage in resource-constrained devices, allowing for a seamless user experience. As a proof-of-concept, we integrate our system with MusicDAO, an open-source Web3 music-sharing platform, to generate personalized, real-time recommendations. Thus, we provide the first Sybil-resistant Social Recommender System, allowing real-time recommendations beyond classic user-based collaborative filtering. The system is also rigorously tested with extensive unit and integration tests. Further, our experiments demonstrate the trust-relevance balance of recommendations against multiple adversarial strategies in a test network generated using data from real music platforms.

We propose Meta-Prod2vec, a novel method to compute item similarities for recommendation that leverages existing item metadata. Such scenarios are frequently encountered in applications such as content recommendation, ad targeting and web search. Our method leverages past user interactions with items and their attributes to compute low-dimensional embeddings of items. Specifically, the item metadata is in- jected into the model as side information to regularize the item embeddings. We show that the new item representa- tions lead to better performance on recommendation tasks on an open music dataset.

Music recommender systems (MRS) have experienced a boom in recent years, thanks to the emergence and success of online streaming services, which nowadays make available almost all music in the world at the user's fingertip. While today's MRS considerably help users to find interesting music in these huge catalogs, MRS research is still facing substantial challenges. In particular when it comes to build, incorporate, and evaluate recommendation strategies that integrate information beyond simple user--item interactions or content-based descriptors, but dig deep into the very essence of listener needs, preferences, and intentions, MRS research becomes a big endeavor and related publications quite sparse. The purpose of this trends and survey article is twofold. We first identify and shed light on what we believe are the most pressing challenges MRS research is facing, from both academic and industry perspectives. We review the state of the art towards solving these challenges and discuss its limitations. Second, we detail possible future directions and visions we contemplate for the further evolution of the field. The article should therefore serve two purposes: giving the interested reader an overview of current challenges in MRS research and providing guidance for young researchers by identifying interesting, yet under-researched, directions in the field.

Modern music retrieval systems often rely on fixed representations of user preferences, limiting their ability to capture users' diverse and uncertain retrieval needs. To address this limitation, we introduce Diff4Steer, a novel generative retrieval framework that employs lightweight diffusion models to synthesize diverse seed embeddings from user queries that represent potential directions for music exploration. Unlike deterministic methods that map user query to a single point in embedding space, Diff4Steer provides a statistical prior on the target modality (audio) for retrieval, effectively capturing the uncertainty and multi-faceted nature of user preferences. Furthermore, Diff4Steer can be steered by image or text inputs, enabling more flexible and controllable music discovery combined with nearest neighbor search. Our framework outperforms deterministic regression methods and LLM-based generative retrieval baseline in terms of retrieval and ranking metrics, demonstrating its effectiveness in capturing user preferences, leading to more diverse and relevant recommendations. Listening examples are available at tinyurl.com/diff4steer.

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.

The amount of content on online music streaming platforms is immense, and most users only access a tiny fraction of this content. Recommender systems are the application of choice to open up the collection to these users. Collaborative filtering has the disadvantage that it relies on explicit ratings, which are often unavailable, and generally disregards the temporal nature of music consumption. On the other hand, item co-occurrence algorithms, such as the recently introduced word2vec-based recommenders, are typically left without an effective user representation. In this paper, we present a new approach to model users through recurrent neural networks by sequentially processing consumed items, represented by any type of embeddings and other context features. This way we obtain semantically rich user representations, which capture a user's musical taste over time. Our experimental analysis on large-scale user data shows that our model can be used to predict future songs a user will likely listen to, both in the short and long term.

Text-to-Music Retrieval, finding music based on a given natural language query, plays a pivotal role in content discovery within extensive music databases. To address this challenge, prior research has predominantly focused on a joint embedding of music audio and text, utilizing it to retrieve music tracks that exactly match descriptive queries related to musical attributes (i.e. genre, instrument) and contextual elements (i.e. mood, theme). However, users also articulate a need to explore music that shares similarities with their favorite tracks or artists, such as I need a similar track to Superstition by Stevie Wonder. To address these concerns, this paper proposes an improved Text-to-Music Retrieval model, denoted as TTMR++, which utilizes rich text descriptions generated with a finetuned large language model and metadata. To accomplish this, we obtained various types of seed text from several existing music tag and caption datasets and a knowledge graph dataset of artists and tracks. The experimental results show the effectiveness of TTMR++ in comparison to state-of-the-art music-text joint embedding models through a comprehensive evaluation involving various musical text queries.

We have built a music similarity search engine that lets video producers search by listenable music excerpts, as a complement to traditional full-text search. Our system suggests similar sounding track segments in a large music catalog by training a self-supervised convolutional neural network with triplet loss terms and musical transformations. Semi-structured user interviews demonstrate that we can successfully impress professional video producers with the quality of the search experience, and perceived similarities to query tracks averaged 7.8/10 in user testing. We believe this search tool will make for a more natural search experience that is easier to find music to soundtrack videos with.

This paper introduces effective design choices for text-to-music retrieval systems. An ideal text-based retrieval system would support various input queries such as pre-defined tags, unseen tags, and sentence-level descriptions. In reality, most previous works mainly focused on a single query type (tag or sentence) which may not generalize to another input type. Hence, we review recent text-based music retrieval systems using our proposed benchmark in two main aspects: input text representation and training objectives. Our findings enable a universal text-to-music retrieval system that achieves comparable retrieval performances in both tag- and sentence-level inputs. Furthermore, the proposed multimodal representation generalizes to 9 different downstream music classification tasks. We present the code and demo online.

In the age of digital music streaming, playlists on platforms like Spotify have become an integral part of individuals' musical experiences. People create and publicly share their own playlists to express their musical tastes, promote the discovery of their favorite artists, and foster social connections. These publicly accessible playlists transcend the boundaries of mere musical preferences: they serve as sources of rich insights into users' attributes and identities. For example, the musical preferences of elderly individuals may lean more towards Frank Sinatra, while Billie Eilish remains a favored choice among teenagers. These playlists thus become windows into the diverse and evolving facets of one's musical identity. In this work, we investigate the relationship between Spotify users' attributes and their public playlists. In particular, we focus on identifying recurring musical characteristics associated with users' individual attributes, such as demographics, habits, or personality traits. To this end, we conducted an online survey involving 739 Spotify users, yielding a dataset of 10,286 publicly shared playlists encompassing over 200,000 unique songs and 55,000 artists. Through extensive statistical analyses, we first assess a deep connection between a user's Spotify playlists and their real-life attributes. For instance, we found individuals high in openness often create playlists featuring a diverse array of artists, while female users prefer Pop and K-pop music genres. Building upon these observed associations, we create accurate predictive models for users' attributes, presenting a novel DeepSet application that outperforms baselines in most of these users' attributes.

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.

A conversational music retrieval system can help users discover music that matches their preferences through dialogue. To achieve this, a conversational music retrieval system should seamlessly engage in multi-turn conversation by 1) understanding user queries and 2) responding with natural language and retrieved music. A straightforward solution would be a data-driven approach utilizing such conversation logs. However, few datasets are available for the research and are limited in terms of volume and quality. In this paper, we present a data generation framework for rich music discovery dialogue using a large language model (LLM) and user intents, system actions, and musical attributes. This is done by i) dialogue intent analysis using grounded theory, ii) generating attribute sequences via cascading database filtering, and iii) generating utterances using large language models. By applying this framework to the Million Song dataset, we create LP-MusicDialog, a Large Language Model based Pseudo Music Dialogue dataset, containing over 288k music conversations using more than 319k music items. Our evaluation shows that the synthetic dataset is competitive with an existing, small human dialogue dataset in terms of dialogue consistency, item relevance, and naturalness. Furthermore, using the dataset, we train a conversational music retrieval model and show promising results.

We present an approach for recommending a music track for a given video, and vice versa, based on both their temporal alignment and their correspondence at an artistic level. We propose a self-supervised approach that learns this correspondence directly from data, without any need of human annotations. In order to capture the high-level concepts that are required to solve the task, we propose modeling the long-term temporal context of both the video and the music signals, using Transformer networks for each modality. Experiments show that this approach strongly outperforms alternatives that do not exploit the temporal context. The combination of our contributions improve retrieval accuracy up to 10x over prior state of the art. This strong improvement allows us to introduce a wide range of analyses and applications. For instance, we can condition music retrieval based on visually defined attributes.

Word embedding has become an essential means for text-based information retrieval. Typically, word embeddings are learned from large quantities of general and unstructured text data. However, in the domain of music, the word embedding may have difficulty understanding musical contexts or recognizing music-related entities like artists and tracks. To address this issue, we propose a new approach called Musical Word Embedding (MWE), which involves learning from various types of texts, including both everyday and music-related vocabulary. We integrate MWE into an audio-word joint representation framework for tagging and retrieving music, using words like tag, artist, and track that have different levels of musical specificity. Our experiments show that using a more specific musical word like track results in better retrieval performance, while using a less specific term like tag leads to better tagging performance. To balance this compromise, we suggest multi-prototype training that uses words with different levels of musical specificity jointly. We evaluate both word embedding and audio-word joint embedding on four tasks (tag rank prediction, music tagging, query-by-tag, and query-by-track) across two datasets (Million Song Dataset and MTG-Jamendo). Our findings show that the suggested MWE is more efficient and robust than the conventional word embedding.

Multi-modal deep learning techniques for matching free-form text with music have shown promising results in the field of Music Information Retrieval (MIR). Prior work is often based on large proprietary data while publicly available datasets are few and small in size. In this study, we present WikiMuTe, a new and open dataset containing rich semantic descriptions of music. The data is sourced from Wikipedia's rich catalogue of articles covering musical works. Using a dedicated text-mining pipeline, we extract both long and short-form descriptions covering a wide range of topics related to music content such as genre, style, mood, instrumentation, and tempo. To show the use of this data, we train a model that jointly learns text and audio representations and performs cross-modal retrieval. The model is evaluated on two tasks: tag-based music retrieval and music auto-tagging. The results show that while our approach has state-of-the-art performance on multiple tasks, but still observe a difference in performance depending on the data used for training.

We explore the use of large language models (LLMs) for music generation using a retrieval system to select relevant examples. We find promising initial results for music generation in a dialogue with the user, especially considering the ease with which such a system can be implemented. The code is available online.

We introduce JamendoMaxCaps, a large-scale music-caption dataset featuring over 200,000 freely licensed instrumental tracks from the renowned Jamendo platform. The dataset includes captions generated by a state-of-the-art captioning model, enhanced with imputed metadata. We also introduce a retrieval system that leverages both musical features and metadata to identify similar songs, which are then used to fill in missing metadata using a local large language model (LLLM). This approach allows us to provide a more comprehensive and informative dataset for researchers working on music-language understanding tasks. We validate this approach quantitatively with five different measurements. By making the JamendoMaxCaps dataset publicly available, we provide a high-quality resource to advance research in music-language understanding tasks such as music retrieval, multimodal representation learning, and generative music models.

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

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.

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.

We introduce the Free Music Archive (FMA), an open and easily accessible dataset suitable for evaluating several tasks in MIR, a field concerned with browsing, searching, and organizing large music collections. The community's growing interest in feature and end-to-end learning is however restrained by the limited availability of large audio datasets. The FMA aims to overcome this hurdle by providing 917 GiB and 343 days of Creative Commons-licensed audio from 106,574 tracks from 16,341 artists and 14,854 albums, arranged in a hierarchical taxonomy of 161 genres. It provides full-length and high-quality audio, pre-computed features, together with track- and user-level metadata, tags, and free-form text such as biographies. We here describe the dataset and how it was created, propose a train/validation/test split and three subsets, discuss some suitable MIR tasks, and evaluate some baselines for genre recognition. Code, data, and usage examples are available at https://github.com/mdeff/fma

We introduce MusicLM, a model generating high-fidelity music from text descriptions such as "a calming violin melody backed by a distorted guitar riff". MusicLM casts the process of conditional music generation as a hierarchical sequence-to-sequence modeling task, and it generates music at 24 kHz that remains consistent over several minutes. Our experiments show that MusicLM outperforms previous systems both in audio quality and adherence to the text description. Moreover, we demonstrate that MusicLM can be conditioned on both text and a melody in that it can transform whistled and hummed melodies according to the style described in a text caption. To support future research, we publicly release MusicCaps, a dataset composed of 5.5k music-text pairs, with rich text descriptions provided by human experts.

In recent decades, neuroscientific and psychological research has traced direct relationships between taste and auditory perceptions. This article explores multimodal generative models capable of converting taste information into music, building on this foundational research. We provide a brief review of the state of the art in this field, highlighting key findings and methodologies. We present an experiment in which a fine-tuned version of a generative music model (MusicGEN) is used to generate music based on detailed taste descriptions provided for each musical piece. The results are promising: according the participants' (n=111) evaluation, the fine-tuned model produces music that more coherently reflects the input taste descriptions compared to the non-fine-tuned model. This study represents a significant step towards understanding and developing embodied interactions between AI, sound, and taste, opening new possibilities in the field of generative AI. We release our dataset, code and pre-trained model at: https://osf.io/xs5jy/.

Podcasts are spoken documents across a wide-range of genres and styles, with growing listenership across the world, and a rapidly lowering barrier to entry for both listeners and creators. The great strides in search and recommendation in research and industry have yet to see impact in the podcast space, where recommendations are still largely driven by word of mouth. In this perspective paper, we highlight the many differences between podcasts and other media, and discuss our perspective on challenges and future research directions in the domain of podcast information access.

Choral singing, a widely practiced form of ensemble singing, lacks comprehensive datasets in the realm of Music Information Retrieval (MIR) research, due to challenges arising from the requirement to curate multitrack recordings. To address this, we devised a novel methodology, leveraging state-of-the-art synthesizers to create and curate quality renditions. The scores were sourced from Choral Public Domain Library(CPDL). This work is done in collaboration with a diverse team of musicians, software engineers and researchers. The resulting dataset, complete with its associated metadata, and methodology is released as part of this work, opening up new avenues for exploration and advancement in the field of singing voice research.

We here summarize our experience running a challenge with open data for musical genre recognition. Those notes motivate the task and the challenge design, show some statistics about the submissions, and present the results.

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.

We introduce Seed-Music, a suite of music generation systems capable of producing high-quality music with fine-grained style control. Our unified framework leverages both auto-regressive language modeling and diffusion approaches to support two key music creation workflows: controlled music generation and post-production editing. For controlled music generation, our system enables vocal music generation with performance controls from multi-modal inputs, including style descriptions, audio references, musical scores, and voice prompts. For post-production editing, it offers interactive tools for editing lyrics and vocal melodies directly in the generated audio. We encourage readers to listen to demo audio examples at https://team.doubao.com/seed-music .

As digital music production has become mainstream, the selection of appropriate virtual instruments plays a crucial role in determining the quality of music. To search the musical instrument samples or virtual instruments that make one's desired sound, music producers use their ears to listen and compare each instrument sample in their collection, which is time-consuming and inefficient. In this paper, we call this task as Musical Instrument Retrieval and propose a method for retrieving desired musical instruments using reference music mixture as a query. The proposed model consists of the Single-Instrument Encoder and the Multi-Instrument Encoder, both based on convolutional neural networks. The Single-Instrument Encoder is trained to classify the instruments used in single-track audio, and we take its penultimate layer's activation as the instrument embedding. The Multi-Instrument Encoder is trained to estimate multiple instrument embeddings using the instrument embeddings computed by the Single-Instrument Encoder as a set of target embeddings. For more generalized training and realistic evaluation, we also propose a new dataset called Nlakh. Experimental results showed that the Single-Instrument Encoder was able to learn the mapping from the audio signal of unseen instruments to the instrument embedding space and the Multi-Instrument Encoder was able to extract multiple embeddings from the mixture of music and retrieve the desired instruments successfully. The code used for the experiment and audio samples are available at: https://github.com/minju0821/musical_instrument_retrieval

Linking sheet music images to audio recordings remains a key problem for the development of efficient cross-modal music retrieval systems. One of the fundamental approaches toward this task is to learn a cross-modal embedding space via deep neural networks that is able to connect short snippets of audio and sheet music. However, the scarcity of annotated data from real musical content affects the capability of such methods to generalize to real retrieval scenarios. In this work, we investigate whether we can mitigate this limitation with self-supervised contrastive learning, by exposing a network to a large amount of real music data as a pre-training step, by contrasting randomly augmented views of snippets of both modalities, namely audio and sheet images. Through a number of experiments on synthetic and real piano data, we show that pre-trained models are able to retrieve snippets with better precision in all scenarios and pre-training configurations. Encouraged by these results, we employ the snippet embeddings in the higher-level task of cross-modal piece identification and conduct more experiments on several retrieval configurations. In this task, we observe that the retrieval quality improves from 30% up to 100% when real music data is present. We then conclude by arguing for the potential of self-supervised contrastive learning for alleviating the annotated data scarcity in multi-modal music retrieval models.

Music genre classification is one of the trending topics in regards to the current Music Information Retrieval (MIR) Research. Since, the dependency of genre is not only limited to the audio profile, we also make use of textual content provided as lyrics of the corresponding song. We implemented a CNN based feature extractor for spectrograms in order to incorporate the acoustic features and a Hierarchical Attention Network based feature extractor for lyrics. We then go on to classify the music track based upon the resulting fused feature vector.

Recent years have seen the rapid development of large generative models for text; however, much less research has explored the connection between text and another "language" of communication -- music. Music, much like text, can convey emotions, stories, and ideas, and has its own unique structure and syntax. In our work, we bridge text and music via a text-to-music generation model that is highly efficient, expressive, and can handle long-term structure. Specifically, we develop Mo\^usai, a cascading two-stage latent diffusion model that can generate multiple minutes of high-quality stereo music at 48kHz from textual descriptions. Moreover, our model features high efficiency, which enables real-time inference on a single consumer GPU with a reasonable speed. Through experiments and property analyses, we show our model's competence over a variety of criteria compared with existing music generation models. Lastly, to promote the open-source culture, we provide a collection of open-source libraries with the hope of facilitating future work in the field. We open-source the following: Codes: https://github.com/archinetai/audio-diffusion-pytorch; music samples for this paper: http://bit.ly/44ozWDH; all music samples for all models: https://bit.ly/audio-diffusion.

With recent advancements in text-to-audio and text-to-music based on latent diffusion models, the quality of generated content has been reaching new heights. The controllability of musical aspects, however, has not been explicitly explored in text-to-music systems yet. In this paper, we present Mustango, a music-domain-knowledge-inspired text-to-music system based on diffusion, that expands the Tango text-to-audio model. Mustango aims to control the generated music, not only with general text captions, but from more rich captions that could include specific instructions related to chords, beats, tempo, and key. As part of Mustango, we propose MuNet, a Music-Domain-Knowledge-Informed UNet sub-module to integrate these music-specific features, which we predict from the text prompt, as well as the general text embedding, into the diffusion denoising process. To overcome the limited availability of open datasets of music with text captions, we propose a novel data augmentation method that includes altering the harmonic, rhythmic, and dynamic aspects of music audio and using state-of-the-art Music Information Retrieval methods to extract the music features which will then be appended to the existing descriptions in text format. We release the resulting MusicBench dataset which contains over 52K instances and includes music-theory-based descriptions in the caption text. Through extensive experiments, we show that the quality of the music generated by Mustango is state-of-the-art, and the controllability through music-specific text prompts greatly outperforms other models in terms of desired chords, beat, key, and tempo, on multiple datasets.

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.

Music datasets play a crucial role in advancing research in machine learning for music. However, existing music datasets suffer from limited size, accessibility, and lack of audio resources. To address these shortcomings, we present DISCO-10M, a novel and extensive music dataset that surpasses the largest previously available music dataset by an order of magnitude. To ensure high-quality data, we implement a multi-stage filtering process. This process incorporates similarities based on textual descriptions and audio embeddings. Moreover, we provide precomputed CLAP embeddings alongside DISCO-10M, facilitating direct application on various downstream tasks. These embeddings enable efficient exploration of machine learning applications on the provided data. With DISCO-10M, we aim to democratize and facilitate new research to help advance the development of novel machine learning models for music.

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.

In this work, we provide a comprehensive survey of AI music generation tools, including both research projects and commercialized applications. To conduct our analysis, we classified music generation approaches into three categories: parameter-based, text-based, and visual-based classes. Our survey highlights the diverse possibilities and functional features of these tools, which cater to a wide range of users, from regular listeners to professional musicians. We observed that each tool has its own set of advantages and limitations. As a result, we have compiled a comprehensive list of these factors that should be considered during the tool selection process. Moreover, our survey offers critical insights into the underlying mechanisms and challenges of AI music generation.

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.

We introduce Noise2Music, where a series of diffusion models is trained to generate high-quality 30-second music clips from text prompts. Two types of diffusion models, a generator model, which generates an intermediate representation conditioned on text, and a cascader model, which generates high-fidelity audio conditioned on the intermediate representation and possibly the text, are trained and utilized in succession to generate high-fidelity music. We explore two options for the intermediate representation, one using a spectrogram and the other using audio with lower fidelity. We find that the generated audio is not only able to faithfully reflect key elements of the text prompt such as genre, tempo, instruments, mood, and era, but goes beyond to ground fine-grained semantics of the prompt. Pretrained large language models play a key role in this story -- they are used to generate paired text for the audio of the training set and to extract embeddings of the text prompts ingested by the diffusion models. Generated examples: https://google-research.github.io/noise2music

Recommendations are broadly used in marketplaces to match users with items relevant to their interests and needs. To understand user intent and tailor recommendations to their needs, we use deep learning to explore various heterogeneous data available in marketplaces. This paper focuses on the challenge of measuring recommender performance and summarizes the online experiment results with several promising types of deep neural network recommenders - hybrid item representation models combining features from user engagement and content, sequence-based models, and multi-armed bandit models that optimize user engagement by re-ranking proposals from multiple submodels. The recommenders are currently running in production at the leading Norwegian marketplace FINN.no and serves over one million visitors everyday.

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.

Due to the increased demand for music streaming/recommender services and the recent developments of music information retrieval frameworks, Music Genre Classification (MGC) has attracted the community's attention. However, convolutional-based approaches are known to lack the ability to efficiently encode and localize temporal features. In this paper, we study the broadcast-based neural networks aiming to improve the localization and generalizability under a small set of parameters (about 180k) and investigate twelve variants of broadcast networks discussing the effect of block configuration, pooling method, activation function, normalization mechanism, label smoothing, channel interdependency, LSTM block inclusion, and variants of inception schemes. Our computational experiments using relevant datasets such as GTZAN, Extended Ballroom, HOMBURG, and Free Music Archive (FMA) show state-of-the-art classification accuracies in Music Genre Classification. Our approach offers insights and the potential to enable compact and generalizable broadcast networks for music and audio classification.

In this study, we approached the Hit Song Prediction problem, which aims to predict which songs will become Billboard hits. We gathered a dataset of nearly 18500 hit and non-hit songs and extracted their audio features using the Spotify Web API. We test four machine-learning models on our dataset. We were able to predict the Billboard success of a song with approximately 86\% accuracy. The most succesful algorithms were Random Forest and Support Vector Machine.

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.

The process of reconstructing experiences from human brain activity offers a unique lens into how the brain interprets and represents the world. In this paper, we introduce a method for reconstructing music from brain activity, captured using functional magnetic resonance imaging (fMRI). Our approach uses either music retrieval or the MusicLM music generation model conditioned on embeddings derived from fMRI data. The generated music resembles the musical stimuli that human subjects experienced, with respect to semantic properties like genre, instrumentation, and mood. We investigate the relationship between different components of MusicLM and brain activity through a voxel-wise encoding modeling analysis. Furthermore, we discuss which brain regions represent information derived from purely textual descriptions of music stimuli. We provide supplementary material including examples of the reconstructed music at https://google-research.github.io/seanet/brain2music

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/).

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.

Recommendation is the task of ranking items (e.g. movies or products) according to individual user needs. Current systems rely on collaborative filtering and content-based techniques, which both require structured training data. We propose a framework for recommendation with off-the-shelf pretrained language models (LM) that only used unstructured text corpora as training data. If a user u liked Matrix and Inception, we construct a textual prompt, e.g. "Movies like Matrix, Inception, {<m{>}"} to estimate the affinity between u and m with LM likelihood. We motivate our idea with a corpus analysis, evaluate several prompt structures, and we compare LM-based recommendation with standard matrix factorization trained on different data regimes. The code for our experiments is publicly available (https://colab.research.google.com/drive/1f1mlZ-FGaLGdo5rPzxf3vemKllbh2esT?usp=sharing).

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.

Self-attention is an attention mechanism that learns a representation by relating different positions in the sequence. The transformer, which is a sequence model solely based on self-attention, and its variants achieved state-of-the-art results in many natural language processing tasks. Since music composes its semantics based on the relations between components in sparse positions, adopting the self-attention mechanism to solve music information retrieval (MIR) problems can be beneficial. Hence, we propose a self-attention based deep sequence model for music tagging. The proposed architecture consists of shallow convolutional layers followed by stacked Transformer encoders. Compared to conventional approaches using fully convolutional or recurrent neural networks, our model is more interpretable while reporting competitive results. We validate the performance of our model with the MagnaTagATune and the Million Song Dataset. In addition, we demonstrate the interpretability of the proposed architecture with a heat map visualization.

Music source separation demixes a piece of music into its individual sound sources (vocals, percussion, melodic instruments, etc.), a task with no simple mathematical solution. It requires deep learning methods involving training on large datasets of isolated music stems. The most commonly available datasets are made from commercial Western music, limiting the models' applications to non-Western genres like Carnatic music. Carnatic music is a live tradition, with the available multi-track recordings containing overlapping sounds and bleeds between the sources. This poses a challenge to commercially available source separation models like Spleeter and Hybrid Demucs. In this work, we introduce 'Sanidha', the first open-source novel dataset for Carnatic music, offering studio-quality, multi-track recordings with minimal to no overlap or bleed. Along with the audio files, we provide high-definition videos of the artists' performances. Additionally, we fine-tuned Spleeter, one of the most commonly used source separation models, on our dataset and observed improved SDR performance compared to fine-tuning on a pre-existing Carnatic multi-track dataset. The outputs of the fine-tuned model with 'Sanidha' are evaluated through a listening study.

In recent years, foundation models (FMs) such as large language models (LLMs) and latent diffusion models (LDMs) have profoundly impacted diverse sectors, including music. This comprehensive review examines state-of-the-art (SOTA) pre-trained models and foundation models in music, spanning from representation learning, generative learning and multimodal learning. We first contextualise the significance of music in various industries and trace the evolution of AI in music. By delineating the modalities targeted by foundation models, we discover many of the music representations are underexplored in FM development. Then, emphasis is placed on the lack of versatility of previous methods on diverse music applications, along with the potential of FMs in music understanding, generation and medical application. By comprehensively exploring the details of the model pre-training paradigm, architectural choices, tokenisation, finetuning methodologies and controllability, we emphasise the important topics that should have been well explored, like instruction tuning and in-context learning, scaling law and emergent ability, as well as long-sequence modelling etc. A dedicated section presents insights into music agents, accompanied by a thorough analysis of datasets and evaluations essential for pre-training and downstream tasks. Finally, by underscoring the vital importance of ethical considerations, we advocate that following research on FM for music should focus more on such issues as interpretability, transparency, human responsibility, and copyright issues. The paper offers insights into future challenges and trends on FMs for music, aiming to shape the trajectory of human-AI collaboration in the music realm.

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.

Recent years have witnessed the success of foundation models pre-trained with self-supervised learning (SSL) in various music informatics understanding tasks, including music tagging, instrument classification, key detection, and more. In this paper, we propose a self-supervised music representation learning model for music understanding. Distinguished from previous studies adopting random projection or existing neural codec, the proposed model, named MuQ, is trained to predict tokens generated by Mel Residual Vector Quantization (Mel-RVQ). Our Mel-RVQ utilizes residual linear projection structure for Mel spectrum quantization to enhance the stability and efficiency of target extraction and lead to better performance. Experiments in a large variety of downstream tasks demonstrate that MuQ outperforms previous self-supervised music representation models with only 0.9K hours of open-source pre-training data. Scaling up the data to over 160K hours and adopting iterative training consistently improve the model performance. To further validate the strength of our model, we present MuQ-MuLan, a joint music-text embedding model based on contrastive learning, which achieves state-of-the-art performance in the zero-shot music tagging task on the MagnaTagATune dataset. Code and checkpoints are open source in https://github.com/tencent-ailab/MuQ.

Content metadata plays a very important role in movie recommender systems as it provides valuable information about various aspects of a movie such as genre, cast, plot synopsis, box office summary, etc. Analyzing the metadata can help understand the user preferences to generate personalized recommendations and item cold starting. In this talk, we will focus on one particular type of metadata - genre labels. Genre labels associated with a movie or a TV series help categorize a collection of titles into different themes and correspondingly setting up the audience expectation. We present some of the challenges associated with using genre label information and propose a new way of examining the genre information that we call as the Genre Spectrum. The Genre Spectrum helps capture the various nuanced genres in a title and our offline and online experiments corroborate the effectiveness of the approach. Furthermore, we also talk about applications of LLMs in augmenting content metadata which could eventually be used to achieve effective organization of recommendations in user's 2-D home-grid.

Recent advances in Large Language Models (LLMs) have demonstrated promising performance in sequential recommendation tasks, leveraging their superior language understanding capabilities. However, existing LLM-based recommendation approaches predominantly focus on modeling item-level co-occurrence patterns while failing to adequately capture user-level personalized preferences. This is problematic since even users who display similar behavioral patterns (e.g., clicking or purchasing similar items) may have fundamentally different underlying interests. To alleviate this problem, in this paper, we propose ULMRec, a framework that effectively integrates user personalized preferences into LLMs for sequential recommendation. Considering there has the semantic gap between item IDs and LLMs, we replace item IDs with their corresponding titles in user historical behaviors, enabling the model to capture the item semantics. For integrating the user personalized preference, we design two key components: (1) user indexing: a personalized user indexing mechanism that leverages vector quantization on user reviews and user IDs to generate meaningful and unique user representations, and (2) alignment tuning: an alignment-based tuning stage that employs comprehensive preference alignment tasks to enhance the model's capability in capturing personalized information. Through this design, ULMRec achieves deep integration of language semantics with user personalized preferences, facilitating effective adaptation to recommendation. Extensive experiments on two public datasets demonstrate that ULMRec significantly outperforms existing methods, validating the effectiveness of our approach.

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.

In this paper, we introduce the MoisesDB dataset for musical source separation. It consists of 240 tracks from 45 artists, covering twelve musical genres. For each song, we provide its individual audio sources, organized in a two-level hierarchical taxonomy of stems. This will facilitate building and evaluating fine-grained source separation systems that go beyond the limitation of using four stems (drums, bass, other, and vocals) due to lack of data. To facilitate the adoption of this dataset, we publish an easy-to-use Python library to download, process and use MoisesDB. Alongside a thorough documentation and analysis of the dataset contents, this work provides baseline results for open-source separation models for varying separation granularities (four, five, and six stems), and discuss their results.

The recent explosion of generative AI-Music systems has raised numerous concerns over data copyright, licensing music from musicians, and the conflict between open-source AI and large prestige companies. Such issues highlight the need for publicly available, copyright-free musical data, in which there is a large shortage, particularly for symbolic music data. To alleviate this issue, we present PDMX: a large-scale open-source dataset of over 250K public domain MusicXML scores collected from the score-sharing forum MuseScore, making it the largest available copyright-free symbolic music dataset to our knowledge. PDMX additionally includes a wealth of both tag and user interaction metadata, allowing us to efficiently analyze the dataset and filter for high quality user-generated scores. Given the additional metadata afforded by our data collection process, we conduct multitrack music generation experiments evaluating how different representative subsets of PDMX lead to different behaviors in downstream models, and how user-rating statistics can be used as an effective measure of data quality. Examples can be found at https://pnlong.github.io/PDMX.demo/.

In this paper, we consider a novel research problem: music-to-text synaesthesia. Different from the classical music tagging problem that classifies a music recording into pre-defined categories, music-to-text synaesthesia aims to generate descriptive texts from music recordings with the same sentiment for further understanding. As existing music-related datasets do not contain the semantic descriptions on music recordings, we collect a new dataset that contains 1,955 aligned pairs of classical music recordings and text descriptions. Based on this, we build a computational model to generate sentences that can describe the content of the music recording. To tackle the highly non-discriminative classical music, we design a group topology-preservation loss, which considers more samples as a group reference and preserves the relative topology among different samples. Extensive experimental results qualitatively and quantitatively demonstrate the effectiveness of our proposed model over five heuristics or pre-trained competitive methods and their variants on our collected dataset.

Recent advances in deep learning accelerated the development of content-based automatic music tagging systems. Music information retrieval (MIR) researchers proposed various architecture designs, mainly based on convolutional neural networks (CNNs), that achieve state-of-the-art results in this multi-label binary classification task. However, due to the differences in experimental setups followed by researchers, such as using different dataset splits and software versions for evaluation, it is difficult to compare the proposed architectures directly with each other. To facilitate further research, in this paper we conduct a consistent evaluation of different music tagging models on three datasets (MagnaTagATune, Million Song Dataset, and MTG-Jamendo) and provide reference results using common evaluation metrics (ROC-AUC and PR-AUC). Furthermore, all the models are evaluated with perturbed inputs to investigate the generalization capabilities concerning time stretch, pitch shift, dynamic range compression, and addition of white noise. For reproducibility, we provide the PyTorch implementations with the pre-trained models.

End-to-end generation of musical audio using deep learning techniques has seen an explosion of activity recently. However, most models concentrate on generating fully mixed music in response to abstract conditioning information. In this work, we present an alternative paradigm for producing music generation models that can listen and respond to musical context. We describe how such a model can be constructed using a non-autoregressive, transformer-based model architecture and present a number of novel architectural and sampling improvements. We train the described architecture on both an open-source and a proprietary dataset. We evaluate the produced models using standard quality metrics and a new approach based on music information retrieval descriptors. The resulting model reaches the audio quality of state-of-the-art text-conditioned models, as well as exhibiting strong musical coherence with its context.

Large Language Models (LLMs) have emerged as powerful tools in the field of Natural Language Processing (NLP) and have recently gained significant attention in the domain of Recommendation Systems (RS). These models, trained on massive amounts of data using self-supervised learning, have demonstrated remarkable success in learning universal representations and have the potential to enhance various aspects of recommendation systems by some effective transfer techniques such as fine-tuning and prompt tuning, and so on. The crucial aspect of harnessing the power of language models in enhancing recommendation quality is the utilization of their high-quality representations of textual features and their extensive coverage of external knowledge to establish correlations between items and users. To provide a comprehensive understanding of the existing LLM-based recommendation systems, this survey presents a taxonomy that categorizes these models into two major paradigms, respectively Discriminative LLM for Recommendation (DLLM4Rec) and Generative LLM for Recommendation (GLLM4Rec), with the latter being systematically sorted out for the first time. Furthermore, we systematically review and analyze existing LLM-based recommendation systems within each paradigm, providing insights into their methodologies, techniques, and performance. Additionally, we identify key challenges and several valuable findings to provide researchers and practitioners with inspiration. We have also created a GitHub repository to index relevant papers on LLMs for recommendation, https://github.com/WLiK/LLM4Rec.

We investigate various prompting strategies for enhancing personalized content recommendation performance with large language models (LLMs) through input augmentation. Our proposed approach, termed LLM-Rec, encompasses four distinct prompting strategies: (1) basic prompting, (2) recommendation-driven prompting, (3) engagement-guided prompting, and (4) recommendation-driven + engagement-guided prompting. Our empirical experiments show that combining the original content description with the augmented input text generated by LLM using these prompting strategies leads to improved recommendation performance. This finding highlights the importance of incorporating diverse prompts and input augmentation techniques to enhance the recommendation capabilities with large language models for personalized content recommendation.

Music genre classification has been widely studied in past few years for its various applications in music information retrieval. Previous works tend to perform unsatisfactorily, since those methods only use audio content or jointly use audio content and lyrics content inefficiently. In addition, as genres normally co-occur in a music track, it is desirable to capture and model the genre correlations to improve the performance of multi-label music genre classification. To solve these issues, we present a novel multi-modal method leveraging audio-lyrics contrastive loss and two symmetric cross-modal attention, to align and fuse features from audio and lyrics. Furthermore, based on the nature of the multi-label classification, a genre correlations extraction module is presented to capture and model potential genre correlations. Extensive experiments demonstrate that our proposed method significantly surpasses other multi-label music genre classification methods and achieves state-of-the-art result on Music4All dataset.

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.

Existing approaches for generating multitrack music with transformer models have been limited in terms of the number of instruments, the length of the music segments and slow inference. This is partly due to the memory requirements of the lengthy input sequences necessitated by existing representations. In this work, we propose a new multitrack music representation that allows a diverse set of instruments while keeping a short sequence length. Our proposed Multitrack Music Transformer (MMT) achieves comparable performance with state-of-the-art systems, landing in between two recently proposed models in a subjective listening test, while achieving substantial speedups and memory reductions over both, making the method attractive for real time improvisation or near real time creative applications. Further, we propose a new measure for analyzing musical self-attention and show that the trained model attends more to notes that form a consonant interval with the current note and to notes that are 4N beats away from the current step.

We demonstrate the efficacy of using intermediate representations from a single foundation model to enhance various music downstream tasks. We introduce SoniDo , a music foundation model (MFM) designed to extract hierarchical features from target music samples. By leveraging hierarchical intermediate features, SoniDo constrains the information granularity, leading to improved performance across various downstream tasks including both understanding and generative tasks. We specifically evaluated this approach on representative tasks such as music tagging, music transcription, music source separation, and music mixing. Our results reveal that the features extracted from foundation models provide valuable enhancements in training downstream task models. This highlights the capability of using features extracted from music foundation models as a booster for downstream tasks. Our approach not only benefits existing task-specific models but also supports music downstream tasks constrained by data scarcity. This paves the way for more effective and accessible music processing solutions.

Recent years have witnessed the wide adoption of large language models (LLM) in different fields, especially natural language processing and computer vision. Such a trend can also be observed in recommender systems (RS). However, most of related work treat LLM as a component of the conventional recommendation pipeline (e.g., as a feature extractor) which may not be able to fully leverage the generative power of LLM. Instead of separating the recommendation process into multiple stages such as score computation and re-ranking, this process can be simplified to one stage with LLM: directly generating recommendations from the complete pool of items. This survey reviews the progress, methods and future directions of LLM-based generative recommendation by examining three questions: 1) What generative recommendation is, 2) Why RS should advance to generative recommendation, and 3) How to implement LLM-based generative recommendation for various RS tasks. We hope that the survey can provide the context and guidance needed to explore this interesting and emerging topic.

This research proposes a new recommender system algorithm for online grocery shopping. The algorithm is based on the perspective that, since the grocery items are usually bought in bulk, a grocery recommender system should be capable of recommending the items in bulk. The algorithm figures out the possible dishes a user may cook based on the items added to the basket and recommends the ingredients accordingly. Our algorithm does not depend on the user ratings. Customers usually do not have the patience to rate the groceries they purchase. Therefore, algorithms that are not dependent on user ratings need to be designed. Instead of using a brute force search, this algorithm limits the search space to a set of only a few probably food categories. Each food category consists of several food subcategories. For example, "fried rice" and "biryani" are food subcategories that belong to the food category "rice". For each food category, items are ranked according to how well they can differentiate a food subcategory. To each food subcategory in the activated search space, this algorithm attaches a score. The score is calculated based on the rank of the items added to the basket. Once the score exceeds a threshold value, its corresponding subcategory gets activated. The algorithm then uses a basket-to-recipe similarity measure to identify the best recipe matches within the activated subcategories only. This reduces the search space to a great extent. We may argue that this algorithm is similar to the content-based recommender system in some sense, but it does not suffer from the limitations like limited content, over-specialization, or the new user problem.

Recommender systems widely use implicit feedback such as click data because of its general availability. Although the presence of clicks signals the users' preference to some extent, the lack of such clicks does not necessarily indicate a negative response from the users, as it is possible that the users were not exposed to the items (positive-unlabeled problem). This leads to a difficulty in predicting the users' preferences from implicit feedback. Previous studies addressed the positive-unlabeled problem by uniformly upweighting the loss for the positive feedback data or estimating the confidence of each data having relevance information via the EM-algorithm. However, these methods failed to address the missing-not-at-random problem in which popular or frequently recommended items are more likely to be clicked than other items even if a user does not have a considerable interest in them. To overcome these limitations, we first define an ideal loss function to be optimized to realize recommendations that maximize the relevance and propose an unbiased estimator for the ideal loss. Subsequently, we analyze the variance of the proposed unbiased estimator and further propose a clipped estimator that includes the unbiased estimator as a special case. We demonstrate that the clipped estimator is expected to improve the performance of the recommender system, by considering the bias-variance trade-off. We conduct semi-synthetic and real-world experiments and demonstrate that the proposed method largely outperforms the baselines. In particular, the proposed method works better for rare items that are less frequently observed in the training data. The findings indicate that the proposed method can better achieve the objective of recommending items with the highest relevance.

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

We introduce the Song Describer dataset (SDD), a new crowdsourced corpus of high-quality audio-caption pairs, designed for the evaluation of music-and-language models. The dataset consists of 1.1k human-written natural language descriptions of 706 music recordings, all publicly accessible and released under Creative Common licenses. To showcase the use of our dataset, we benchmark popular models on three key music-and-language tasks (music captioning, text-to-music generation and music-language retrieval). Our experiments highlight the importance of cross-dataset evaluation and offer insights into how researchers can use SDD to gain a broader understanding of model performance.

Collaborative filtering recommender systems (CF-RecSys) have shown successive results in enhancing the user experience on social media and e-commerce platforms. However, as CF-RecSys struggles under cold scenarios with sparse user-item interactions, recent strategies have focused on leveraging modality information of user/items (e.g., text or images) based on pre-trained modality encoders and Large Language Models (LLMs). Despite their effectiveness under cold scenarios, we observe that they underperform simple traditional collaborative filtering models under warm scenarios due to the lack of collaborative knowledge. In this work, we propose an efficient All-round LLM-based Recommender system, called A-LLMRec, that excels not only in the cold scenario but also in the warm scenario. Our main idea is to enable an LLM to directly leverage the collaborative knowledge contained in a pre-trained state-of-the-art CF-RecSys so that the emergent ability of the LLM as well as the high-quality user/item embeddings that are already trained by the state-of-the-art CF-RecSys can be jointly exploited. This approach yields two advantages: (1) model-agnostic, allowing for integration with various existing CF-RecSys, and (2) efficiency, eliminating the extensive fine-tuning typically required for LLM-based recommenders. Our extensive experiments on various real-world datasets demonstrate the superiority of A-LLMRec in various scenarios, including cold/warm, few-shot, cold user, and cross-domain scenarios. Beyond the recommendation task, we also show the potential of A-LLMRec in generating natural language outputs based on the understanding of the collaborative knowledge by performing a favorite genre prediction task. Our code is available at https://github.com/ghdtjr/A-LLMRec .

Sequential recommendation aims to model dynamic user behavior from historical interactions. Existing methods rely on either explicit item IDs or general textual features for sequence modeling to understand user preferences. While promising, these approaches still struggle to model cold-start items or transfer knowledge to new datasets. In this paper, we propose to model user preferences and item features as language representations that can be generalized to new items and datasets. To this end, we present a novel framework, named Recformer, which effectively learns language representations for sequential recommendation. Specifically, we propose to formulate an item as a "sentence" (word sequence) by flattening item key-value attributes described by text so that an item sequence for a user becomes a sequence of sentences. For recommendation, Recformer is trained to understand the "sentence" sequence and retrieve the next "sentence". To encode item sequences, we design a bi-directional Transformer similar to the model Longformer but with different embedding layers for sequential recommendation. For effective representation learning, we propose novel pretraining and finetuning methods which combine language understanding and recommendation tasks. Therefore, Recformer can effectively recommend the next item based on language representations. Extensive experiments conducted on six datasets demonstrate the effectiveness of Recformer for sequential recommendation, especially in low-resource and cold-start settings.

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

This paper explores the use of Large Language Models (LLMs) for sequential recommendation, which predicts users' future interactions based on their past behavior. We introduce a new concept, "Integrating Recommendation Systems as a New Language in Large Models" (RSLLM), which combines the strengths of traditional recommenders and LLMs. RSLLM uses a unique prompting method that combines ID-based item embeddings from conventional recommendation models with textual item features. It treats users' sequential behaviors as a distinct language and aligns the ID embeddings with the LLM's input space using a projector. We also propose a two-stage LLM fine-tuning framework that refines a pretrained LLM using a combination of two contrastive losses and a language modeling loss. The LLM is first fine-tuned using text-only prompts, followed by target domain fine-tuning with unified prompts. This trains the model to incorporate behavioral knowledge from the traditional sequential recommender into the LLM. Our empirical results validate the effectiveness of our proposed framework.

Automatic music captioning, which generates natural language descriptions for given music tracks, holds significant potential for enhancing the understanding and organization of large volumes of musical data. Despite its importance, researchers face challenges due to the costly and time-consuming collection process of existing music-language datasets, which are limited in size. To address this data scarcity issue, we propose the use of large language models (LLMs) to artificially generate the description sentences from large-scale tag datasets. This results in approximately 2.2M captions paired with 0.5M audio clips. We term it Large Language Model based Pseudo music caption dataset, shortly, LP-MusicCaps. We conduct a systemic evaluation of the large-scale music captioning dataset with various quantitative evaluation metrics used in the field of natural language processing as well as human evaluation. In addition, we trained a transformer-based music captioning model with the dataset and evaluated it under zero-shot and transfer-learning settings. The results demonstrate that our proposed approach outperforms the supervised baseline model.

Product recommendation systems are important for major movie studios during the movie greenlight process and as part of machine learning personalization pipelines. Collaborative Filtering (CF) models have proved to be effective at powering recommender systems for online streaming services with explicit customer feedback data. CF models do not perform well in scenarios in which feedback data is not available, in cold start situations like new product launches, and situations with markedly different customer tiers (e.g., high frequency customers vs. casual customers). Generative natural language models that create useful theme-based representations of an underlying corpus of documents can be used to represent new product descriptions, like new movie plots. When combined with CF, they have shown to increase the performance in cold start situations. Outside of those cases though in which explicit customer feedback is available, recommender engines must rely on binary purchase data, which materially degrades performance. Fortunately, purchase data can be combined with product descriptions to generate meaningful representations of products and customer trajectories in a convenient product space in which proximity represents similarity. Learning to measure the distance between points in this space can be accomplished with a deep neural network that trains on customer histories and on dense vectorizations of product descriptions. We developed a system based on Collaborative (Deep) Metric Learning (CML) to predict the purchase probabilities of new theatrical releases. We trained and evaluated the model using a large dataset of customer histories, and tested the model for a set of movies that were released outside of the training window. Initial experiments show gains relative to models that do not train on collaborative preferences.

Large Language Models (LLMs) have shown immense potential in multimodal applications, yet the convergence of textual and musical domains remains relatively unexplored. To address this gap, we present MusiLingo, a novel system for music caption generation and music-related query responses. MusiLingo employs a single projection layer to align music representations from the pre-trained frozen music audio model MERT with the frozen LLaMA language model, bridging the gap between music audio and textual contexts. We train it on an extensive music caption dataset and fine-tune it with instructional data. Due to the scarcity of high-quality music Q&A datasets, we created the MusicInstruct (MI) dataset from MusicCaps, tailored for open-ended music inquiries. Empirical evaluations demonstrate its competitive performance in generating music captions and composing music-related Q&A pairs. Our introduced dataset enables notable advancements beyond previous ones.

Providing personalized recommendations in an environment where items exhibit ephemerality and temporal relevancy (e.g. in social media) presents a few unique challenges: (1) inductively understanding ephemeral appeal for items in a setting where new items are created frequently, (2) adapting to trends within engagement patterns where items may undergo temporal shifts in relevance, (3) accurately modeling user preferences over this item space where users may express multiple interests. In this work we introduce MiCRO, a generative statistical framework that models multi-interest user preferences and temporal multi-interest item representations. Our framework is specifically formulated to adapt to both new items and temporal patterns of engagement. MiCRO demonstrates strong empirical performance on candidate retrieval experiments performed on two large scale user-item datasets: (1) an open-source temporal dataset of (User, User) follow interactions and (2) a temporal dataset of (User, Tweet) favorite interactions which we will open-source as an additional contribution to the community.

Streaming videos is one of the methods for creators to share their creative works with their audience. In these videos, the streamer share how they achieve their final objective by using various tools in one or several programs for creative projects. To this end, the steps required to achieve the final goal can be discussed. As such, these videos could provide substantial educational content that can be used to learn how to employ the tools used by the streamer. However, one of the drawbacks is that the streamer might not provide enough details for every step. Therefore, for the learners, it might be difficult to catch up with all the steps. In order to alleviate this issue, one solution is to link the streaming videos with the relevant tutorial available for the tools used in the streaming video. More specifically, a system can analyze the content of the live streaming video and recommend the most relevant tutorials. Since the existing document recommendation models cannot handle this situation, in this work, we present a novel dataset and model for the task of tutorial recommendation for live-streamed videos. We conduct extensive analyses on the proposed dataset and models, revealing the challenging nature of this task.

The objectives of this work are cross-modal text-audio and audio-text retrieval, in which the goal is to retrieve the audio content from a pool of candidates that best matches a given written description and vice versa. Text-audio retrieval enables users to search large databases through an intuitive interface: they simply issue free-form natural language descriptions of the sound they would like to hear. To study the tasks of text-audio and audio-text retrieval, which have received limited attention in the existing literature, we introduce three challenging new benchmarks. We first construct text-audio and audio-text retrieval benchmarks from the AudioCaps and Clotho audio captioning datasets. Additionally, we introduce the SoundDescs benchmark, which consists of paired audio and natural language descriptions for a diverse collection of sounds that are complementary to those found in AudioCaps and Clotho. We employ these three benchmarks to establish baselines for cross-modal text-audio and audio-text retrieval, where we demonstrate the benefits of pre-training on diverse audio tasks. We hope that our benchmarks will inspire further research into audio retrieval with free-form text queries. Code, audio features for all datasets used, and the SoundDescs dataset are publicly available at https://github.com/akoepke/audio-retrieval-benchmark.

Recent advancements in recommendation systems have shifted towards more comprehensive and personalized recommendations by utilizing large language models (LLM). However, effectively integrating LLM's commonsense knowledge and reasoning abilities into recommendation systems remains a challenging problem. In this paper, we propose RecSysLLM, a novel pre-trained recommendation model based on LLMs. RecSysLLM retains LLM reasoning and knowledge while integrating recommendation domain knowledge through unique designs of data, training, and inference. This allows RecSysLLM to leverage LLMs' capabilities for recommendation tasks in an efficient, unified framework. We demonstrate the effectiveness of RecSysLLM on benchmarks and real-world scenarios. RecSysLLM provides a promising approach to developing unified recommendation systems by fully exploiting the power of pre-trained language models.

Text-to-music models allow users to generate nearly realistic musical audio with textual commands. However, editing music audios remains challenging due to the conflicting desiderata of performing fine-grained alterations on the audio while maintaining a simple user interface. To address this challenge, we propose Audio Prompt Adapter (or AP-Adapter), a lightweight addition to pretrained text-to-music models. We utilize AudioMAE to extract features from the input audio, and construct attention-based adapters to feedthese features into the internal layers of AudioLDM2, a diffusion-based text-to-music model. With 22M trainable parameters, AP-Adapter empowers users to harness both global (e.g., genre and timbre) and local (e.g., melody) aspects of music, using the original audio and a short text as inputs. Through objective and subjective studies, we evaluate AP-Adapter on three tasks: timbre transfer, genre transfer, and accompaniment generation. Additionally, we demonstrate its effectiveness on out-of-domain audios containing unseen instruments during training.

The paper underscores the significance of Large Language Models (LLMs) in reshaping recommender systems, attributing their value to unique reasoning abilities absent in traditional recommenders. Unlike conventional systems lacking direct user interaction data, LLMs exhibit exceptional proficiency in recommending items, showcasing their adeptness in comprehending intricacies of language. This marks a fundamental paradigm shift in the realm of recommendations. Amidst the dynamic research landscape, researchers actively harness the language comprehension and generation capabilities of LLMs to redefine the foundations of recommendation tasks. The investigation thoroughly explores the inherent strengths of LLMs within recommendation frameworks, encompassing nuanced contextual comprehension, seamless transitions across diverse domains, adoption of unified approaches, holistic learning strategies leveraging shared data reservoirs, transparent decision-making, and iterative improvements. Despite their transformative potential, challenges persist, including sensitivity to input prompts, occasional misinterpretations, and unforeseen recommendations, necessitating continuous refinement and evolution in LLM-driven recommender systems.

Sequential recommendation aims to predict the next item a user is likely to prefer based on their sequential interaction history. Recently, text-based sequential recommendation has emerged as a promising paradigm that uses pre-trained language models to exploit textual item features to enhance performance and facilitate knowledge transfer to unseen datasets. However, existing text-based recommender models still struggle with two key challenges: (i) representing users and items with multiple attributes, and (ii) matching items with complex user interests. To address these challenges, we propose a novel model, Matching Attribute-aware Representations for Text-based Sequential Recommendation (MARS). MARS extracts detailed user and item representations through attribute-aware text encoding, capturing diverse user intents with multiple attribute-aware representations. It then computes user-item scores via attribute-wise interaction matching, effectively capturing attribute-level user preferences. Our extensive experiments demonstrate that MARS significantly outperforms existing sequential models, achieving improvements of up to 24.43% and 29.26% in Recall@10 and NDCG@10 across five benchmark datasets. Code is available at https://github.com/junieberry/MARS

Deep learning has recently empowered and democratized generative modeling of images and text, with additional concurrent works exploring the possibility of generating more complex forms of data, such as audio. However, the high dimensionality, long-range dependencies, and lack of standardized datasets currently makes generative modeling of audio and music very challenging. We propose to model music as a series of discrete notes upon which we can use autoregressive natural language processing techniques for successful generative modeling. While previous works used similar pipelines on data such as sheet music and MIDI, we aim to extend such approaches to the under-studied medium of guitar tablature. Specifically, we develop the first work to our knowledge that models one specific genre as guitar tablature: heavy rock. Unlike other works in guitar tablature generation, we have a freely available public demo at https://huggingface.co/spaces/josuelmet/Metal_Music_Interpolator

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/

This paper aims to develop a holistic evaluation method for piano sound quality to assist in purchasing decisions. Unlike previous studies that focused on the effect of piano performance techniques on sound quality, this study evaluates the inherent sound quality of different pianos. To derive quality evaluation systems, the study uses subjective questionnaires based on a piano sound quality dataset. The method selects the optimal piano classification models by comparing the fine-tuning results of different pre-training models of Convolutional Neural Networks (CNN). To improve the interpretability of the models, the study applies Equivalent Rectangular Bandwidth (ERB) analysis. The results reveal that musically trained individuals are better able to distinguish between the sound quality differences of different pianos. The best fine-tuned CNN pre-trained backbone achieves a high accuracy of 98.3\% as the piano classifier. However, the dataset is limited, and the audio is sliced to increase its quantity, resulting in a lack of diversity and balance, so we use focal loss to reduce the impact of data imbalance. To optimize the method, the dataset will be expanded, or few-shot learning techniques will be employed in future research.

We present the WASABI Song Corpus, a large corpus of songs enriched with metadata extracted from music databases on the Web, and resulting from the processing of song lyrics and from audio analysis. More specifically, given that lyrics encode an important part of the semantics of a song, we focus here on the description of the methods we proposed to extract relevant information from the lyrics, such as their structure segmentation, their topics, the explicitness of the lyrics content, the salient passages of a song and the emotions conveyed. The creation of the resource is still ongoing: so far, the corpus contains 1.73M songs with lyrics (1.41M unique lyrics) annotated at different levels with the output of the above mentioned methods. Such corpus labels and the provided methods can be exploited by music search engines and music professionals (e.g. journalists, radio presenters) to better handle large collections of lyrics, allowing an intelligent browsing, categorization and segmentation recommendation of songs.

In the early 2000s, renowned chef Heston Blumenthal formulated his "food pairing" hypothesis, positing that if foods share many flavor compounds, then they tend to taste good when eaten together. In 2011, Ahn et al. conducted a study using a dataset of recipes, ingredients, and flavor compounds, finding that, in Western cuisine, ingredients in recipes often share more flavor compounds than expected by chance, indicating a natural tendency towards food pairing. Building upon Ahn's research, our work applies state-of-the-art collaborative filtering techniques to the dataset, providing a tool that can recommend new foods to add in recipes, retrieve missing ingredients and advise against certain combinations. We create our recommender in two ways, by taking into account ingredients appearances in recipes or shared flavor compounds between foods. While our analysis confirms the existence of food pairing, the recipe-based recommender performs significantly better than the flavor-based one, leading to the conclusion that food pairing is just one of the principles to take into account when creating recipes. Furthermore, and more interestingly, we find that food pairing in data is mostly due to trivial couplings of very similar ingredients, leading to a reconsideration of its current role in recipes, from being an already existing feature to a key to open up new scenarios in gastronomy. Our flavor-based recommender can thus leverage this novel concept and provide a new tool to lead culinary innovation.

Recently, large language models (LLMs) have shown great potential in recommender systems, either improving existing recommendation models or serving as the backbone. However, there exists a large semantic gap between LLMs and recommender systems, since items to be recommended are often indexed by discrete identifiers (item ID) out of the LLM's vocabulary. In essence, LLMs capture language semantics while recommender systems imply collaborative semantics, making it difficult to sufficiently leverage the model capacity of LLMs for recommendation. To address this challenge, in this paper, we propose a new LLM-based recommendation model called LC-Rec, which can better integrate language and collaborative semantics for recommender systems. Our approach can directly generate items from the entire item set for recommendation, without relying on candidate items. Specifically, we make two major contributions in our approach. For item indexing, we design a learning-based vector quantization method with uniform semantic mapping, which can assign meaningful and non-conflicting IDs (called item indices) for items. For alignment tuning, we propose a series of specially designed tuning tasks to enhance the integration of collaborative semantics in LLMs. Our fine-tuning tasks enforce LLMs to deeply integrate language and collaborative semantics (characterized by the learned item indices), so as to achieve an effective adaptation to recommender systems. Extensive experiments demonstrate the effectiveness of our method, showing that our approach can outperform a number of competitive baselines including traditional recommenders and existing LLM-based recommenders. Our code is available at https://github.com/RUCAIBox/LC-Rec/.

Recommendation foundation model utilizes large language models (LLM) for recommendation by converting recommendation tasks into natural language tasks. It enables generative recommendation which directly generates the item(s) to recommend rather than calculating a ranking score for each and every candidate item in traditional recommendation models, simplifying the recommendation pipeline from multi-stage filtering to single-stage filtering. To avoid generating excessively long text and hallucinated recommendation when deciding which item(s) to recommend, creating LLM-compatible item IDs to uniquely identify each item is essential for recommendation foundation models. In this study, we systematically examine the item indexing problem for recommendation foundation models, using P5 as an example of backbone model. To emphasize the importance of item indexing, we first discuss the issues of several trivial item indexing methods, such as independent indexing, title indexing, and random indexing. We then propose four simple yet effective solutions, including sequential indexing, collaborative indexing, semantic (content-based) indexing, and hybrid indexing. Our study highlights the significant influence of item indexing methods on the performance of LLM-based recommendation, and our results on real-world datasets validate the effectiveness of our proposed solutions. The research also demonstrates how recent advances on language modeling and traditional IR principles such as indexing can help each other for better learning and inference.

The effectiveness of recommendation systems is pivotal to user engagement and satisfaction in online platforms. As these recommendation systems increasingly influence user choices, their evaluation transcends mere technical performance and becomes central to business success. This paper addresses the multifaceted nature of recommendations system evaluation by introducing a comprehensive suite of metrics, each tailored to capture a distinct aspect of system performance. We discuss * Similarity Metrics: to quantify the precision of content-based filtering mechanisms and assess the accuracy of collaborative filtering techniques. * Candidate Generation Metrics: to evaluate how effectively the system identifies a broad yet relevant range of items. * Predictive Metrics: to assess the accuracy of forecasted user preferences. * Ranking Metrics: to evaluate the effectiveness of the order in which recommendations are presented. * Business Metrics: to align the performance of the recommendation system with economic objectives. Our approach emphasizes the contextual application of these metrics and their interdependencies. In this paper, we identify the strengths and limitations of current evaluation practices and highlight the nuanced trade-offs that emerge when optimizing recommendation systems across different metrics. The paper concludes by proposing a framework for selecting and interpreting these metrics to not only improve system performance but also to advance business goals. This work is to aid researchers and practitioners in critically assessing recommendation systems and fosters the development of more nuanced, effective, and economically viable personalization strategies. Our code is available at GitHub - https://github.com/aryan-jadon/Evaluation-Metrics-for-Recommendation-Systems.

Large-language Models (LLMs) have been extremely successful at tasks like complex dialogue understanding, reasoning and coding due to their emergent abilities. These emergent abilities have been extended with multi-modality to include image, audio, and video capabilities. Recommender systems, on the other hand, have been critical for information seeking and item discovery needs. Recently, there have been attempts to apply LLMs for recommendations. One difficulty of current attempts is that the underlying LLM is usually not trained on the recommender system data, which largely contains user interaction signals and is often not publicly available. Another difficulty is user interaction signals often have a different pattern from natural language text, and it is currently unclear if the LLM training setup can learn more non-trivial knowledge from interaction signals compared with traditional recommender system methods. Finally, it is difficult to train multiple LLMs for different use-cases, and to retain the original language and reasoning abilities when learning from recommender system data. To address these three limitations, we propose an Item-Language Model (ILM), which is composed of an item encoder to produce text-aligned item representations that encode user interaction signals, and a frozen LLM that can understand those item representations with preserved pretrained knowledge. We conduct extensive experiments which demonstrate both the importance of the language-alignment and of user interaction knowledge in the item encoder.

The past two decades have witnessed the rapid development of personalized recommendation techniques. Despite significant progress made in both research and practice of recommender systems, to date, there is a lack of a widely-recognized benchmarking standard in this field. Many existing studies perform model evaluations and comparisons in an ad-hoc manner, for example, by employing their own private data splits or using different experimental settings. Such conventions not only increase the difficulty in reproducing existing studies, but also lead to inconsistent experimental results among them. This largely limits the credibility and practical value of research results in this field. To tackle these issues, we present an initiative project (namely BARS) aiming for open benchmarking for recommender systems. In comparison to some earlier attempts towards this goal, we take a further step by setting up a standardized benchmarking pipeline for reproducible research, which integrates all the details about datasets, source code, hyper-parameter settings, running logs, and evaluation results. The benchmark is designed with comprehensiveness and sustainability in mind. It covers both matching and ranking tasks, and also enables researchers to easily follow and contribute to the research in this field. This project will not only reduce the redundant efforts of researchers to re-implement or re-run existing baselines, but also drive more solid and reproducible research on recommender systems. We would like to call upon everyone to use the BARS benchmark for future evaluation, and contribute to the project through the portal at: https://openbenchmark.github.io/BARS.

Chord progressions encapsulate important information about music, pertaining to its structure and conveyed emotions. They serve as the backbone of musical composition, and in many cases, they are the sole information required for a musician to play along and follow the music. Despite their importance, chord progressions as a data domain remain underexplored. There is a lack of large-scale datasets suitable for deep learning applications, and limited research exploring chord progressions as an input modality. In this work, we present Chordonomicon, a dataset of over 666,000 songs and their chord progressions, annotated with structural parts, genre, and release date - created by scraping various sources of user-generated progressions and associated metadata. We demonstrate the practical utility of the Chordonomicon dataset for classification and generation tasks, and discuss its potential to provide valuable insights to the research community. Chord progressions are unique in their ability to be represented in multiple formats (e.g. text, graph) and the wealth of information chords convey in given contexts, such as their harmonic function . These characteristics make the Chordonomicon an ideal testbed for exploring advanced machine learning techniques, including transformers, graph machine learning, and hybrid systems that combine knowledge representation and machine learning.

In recent years, Recommender Systems(RS) have witnessed a transformative shift with the advent of Large Language Models(LLMs) in the field of Natural Language Processing(NLP). These models such as OpenAI's GPT-3.5/4, Llama from Meta, have demonstrated unprecedented capabilities in understanding and generating human-like text. This has led to a paradigm shift in the realm of personalized and explainable recommendations, as LLMs offer a versatile toolset for processing vast amounts of textual data to enhance user experiences. To provide a comprehensive understanding of the existing LLM-based recommendation systems, this survey aims to analyze how RS can benefit from LLM-based methodologies. Furthermore, we describe major challenges in Personalized Explanation Generating(PEG) tasks, which are cold-start problems, unfairness and bias problems in RS.

Music has a unique and complex structure which is challenging for both expert humans and existing AI systems to understand, and presents unique challenges relative to other forms of audio. We present LLark, an instruction-tuned multimodal model for music understanding. We detail our process for dataset creation, which involves augmenting the annotations of diverse open-source music datasets and converting them to a unified instruction-tuning format. We propose a multimodal architecture for LLark, integrating a pretrained generative model for music with a pretrained language model. In evaluations on three types of tasks (music understanding, captioning, and reasoning), we show that our model matches or outperforms existing baselines in zero-shot generalization for music understanding, and that humans show a high degree of agreement with the model's responses in captioning and reasoning tasks. LLark is trained entirely from open-source music data and models, and we make our training code available along with the release of this paper. Additional results and audio examples are at https://bit.ly/llark, and our source code is available at https://github.com/spotify-research/llark .

We demonstrate that language models pre-trained on codified (discretely-encoded) music audio learn representations that are useful for downstream MIR tasks. Specifically, we explore representations from Jukebox (Dhariwal et al. 2020): a music generation system containing a language model trained on codified audio from 1M songs. To determine if Jukebox's representations contain useful information for MIR, we use them as input features to train shallow models on several MIR tasks. Relative to representations from conventional MIR models which are pre-trained on tagging, we find that using representations from Jukebox as input features yields 30% stronger performance on average across four MIR tasks: tagging, genre classification, emotion recognition, and key detection. For key detection, we observe that representations from Jukebox are considerably stronger than those from models pre-trained on tagging, suggesting that pre-training via codified audio language modeling may address blind spots in conventional approaches. We interpret the strength of Jukebox's representations as evidence that modeling audio instead of tags provides richer representations for MIR.

Recent advances in text-to-music generation models have opened new avenues in musical creativity. However, music generation usually involves iterative refinements, and how to edit the generated music remains a significant challenge. This paper introduces a novel approach to the editing of music generated by such models, enabling the modification of specific attributes, such as genre, mood and instrument, while maintaining other aspects unchanged. Our method transforms text editing to latent space manipulation while adding an extra constraint to enforce consistency. It seamlessly integrates with existing pretrained text-to-music diffusion models without requiring additional training. Experimental results demonstrate superior performance over both zero-shot and certain supervised baselines in style and timbre transfer evaluations. Additionally, we showcase the practical applicability of our approach in real-world music editing scenarios.

Traditional recommender systems leverage users' item preference history to recommend novel content that users may like. However, modern dialog interfaces that allow users to express language-based preferences offer a fundamentally different modality for preference input. Inspired by recent successes of prompting paradigms for large language models (LLMs), we study their use for making recommendations from both item-based and language-based preferences in comparison to state-of-the-art item-based collaborative filtering (CF) methods. To support this investigation, we collect a new dataset consisting of both item-based and language-based preferences elicited from users along with their ratings on a variety of (biased) recommended items and (unbiased) random items. Among numerous experimental results, we find that LLMs provide competitive recommendation performance for pure language-based preferences (no item preferences) in the near cold-start case in comparison to item-based CF methods, despite having no supervised training for this specific task (zero-shot) or only a few labels (few-shot). This is particularly promising as language-based preference representations are more explainable and scrutable than item-based or vector-based representations.

This paper introduces BLaIR, a series of pretrained sentence embedding models specialized for recommendation scenarios. BLaIR is trained to learn correlations between item metadata and potential natural language context, which is useful for retrieving and recommending items. To pretrain BLaIR, we collect Amazon Reviews 2023, a new dataset comprising over 570 million reviews and 48 million items from 33 categories, significantly expanding beyond the scope of previous versions. We evaluate the generalization ability of BLaIR across multiple domains and tasks, including a new task named complex product search, referring to retrieving relevant items given long, complex natural language contexts. Leveraging large language models like ChatGPT, we correspondingly construct a semi-synthetic evaluation set, Amazon-C4. Empirical results on the new task, as well as conventional retrieval and recommendation tasks, demonstrate that BLaIR exhibit strong text and item representation capacity. Our datasets, code, and checkpoints are available at: https://github.com/hyp1231/AmazonReviews2023.

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.

This article motivates, describes, and presents the PBSCSR dataset for studying composer style recognition of piano sheet music. Our overarching goal was to create a dataset for studying composer style recognition that is "as accessible as MNIST and as challenging as ImageNet." To achieve this goal, we sample fixed-length bootleg score fragments from piano sheet music images on IMSLP. The dataset itself contains 40,000 62x64 bootleg score images for a 9-way classification task, 100,000 62x64 bootleg score images for a 100-way classification 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. Additionally, we include relevant metadata to allow access to the underlying raw sheet music images and other related data on IMSLP. We describe several research tasks that could be studied with the dataset, including variations of composer style recognition in a few-shot or zero-shot setting. For tasks that have previously proposed models, we release code and baseline results for future works to compare against. We also discuss open research questions that the PBSCSR data is especially well suited to facilitate research on and areas of fruitful exploration in future work.

Text-to-music generation (T2M-Gen) faces a major obstacle due to the scarcity of large-scale publicly available music datasets with natural language captions. To address this, we propose the Music Understanding LLaMA (MU-LLaMA), capable of answering music-related questions and generating captions for music files. Our model utilizes audio representations from a pretrained MERT model to extract music features. However, obtaining a suitable dataset for training the MU-LLaMA model remains challenging, as existing publicly accessible audio question answering datasets lack the necessary depth for open-ended music question answering. To fill this gap, we present a methodology for generating question-answer pairs from existing audio captioning datasets and introduce the MusicQA Dataset designed for answering open-ended music-related questions. The experiments demonstrate that the proposed MU-LLaMA model, trained on our designed MusicQA dataset, achieves outstanding performance in both music question answering and music caption generation across various metrics, outperforming current state-of-the-art (SOTA) models in both fields and offering a promising advancement in the T2M-Gen research field.

This paper describes a highly developed personalised recommendation system using multimodal, autonomous, multi-agent systems. The system focuses on the incorporation of futuristic AI tech and LLMs like Gemini-1.5- pro and LLaMA-70B to improve customer service experiences especially within e-commerce. Our approach uses multi agent, multimodal systems to provide best possible recommendations to its users. The system is made up of three agents as a whole. The first agent recommends products appropriate for answering the given question, while the second asks follow-up questions based on images that belong to these recommended products and is followed up with an autonomous search by the third agent. It also features a real-time data fetch, user preferences-based recommendations and is adaptive learning. During complicated queries the application processes with Symphony, and uses the Groq API to answer quickly with low response times. It uses a multimodal way to utilize text and images comprehensively, so as to optimize product recommendation and customer interaction.

This research explores the methods that NFTs can be recommended to people who interact with NFT-marketplaces to explore NFTs of preference and similarity to what they have been searching for. While exploring past methods that can be adopted for recommendations, the use of NFT traits for recommendations has been explored. The outcome of the research highlights the necessity of using multiple Recommender Systems to present the user with the best possible NFTs when interacting with decentralized systems.

AI-empowered music processing is a diverse field that encompasses dozens of tasks, ranging from generation tasks (e.g., timbre synthesis) to comprehension tasks (e.g., music classification). For developers and amateurs, it is very difficult to grasp all of these task to satisfy their requirements in music processing, especially considering the huge differences in the representations of music data and the model applicability across platforms among various tasks. Consequently, it is necessary to build a system to organize and integrate these tasks, and thus help practitioners to automatically analyze their demand and call suitable tools as solutions to fulfill their requirements. Inspired by the recent success of large language models (LLMs) in task automation, we develop a system, named MusicAgent, which integrates numerous music-related tools and an autonomous workflow to address user requirements. More specifically, we build 1) toolset that collects tools from diverse sources, including Hugging Face, GitHub, and Web API, etc. 2) an autonomous workflow empowered by LLMs (e.g., ChatGPT) to organize these tools and automatically decompose user requests into multiple sub-tasks and invoke corresponding music tools. The primary goal of this system is to free users from the intricacies of AI-music tools, enabling them to concentrate on the creative aspect. By granting users the freedom to effortlessly combine tools, the system offers a seamless and enriching music experience.

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

For a long time, different recommendation tasks typically require designing task-specific architectures and training objectives. As a result, it is hard to transfer the learned knowledge and representations from one task to another, thus restricting the generalization ability of existing recommendation approaches, e.g., a sequential recommendation model can hardly be applied or transferred to a review generation method. To deal with such issues, considering that language can describe almost anything and language grounding is a powerful medium to represent various problems or tasks, we present a flexible and unified text-to-text paradigm called "Pretrain, Personalized Prompt, and Predict Paradigm" (P5) for recommendation, which unifies various recommendation tasks in a shared framework. In P5, all data such as user-item interactions, user descriptions, item metadata, and user reviews are converted to a common format -- natural language sequences. The rich information from natural language assists P5 to capture deeper semantics for personalization and recommendation. Specifically, P5 learns different tasks with the same language modeling objective during pretraining. Thus, it serves as the foundation model for various downstream recommendation tasks, allows easy integration with other modalities, and enables instruction-based recommendation based on prompts. P5 advances recommender systems from shallow model to deep model to big model, and will revolutionize the technical form of recommender systems towards universal recommendation engine. With adaptive personalized prompt for different users, P5 is able to make predictions in a zero-shot or few-shot manner and largely reduces the necessity for extensive fine-tuning. On several recommendation benchmarks, we conduct experiments to show the effectiveness of P5. We release the source code at https://github.com/jeykigung/P5.

Music is characterized by complex hierarchical structures. Developing a comprehensive model to capture these structures has been a significant challenge in the field of Music Information Retrieval (MIR). Prior research has mainly focused on addressing individual tasks for specific hierarchical levels, rather than providing a unified approach. In this paper, we introduce a versatile, all-in-one model that jointly performs beat and downbeat tracking as well as functional structure segmentation and labeling. The model leverages source-separated spectrograms as inputs and employs dilated neighborhood attentions to capture temporal long-term dependencies, along with non-dilated attentions for local instrumental dependencies. Consequently, the proposed model achieves state-of-the-art performance in all four tasks on the Harmonix Set while maintaining a relatively lower number of parameters compared to recent state-of-the-art models. Furthermore, our ablation study demonstrates that the concurrent learning of beats, downbeats, and segments can lead to enhanced performance, with each task mutually benefiting from the others.

We consider the problem of recommending relevant content to users of an internet platform in the form of lists of items, called slates. We introduce a variational Bayesian Recurrent Neural Net recommender system that acts on time series of interactions between the internet platform and the user, and which scales to real world industrial situations. The recommender system is tested both online on real users, and on an offline dataset collected from a Norwegian web-based marketplace, FINN.no, that is made public for research. This is one of the first publicly available datasets which includes all the slates that are presented to users as well as which items (if any) in the slates were clicked on. Such a data set allows us to move beyond the common assumption that implicitly assumes that users are considering all possible items at each interaction. Instead we build our likelihood using the items that are actually in the slate, and evaluate the strengths and weaknesses of both approaches theoretically and in experiments. We also introduce a hierarchical prior for the item parameters based on group memberships. Both item parameters and user preferences are learned probabilistically. Furthermore, we combine our model with bandit strategies to ensure learning, and introduce `in-slate Thompson Sampling' which makes use of the slates to maximise explorative opportunities. We show experimentally that explorative recommender strategies perform on par or above their greedy counterparts. Even without making use of exploration to learn more effectively, click rates increase simply because of improved diversity in the recommended slates.

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.

Given a (machine learning) classifier and a collection of unlabeled data, how can we efficiently identify misclassification patterns presented in this dataset? To address this problem, we propose a human-machine collaborative framework that consists of a team of human annotators and a sequential recommendation algorithm. The recommendation algorithm is conceptualized as a stochastic sampler that, in each round, queries the annotators a subset of samples for their true labels and obtains the feedback information on whether the samples are misclassified. The sampling mechanism needs to balance between discovering new patterns of misclassification (exploration) and confirming the potential patterns of classification (exploitation). We construct a determinantal point process, whose intensity balances the exploration-exploitation trade-off through the weighted update of the posterior at each round to form the generator of the stochastic sampler. The numerical results empirically demonstrate the competitive performance of our framework on multiple datasets at various signal-to-noise ratios.

Recently, sequential recommendation has been adapted to the LLM paradigm to enjoy the power of LLMs. LLM-based methods usually formulate recommendation information into natural language and the model is trained to predict the next item in an auto-regressive manner. Despite their notable success, the substantial computational overhead of inference poses a significant obstacle to their real-world applicability. In this work, we endeavor to streamline existing LLM-based recommendation models and propose a simple yet highly effective model Lite-LLM4Rec. The primary goal of Lite-LLM4Rec is to achieve efficient inference for the sequential recommendation task. Lite-LLM4Rec circumvents the beam search decoding by using a straight item projection head for ranking scores generation. This design stems from our empirical observation that beam search decoding is ultimately unnecessary for sequential recommendations. Additionally, Lite-LLM4Rec introduces a hierarchical LLM structure tailored to efficiently handle the extensive contextual information associated with items, thereby reducing computational overhead while enjoying the capabilities of LLMs. Experiments on three publicly available datasets corroborate the effectiveness of Lite-LLM4Rec in both performance and inference efficiency (notably 46.8% performance improvement and 97.28% efficiency improvement on ML-1m) over existing LLM-based methods. Our implementations will be open sourced.

In this paper, we present MusPy, an open source Python library for symbolic music generation. MusPy provides easy-to-use tools for essential components in a music generation system, including dataset management, data I/O, data preprocessing and model evaluation. In order to showcase its potential, we present statistical analysis of the eleven datasets currently supported by MusPy. Moreover, we conduct a cross-dataset generalizability experiment by training an autoregressive model on each dataset and measuring held-out likelihood on the others---a process which is made easier by MusPy's dataset management system. The results provide a map of domain overlap between various commonly used datasets and show that some datasets contain more representative cross-genre samples than others. Along with the dataset analysis, these results might serve as a guide for choosing datasets in future research. Source code and documentation are available at https://github.com/salu133445/muspy .

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.

Recently, recommender systems have been able to emit substantially improved recommendations by leveraging user-provided reviews. Existing methods typically merge all reviews of a given user or item into a long document, and then process user and item documents in the same manner. In practice, however, these two sets of reviews are notably different: users' reviews reflect a variety of items that they have bought and are hence very heterogeneous in their topics, while an item's reviews pertain only to that single item and are thus topically homogeneous. In this work, we develop a novel neural network model that properly accounts for this important difference by means of asymmetric attentive modules. The user module learns to attend to only those signals that are relevant with respect to the target item, whereas the item module learns to extract the most salient contents with regard to properties of the item. Our multi-hierarchical paradigm accounts for the fact that neither are all reviews equally useful, nor are all sentences within each review equally pertinent. Extensive experimental results on a variety of real datasets demonstrate the effectiveness of our method.

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

The primary goal in recommendation is to suggest relevant content to users, but optimizing for accuracy often results in recommendations that lack diversity. To remedy this, conventional approaches such as re-ranking improve diversity by presenting more diverse items. Here we argue that to promote inherent and prolonged diversity, the system must encourage its creation. Towards this, we harness the performative nature of recommendation, and show how learning can incentivize strategic content creators to create diverse content. Our approach relies on a novel form of regularization that anticipates strategic changes to content, and penalizes for content homogeneity. We provide analytic and empirical results that demonstrate when and how diversity can be incentivized, and experimentally demonstrate the utility of our approach on synthetic and semi-synthetic data.

Candidate generation is the first stage in recommendation systems, where a light-weight system is used to retrieve potentially relevant items for an input user. These candidate items are then ranked and pruned in later stages of recommender systems using a more complex ranking model. Since candidate generation is the top of the recommendation funnel, it is important to retrieve a high-recall candidate set to feed into downstream ranking models. A common approach for candidate generation is to leverage approximate nearest neighbor (ANN) search from a single dense query embedding; however, this approach this can yield a low-diversity result set with many near duplicates. As users often have multiple interests, candidate retrieval should ideally return a diverse set of candidates reflective of the user's multiple interests. To this end, we introduce kNN-Embed, a general approach to improving diversity in dense ANN-based retrieval. kNN-Embed represents each user as a smoothed mixture over learned item clusters that represent distinct `interests' of the user. By querying each of a user's mixture component in proportion to their mixture weights, we retrieve a high-diversity set of candidates reflecting elements from each of a user's interests. We experimentally compare kNN-Embed to standard ANN candidate retrieval, and show significant improvements in overall recall and improved diversity across three datasets. Accompanying this work, we open source a large Twitter follow-graph dataset, to spur further research in graph-mining and representation learning for recommender systems.

Recommender Systems are built to retrieve relevant items to satisfy users' information needs. The candidate corpus usually consists of a finite set of items that are ready to be served, such as videos, products, or articles. With recent advances in Generative AI such as GPT and Diffusion models, a new form of recommendation task is yet to be explored where items are to be created by generative models with personalized prompts. Taking image generation as an example, with a single prompt from the user and access to a generative model, it is possible to generate hundreds of new images in a few minutes. How shall we attain personalization in the presence of "infinite" items? In this preliminary study, we propose a two-stage framework, namely Prompt-Model Retrieval and Generated Item Ranking, to approach this new task formulation. We release GEMRec-18K, a prompt-model interaction dataset with 18K images generated by 200 publicly-available generative models paired with a diverse set of 90 textual prompts. Our findings demonstrate the promise of generative model recommendation as a novel personalization problem and the limitations of existing evaluation metrics. We highlight future directions for the RecSys community to advance towards generative recommender systems. Our code and dataset are available at https://github.com/MAPS-research/GEMRec.

Musicians and fans often produce lyric videos, a form of music videos that showcase the song's lyrics, for their favorite songs. However, making such videos can be challenging and time-consuming as the lyrics need to be added in synchrony and visual harmony with the video. Informed by prior work and close examination of existing lyric videos, we propose a set of design guidelines to help creators make such videos. Our guidelines ensure the readability of the lyric text while maintaining a unified focus of attention. We instantiate these guidelines in a fully automated pipeline that converts an input music video into a lyric video. We demonstrate the robustness of our pipeline by generating lyric videos from a diverse range of input sources. A user study shows that lyric videos generated by our pipeline are effective in maintaining text readability and unifying the focus of attention.

This paper explores a simple extension of diffusion-based rectified flow Transformers for text-to-music generation, termed as FluxMusic. Generally, along with design in advanced Fluxhttps://github.com/black-forest-labs/flux model, we transfers it into a latent VAE space of mel-spectrum. It involves first applying a sequence of independent attention to the double text-music stream, followed by a stacked single music stream for denoised patch prediction. We employ multiple pre-trained text encoders to sufficiently capture caption semantic information as well as inference flexibility. In between, coarse textual information, in conjunction with time step embeddings, is utilized in a modulation mechanism, while fine-grained textual details are concatenated with the music patch sequence as inputs. Through an in-depth study, we demonstrate that rectified flow training with an optimized architecture significantly outperforms established diffusion methods for the text-to-music task, as evidenced by various automatic metrics and human preference evaluations. Our experimental data, code, and model weights are made publicly available at: https://github.com/feizc/FluxMusic.

We consider the task of retrieving audio using free-form natural language queries. To study this problem, which has received limited attention in the existing literature, we introduce challenging new benchmarks for text-based audio retrieval using text annotations sourced from the Audiocaps and Clotho datasets. We then employ these benchmarks to establish baselines for cross-modal audio retrieval, where we demonstrate the benefits of pre-training on diverse audio tasks. We hope that our benchmarks will inspire further research into cross-modal text-based audio retrieval with free-form text queries.

Conventional recommender systems (RSs) face challenges in precisely capturing users' fine-grained preferences. Large language models (LLMs) have shown capabilities in commonsense reasoning and leveraging external tools that may help address these challenges. However, existing LLM-based RSs suffer from hallucinations, misalignment between the semantic space of items and the behavior space of users, or overly simplistic control strategies (e.g., whether to rank or directly present existing results). To bridge these gap, we introduce ToolRec, a framework for LLM-empowered recommendations via tool learning that uses LLMs as surrogate users, thereby guiding the recommendation process and invoking external tools to generate a recommendation list that aligns closely with users' nuanced preferences. We formulate the recommendation process as a process aimed at exploring user interests in attribute granularity. The process factors in the nuances of the context and user preferences. The LLM then invokes external tools based on a user's attribute instructions and probes different segments of the item pool. We consider two types of attribute-oriented tools: rank tools and retrieval tools. Through the integration of LLMs, ToolRec enables conventional recommender systems to become external tools with a natural language interface. Extensive experiments verify the effectiveness of ToolRec, particularly in scenarios that are rich in semantic content.

In today's business marketplace, many high-tech Internet enterprises constantly explore innovative ways to provide optimal online user experiences for gaining competitive advantages. The great needs of developing intelligent interactive recommendation systems are indicated, which could sequentially suggest users the most proper items by accurately predicting their preferences, while receiving the up-to-date feedback to refine the recommendation results, continuously. Multi-armed bandit algorithms, which have been widely applied into various online systems, are quite capable of delivering such efficient recommendation services. However, few existing bandit models are able to adapt to new changes introduced by the modern recommender systems.

Music tagging is a task to predict the tags of music recordings. However, previous music tagging research primarily focuses on close-set music tagging tasks which can not be generalized to new tags. In this work, we propose a zero-shot music tagging system modeled by a joint music and language attention (JMLA) model to address the open-set music tagging problem. The JMLA model consists of an audio encoder modeled by a pretrained masked autoencoder and a decoder modeled by a Falcon7B. We introduce preceiver resampler to convert arbitrary length audio into fixed length embeddings. We introduce dense attention connections between encoder and decoder layers to improve the information flow between the encoder and decoder layers. We collect a large-scale music and description dataset from the internet. We propose to use ChatGPT to convert the raw descriptions into formalized and diverse descriptions to train the JMLA models. Our proposed JMLA system achieves a zero-shot audio tagging accuracy of 64.82% on the GTZAN dataset, outperforming previous zero-shot systems and achieves comparable results to previous systems on the FMA and the MagnaTagATune datasets.

AI systems for high quality music generation typically rely on extremely large musical datasets to train the AI models. This creates barriers to generating music beyond the genres represented in dominant datasets such as Western Classical music or pop music. We undertook a 4 month international research project summarised in this paper to explore the eXplainable AI (XAI) challenges and opportunities associated with reducing barriers to using marginalised genres of music with AI models. XAI opportunities identified included topics of improving transparency and control of AI models, explaining the ethics and bias of AI models, fine tuning large models with small datasets to reduce bias, and explaining style-transfer opportunities with AI models. Participants in the research emphasised that whilst it is hard to work with small datasets such as marginalised music and AI, such approaches strengthen cultural representation of underrepresented cultures and contribute to addressing issues of bias of deep learning models. We are now building on this project to bring together a global International Responsible AI Music community and invite people to join our network.

Over the past decade, tremendous progress has been made in Recommender Systems (RecSys) for well-known tasks such as next-item and next-basket prediction. On the other hand, the recently proposed next-period recommendation (NPR) task is not covered as much. Current works about NPR are mostly based around distinct problem formulations, methods, and proprietary datasets, making solutions difficult to reproduce. In this article, we aim to fill the gap in RecSys methods evaluation on the NPR task using publicly available datasets and (1) introduce the TTRS, a large-scale financial transactions dataset suitable for RecSys methods evaluation; (2) benchmark popular RecSys approaches on several datasets for the NPR task. When performing our analysis, we found a strong repetitive consumption pattern in several real-world datasets. With this setup, our results suggest that the repetitive nature of data is still hard to generalize for the evaluated RecSys methods, and novel item prediction performance is still questionable.

The lack of data tends to limit the outcomes of deep learning research, particularly when dealing with end-to-end learning stacks processing raw data such as waveforms. In this study, 1.2M tracks annotated with musical labels are available to train our end-to-end models. This large amount of data allows us to unrestrictedly explore two different design paradigms for music auto-tagging: assumption-free models - using waveforms as input with very small convolutional filters; and models that rely on domain knowledge - log-mel spectrograms with a convolutional neural network designed to learn timbral and temporal features. Our work focuses on studying how these two types of deep architectures perform when datasets of variable size are available for training: the MagnaTagATune (25k songs), the Million Song Dataset (240k songs), and a private dataset of 1.2M songs. Our experiments suggest that music domain assumptions are relevant when not enough training data are available, thus showing how waveform-based models outperform spectrogram-based ones in large-scale data scenarios.