Daily Papers

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

Generative models in vision have seen rapid progress due to algorithmic improvements and the availability of high-quality image datasets. In this paper, we offer contributions in both these areas to enable similar progress in audio modeling. First, we detail a powerful new WaveNet-style autoencoder model that conditions an autoregressive decoder on temporal codes learned from the raw audio waveform. Second, we introduce NSynth, a large-scale and high-quality dataset of musical notes that is an order of magnitude larger than comparable public datasets. Using NSynth, we demonstrate improved qualitative and quantitative performance of the WaveNet autoencoder over a well-tuned spectral autoencoder baseline. Finally, we show that the model learns a manifold of embeddings that allows for morphing between instruments, meaningfully interpolating in timbre to create new types of sounds that are realistic and expressive.

While most music generation models use textual or parametric conditioning (e.g. tempo, harmony, musical genre), we propose to condition a language model based music generation system with audio input. Our exploration involves two distinct strategies. The first strategy, termed textual inversion, leverages a pre-trained text-to-music model to map audio input to corresponding "pseudowords" in the textual embedding space. For the second model we train a music language model from scratch jointly with a text conditioner and a quantized audio feature extractor. At inference time, we can mix textual and audio conditioning and balance them thanks to a novel double classifier free guidance method. We conduct automatic and human studies that validates our approach. We will release the code and we provide music samples on https://musicgenstyle.github.io in order to show the quality of our model.

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

We present Dance2Music-GAN (D2M-GAN), a novel adversarial multi-modal framework that generates complex musical samples conditioned on dance videos. Our proposed framework takes dance video frames and human body motions as input, and learns to generate music samples that plausibly accompany the corresponding input. Unlike most existing conditional music generation works that generate specific types of mono-instrumental sounds using symbolic audio representations (e.g., MIDI), and that usually rely on pre-defined musical synthesizers, in this work we generate dance music in complex styles (e.g., pop, breaking, etc.) by employing a Vector Quantized (VQ) audio representation, and leverage both its generality and high abstraction capacity of its symbolic and continuous counterparts. By performing an extensive set of experiments on multiple datasets, and following a comprehensive evaluation protocol, we assess the generative qualities of our proposal against alternatives. The attained quantitative results, which measure the music consistency, beats correspondence, and music diversity, demonstrate the effectiveness of our proposed method. Last but not least, we curate a challenging dance-music dataset of in-the-wild TikTok videos, which we use to further demonstrate the efficacy of our approach in real-world applications -- and which we hope to serve as a starting point for relevant future research.

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.

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.

Instrument playing technique (IPT) is a key element of musical presentation. However, most of the existing works for IPT detection only concern monophonic music signals, yet little has been done to detect IPTs in polyphonic instrumental solo pieces with overlapping IPTs or mixed IPTs. In this paper, we formulate it as a frame-level multi-label classification problem and apply it to Guzheng, a Chinese plucked string instrument. We create a new dataset, Guzheng\_Tech99, containing Guzheng recordings and onset, offset, pitch, IPT annotations of each note. Because different IPTs vary a lot in their lengths, we propose a new method to solve this problem using multi-scale network and self-attention. The multi-scale network extracts features from different scales, and the self-attention mechanism applied to the feature maps at the coarsest scale further enhances the long-range feature extraction. Our approach outperforms existing works by a large margin, indicating its effectiveness in IPT detection.

Even though they differ in the physical domain, digital video and audio share many characteristics. Both are temporal data streams often stored in buffers with 8-bit values. This paper investigates a method for creating harmonic sounds with a video signal as input. A musical instrument is proposed, that utilizes video in both a sound synthesis method, and in a controller interface for selecting musical notes at specific velocities. The resulting instrument was informally determined by the author to sound both pleasant and interesting, but hard to control, and therefore suited for synth pad sounds.

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.

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.

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

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 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.

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.

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

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.

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

We introduce Jukebox, a model that generates music with singing in the raw audio domain. We tackle the long context of raw audio using a multi-scale VQ-VAE to compress it to discrete codes, and modeling those using autoregressive Transformers. We show that the combined model at scale can generate high-fidelity and diverse songs with coherence up to multiple minutes. We can condition on artist and genre to steer the musical and vocal style, and on unaligned lyrics to make the singing more controllable. We are releasing thousands of non cherry-picked samples at https://jukebox.openai.com, along with model weights and code at https://github.com/openai/jukebox

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 .

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.

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.

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 performance synthesis aims to synthesize a musical score into a natural performance. In this paper, we borrow recent advances in text-to-speech synthesis and present the Deep Performer -- a novel system for score-to-audio music performance synthesis. Unlike speech, music often contains polyphony and long notes. Hence, we propose two new techniques for handling polyphonic inputs and providing a fine-grained conditioning in a transformer encoder-decoder model. To train our proposed system, we present a new violin dataset consisting of paired recordings and scores along with estimated alignments between them. We show that our proposed model can synthesize music with clear polyphony and harmonic structures. In a listening test, we achieve competitive quality against the baseline model, a conditional generative audio model, in terms of pitch accuracy, timbre and noise level. Moreover, our proposed model significantly outperforms the baseline on an existing piano dataset in overall quality.

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.

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.

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

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.

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

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.

We construct a corpus of Japanese a cappella vocal ensembles (jaCappella corpus) for vocal ensemble separation and synthesis. It consists of 35 copyright-cleared vocal ensemble songs and their audio recordings of individual voice parts. These songs were arranged from out-of-copyright Japanese children's songs and have six voice parts (lead vocal, soprano, alto, tenor, bass, and vocal percussion). They are divided into seven subsets, each of which features typical characteristics of a music genre such as jazz and enka. The variety in genre and voice part match vocal ensembles recently widespread in social media services such as YouTube, although the main targets of conventional vocal ensemble datasets are choral singing made up of soprano, alto, tenor, and bass. Experimental evaluation demonstrates that our corpus is a challenging resource for vocal ensemble separation. Our corpus is available on our project page (https://tomohikonakamura.github.io/jaCappella_corpus/).

We present JASCO, a temporally controlled text-to-music generation model utilizing both symbolic and audio-based conditions. JASCO can generate high-quality music samples conditioned on global text descriptions along with fine-grained local controls. JASCO is based on the Flow Matching modeling paradigm together with a novel conditioning method. This allows music generation controlled both locally (e.g., chords) and globally (text description). Specifically, we apply information bottleneck layers in conjunction with temporal blurring to extract relevant information with respect to specific controls. This allows the incorporation of both symbolic and audio-based conditions in the same text-to-music model. We experiment with various symbolic control signals (e.g., chords, melody), as well as with audio representations (e.g., separated drum tracks, full-mix). We evaluate JASCO considering both generation quality and condition adherence, using both objective metrics and human studies. Results suggest that JASCO is comparable to the evaluated baselines considering generation quality while allowing significantly better and more versatile controls over the generated music. Samples are available on our demo page https://pages.cs.huji.ac.il/adiyoss-lab/JASCO.

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

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

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

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.

The aim of this work is to define a model based on deep learning that is able to identify different instrument timbres with as few parameters as possible. For this purpose, we have worked with classical orchestral instruments played with different dynamics, which are part of a few instrument families and which play notes in the same pitch range. It has been possible to assess the ability to classify instruments by timbre even if the instruments are playing the same note with the same intensity. The network employed uses a multi-head attention mechanism, with 8 heads and a dense network at the output taking as input the log-mel magnitude spectrograms of the sound samples. This network allows the identification of 20 instrument classes of the classical orchestra, achieving an overall F_1 value of 0.62. An analysis of the weights of the attention layer has been performed and the confusion matrix of the model is presented, allowing us to assess the ability of the proposed architecture to distinguish timbre and to establish the aspects on which future work should focus.

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.

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.

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

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.

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/.

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

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

We 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.

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.

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.

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.