CMI-RewardBench: Evaluating Music Reward Models with Compositional Multimodal Instruction

We introduce TuneJury, an open, instance-level pairwise reward model for text-to-music that predicts a music preference score from a text prompt and an audio clip. The released checkpoint is trained on publicly available human-preference labels covering arena-style (A vs. B) votes, metric-alignment preference pairs, crowdsourced pairwise comparisons, and expert aesthetic ratings. The predicted score margin between two clips is well calibrated on our held-out test split, supporting data filtering via a simple score threshold. TuneJury generalizes to both held-out test pairs and out-of-distribution benchmarks, remaining competitive with prior baselines on the latter. For generators released after training, we introduce anchor calibration, a post-hoc, per-system Bradley-Terry calibration that recovers agreement at substantially better data efficiency than from-scratch retraining. The same frozen reward drives consistent reward-axis gains across three downstream applications: inference-time best-of-N selection, DITTO-style latent optimization, and expert-iteration post-training. TuneJury is available at https://github.com/yonghyunk1m/TuneJury.

Long-form song generation models continue to improve in duration, structural coherence, and acoustic complexity, increasing the need for reliable aesthetic rewards aligned with human preferences. However, reward models for complete songs remain limited, and existing evaluators typically predict scores in a single forward pass without readable explanations. To this end, we introduce MuseCritic, a semi-scalar reward model that generates a natural-language critique covering five aesthetic dimensions and uses it as an intermediate representation to predict continuous reward scores. MuseCritic follows a two-stage training pipeline: a teacher model first provides high-quality critiques for supervised fine-tuning, then the fine-tuned model generates its own critiques for reward learning, mitigating training-inference distribution shift. On an in-domain test set of 200 SongEval songs, MuseCritic reduces macro-averaged mean squared error from 0.2875 to 0.2316 and improves macro-averaged LCC, SRCC, and Kendall's tau to 0.9068, 0.8838, and 0.7178, respectively. On the out-of-domain Music Arena benchmark with 733 preference pairs, it achieves 71.35% accuracy and remains competitive with strong music-specific reward models. Using MuseCritic with GRPO also improves Muse-0.6B on all nine aesthetic metrics from SongEval and Audiobox Aesthetics. These results show that critique-conditioned reward modeling reduces scoring error and provides an effective optimization signal for song generation. The project repository is available at https://github.com/WuqnEl/MuseCritic.

Post-training text-to-music generation requires reward signals that capture multiple aspects of musical quality beyond what any single automatic metric can measure. We study structured, rubric-based rewards from pretrained audio-language models (ALMs) as training signals for both autoregressive and diffusion-based music generators. An ALM scores each generated clip against the rubric; we rank candidates generated for the same text prompt by their scores and convert these rankings into preference pairs for DPO on both MusicGen-small and ACE-Step v1, and additionally use the rubric scores directly as scalar rewards for DiffusionNFT on ACE-Step v1. On MusicCaps, rubric-based optimization improves CLAP, SongEval, and Audiobox-Aesthetics simultaneously, with the strongest gains obtained by DiffusionNFT on ACE-Step. By contrast, on MusicGen-small, building preferences from any one of these automatic evaluators produces clear cross-metric trade-offs: the targeted evaluator improves while other independent evaluators deteriorate. We further study tempo, key, and instrumentation, where precise objective rewards are available. Directly optimizing these specialized rewards reliably improves the target attributes, whereas ALM rubrics provide only partial transfer for tempo and instrumentation and no measurable improvement for key. Together, these results suggest a practical division of labor: ALM rubrics are effective for broad perceptual qualities that are difficult to formalize, while specialized objective rewards remain preferable when reliable measurements are available.