Neurological Plausibility of AI-Generated Music for Commercial Environments: An In-Silico Cortical Investigation Using Wubble and TRIBE v2

How can we verify whose music contributed to an AI-generated output? This paper demonstrates how input-based attribution can provide verifiable evidence of which audio sources were used in a generation and whether they shaped the output. To do so, we condition the generation solely on audio without any text input, then trace the inputs behind each output, and establish their musical effect. In prompt adherence tests and controlled input swaps, the stems generated by our generator, MixAudio, follow the prompt audio in timbre and the context audio in harmony. Yet these outputs may still reproduce training data not supplied as inputs. We therefore audit memorization with our musical version identification model, musicDNA, and find few reproductions outside the input records. On human-judged cases within the flagged pool, it achieves higher precision and recall than the other tested memorization detectors. The two evaluations suggest that input records and output analysis provide complementary evidence for attribution, on which rights-holder reporting and compensation can draw as the AI music economy takes shape. Audio examples are available at https://neutune.github.io/attr2027demo/

Music popularity prediction has attracted growing research interest, with relevance to artists, platforms, and recommendation systems. However, the explosive rise of AI-generated music platforms has created an entirely new and largely unexplored landscape, where a surge of songs is produced and consumed daily without the traditional markers of artist reputation or label backing. Key, yet unexplored in this pursuit is aesthetic quality. We propose APEX, the first large-scale multi-task learning framework for AI-generated music, trained on over 211k songs (10k hours of audio) from Suno and Udio, that jointly predicts engagement-based popularity signals - streams and likes scores - alongside five perceptual aesthetic quality dimensions from frozen audio embeddings extracted from MERT, a self-supervised music understanding model. Aesthetic quality and popularity capture complementary aspects of music that together prove valuable: in an out-of-distribution evaluation on the Music Arena dataset, comprising pairwise human preference battles across eleven generative music systems unseen during training, including aesthetic features consistently improves preference prediction, demonstrating strong generalisation of the learned representations across generative architectures.

Sonic seasoning research has shown that listeners attribute systematic gustatory and emotional meaning to sound, and text-to-music generative artificial intelligence has recently been used to render gustatory prompts as musical stimuli. Whether the taste-sound correspondences acquired by such models hold beyond the cultural context in which they were validated remains untested. We extended a single-country study to a three-country online experiment conducted in Argentina, Italy, and Japan (N = 361). Participants first indicated their preference between base and fine-tuned MusicGen excerpts generated from four taste prompts (sweet, sour, bitter, salty), and then rated fine-tuned excerpts on twelve taste, emotion, and thermal descriptors. Preference for the fine-tuned model was confirmed in Argentina and Italy but not in Japan, and the salty prompt yielded the weakest correspondence in all three cohorts. Ratings differed substantially between countries, yet the main effect of country was no longer detectable once ratings had been standardized within participant, whereas the interactions characterizing the mapping of prompts onto descriptors remained essentially unchanged. Much of the apparent cross-cultural divergence is therefore attributable to differences in scale use; a structural component nevertheless persists. In addition an exploratory factor analysis indicated that the twelve descriptors were organized along different latent dimensions in each cohort. These results indicate that cross-cultural variation in AI-mediated sonic seasoning operates at two levels: the overall level at which taste is attributed to a given stimulus, and the relational structure of those attributions. Evaluations of generative music systems across populations should accordingly distinguish response-style bias from genuine perceptual reorganization.