Equivariant Music Transformer

Rich internal representations of musical structure are essential for music understanding tasks such as machine-assisted music co-writing, yet self-supervised approaches for symbolic music representation remain underexplored, particularly those that encode the hierarchical multiscale nature of musical structures. We present MIDI-RAE-JEPA, combining a pitch- and time-shift equivariance objective with LeJEPA and a Swin Transformer V2 encoder to learn such hierarchical representations of symbolic music encoded as piano roll images. The time-shift equivariance objective encourages the model to internalize temporal musical relationships. The encoder is trained purely on self-supervised objectives -- including a masked embedding predictor (MEP) -- with collapse prevented via SIGReg. A separate decoder trained on the frozen encoder embeddings achieves reconstruction F1 of 0.995, and a flow matching generative model conditioned on those embeddings produces generations that closely match the pitch register and rhythmic density of the conditioning excerpt, while mismatched conditioning yields unrelated but musically plausible output. Learned representations outperform a Haar scattering transform baseline on a downstream emotion classification task, and embedding distances increase monotonically with pitch and time shift magnitude, confirming measurable equivariance. These results suggest that equivariance-based SSL objectives, combined with sufficient fine-level encoder capacity, provide a viable path toward semantically rich, generatively useful representations of symbolic music.

We show that pre-training a Transformer on music before language significantly accelerates language acquisition. Using piano performances (MAESTRO dataset), a developmental pipeline -- music $\to$ poetry $\to$ prose -- yields a $17.5\%$ perplexity improvement over random initialization ($p < 0.001$, 5 seeds), with music and poetry improving orthogonal model components (internal computation and embeddings, respectively). Convergence tests confirm that this is not a transient head start: at $d\!=\!64$, multi-seed validation (5 seeds) shows a persistent 5.5% gap at plateau ($p = 0.017$), with the pipeline converging faster and to a lower loss in every run. Real music matches the transfer ceiling of synthetic patterns with one-third the data, and scaling experiments reveal that optimal pre-training data volume shifts with model capacity ($-3\% \to +3\% \to +6\%$ advantage of larger datasets from $d\!=\!16$ to $d\!=\!64$). Across the scales we study ($d\!\in\!\{16,32,64\}$, up to ${\sim}400$K parameters), these results suggest a capacity-dependent data curation principle and indicate that structured human creative outputs can provide an efficient pre-training substrate for small language models; stronger conclusions at modern pre-training scale will require substantially larger experiments.

Latent representations are at the heart of the majority of modern generative models. In the audio domain they are typically produced by a neural-audio-codec autoencoder. In this work we introduce SAME (Semantically-Aligned Music autoEncoder), an autoencoder for stereo music and general audio that reaches a 4096$\times$ temporal compression ratio while maintaining reconstruction quality and downstream generative performance. We achieve this by combining a tranformer-based backbone with set of semantic regularisation approaches, phase-aware reconstruction losses and improved discriminator designs. The architecture delivers substantial computational cost benefits, through both its high compression ratio and its reliance on well-optimised transformer primitives. Two variants (a large SAME-L and a CPU-deployable SAME-S) are released in open-weights form.