Controllable Music Generation

Dance-to-music (D2M) generation aims to synthesize musically plausible soundtracks whose temporal structure aligns with a given dance performance. Representative D2M methods do not explicitly distinguish motion cues across body parts and frequency bands, while standard flow matching lacks a dedicated objective for supervising local music-latent dynamics. To address these issues, we propose Dyna2Music, a latent flow-matching framework that combines structured motion conditioning with explicit supervision of music-latent dynamics. An empirical analysis on AIST++ quantifies how spatial partitioning and frequency separation affect raw music-to-kinematic beat alignment and motion-reference density, informing the conditioning design. Accordingly, Dyna2Music decomposes joint velocities into slow and fast components and hierarchically fuses the resulting part-wise motion energy with pretrained joint features to condition music generation. To complement this representation, we introduce latent dynamics consistency (LDC), an auxiliary objective that matches adjacent-frame change magnitudes between a single-step clean-latent estimate and the paired reference. LDC makes local music-latent variation an explicit training target without adding trainable parameters or inference computation. Dyna2Music supports variable-length music generation, and experiments on AIST++ and TikTok demonstrate improved rhythmic alignment and audio quality over representative D2M baselines.

Most music-generation systems are still framed and evaluated primarily as producers of complete outputs, whereas composition often proceeds through successive revisions to a shared musical artifact. This paper studies a different use of a general-purpose instruction-following large language model: not as a one-shot music generator, but as a reusable operator over an evolving symbolic score. We formulate incremental composition as a sequence of operation-aware state transitions over persistent ABC notation, with explicit requirements on what each operation may change and what it must preserve. The interaction includes two artifact-initialization variants and three editing operations -- chord addition, inpainting, and transposition. We instantiate the formulation by adapting Llama 3.1 8B Instruct with Low-Rank Adaptation (LoRA) on 496,038 operation-aware dialogue records derived from Irish traditional music. The comparison with the unadapted model is used to test the feasibility of learning this interaction contract, not to claim novelty for fine-tuning itself. Across 500 dialogues per model (1,750 attempted output states), checker admission rises from 29.37% to 99.37%, while compliance conditional on admission rises from 0.7205 to 0.9798. Strict eligibility for reference-relative musical-feature analysis increases from 14 to 1,548 outputs, and Longest Common Subsequence analysis does not show a systematic increase in high-overlap sequences relative to held-out baselines under the specified protocol. The results support the technical feasibility of persistent, operation-aware symbolic editing with a general-purpose instruction LLM. They do not establish superior musical quality or human-AI co-creativity, which remain questions for musician-centered evaluation.

Symbolic models make melody, harmony, rhythm, and form explicit but typically stop before a finished recording; audio models produce complete songs while leaving composition implicit. We introduce YuE2, which unifies symbolic and audio music generation at frontier quality through symbolic planning. A single AR-NAR Mixture-of-Transformers (MoT) first writes a readable score specifying melody and harmony, expands it into semantic music tokens, and realizes it as full-song audio. In comparisons using the same checkpoint, experts prefer symbolic planning for overall quality and musicality, with 49.3% of overall preferences versus 34.6% without planning. Experts also favor the unified model over a separate language model and diffusion Transformer. On WildSongBench, YuE2 scores 6.73 on SongBench Global Avg, exceeding all evaluated public baselines. Selecting from eight candidates (best-of-8), YuE2 reaches 6.96, the highest observed mean among all evaluated systems. Expert listening further establishes its competitiveness with proprietary song generators, favoring best-of-8 over Suno v4.5 and yielding nearly balanced preferences against Suno v5. To learn this generation process from recordings without aligned scores, we introduce MERT2 and SheetSage2 to supply semantic and symbolic supervision. MERT2 sets a new state of the art in music representation learning, surpassing previous best results on 14 of 15 MARBLE metrics; SheetSage2 leads 12 of 15 benchmark-metric pairs in our lead-sheet transcription comparison. The same checkpoint follows score edits while largely preserving unedited musical content and generates zero-shot covers without cover-specific training. Its readable score also enables agentic music editing, with external language models translating user feedback into revisions of the composition.

Music creation often involves iterative refinement, changing selected musical details while retaining the rest. To support such refinement, we introduce SpanSynth-Edit, a flow-matching model for MIDI-guided synthesis and editing of multi-instrument audio mixtures using low-frame-rate scalar-quantised latents. MIDI Span encodes instrument-labelled note lifecycles as unordered event sets with continuous-valued attributes and pools each set into one conditioning vector per audio-latent frame. The model uses contextual audio for instrument-specific timbre guidance and supports editing by resynthesising the target region from revised MIDI. Experiments on single- and multi-instrument benchmarks show competitive performance and demonstrate within-frame onset control. We also discuss limitations of transcription-based note-adherence evaluation.

Language models now generate symbolic music from text, and research has focused on musicality. However, many applications require a score that meets explicit constraints, which models struggle to satisfy jointly: on MusicConstraintBench, our benchmark of 2,180 items over eight families of programmatically verifiable constraints, Llama-3.1-70B satisfies 0.630 of single-constraint items but only 0.044 of four-constraint ones. As a remedy, we introduce MusicRLVR, which trains a language model with group relative policy optimisation (GRPO) on verifier rewards alone, needing no human annotation, reward model or music-domain supervised fine-tuning. MusicRLVR incorporates (1) a hard validation gate that rejects malformed scores, (2) graded per-family credit that, unlike a binary reward, separates partially correct outputs, and (3) an all-satisfied bonus for meeting every constraint at once. Extensive experiments show that, in under four hours of training, MusicRLVR raises Qwen3-4B-Instruct-2507 from 0.160 to 0.797 on mixed constraints, outperforming Llama-3.1-70B, and generalises to unseen property combinations, out-of-range parameters and more constraints than any training prompt. The recipe transfers to Qwen3-8B, and neither trained model loses significant accuracy on general benchmarks.

Prompt-conditioned piano MIDI-to-Music rendering aims to faithfully render target notes while reproducing the timbre of a reference recording. Existing approaches primarily follow two paradigms: autoregressive (AR) modeling and flow matching (or diffusion). Discrete-codec AR models provide causal temporal modeling, but quantization can discard acoustic detail. Flow matching better preserves acoustic structure in the cost of full-sequence attention costs and worse semantic structure. Continuous autoregressive models operate directly on continuous representations. It not only combines the condition-following ability of AR models and distribution-modeling capacity of flow matching but also bypasses the quantization bottleneck with lower computational costs. Building on this principle, we present Composer--Performer--Refiner (CPR) framework. Composer autoregressively predicts continuous hidden states, Performer generates 24kHz acoustic latents through local flow matching and Refiner then upsamples the waveform to 48 kHz. We further introduce Bottlenecked Representation Alignment (BREPA) and Modality--Time RoPE (MT-RoPE) to strengthen musical semantic structure in Composer hidden states and temporal alignments across modalities. Codes are available at https://github.com/FEAfeatherTHER/CPR_official

Song generation and editing have mostly been treated as separate tasks. Existing editing methods often require noise injection and regeneration or curated paired training data. We propose a unified approach for song generation and editing based on reconstructive pretraining, in which a model is trained to reconstruct audio from varying numbers of interpretable conditions. With conditions such as text and lyrics, the model learns to generate diverse songs. With dense conditions specifying fine-grained music attributes, the model learns to reconstruct the target and enables editing by modifying any single attribute while keeping others fixed. This leads to SongCraft, a latent flow matching based model trained for both generation and fine-grained editing. To improve song generation quality, we further introduce word-level phoneme alignment that improves pronunciation learning and accelerates convergence, beat conditioning that improves general musicality, and representation alignment on VAE latent space that produces semantically meaningful latents for improved generation quality. Experiments show that SongCraft achieves the lowest word error rate among evaluated song generation baselines while maintaining competitive audio quality. We further show that a single model can support editing of lyrics, vocal melody, beats, and singer identity, and we also study the trade-off between reconstruction quality and editability.

Text and lyrics specify broad musical characteristics and sung content but offer limited control over musical timing, melody, and reference-based style. We introduce DiffSynth-Music (https://modelscope.cn/models/DiffSynth-Studio/DiffSynth-Music), a framework that adds composable audio conditioning to a music synthesis backbone through layer-wise key-value injection. The three template models, Control, Prosody, and Reference, are initialized from the backbone diffusion transformer and trained with conditional flow matching. They support five control types: beats, vocals, accompaniment, prosody, and reference audio. A shared variational autoencoder maps conditioning waveforms into a common latent space, enabling their attention memories to be combined. With the template timestep fixed at the clean-data endpoint and other inputs held constant, each control cache is computed once and reused throughout sampling. Training pairs are derived from music recordings using beat extraction, source separation, vocal resynthesis, and reference-excerpt selection. Single-control evaluations on Mandarin and English songs demonstrate improved adherence across all five control types and better lyric fidelity under vocal conditioning relative to the backbone. Automatic music-quality and instruction-following scores remain broadly comparable to those of the evaluated base models, with metric-specific trade-offs. We release the three template models to support research and creative applications in controllable music generation.

We utilize Lempel-Ziv universal compression for music note generation. We control the algorithm's tendency to over-copy or under-copy training data by manipulating the average sequence length saved in the dictionary.

Live accompaniment models generate music for an incoming audio stream, committing to each output frame before hearing what comes next. In this strictly causal setting the model must infer tempo, meter, and metrical phase from its own imperfect past, whereby compounding errors quickly become audible as rhythmic drift. Put simply, the model has ears but no temporal reference, so when the ears hear imperfect, ambiguous music, the model will produce a flawed output. We propose Silent Metronome (SiMe), which gives it the temporal reference, encoding the phase within the beat and within the bar as periodic functions, pairing them with tempo and time signature, and supplying the result as a separate conditioning channel. Because this reference is independent of the generated audio, it cannot drift. Complementary auxiliary heads shape the latent representation, including a novel head that predicts the model's own future tokens. With the metrical signal taken from ground-truth annotations, beat alignment improves by a factor of 3.2 over the strictly causal baseline and surpasses a non-causal reference granted a full second of look-ahead. Coherence between input and accompaniment stays within a single point of that reference. These results suggest that streaming accompaniment systems should treat rhythm as a signal to be shared, as human ensembles do, rather than inferred.

Synthetic chord substitutions offer controlled tests of music generation, but their effects can differ from those of a complete recognized chord sequence. We propose structure-matched calibration, which constructs synthetic chord sequences that preserve the locations and harmonic relations of recognizer-induced changes. Paired generation measures how closely these sequences reproduce the response to complete recognizer replay. On 29 of 30 MUSDB18-HQ songs, central four-second tritone corruption produces a larger target response than complete recognizer replay. On 24 held-out MoisesDB songs, structure matching reduces response distance to replay by 81% for MIDI-SAG and 77% for MusicGen-Chord. Distance to replay decreases on every song in both models. Joint matching also brings output chord sequences closer to replay than either temporal or relational matching alone. Calibration extends to AccoMontage's native beat-based interface, improving 23 of 24 songs. These results establish a method for making synthetic chord tests representative of recognized harmony, while distinguishing response magnitude from the harmonic structure of generated music.

Generative music systems are increasingly presented as tools that democratize music creation, yet their practical suitability for musicians remains underexplored. Prior work includes openness-focused evaluation frameworks, such as MusGO (Music-Generative Open AI), as well as qualitative studies of musicians' experiences with generative systems. However, these approaches do not support systematic comparison or early-stage discovery of models for creative use. Motivated by such limitations, we introduce MusGU+, a musician-centered evaluation framework organized around three dimensions: Adaptability, Usability, and Controllability. Together, these capture whether a model can be feasibly trained or fine-tuned on personal data, integrated into real-world music workflows, and controlled in musically meaningful ways. We evaluate 10 representative generative music systems and present an interactive discovery tool that enables musicians to explore and filter models according to these criteria. While MusGO remains valuable for promoting responsible research practices, MusGU+ supports informed selection and practical adoption of generative systems by musicians.

Current video-to-music (V2M) models lack semantic control and fail to penalize instruction violations, largely due to their reliance on reconstruction objectives and the representational bottleneck of static cross-modal conditioning in Diffusion Autoregressive (DAR) architectures. To resolve this, we introduce VIBE, a novel text-and-video-to-music (T+V2M) generation model that leverages: (1) Conditioning Connection, a depth-wise cross-layer conditioning mechanism that dynamically bridges the planning and diffusion refinement heads and (2) a comprehensive reward modeling taxonomy, optimizing for both hard, verifiable constraints (e.g., tempo, key) and soft, subjective qualities (e.g., musicality, multimodal alignment) with a structured 5-stage training curriculum. Upon evaluation using audio-visual alignment, instruction following, and audio quality metrics, along with a subjective human evaluation study, we observe that VIBE demonstrates enhanced controllability and instruction adherence while performing comparably to most evaluated baselines on generation fidelity and multimodal alignment.

Recent generative music models offer increasingly fine-grained control through text and audio conditioning, yet how faithfully they follow intended emotional cues remains an open question. We address this gap with a unified evaluation pipeline for emotion-following in generated music. Using all 1000 tracks in GTZAN, we extract semantic audio descriptions with DashengLM, an audio captioning model, and estimate source-track valence and arousal with Music2Emotion, a music emotion recognition model. We construct affect-aware text prompts by combining descriptions with top-ranked emotion tags and generate 30-second outputs with three systems, Stable Audio Open, MusicGen, and InspireMusic, evaluating both text- and audio-conditioned generation. To measure emotion-following, we compute valence and arousal on generated audio and compare them with the source tracks using absolute error and Euclidean distance in valence-arousal space. Text-conditioned generation consistently outperforms audio conditioning, with MusicGen (text) and InspireMusic (text) achieving the best performance, while audio-conditioned variants prove less stable. We further find that valence is preserved more reliably than arousal and that emotion-following varies substantially across genres. These findings underscore the importance of evaluating affective controllability directly rather than relying solely on general quality or prompt-relevance metrics.

In-vehicle music can serve as an adaptive interface to enhance driver experience, attention, and well-being. We present Drive-to-Music, a context-aware system that generates music in real time from multimodal driving signals. Using dashcam imagery and vehicle telemetry, the system extracts scene semantics and driving context, maps them to high-level musical descriptors, and conditions generative audio models to produce contextually aligned soundtracks. The architecture combines perception and generative components to translate visual and kinematic inputs into structured musical attributes and synthesize audio with low latency. It supports smooth transitions as driving conditions evolve, and to ensure robustness and deployment readiness, we incorporate constraint-based controls and safety checks across the generation pipeline. Our results demonstrate the feasibility of real-time, context-aware music generation in automotive settings, providing a foundation for personalized and adaptive in-vehicle audio experiences.

Prompted attribute agreement is widely used as evidence of text-to-music controllability, yet a requested attribute may occur simply because it is already common in the model's output distribution. We introduce a matched counterfactual evaluation that separates target occurrence from instruction-attributable control. Each family contains a neutral input that omits the scored attribute and two otherwise matched inputs that swap the requested target. All three are rendered through frozen native-interface adapters with a shared seed. Applied to global key and beat grouping in three open systems, this design changes the empirical conclusion. ACE-Step 1.5 and Stable Audio 3 Medium exhibit substantial key control, whereas LeVo2 does not. For beat grouping, the same models redirect toward the rare three-beat target, but high four-beat agreement is largely inherited from neutral outputs: Stable Audio 3 produces four-beat grouping in 0.97 of neutral cases but only 0.56 under its explicit four-beat treatment. Off-attribute placebos, external recognizer validation, blind expert annotation, and multi-seed sentinels support the attribution. When targets have unequal output priors, agreement describes what a model produced, while matched neutral and target-swap contrasts test whether the instruction changed it.

Arabic maqam music microtonal, modal, and built on ornamented call and response is among the traditions most underserved by generative music models, whose training frameworks remain predominantly Western and equaltempered. Real time accompaniment sharpens this gap: an AI partner must listen, adapt dynamically, and respect idiomatic microtonal structures. Streaming text to music models provide strong generative capabilities but lack precise control interfaces. We present MazzikaAI, a knowledge based system that uses natural language as the actuator of a realtime control loop. By compiling live MIDI, gesture, and inferred harmony into continuously updated text prompts, MazzikaAI steers an unmodified streaming generator, Google Lyria RealTime, without requiring model finetuning. The system embeds expert knowledge of six core maqamat, characteristic ornaments, and ensemble dynamics, maintaining realtime responsiveness with subsecond keytoaudibleupdate latency. Empirical evaluations demonstrate that dynamic prompt compilation reliably grounds generation in microtonal scales, significantly increasing offgrid quartertone content over baseline generation. Beyond its core implementation, MazzikaAI illustrates how deterministic knowledgebased rules can effectively bridge expert, nonWestern musical traditions and unfinetuned foundation models. This architecture establishes a scalable paradigm for realtime humanAI cocreation, offering a generalizable blueprint for interactive accompaniment, adaptive music education, and culturally inclusive generative audio across diverse global idioms.

Neural synthesis for musical instruments has the potential to revolutionize current practices that use concatenative synthesis and a sample library. However, most research focused on piano synthesis and expressive performance generation; little work has been done on continuously articulated instruments like the violin, let alone rendering them with playing techniques and dynamics. We present VIOLET, a latent-diffusion framework for controllable violin synthesis, which uses a Diffusion Transformer (DiT) with rectified flow to synthesize high-fidelity audio from MIDI notes, playing techniques, and continuous dynamics. To train VIOLET, in addition to using a few existing datasets, we curate a new dataset named CSV-TD, which contains 39 h of 48 kHz synthetic audio and time-aligned annotations of MIDI notes, note-level techniques, and continuous dynamics curves. Objective and subjective evaluations show that VIOLET synthesizes violin performances with high technique adherence, accurate pitch and timing alignment, and good dynamics control. It outperforms the current state-of-the-art neural violin synthesis system and approaches a top commercial virtual instrument in terms of technique clarity, naturalness, and dynamics following.

Mechanistic interpretability of music generation has concentrated on audio models, leaving symbolic models largely unexplored. We analyze two public text-to-MIDI systems of contrasting design: the purpose-built encoder--decoder text2midi and MIDI-LLM, a Llama3.21B model extended with MIDI tokens using linear probing, the logit and tuned lenses, activation patching and difference-in-means steering. Across these methods, we recover musically meaningful structure and show how architecture shapes its formation and control. Pitch, instrumentation, harmony and texture are linearly decodable in both models. text2midi refines predictions gradually across depth, whereas MIDI-LLM works largely in its inherited textual basis before a sharp late rotation into the musical vocabulary; patching identifies a matching late attenuation of prompt-driven instrument transfer. Steering produces bidirectional changes in register and polyphony in both systems, and in tempo/energy in MIDI-LLM. Our two-orientation protocol isolates directional control and shows that all-layer interventions are robust in text2midi but accumulate disruptively in MIDI-LLM. Together, the results provide a practical toolkit for tracing and controlling musical concepts in symbolic generators. Audio examples are available on a demo website.

Automatic music mixing aims to combine multitrack recordings into a balanced and coherent musical piece. Because the content of different songs and the subjective preferences of mixing engineers jointly shape the final outcome, a practical system should deliver well-balanced mixes while allowing for controllable stylistic variation. However, most existing methods treat automatic mixing and mixing style control as separate tasks, making it difficult for a single system to produce high-quality mixes while remaining editable and style-aware. To address this limitation, this paper presents Diff2Mix, a generative automatic mixing system based on diffusion models and a differentiable mixing console. This system offers two levels of optional user control: a reference audio enables overall production style control, and the differentiable mixing console provides explicit audio effects parameters for interpretability and fine-grained optimization. We demonstrate our system's competitive performance through both objective and subjective evaluations in terms of mixing quality and control ability. We provide code and audio samples at our project page https://zys711.github.io/Diff2Mix .

Text-controlled symbolic music generation has recently gained research attention due to its versatile, flexible and straightforward approach to music composition. However, previous approaches tend to generate symbolic music with compromising quality, diversity, controllability and limited duration. In this paper, we present Diff-Symbo, an innovative method that uses latent diffusion model (LDM) to generate high-quality, diverse and long-duration symbolic music. To address the lack of text-symbolic music dataset, we develop a comprehensive dataset with 19,345 text templates by employing large language model. Furthermore, we design a music information encoder to reduce the training overhead while extracting more effective control representations. Given textual descriptions, our proposed method leverages LDM to improve the quality and diversity of music generation. Our method also improves the duration and the compositional consistency of music generation through an autoregressive approach. Experimental results show significant improvements of Diff-Symbo in text controllability, duration, and the quality of generated music compared to the baseline models such as GPT-4, MuseCoco and Multitrack Music Transformer (MMT). As one of the pioneer models in this field, Diff-Symbo paves the way towards controllable and high-quality symbolic music composition based on LDM, offering valuable contributions to both music amateurs and practitioners.

Collaborative music agents need internal representations rich enough to support both understanding and generation, yet flexible enough for a workflow where the human retains agency. We present a hierarchical self-supervised ``world model'' for symbolic music: a 2.55M-parameter Swin V2 encoder trained on MIDI piano-roll images with JEPA-style objectives (pitch- and time-shift equivariance, masked embedding prediction, and a distributional regularizer), using no labels and no music-theory vocabulary. Probing the frozen embeddings shows that the level at which a musical property becomes decodable tracks its musical time scale: phrase boundaries are read off the coarsest levels, note density and harmonic detail off the finest. Temporal and phrase structure emerge from the self-supervised objectives alone, while harmonic content must be asked for; a small chord-supervision head raises joint chord recovery from .18 to .54, and key detection, which is never supervised, from .16 to .70. Following the Representation AutoEncoder paradigm, a conditional flow-matching model stands in for a trained decoder, flowing in pixel space from PCA-reduced conditioning: it reproduces a target window at pixel F1 $0.996$, and the same per-level conditioning dropout that controls how far variations stray also enables graphical prompting for masked inpainting with no inpainting-specific sampler. The pipeline runs on CPU producing a suggestion in $2.8$ s, or $0.6$ s on Apple MPS, which we demonstrate in a live interactive demo. In concert with an LLM-based brain, these capabilities supply the core of a collaborative music creation agent in service of, rather than in place of, human agency.

What is music style? Though often described using text labels such as "swing," "classical," or "emotional," the real style remains implicit and hidden in concrete music examples. In this paper, we introduce a cross-modal framework that learns implicit music styles from raw audio and applies them to symbolic music generation. Inspired by BLIP-2, our model leverages a Querying Transformer (Q-Former) to extract style representations from a large, pre-trained audio language model (LM), and further applies them to condition a symbolic LM for generating piano arrangements. We adopt a two-stage training strategy: contrastive learning to align auditory style with symbolic expression, followed by generative modeling for music arrangement. Our model generates piano performances jointly conditioned on a lead sheet (content) and a reference audio example (style), enabling controllable and stylistically faithful arrangement. Experiments demonstrate the effectiveness of our approach in piano cover generation, style transfer, and audio-to-MIDI retrieval, achieving substantial improvements in style-aware alignment and music quality.

While music generative models have recently gained significant attention, how they can be effectively integrated into live music performances still requires further exploration. This paper presents Calliphony, a calligraphy-driven interface for real-time generative music performance. Specifically, we build a low-latency pipeline that captures brush motion with an attachable sensor and maps it to control signals for real-time symbolic music generation. Using a generative model, the system produces multi-track MIDI in performance settings, while brush-derived control signals constrain event timing and activate additional musical layers. The generated melody is then extended with real-time harmony and additional voices, and finally rendered through a DAW for live staging. Calliphony contributes: (1) a performance-oriented prototype that uses calligraphic motion as an external control layer for a real-time symbolic music generation model, controlling note density, pitch constraints, and accompaniment-layer activation; and (2) a cross-modal performance scenario that extends calligraphy beyond a primarily visual practice into an audiovisual, AI-assisted setting.

MIDI-to-Music system renders the melody and rhythm of a target MIDI sequence into musical segment while cloning instrument timbre from a prompt recording. Existing systems typically adopt one of two distinct paradigms: conditional generation with prompt audio alone, which remains applicable when aligned prompt MIDI is unavailable, and In-Context Learning with paired prompt audio and MIDI, which exploits cross-modal alignment for stronger control on MIDI following and timbre similarity. We introduce P-MUSE, an instrumental MIDI-to-Music framework that unifies both paradigms via a multi-stage Curriculum-Learning supporting prompt-MIDI-optional inputs. P-MUSE further unifies music generation and local editing through a shared fill-in-the-middle formulation. Grounded in theoretical analysis and empirical study, we propose a phase-aware classifier-free guidance scheduling principle for Transcription-to-Audio systems, alongside a Tail-Drop strategy. Finally, to advance research in this field, we establish the first comprehensive benchmark, covering various prompt modes, generation/editing tasks, and four representative instruments: piano, guitar, bass, and drums. Demos are available at https://p-muse.github.io/.

Cover song generation (CSG) should preserve the melodic and linguistic content of a reference song while recreating the remaining musical components. The state-of-the-art model SongEcho utilizes $F_0$ sequences and voiced/unvoiced (V/UV) tags for conditioning; however, implicit linguistic information from V/UV tags cannot guarantee lyric accuracy, leading to a high phoneme error rate (PER). Inspired by singing voice synthesis (SVS), we propose MPEcho, which integrates a phoneme encoder and a length regulator (LR) into the SongEcho framework. By providing explicit phoneme-level conditioning and precise temporal boundaries, MPEcho significantly reduces PER. To enable this, we developed Phonsa, a Whisper-based automatic transcription model that provides high-precision phoneme-level annotations for singing voices, overcoming the scarcity of high-quality audio-phoneme pairs. Experimental results validate the effectiveness of Phonsa for alignment and MPEcho for end-to-end CSG. The audio samples, code and weights can be accessed from https://lonian6.github.io/MPEcho.github.io/.

Recent advances in AI music generation have enabled users to create complete musical pieces from natural-language prompts. However, most existing systems follow a prompt-and-regenerate paradigm, making iterative refinement difficult because users must repeatedly recreate compositions instead of directly evolving existing musical ideas. We present MusiChat, a conversational vibe composing system that enables collaborative human-AI music creation through natural-language interaction and iterative refinement. At the core of MusiChat is a hierarchical controllable music generation framework that separates lyric-aligned musical structure generation from expressive surface realization, allowing flexible stylistic transformations and structure-preserving edits. The system integrates a large language model with a hybrid symbolic music engine through a memory-augmented architecture that maintains the active composition state and user history across interactions. A hybrid intent-routing mechanism further enables efficient interpretation of both precise musical edits and open-ended creative requests. Rather than regenerating compositions from scratch, MusiChat incrementally transforms an evolving musical artifact while preserving relevant musical structure and user intent. We evaluate MusiChat through objective analysis and human studies, achieving 95.31% and 100% accuracy for single- and multi-turn interactions, respectively, and obtaining like-to-dislike ratios of 2:1 for melody naturalness and 3:1 for musical quality. Our results demonstrate that MusiChat supports coherent multi-turn music authoring and interactive human-AI co-creation through a conversational interface.

Music generation foundation models have recently attracted significant industry attention. However, achieving efficient generation and high-fidelity long-form audio while supporting controllability remains challenging. To address these needs, we present \textbf{WanSong}, a simple yet powerful approach for long-form, commercial-grade song generation. Unlike autoregressive (AR) and cascaded multi-stage pipelines (\eg, AR followed by diffusion), \textbf{WanSong} is a pure diffusion-based model that directly generates high-fidelity, multilingual songs up to 5 minutes and outputs dual stems (vocals and background music) in a single run. In addition, our diffusion framework enables faster inference through step-distillation, and offers an efficient pathway for fine-tuning and customization to support downstream editing tasks.

We introduce Qwen-Music, a music generation model that produces high-fidelity songs with complete vocals. It supports text-to-music generation from descriptions, lyrics, and musical attributes, and cover song generation with different styles and vocal characteristics. Qwen-Music comprises three components: Qwen-Music-Tokenizer, Qwen-Music-LLM, and Qwen-Music-Render. The tokenizer compresses audio into a 25 Hz single-codebook stream of Music Semantic Tokens that preserve semantic and melodic information. The LLM performs autoregressive modeling with a melody-token-based chain-of-thought (Melody-CoT) mechanism that plans melodies before full-song generation, improving musicality, structural coherence, and reference-melody preservation. The renderer enriches discrete semantic tokens with acoustic details to produce high-fidelity stereo waveforms. We train the LLM using a quality-aware pre-training curriculum followed by progressive post-training with supervised initialization, offline DPO, and online GSPO to improve musicality and instruction following. On 600 evaluation inputs, Qwen-Music achieves state-of-the-art results in 13 of 16 objective musicality and audio-quality metrics. Professional evaluators also prefer Qwen-Music over leading proprietary systems. For cover generation, Qwen-Music preserves reference melodies more accurately than Suno V5.5, Suno V5, and MiniMax Cover on the AI-generated reference set, and outperforms MiniMax Cover on most metrics on the real-world popular-song reference set.

Zero-shot instrument cloning aims to render an arbitrary [Target MIDI] sequence with the acoustic identity of an unseen instrument given only a short [Reference Audio, Reference MIDI] pair. Existing methods rely on pre-trained embeddings (e.g., CLAP) that compress the reference audio into a fixed-length vector, discarding fine-grained acoustic cues essential for faithful timbre reconstruction. We present Anysynth, an embedding-free neural synthesizer based on in-context flow matching. By conditioning a Diffusion Transformer (DiT) directly on the uncompressed reference audio and target MIDI, our model allows self-attention to dynamically retrieve acoustic details at generation time. Experiments show that \tool outperforms embedding-based and auto-regressive baselines in audio quality, timbre similarity, and melody adherence. Notably, the model exhibits prompt-length scaling: longer reference prompts yield steadily better timbre fidelity, a property absent in embedding-based systems. To optimize controllability, we further propose Asymmetric Hierarchical CFG, which structurally decouples MIDI and reference-timbre guidance based on their natural semantic-acoustic dependency. This asymmetric formulation avoids gradient conflicts and improves both note accuracy and timbre fidelity, pushing the boundary of expressive, zero-shot instrument cloning. Demo audios are available at https://anysynth-demo.github.io/