Music Generation

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/.

Scoring open-ended music analysis responses is time-consuming and requires nuanced judgments of harmonic knowledge and formal understanding. This study evaluates the validity and repeatability of GPT-4o-mini for rubric-based scoring of music analysis essays, using teacher mean scores as the benchmark. A dataset of 300 university-level student responses was scored by teachers on four dimensions: Harmony, Form, Reasoning, and Terminology. GPT-4o-mini scored the same responses using three prompting strategies: few-shot prompting with chain-of-thought reasoning (Fs+CoT), retrieval-augmented generation (RAG), and self-consistency based on five internal generations per administration (SC). Each strategy was administered three times with the model, prompt, rubric, and response held constant. Single-pass scores represented an operational scoring condition, whereas median aggregation across three runs was used to examine robustness. Agreement with teacher mean scores was evaluated using correlation, intraclass correlation, Krippendorff's alpha, quadratic weighted kappa, and scoring error indices. Fs+CoT showed the strongest agreement with teacher mean scores in both single-pass scoring and median aggregation. RAG showed systematic over-scoring, whereas SC produced highly repeatable scores but weaker individual-level agreement. Dimension-level analyses showed that scoring performance varied across rubric components, with Terminology generally showing weaker agreement than Reasoning. These findings indicate that GPT-4o-mini can generate stable scores for complex music analysis responses, but prompting strategies produce distinct scoring profiles. Operational use therefore requires strategy-specific calibration, dimension-level validation, and continued human oversight.

Expressive piano performance depends on the sustain (damper) pedal, operated by foot, excluding players who cannot readily use their feet: wheelchair users and others with lower-limb impairments, small children, and some elderly or disabled players. We present bFaaaP (barrier-Free assist as a Pedal), an inclusive, foot-free interaction that operates the pedal from the angle of the player's head: a smartphone tracks head pose with on-device augmented-reality (AR) face tracking and streams a compact command over Bluetooth Low Energy (BLE) to a pedal device. Supported by patent examination, our central claim is not the head-to-pedal architecture (anticipated by prior art) but a quantitative, user-tunable control law -- the patentable "key" to a natural, expressive result: the player presets a small angular dead-zone (offset 3-10 degrees) and a multiplier (10-50), which together fix a secondary, pre-adjustable response speed that reproduces the pianist's intended pedalling. An engineering trick decouples the fast AR sampling from the slower BLE rate. Two co-equal realizations share one controller: a non-destructive robotic actuator for acoustic pianos (Pro), anchored by a pneumatic "airback" (our coined term for an inflatable air-braced anchor) that absorbs the reaction force without modifying the instrument; and an electronic sustain switch for digital pianos (Switch). In a human-subject Auxiliary Pedal Effect Evaluation (APEE) with 15 participants, bFaaaP significantly increased sustained-tone energy (p<0.01) and was statistically indistinguishable from a player's own foot (p>0.05), with no significant difference across classes; one participant with a leg disability and a tracheostomy performed successfully. With nothing worn on the face and fast setup, bFaaaP has run in formal public concerts (2018-2025). We release the full hardware and software as open source.

High-polyphony symbolic music is increasingly used in generation, analysis, and arrangement, yet many downstream tasks require bounded representations with fixed tracks or slots. Converting richly orchestrated scores into compact forms is therefore necessary, but existing approaches relying on heuristic simplification or generic representation-space reduction often fail to preserve structural roles, orchestration compatibility, and playability under strict budgets. To address the issue, this study reformulates the compression problem as a fixed-budget structured routing problem and proposes Unbalanced Optimal Transport for Information Routing (UOT-IR), a training-free framework based on constrained unbalanced optimal transport. UOT-IR combines an orchestration prior, adaptive marginal relaxation, temporal decoding, and playability-aware projection to produce compact and musically coherent bounded representations. This work further studies two practical settings under the same slot budget: template standardization, which maps each input to a predefined bounded template, and adaptive preservation, which retains representative content without assuming an external template. Experiments on the SymphonyNet corpus show that UOT-IR delivers strong overall performance across both settings, including the best Note-F1 in adaptive preservation (0.9120), together with the lowest structural cost (14.7165) and bad structural confusion rate (0.3406) in template standardization. This work establishes a principled paradigm for fixed-budget symbolic music compression, offering a practical path toward compact, structured, and musically coherent symbolic representations.

This study analyzes the intermediate representations of music foundation models (MFMs) and reports the geometric structures used to represent pitch information. By inputting isolated musical notes into trained MFMs and analyzing their principal components, we reveal that the representations form a helical structure reflecting the octave periodicity of pitch. Furthermore, we show that the clarity and geometry of this helical structure vary not only across models but also with the acoustic properties of the input signals. Our analysis provides a novel approach for clarifying the internal mechanisms of MFMs.

Music is often used as a medium for communicating emotion, with performers shaping perceived affect through interpretation. This study addresses the challenge of identifying and predicting subtle changes in perceived emotion that are exclusively due to differences in performance. We focus on classical solo piano music, using a set of 6 commercial recordings of Bach's Well-Tempered Clavier Book I, annotated in terms of valence and arousal. By encoding the recordings through performance-specific features only, we isolate performance information from aspects of the composition itself, which tend to dominate the overall perceived emotional category. A preliminary analysis validates that these features vary meaningfully across performers. We then propose a relative regression framework, Delta-VA, to predict deviations in valence-arousal relative to an ``average'' performance, thereby focusing on the changes in emotion brought about by a specific way of playing a piece. In addition to the standard $R^2$ regression score, we introduce geometric evaluation metrics to assess the preservation of pairwise differences between performances. Results indicate high directional consistency with the ground truth, but also a compression in prediction magnitude, indicating that the model tends to underestimate expressive performance effects.

AI music generators leave predictable spectral artifacts determined by their architecture. Existing detectors exploit these artifacts with near-perfect accuracy on raw generated tracks, but their performance collapses under simple audio manipulations, such as speed modification or pitch shifting. We address this open robustness problem by introducing a frequency-scaling-invariant detection pipeline that aims to prevent this kind of attack by design. Our method maps audio onto a log-frequency axis via a log-STFT remapping. A single learned cross-correlation filter, combined with max-pooling, provides shift invariance at inference time. Training uses a hybrid loss that jointly supervises binary detection and artifact-peak localization, regularizing boundary weights. Because robustness to speed change is built in by design, the detector is also interpretable: it outputs both a binary decision and an estimate of the applied speed-change factor.

Music information retrieval research on piano performance increasingly involves diverse modalities of data and annotations beyond audio and MIDI. We present SKY-Piano, a multimodal piano performance dataset that includes 11 hours of performance recordings of motion, multi-view video, audio, MIDI from 7 professional and 12 amateur pianists along with MusicXML scores. The performance pieces were selected considering playing technique, difficulty, and performer expertise on a shared core repertoire. The motion data include both hand and body motion, released in both flagged form, where samples lost to marker occlusion are marked as unreliable, and imputed form, where those gaps are reconstructed, together with Visual3D body-segment kinematics and other time-synchronized modalities. To easily browse different modalities of data at a glance, we provide an interactive web browser. In addition, we developed a fingering annotation model and tool for deriving pseudo fingering annotations from the MIDI and motion data. Lastly, we present MIDI-to-motion generation through a fine-tuning experiment as a use case of the dataset.

This paper presents, to the best of our knowledge, the first study on detecting human-AI hybrid music tracks created by mixing human-produced and AI-generated stems. Building on recent work showing that AI music detectors can identify decoder-related artifacts in fully generated music, we investigate whether such artifacts remain detectable at the stem level after mixing. Using MUSDB18-HQ database in a two-stem vocals + accompaniment setting, we simulate hybrid mixtures by autoencoding individual stems with a neural codec. We compare two strategies combining AI-generated mix detection and source separation. A naive sequential pipeline, where source separation is followed by detection on separated sources, confirms that artifacts associated with an AI-generated stem are not reliably recovered by generic source separation systems. We therefore propose a parallel architecture in which source separation is only used to estimate source-relative energy within the mixture. We then train simple stem-specific binary classifiers that take as input the generated mix prediction together with the relative energy of the target stem on short audio chunks. Averaging chunk-level predictions yields encouraging track-level results, highlighting the potential of such approaches for detecting AI-generated stems in hybrid music.

Guitar tablature transcription predicts the string and fret position for each note so that the resulting tablature reproduces the target musical part. Prior sequence-to-sequence approaches have shown promising results on large-scale datasets, but their generalization behavior across different dataset scales remains less explored. In this work, we propose a guitar tablature transcription framework with explicit note-event tokenization and regularized training. The proposed decoder token representation incorporates note-event tokens together with TAB tokens, allowing note boundaries, pitch-related events, and string-fret positions to be represented more explicitly. We evaluate the proposed framework on DadaGP, a large-scale dataset, and Francois Leduc, a small-scale dataset. Our method improves tablature accuracy over the Fretting Transformer baseline on DadaGP, with especially strong gains when trained directly on the small-scale Leduc dataset. We further introduce a pitch-validity constrained decoding strategy that masks pitch-invalid TAB candidates during generation rather than correcting them after decoding and simultaneously preserves the original timing and note structure from the input. This constraint improves tablature accuracy and provides a controlled setting for measuring how much error remains after pitch-invalid predictions are removed. Our code will be released at:https://github.com/MusicGuitarTab/GuitarTab

Large language models (LLMs) are increasingly embedded in everyday life and widely used for information seeking, raising concerns about their potential to perpetuate social biases and reinforce stereotypes. In this study, we investigate gender bias in LLMs through the lens of their associations with musical instruments. Building on social-science research on the cultural gender-typing of instruments, we introduce Symphony-Bias, a parallel multimodal dataset spanning text, vision, and audio. We evaluate ten multimodal models with diverse architectures and scales across 22 musical instruments, analyzing how they associate each instrument with three gender categories: {male, female, non-binary}, across three modalities: {text, vision, audio}. Our results show that 92% of instrument-level outcomes align with prior social-science findings, with the harp and drums showing particularly consistent gendered associations across all evaluated models and modalities. We further find that alignment with social stereotypes is weakest in audio, stronger in vision, and strongest in text, suggesting that modality-specific representations can differentially amplify gendered associations with musical instruments.\footnote{The Symphony-Bias dataset will be publicly released upon acceptance of the paper.}

The Information Dynamics of Music model (IDyOM) has played a central role in computational accounts of musical expectation by providing event-by-event estimates of uncertainty and surprise from symbolic musical sequences. However, its reference implementation is difficult to integrate with contemporary Python workflows, and its internal memory structures are not easily accessible for inspection or modification. We introduce GraphIDyOM, a graph-native Python reimplementation of IDyOM that represents long-term and short-term predictive memories as explicit graph objects while preserving the model's variable-order, multiple-viewpoint architecture. GraphIDyOM returns event-wise information content and entropy, exposes internal memory structures for analysis and export, and supports access through a local server. We validate the implementation against the original Lisp IDyOM across single, projected, and multiple-viewpoint configurations, and benchmark its coverage and computational performance against a recent reimplementation. We then demonstrate how the explicit memory representation supports network analysis of learned memories, projection of expectation values onto musical networks, recency-sensitive memory retrieval, and interactive applications. GraphIDyOM therefore provides both a faithful and accessible reimplementation of a widely used model and a platform for studying musical expectation through memory, topology, and interaction.

We present a novel method for AI-generated music detection in scenarios where the models that generated the input samples are unknown to the detector (e.g., from a newly released service). Since 2023, there has been a multiplication of user-friendly AI-music generation services (e.g., Suno, Udio), along with regular updates and new features. There is thus a need to address synthetic content detection in an unsupervised way to adapt to this rapidly changing context. This angle has not been much studied in music yet. We propose to study two tasks. First, discriminating between real and synthetic music. This may be approached in a one-class manner, namely, using some baseline real music and trying to determine what falls outside. Second, zero-shot multi-class identification, which is more similar to an unsupervised clustering task on a mix of real and various AI-music generations, where the goal is to create coherent, high-purity clusters. We propose a combination of a previously proposed artifact-extraction method, on top of which we apply non-negative matrix factorization and simple classification and clustering methods. We achieve excellent performance on both tasks, showing that the proposed methods may be used to monitor large-scale catalogs that may receive AI-generated samples from various newly released generative models.

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.

Digitized musical heritage collections offer new opportunities to examine how stylistic traditions change over historical time, but computational analyses often reduce musical works to static classifications or similarity scores. This article proposes a representation-to-dynamics framework for studying cross-cultural harmonic change in Western art music. Starting from symbolic chord sequences, we derive contextual chord embeddings, project work-level representations into a shared harmonic space, and reconstruct country-level trajectories through temporally causal Kalman filtering. These trajectories are then modeled with DeGroot and Friedkin--Johnsen dynamics, yielding interpretable influence-like networks and estimates of stylistic anchoring. We apply the framework to a curated corpus of 480 dated works from 1875 to 1940 across Russia, France, Germany, Austria, and a heterogeneous ''Others'' group. Models fitted on 1875--1925 are evaluated through recursive forecasts for 1930--1940, testing whether the estimated dependency structure remains informative across a potentially changing historical and stylistic regime. The estimated trajectories and influence patterns are broadly consistent with established music-historical accounts of late Romantic and early modernist exchange, including the close relationship between German and Austrian traditions and historically plausible cross-currents between Russian and French traditions. PCA-variance-weighted estimation provides modest improvements while preserving a single interpretable influence network. Rather than treating the estimated matrices as direct causal evidence, the framework offers a reproducible quantitative layer for cultural heritage research, complementing archival and musicological interpretation.

Recent work in Human-Computer Interaction (HCI) increasingly treats AI models as design materials that have distinctive computational properties to shape design artifacts. Artists learn to work with the model "at play" to explore their emerging properties. The aim of explainability, in this view, is to make visible a crafting and hacking space to enable sustained creative practices with AI. In this chapter, we propose material explainability as a range of activities and artifacts that transform AI models into accessible and inclusive design materials in the workspace of artists, designers, and makers. We present a case study of building a repository of resources to enable artistic explorations of neural audio models in New Interfaces for Musical Expression (NIME) design. Reflecting on our community-building journey and the making of a collection of musical interface designs with a group of artists, we raise three recommendations on enabling the exploration of AI as materials in artistic practices to inspire future XAI design for artists.

Infinite Canons is an ongoing series of canons with infinite solutions. More specifically, each canon is based on a melodic line that can be combined in any number of voices, at any tempo ratios (rational or irrational), and with each voice moving either forward or in retrograde inversion, while maintaining harmonic consistency. This paper describes the structure of these maximally self-similar melodic lines based on two different constructions: 1) a discrete prime-factorization approach yielding self-similarity under all rational ratios, and 2) a continuous logarithmic approach extending this to irrational ratios. In both cases the vertical interval between voices in a tempo ratio of $λ_i / λ_j$ is given by a homomorphism $φ(λ_i / λ_j)$, which is a constant independent of time. Furthermore, under these constructions retrograde inversion collapses to transposition, allowing for all manner of table canons. These structures are demonstrated with suggestive realizations of several different infinite canons. Future work includes a more complete mathematical treatment, musical applications, and an interactive program that allows users to explore an unlimited number of realizations of these pieces.

Traditional conversational recommenders entangle retrieval and response generation within a single text interface, so exact entity cues fade as the dialogue's intent evolves, which compromises explanation credibility. We address this within the ACM RecSys Challenge 2026, which mandates both top-20 ranking and evidence-grounded response generation. This paper presents the third-place solution by team "swyoo" for the Blind-B industry track. We decouple retrieval and response into separate pipelines connected strictly via ranked tracks and metadata. Retrieval combines a hybrid lexical-dense pool for exact matching with a task-adapted pool driven by fine-tuned Qwen 8B adapters. Candidates are calibrated via LightGBM, then routed to an evidence-grounded propose-assign-select (PAS) framework to structure responses. This system also ranked second on the explanation-quality leaderboard in the final blind evaluation. Our findings demonstrate that: (i) isolating retrieval and response preserves both catalog cues and fluid intent; (ii) structuring generation via explicit evidence assignment is key to this near-best-in-class explanation reliability.

Sample retrieval tools can help composers find harmonically compatible material, but querying from a fixed reference sample becomes less informative as arrangements evolve and the harmonic context shifts with each musical decision. We present Reflector, an interactive audio workstation that tracks harmonic combinations as they accumulate on the composer's timeline and adapts retrieval as the arrangement develops. The system is organized around a fixed interval-class oracle: a hand-designed table of weights that scores how pitch-class content combines between sources. An encoder trained entirely on synthetic audio learns to approximate the oracle in a 128-dimensional embedding space, where dot products stand in for compatibility scores at interactive speed. As the composer arranges material on a multi-track timeline, a sweep-line analysis discovers co-sounding regions, computes oracle-weighted centroids, and retrieves against the composite harmonic identity of the session as it evolves. Session centroids projected into a navigable 3-D space reveal structural harmonic relations across the composer's body of work. This paper is a systems account: we give the design rationale for each architectural decision, characterize Reflector's behavior through intrinsic measurements on a working sample library, and describe the implementation. The characterization yields a central finding: the learned embedding preserves the kernel's pairwise judgments while covering the whole library, something the kernel cannot do when used directly as a retrieval rule, because the embedding's normalized geometry cannot express the degenerate solutions that direct scoring favors. The entire pipeline runs locally with no copyrighted training data. Reflector is free, and the training pipeline is open source.

Continuously recorded high-resolution waveform measurements provide rich information about fast power system dynamics. However, they require automated methods to identify events. This problem is addressed by developing a spectrogram-based framework to jointly detect, localize, and classify events in real-world continuously recorded waveforms at the terminal of an Inverter-Based Resource. We recast this problem as a temporal object detection problem on spectrogram images, as they capture the transient and harmonic signatures more explicitly than in raw waveform data. Each time-series waveform is transformed using the short-time Fourier transform, and the resulting per-channel spectrograms are stacked as a tensor for event detection. We benchmark this method against a detector operating directly on raw time-series measurements. Experiments on single-phase disturbances and three-phase faults demonstrate that the proposed spectrogram method consistently improves event detection, localization, and classification over the raw waveform baseline.

In this report, we present a unified song generation framework capable of producing high-quality full-length music from lyrics, text descriptions, and musical attributes. The proposed framework supports three tasks: Lyrics-to-Song Generation, which generates complete songs from text descriptions, lyrics, and musical attributes; Instrumental Music Generation, which creates music without vocals; and Cover Song Generation, which reinterprets existing songs with different styles while preserving their melodic content. Architecturally, our system consists of four main components: a semantic-aware tokenizer, hybird-LM, FullDiT, and a two-level melody module. The tokenizer encodes audio into 8-codebook RVQ tokens for efficient discrete music representation. Based on these tokens, hybird-LM performs hierarchical autoregressive audio-token modeling for full-song generation. To improve audio fidelity, FullDiT performs full-song flow matching in a continuous VAE latent space conditioned on codec tokens, lyrics, and text captions. For cover song generation, the melody module extracts and discretizes melody cues from reference audio to guide generation while preserving the original melodic content. Finally, we investigate DPO, GRPO, and OPD as reward-based post-training strategies for hybird-LM and apply flow-based GRPO to FullDiT to improve musicality and rendering quality. Experimental results on a multilingual automatic benchmark, complemented by the Artificial Analysis Music with Vocals leaderboard, show that the proposed framework achieves competitive performance in the evaluated settings.

Existing symbolic music generation models typically use bars as the basic structural unit. However, human perception of musical phrases often does not align with notated bar lines, leading to long-term structural fragmentation. This paper proposes RPPNet-a two-stage deep learning architecture with variable structural boundaries. It first generates variable-length Rhythm-Pitch Primitive (RPP) sequences, where each RPP encodes note count, rhythm, and contour; then decodes the RPP sequences into concrete notes. The grouping of RPPs is automatically derived from acoustic cues, auditory inertia, and similarity perception based on music psychology. Experiments show that melodies generated by RPPNet are superior in both long-term structure and musicality, with significant improvements across all subjective evaluation dimensions. Ablation studies confirm that the performance gain stems from the structural correctness of the psychological representation, rather than from model capacity. This work offers an interdisciplinary perspective for music generation, integrating music theory, computational modeling, and music psychology.

AI-generated covers often fail through local musical errors that a global quality score cannot locate: the vocal contour may remain recognizable while the accompaniment uses the wrong harmonic function, or the output may stay in key while the arrangement remains incomplete. We present a five-dimensional diagnostic framework covering melodic pitch, harmonic progression, key consistency, style consistency, and arrangement/production quality. The benchmark contains 30 covers generated from 5 source songs by 6 systems, with expert severity ratings and 9 symbolic or acoustic features. Harmonic progression and arrangement had the highest severe-error rates (53% and 47%), whereas key consistency was better preserved. Six covers combined acceptable key consistency with severe harmonic errors. Large-leap ratio had a nominal association with melodic ratings (Spearman rho = -0.429, uncorrected p = 0.018), but no feature correlation survived the nine-test multiplicity reference. An interpretable percentile-rule pilot likewise failed to outperform a fixed majority baseline reliably across 16 dimension-level comparisons. The results separate useful diagnostic evidence from dependable automatic scoring: low-level and symbolic summaries can expose particular symptoms, but they do not replace context-aware musical judgment.

Almost every piece of recorded music you have ever heard was modified before it reached you; commercial releases rarely spring fully-formed from the mind of a musician. Despite the promise of music generation models for one-shot output, such fine-grained iterative refinement workflows are a complementary problem, and largely out of their reach. There is also a gap for musicians: while they can express what they want to hear, not all have the facility with studio production tools to implement the complex set of actions needed to realize these intuitions. We formalize this task as agentic post-production, wherein individual aspects of a song are targeted, refined, and combined into a final track. We argue the bottleneck is data: existing corpora do not reflect how realistic post-production chains map onto the vocabulary musicians and engineers actually use. We argue there is a language for modifying recorded music that is dense, consistent, and learnable. We introduce the Rule-based Instructions for Music Editing (RIME) framework, which generates realistic paired edit-instruction data from any baseline music dataset grounded in canonical methods, design patterns, and constraints derived from real production workflows. RIME leverages POEMS, a new toolkit that combines stem separation, mixing, and common studio effects for use by multimodal agents. We use RIME and POEMS to generate 3,000 pairs of edit instructions and ground truth audio, and use this data to evaluate existing multimodal LLMs as agents on this task, showing persistent challenges in current models' post-production capabilities. We also demonstrate RIME's ability to improve post-production agent performance via supervised fine-tuning. We see RIME as an early step toward iterative musical agents, collaborative systems that could transform music production much as interactive coding agents have reshaped software engineering.

This paper introduces an interactive music system with quantum musical agents that communicate by teleporting quantum states to one another. Human performers interact in real time with agents whose melodic and rhythmic behaviours are encoded as quantum states using Single Qubit Probability Amplitude Modulation (SQPAM) and structured through Quantum Phase Estimation (QPE). Up to three agents are combined within a single quantum circuit, with directed communication via quantum teleportation. We are interested in supporting ambiguous, transformative interactions reminiscent of free Jazz improvisation. Therefore, rather than treating noise and decoherence as limitations, the system embraces NISQ-era constraints as creative affordances, framing agent communication as quantum whispers, that is, deliberate, musically expressive imperfections in state transfer. We provide demonstrations and analyses based on melodic correlation, pitch-set distance, and state fidelity, where a continuum between imitation and divergence can be observed. We developed a tunable interpretation method to assess how agents reinterpret teleported states. This work positions teleportation as a promising interaction mechanism for agent-based quantum computer music and outlines future directions toward distributed ensembles connected via the Quantum Internet.

In this study, we explore how pianists can customize Music Minus One (MMO) concerto accompaniments to match their playing style. Bypassing the need for a symbolic score, often not available digitally, we use three types of audio data: solo piano recordings, MMO orchestra-only recordings, and mixed recordings of both piano and orchestra (e.g., from YouTube). The mixed recording serves as an intermediary reference to align the solo and orchestra parts, with only the orchestral part being adjusted through time-scale modification to synchronize with the user's playing. The main challenge with estimating these alignments is the spectral mismatch between recordings containing different musical parts. Motivated by this application scenario, we introduce Dense-Sparse DTW, a variant of Dynamic Time Warping (DTW) that is designed to improve robustness of alignments to spectral mismatch by focusing on aligning a selected subset of audio frames containing prominent timing cues. We collect and annotate data from four piano concerto movements and establish a framework for generating and evaluating customized accompaniment recordings. On this benchmark, we show that Dense-Sparse DTW has better or comparable performance than more complex approaches based on source separation and spectral subtraction techniques.

Identifying which string produces a given pitch in monophonic electric guitar audio is a classification challenge: a single pitch can often be produced on multiple strings, with timbral differences largely imperceptible to untrained humans. We present Fretiq, a preliminary single-instrument, single-player browser-based string classification system using a 26-dimensional feature representation of frequency band energies, spectral statistics, and 13 Mel-Frequency Cepstral Coefficients. Across five seeds, a shuffled frame-level validation split yields 97.25 +/- 0.32 percent accuracy, with an ablation study identifying MFCCs as the primary accuracy driver (92.09 +/- 0.50 percent without MFCCs). We introduce Comparison Training, a data collection method recording same-pitch pairs on adjacent strings in deliberate alternation. An initial shuffled-split comparison found no net benefit but was confounded by non-comparable validation sets across conditions. A corrected matched evaluation, using an identical recording session held out from training and model selection, shows including comparison-session data improves accuracy by 25.78 +/- 1.46 percentage points; a size-matched control shows this is not explained by training-set size alone. A recording-session-held-out evaluation yields 86.53 +/- 1.23 percent accuracy, closely matching an independently collected free-play evaluation (87.8 percent), both well below the shuffled-split figure, showing shuffled validation substantially overestimates real generalization here. We describe the feature extraction pipeline in Python and TypeScript for training-inference parity and document two implementation failure modes. The system runs entirely in-browser with no specialized hardware required.

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.

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.

Music-driven dance generation aims to produce human motion that is both rhythmically synchronized and semantically consistent with music. While recent neural approaches have achieved impressive visual realism, they typically model motion as a continuous signal and neglect its compositional nature, making generated dances structurally incoherent and difficult to control. In this work, we introduce a structure-aware framework that models choreography as a sequence of atomic movements-semantically interpretable motion events that serve as the building blocks of dance. To construct this atomic movement vocabulary, we first segment large-scale dance data and cluster them into atomic movement groups. We then employ a large language model to semantically relabel and refine the clusters, yielding a set of interpretable and reusable atomic movements. Based on these atomic movement annotations, we design a two-stage generation framework that mirrors the human choreography process. In the atomic movement planning stage, the model predicts the type, duration, and timing of atomic movements conditioned on the input music, forming a symbolic dance allocation. In the completion stage, a transition-aware generator synthesizes smooth and stylistically coherent motion conditioned on the planned structure. Extensive experiments demonstrate that our method produces dances with significantly improved structural coherence, rhythmic alignment, and perceptual naturalness compared to existing baselines, while providing enhanced interpretability and controllable editing through explicit structural representation.

Automatic symbolic music analysis has made substantial progress, yet existing systems are typically designed for a single mode of use, such as full-score prediction, and therefore do not match the broader range of operations that arise in analysis workflows, including partial completion, local correction, and iterative refinement. As a result, there remains a gap between strong benchmark models and systems that can support interactive analytical use. We present a unified framework for symbolic Roman-numeral (RN) analysis that narrows this gap by combining strong predictive performance with direct support for constrained completion and revision. The method is designed to provide a practical trade-off between accuracy and interactive responsiveness by computing expensive pretrained representations once and reusing them during iterative refinement, making powerful pretrained models more amenable to interactive settings. It supports complete score analysis, targeted revision of existing labels, and inference of missing annotations from partial context through a shared modeling framework. Experiments on Dilemmadata, the largest and most heterogeneous benchmark of its kind, show that the proposed approach is a strong RN-analysis baseline while also supporting masked completion from partial labels. Together with a prototype interface for multi-level candidate inspection and editing, these results position automatic RN analysis not only as a prediction problem, but also as a foundation for future interactive tools for music analysis.

Music visualization offers a powerful way to enhance listeners' understanding and experience of music by translating auditory signals into visual forms. However, most existing approaches either rely heavily on lyrics or generate flat, non-immersive videos similar to conventional music videos, which limits their ability to convey the emotional dynamics of music and provide an immersive listening experience. We propose Bring Music The Horizon, an emotion-aware pipeline for music-driven 360$^\circ$ video generation. Given an input song, our work first estimates its emotional trajectory by predicting valence-arousal values at the level of every four bars. These values are then converted into emotion-aware visual guidance using EmotiCrafter, and these guidance vectors can be manipulated by the SEGA framework, which provides fine-grained semantic control for keyframe generation. Finally, image-to-video models are applied to the generated keyframes to synthesize temporally continuous 360$^\circ$ videos for immersive music visualization. Our pipeline generates 360$^\circ$ music visualization videos that reflect the emotional progression and temporal structure of the input song. We demonstrate its capability using songs from different genres and provide qualitative comparisons with From-Sound-To-Sight, a representative audio-to-visual generation baseline, on our project page at https://etoile-et-toi-mp3.github.io/BMTH_Project_Page/.

Musical scales are near-universal in human music, and most readers will feel they already know what a scale is. On closer inspection, however, the literature lacks a consensus definition: which conditions are necessary and sufficient shifts across disciplines and traditions, and the term turns out to cover several distinct objects. I argue this is less a failure of rigour than a sign that ``scale'' names several related objects: prescriptive abstractions, instrument tunings, statistical regularities in performed pitch, perceptual categories, social conventions. I adopt an empirical definition -- a scale as a statistical regularity in pitch organisation relative to a tonic -- that is portable across traditions and computable from recordings, and situate it alongside the other senses of the term. Even this empirical core is not purely observational, as convention enters in deciding which pitches belong to a scale. And a further step of grouping scales into named categories is a separate convention, which I approach through prototype theory and illustrate with examples from Irish music. Separating these layers provides a basis from which scales can be re-examined empirically and cross-culturally.

A common intuition holds that a region's music mirrors the temperament of its people, so that melancholic melodies mark melancholic populations. We test the measurable half of that intuition and reject the inferential half. Using the Essen Folksong Collection, a corpus of thousands of notated folk melodies, we extract real melodic and affect-related features from 2393 deduplicated melodies spanning 16 countries and 7 geographic regions, with the analysis performed on symbolic scores rather than audio. The mode of each melody is computed with a key-finding algorithm rather than read from the file, because the collection's own documentation warns its major and minor labels are unreliable. Cross-country differences in melodic structure are large and highly significant. All 8 tested features differ across countries at p<0.001, with the leap-related features reaching p<10^-90, and China carries a distinctive wide-leap, high-activity signature (arousal composite +1.24 standard deviations, mean absolute interval 2.77 semitones against Germany's 2.17). We then test the inferential half. We correlate the regional musical-affect measures with two published, validated national indices, the World Happiness Report ladder score and the Hofstede individualism index. None of the 6 correlations is significant (0 of 6). The geography of musical affect is real and measurable, but it does not predict how happy or how individualist a population is, and any claim that it does is an ecological fallacy. We release the full extraction and analysis pipeline, and a fail-closed checker re-derives every number in this paper from the data.

Selective state-space models such as Mamba route information through a bank of first-order modes whose input coupling is set by a learned selection mechanism. We give an exact instrument for measuring how a trained model uses these modes. Because the state matrix is diagonal, each channel's output decomposes exactly into per-mode contributions, and a per-(layer, channel, window) Gram tensor yields the exact output error of dropping any subset of modes, offline, at any budget. Validated against the reference implementation to a relative error of $2.3\times10^{-7}$ on the Mamba-1 family where it is exact, the instrument predicts a layer's deployed pruning error to a median relative deviation of $5\times10^{-7}$ over $4{,}464$ configurations, its floor set by the reconstruction. Applying the instrument across the Mamba-1 family (130M--2.8B), the deployed 7B Falcon-Mamba, and Mamba-2, we find that trained models re-allocate their state space with the input: which modes carry the signal migrates across contexts, and at the most affected layers a per-input oracle roughly halves the output error of a fixed mode set. Frozen-signal counterfactuals attribute the migration primarily to the input-dependent write map $B_t$; the timestep usually identified with selectivity carries almost none of it. Input-scheduled mode pruning on this measurement outperforms static, Hankel-based, and layer-adaptive rankings at every scale from 130M to the deployed 7B Falcon-Mamba, and at half the state budget it matches the unpruned model. Because the scheduler reads each window's mode usage from a first pass, this demonstrates realizable headroom; we claim no deployed compute or memory saving.

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.

Large language models can produce superficially legal twelve-tone scores that collapse into degenerate textures. We introduce a neuro-symbolic harness that wraps a language-model proposer in a generate-verify-repair-trace loop with symbolic verification. The complete pipeline improves event-local consistency without claiming whole-piece legality. Across 40 controlled tasks and four paired models, constraint-checked delivery rises from 13.3% under raw generation to 48.1% with the harness; it abstains on the remaining 51.9% of runs. The pass rate of a narrower collision and serialisation-consistency check rises from 33.5% to 58.3%, while degeneracy remains near 0.05, including under adversarial prompting. A blinded evaluation by five experts also shows a descriptive aggregate preference for harness candidates over raw generation in adherence, perceived legality, coherence, and overall quality.

Music creation is fundamentally a process of revision. Yet symbolic music generation remains dominated by paradigms that produce complete sequences from scratch, with limited support for selective modification. Edit-based methods have proven effective for text transformation tasks, but remain largely unexplored for symbolic music. We trace this absence to the representational level: conventional event-based music encodings lack the structural properties required by explicit music editing. In contrast, the BEAT encoding, a beat-grid-anchored representation originally designed for autoregressive generation, possesses structural properties amenable to editing. We propose BeatEdit, the first framework for symbolic music generation based on explicit edit operations, recasting generation as producing new content by editing a draft rather than synthesizing from scratch. BeatEdit comprises three complementary mechanisms along an axis of increasing edit density: per-token sequence tagging for error correction, iterative refinement for accompaniment editing, and tag-then-fill for segment completion. All these mechanisms share a single encoding and pre-trained backbone, achieving higher precision and perceptual quality than autoregressive and diffusion methods across all three tasks, while remaining efficient, with single-pass inference completing in under 100 ms. Cross-encoding evaluation further reveals that encoding design substantially influences editing effectiveness, with notable encoding-method interaction effects. Code is available at https://github.com/Haoyu-Gu/BeatEdit-code

AI music generation has rapidly advanced alongside commercial platforms, raising the need for reliable watermarking for provenance and attribution. However, existing audio watermarking research has largely focused on speech, and applying speech-oriented methods to music is challenging due to music's complex structure and rich acoustic texture. Most existing methods are post-hoc, adding imperceptible perturbations after generation rather than embedding watermarks as part of the content. This makes them fragile under transformations and especially vulnerable to neural codec re-synthesis, which can discard imperceptible residual signals. Moreover, since generation and watermarking are decoupled, the watermarking step can be bypassed or omitted, weakening provenance guarantees. To address these issues, we propose MusicMark, which, to the best of our knowledge, is the first generative watermarking framework for music. Specifically, MusicMark embeds watermark messages into the semantic latent space during generation, incorporating the watermark as part of the musical content and ensuring robustness against diverse attacks, particularly neural codec re-synthesis. To this end, we introduce a watermark adapter into a diffusion-based generation model to embed watermark messages across denoising steps. The adapter and detector are trained with a joint objective that preserves fidelity by constraining watermarked latents close to their unwatermarked reference latents, while improving robustness through attack augmentations. Experiments demonstrate that MusicMark substantially outperforms post-hoc baselines across diverse attacks including neural codec re-synthesis, while maintaining comparable generation quality. We further introduce a cover-song attack, converting the singing voice while preserving musical content, and show that MusicMark remains more robust than post-hoc methods.

Dance-to-music generation is a promising task for applications such as choreography support and automatic accompaniment, where temporal coordination between body movement and sound is essential. In particular, using human joint positions as the motion representation is attractive because they explicitly capture body dynamics while being lightweight, privacy-preserving, and easy to integrate with motion capture and pose-estimation pipelines. A central challenge in this setting, however, is the scarcity of high-quality paired dance-music data, since collecting accurately synchronized pairs is costly and often constrained by copyright and performance rights. This makes it difficult to train end-to-end models solely from paired data. To address this issue, we propose a dance-conditioned music generation framework that efficiently exploits both unpaired and paired data. Our method combines pretrained unimodal encoders for motion and music, beat-guided contrastive pretraining to align their feature spaces, and a ControlNet-style conditioning module on top of a pretrained text-to-audio diffusion model. Experiments on AIST++ demonstrate that the proposed techniques improve both dance-music alignment and audio quality, as confirmed by quantitative and qualitative evaluations. Compared to a state-of-the-art method, our approach achieves superior dance alignment performance and competitive audio quality. Code is available at https://github.com/kmraven/AudioLDM-ControlNet .

Melody skeleton extraction aims to derive a shorter melody that preserves structural notes while removing ornaments. Prior methods rely on hand-crafted reduction rules or note-wise salience classifiers trained with heuristically or procedurally generated pseudo-labels. Such supervision can inherit generator bias and does not explicitly optimize a coherent reduced melody. We introduce MeloBottleneck, a self-supervised framework that represents a skeleton as a length-controlled, order-preserving latent subsequence. A hard-bottleneck extractor selects note events, a rhythmic-closure operator produces a self-consistent skeleton, and a re-ornamentation decoder reconstructs the input melody. Training combines reconstruction, a frozen autoregressive melody prior, ornament-invariant consistency across procedurally ornamented views, and ornament exclusion. We evaluate three regimes: synthetic out-of-distribution ornament-to-skeleton, TAVERN variation-to-theme, and Jiugong ornamented-to-gongche. A matched pseudo-label classifier excels on the synthetic benchmark, while MeloBottleneck transfers better, achieving competitive selection quality on TAVERN and Jiugong. Skeletonized melodies also improve BM25-based fragment retrieval, boosting Recall@K and MRR while reducing query time. Overall, the results suggest that learning skeletons as latent subsequences yields more robust transfer than pseudo-label imitation.

WaveNet-style convolutional networks emulate tube amplifiers and distortion pedals with high fidelity, but their computational cost has confined them to desktops or dedicated DSP hardware. We present a sparse-enabled WaveNet inference engine for iOS that runs heavily pruned neural guitar amplifier models in real time on iPhones. Aggressive iterative magnitude pruning removes 90% of the network weights with no perceptible loss in quality. A custom sparse C++ engine turns this sparsity directly into compute savings, sustaining low-latency real-time operation on a CPU-only iPhone implementation where the dense model cannot. On-device output matches the trained model to within int16 quantization error. At the demonstration, visitors will play a guitar through the app on iPhone hardware and A/B the on-device pruned model against the physical pedal it emulates. Source code and audio examples are available at https://github.com/ryos17/wavenet-imp.

Understanding music requires understanding localized relationships across data modalities, e.g., how time in performance audio maps onto position in a score image. Yet supervision for such local correspondences is difficult to obtain-in practice, we often only have access to coarser global supervision like paired segments of audio and images. To address this gap, we propose FuSiLi (Fused Sinkhorn-Localized Similarity), a similarity score for multimodal contrastive learning operating directly on local image patch and audio frame features via Sinkhorn-based soft alignment. We show that FuSiLi (i) effectively learns local relationships, (ii) requires only global supervision, and (iii) retains the global alignment capabilities of conventional contrastive approaches. We fine-tune pretrained CLIP and CLAP encoders on pairs of raw sheet music images and audio using a hybrid contrastive objective combining FuSiLi with conventional global similarity. We evaluate on cross-modal retrieval and frame-level alignment tasks against a range of global and local baselines, showing that our approach outperforms them on local alignment while remaining competitive on retrieval.

Self-supervised learning for symbolic music has advanced largely through token-level pretraining, but such representations remain tied to tokenizer-specific sequences and often provide time-span-level embeddings only indirectly. In this paper, we propose ARIMA, a reconstruction-grounded latent predictive framework for symbolic music that learns compact window-based representations directly from data. ARIMA encodes each fixed-duration window into a continuous latent representation, trains a causal predictor with contrastive next-latent prediction, and grounds the encoder through structured reconstruction of music elements. This design preserves local musical details while modeling temporal progression across windows. We evaluate ARIMA on downstream tasks spanning various levels of music understanding. Results show that ARIMA is particularly efficient and effective on tasks involving harmonic, timing, and cross-performance retrieval, while remaining competitive with much larger baselines on other tasks. Ablations further show that next-latent prediction is essential for temporally integrated representations, and that structured reconstruction stabilizes latent learning without requiring explicit variance regularization. The code is at https://github.com/AndyWeasley2004/symbolic_music_wm.

Procedural generation of music game levels is an exciting yet challenging problem, as levels must translate musical structure into interactive sequences of timed gameplay events. Most existing approaches formulate this task by frame-based representations, dividing audio into uniform time grids and predicting events at each frame. This makes gameplay events implicit across many frames. As a result, it is hard to describe event-level timing relations and longer-range structure found in human-authored levels. We use procedural generation as a practical setting to study how musical cues map to interactive event sequences. Inspired by event-based symbolic music modeling, we propose a token-level sequence formulation that casts level generation as a multimodal sequence-to-sequence problem. Conditioned on an audio excerpt and level metadata, the model generates a token sequence alternating gameplay-event and beat-shift tokens. This explicitly represents actions and their relative timing in beat space. Based on this formulation, we build a Transformer model. It outperforms representative frame-level baselines under event-level evaluation. It also enables systematic analysis of how audio supports rhythm-aligned event prediction beyond metadata conditioning.

We present MulTTiPop, a dataset of pop music segments and their associated multitrack MIDI recordings for the evaluation of automatic music transcription models. MulTTiPop contains 572 segments of popular music totaling 3.5 hours of audio, and contains songs from diverse genres and decades from the 1930s to 2000s. To collect this dataset, we perform metadata-based matching on song segments from the Lakh MIDI and TheoryTab datasets, manually identify an anchor beat between the audio and MIDI, then use beat tracking on the audio and warp the MIDI to match its tempo and timing. We evaluate state-of-the-art automatic music transcription models on MulTTiPop and find substantial room for improvement, with the best model achieving 38% Onset F1. More details and sound examples of MulTTiPop are available at https://gclef-cmu.org/multtipop.

Heterogeneous graph built on notes, lyric syllables, and accompaniment events is a natural representation of symbolic music score, providing a substrate for both philological analysis and computational tasks. Music features are therefore well-captured by graph geometry and its properties. This representation has proved effective for analytical tasks as cadence detection, voice separation, and stylistic classification. In the present work, the reduction of harmonic complexity of a music score on graph, by preserving task-relevant information, relation between notes, and graph structure is investigated. A compression scheme for the piano subgraph of vocal-pianistic scores, built on binary wedge partitioning trees, is proposed. The wedges are generated through a fully adaptive greedy algorithm that recursively minimizes the $L^2$-error within a six-dimensional Tonnetz embedding of musical notes. The partitioning process employs a splitting criterion based on harmonic distance, resulting in regions that accurately reflect the intrinsic harmonic relationships among notes. The reconstructed music scores obtained through piecewise-constant functions and the mean values of the notes inside each wedge are used as a new simplified scores human-readable and playable. Some experiments on a corpus of symbolic music scores of three different composers are performed to assess the proposed approach.

Singing voice synthesis (SVS) has progressed rapidly, yet its ability to generalize across diverse musical genres remains underexplored. Existing benchmarks are heavily biased toward pop music, limiting systematic analysis of genre-dependent behavior. We introduce MMGenre, a benchmark for multi-genre SVS diagnosis, supported by an automatic pipeline for constructing genre-aligned music scores. MMGenre spans 10 major genres and 26 subgenres, enabling comprehensive analysis of genre-aware synthesis. Extensive evaluation of representative SVS models reveals limited genre discrimination: synthesized vocals across genres exhibit highly similar acoustic characteristics and weak separability. While zero-shot genre adaptation yields only marginal improvements, lightweight genre-specific continued training leads to substantial gains. MMGenre provides a standardized framework for multi-genre SVS evaluation and exposes critical challenges in achieving genre-aware singing voice synthesis.

Music aesthetic assessment is a challenging yet underexplored problem, requiring models to capture fine-grained, multi-dimensional human perceptual judgments. Progress in this area has been limited by the lack of large-scale datasets with structured aesthetic annotations. We introduce MADB, a large-scale dataset and benchmark comprising 9,999 tracks annotated by 30 trained annotators. Each track is rated by around 10 annotators across 10 perceptual dimensions and one overall score, with additional textual comments for multimodal analysis. We establish a unified evaluation framework over multiple pretrained models. Results reveal substantial gaps between model predictions and human judgments, exposing key limitations of current approaches. MADB provides a new benchmark for human-aligned music understanding. Project page: https://github.com/knownree/madb

This paper presents the design and evaluation of a maintainable hybrid generative architecture for automated music harmony generation from melody. The proposed system combines quantum-inspired candidate exploration over overlapping melodic contexts with explicit rule-based optimization to balance generative flexibility and structural control. The architecture is evaluated using explicit and reproducible metrics covering structural coherence, functional agreement, harmonic similarity, and robustness. The results show that the proposed approach produces harmonizations that preserve tonal structure and cadential behavior while allowing multiple valid harmonic realizations. Furthermore, the optimization layer improves structural coherence, stability, and predictability without requiring a training corpus. The study demonstrates that transparent and controllable hybrid generative systems can be systematically designed and evaluated within the context of Information Systems Development.

Music represents a cornerstone of human culture, existing digitally across diverse modalities, including audio, symbolic encodings (e.g., MIDI, MusicXML), and sheet music. Despite the advancement of Multimodal Large Language Models (MLLMs), current music benchmarks face three major limitations. First, large static benchmarks are resource-intensive to evaluate, and it remains unclear how their results transfer to diverse kinds of music beyond those included in the benchmark. Second, benchmarks claiming to measure "music understanding" often fail to require music perception. Third, they do not support systematic performance comparisons across musical modalities. To overcome these issues, we introduce the Music I Care About Meta-Benchmark (MusICA-MetaBench), a framework that automatically derives on-demand benchmarks directly from user-provided data. By leveraging structured symbolic representations (e.g., MusicXML) and our pre-defined question templates, we build multiple-choice question-answer pairs that probe music perception competencies, aligned with music pedagogy, across audio, music notation images, and symbolic files. We demonstrate our framework with the ChoraleBricks dataset, and experimentally determine benchmark sizes that ensure statistically reliable model comparisons for this setup. By comparing against text-only and white-noise baselines, we show our questions do measure music perception. Ultimately, MusICA-MetaBench represents a significant advancement in the cross-modal assessment of music perception for MLLMs. By proposing a dataset-specific benchmarking paradigm, it enables efficient on-demand evaluation of music perception capabilities.

We present VTMR, a two-stage framework for Video-To-Music Recommendation. In Stage1, VTMR aligns comprehensive video and music signals in a joint audio-visual-text representation space and efficiently retrieves semantically compatible candidates using coarse global embeddings. In Stage2, it reranks the retrieved candidates by attending to the temporal sequences of both video and music, thereby capturing fine-grained temporal correspondence. Evaluated on the video-to-music recommendation task, the multimodal retrieval stage improves R@10 from 14.2 to 15.9 and Median Rank from 75 to 58 over the strongest baseline; the temporal reranker further boosts R@10 to 18.3 and Median Rank to 46, demonstrating complementary gains from richer query encoding and temporal alignment. A human preference study confirms that VTMR is on par with a commercial baseline in overall preference, while outperforming a generative baseline in music quality.

Chamber music, as a highly precise multi-part interactive system, contains a logic of "role assignment and dynamic interaction" that provides an extremely valuable blueprint for exploring human-computer collaborative composition paradigms. Addressing the lack of role perception capabilities in existing deep music generation models during polyphonic interactions, this paper conducts an interdisciplinary analysis of Haydn's String Quartet in D Major, The Lark (Op. 64, No. 5). We propose a novel research path: "Classical Morphology Qualitative Analysis-Electroacoustic Quantitative Measurement-Machine Representation Reconstruction." The study first utilizes auditory analysis to dissect the counterpoint morphology of the leading voice and the underlying groove in the first movement. Subsequently, it introduces spectrum and dynamic feature analysis tools from a Digital Audio Workstation (DAW) to translate subjective auditory perception into objective, measurable physical parameters. Building on this, the paper introduces a fundamentally new approach to low-level computer feature extraction: completely abandoning the traditional mechanical quantization grid, introducing Event-based Timestamps to record the duration of micro-timing, and transforming acoustic features into an independent "Role-Aware Encoding" as an aesthetic heuristic mechanism (a phenomenological anchor). This study not only completes the logical loop spanning classical analysis, electronic music mapping, and AI symbolic generation but also establishes a profound theoretical foundation-from the perspectives of interactive aesthetics and media philosophy-for constructing human-computer collaborative music systems imbued with "social attributes" and "otherness awareness."

We propose a novel pipeline, Legato 2, for extracting symbolic notation and semantic knowledge from images of sheet music. Legato 2 features the first large-scale neural model for optical music recognition (OMR) to operate sequentially on a system-by-system basis, following the horizontal lines of notation as they are read on the page, rather than treating the page as an undifferentiated image, enabling better scaling to arbitrarily long inputs. It is also the first OMR model capable of generating symbolic transcriptions that include embedded textual content, such as titles and annotations. The pipeline combines system-level segmentation with an autoregressive vision-LM to capture both local notation details and score structure. Across multiple datasets, Legato 2 consistently outperforms prior state of the art. We also show that symbolic transcriptions complement visual inputs for frontier language models, improving their interpretation of dense musical documents. Legato 2 establishes new state-of-the-art performance in both OMR and downstream sheet music understanding.

AI coding agents are black boxes: we cannot inspect how they generate code, but we can inspect what they change. This distinction matters for search-based software engineering (SBSE), where techniques such as genetic improvement (in the performance-optimisation application we study) depend on mutation operators that reflect how code is actually transformed. Fewer than 1% of the 33,596 agent PRs in AIDev-pop target performance, making each case a rare window into otherwise opaque agent behaviour. We classify 1,254 performance-relevant diff hunks from 216 of these PRs, spanning five agent systems, against the 18-category syntactic mutation taxonomy of Even-Mendoza et al. (2025) using a dual-LLM intersection pipeline. Three categories dominate: name modification (37.0%), object creation (26.4%), and type change (22.7%), a profile markedly different from prior GI corpora where no change accounted for 84%. Each agent's deployed system commits to a distinctive mutation vocabulary, and each performance strategy activates a largely disjoint category subset. Agent identity and target strategy are therefore informative priors that narrow the effective SBSE operator space. Replication package: https://github.com/5uper6rain/ssbse-challenge-2026

Imagine two users interact with the same LLM. One has been told it is the cutting-edge flagship model; the other, an older, weaker model. They walk away with markedly different ratings of its usefulness and intelligence, yet they used the same model. In a controlled study, 162 participants each used one of six LLMs from two families across three collaborative tasks, after first viewing a landing page that matched, overstated, or understated their model's true capability. This pre-interaction framing shifted user opinions and interaction behavior while task performance did not. Oversold users rated the model more favorably and used more directive prompting, while Undersold users wrote longer, more collaborative prompts. The quality of what users and the model produced together depended only on the model's true capability, not on what users were told. Participants' change in model impressions after use, measured across two impression measures, was not predicted by task performance ($β= -0.01$ and $0.11$, both n.s.), but by whether the model met users' expectations ($β= 0.47$ and $0.50$, both $p < .001$) and how confident they felt working with it ($β= 0.47$ and $0.36$, both $p < .001$). After interaction, users are still rating the pitch, not the product: user-elicited LLM evaluations, including the preference data driving public leaderboards, measure expectation management at least as much as the model itself.

This paper introduces a quantum-inspired computational framework for harmonic decision-making in music. The proposed approach formulates harmonization as an optimization problem within a structured combinatorial space, where multiple candidate chord sequences are evaluated under interacting musical constraints. The model combines an interference-based harmonization stage with a classical optimization procedure grounded in tonal harmony. The quantum-inspired component enables the parallel consideration of multiple harmonic alternatives, while the classical stage refines the resulting sequences to ensure structural coherence and stylistic plausibility. The framework is evaluated on selected musical examples, including Autumn Leaves and It's a Long Way to Tipperary. Quantitative analysis shows that the optimization stage significantly reduces chord density, increases harmonic stability, and improves functional organization. At the same time, expert evaluation highlights the importance of stylistic context, demonstrating that increased harmonic complexity is not always perceived as more natural. The results suggest that harmonic generation can be interpreted as a structured decision-making process in a constrained search space. The proposed approach provides a computational model that integrates domain-specific knowledge with an interference-based search mechanism. Although preliminary, this work indicates that quantum-inspired methods may offer a useful framework for modeling complex decision processes in creative domains such as music. The proposed framework contributes to ongoing research on quantum-inspired models of cognition and decision-making in complex biological and creative systems.

Architecture and music have been linked through proportion and temporal structure, yet architectural geometry is rarely viewed as a source of generative music. Revisiting Xenakis' one-directional transformation from string glissandi in Metastaseis to the ruled surfaces of the Philips Pavilion, we invert this workflow and sonify the completed Pavilion as a temporal composition. We reconstruct the Pavilion as nine ruled surfaces, extract their governing ruling lines, and subdivide each surface into structural lines and spatial sampling points. Four evenly spaced ruling lines per surface generate continuous string glissandi, while 3357 sampled points develop five density-based energy blocks and a sparse brass and woodwind subsequence. Implemented in Python, the system produces MIDI rendered in Ableton Live, accompanied by a real-time 3D visualization that reveals architectural motion, stasis, and structural contrast through sound and image. In general, this work paves the way for the transfer of architectural geometry as a performable musical structure, extending Xenakis's architectural and musical thinking to sonification and interactive music practice.

Crossmodal correspondences between sound and taste are well established in psychology and neuroscience, but largely absent from content-based multimedia retrieval. We formalise taste-from-audio prediction as a content-based music information retrieval benchmark over a perceptually validated multi-source corpus, comparing ten frozen audio encoders from the four HEAR families under a shared multi-task regression head, with gated late-fusion as a configurable variant. In order to assess the effectiveness of the models, we compute absolute error and rank correlation. The strongest systems predict the five tastes within a macro RMSE of 0.134; on held-out real music their error is less than half a single rater's deviation from the consensus (RMSE 0.13 vs. 0.28), so the model tracks the group consensus more closely than an average human rater, and well below the previous state of the art baseline (0.219). On absolute error the encoders are statistically flat, with a single VGGish matching the best fusion, but gated late-fusion's advantage is confined to rank correlation (macro Pearson r 0.724 vs. 0.666). Operationalised as a content-based retrieval index, the predicted taste space ranks a 309-item pool far more faithfully than a CLAP-text baseline, which sits at chance; ridge probes and an audio-bandstop knockout read the strongest representations against documented sound-taste correspondences.