Melody

Robotic piano playing has emerged as a standard benchmark for dexterous bimanual manipulation, yet progress on it has been measured almost entirely by note accuracy -- which keys are pressed (pitch) and when (onset) -- leaving the musical dynamics essential for expressive performance neither rewarded nor evaluated. We propose CANTABILE, a dynamics-aware framework for robotic piano performance that (i) closes the score-to-contact loop by conditioning the policy on upcoming velocity goals and mapping each key's angular velocity at onset back to MIDI velocity, (ii) couples a velocity-fidelity reward with an onset-coverage reward, so that dynamics cannot be improved by omitting difficult notes, and (iii) refines a frozen dynamics-aware base policy with an alpha-scaled, finger-only residual that localizes strike-intensity adaptation away from nominal note execution. On EXPRESSIVE-51, a dynamics-rich 51-song subset of RoboPianist, CANTABILE raises Velocity F1 -- jointly measuring pitch, onset, and intensity within a +/-8 MIDI-velocity tolerance -- from 0.06 to 0.34 over the RoboPianist baseline, improves all 51 songs, more than halves matched-note velocity error, and reduces log-mel distance to reference audio by 8%. Intensity-randomized training further enables runtime control of performance intensity without retraining.

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/.

We present ELMOD - Efficient Language Model for On-Device Deployment - a compact (2.7B) German language model designed for efficient inference on resource-constrained hardware. ELMOD was trained on a limited computational budget (55k H100 GPU hours) using exclusively publicly available data. We developed a suite of German-specific data pre-processing, which differ from English-oriented counterparts in their handling of morphological variation, compounding, and orthographic conventions. Furthermore, we introduced a quality filtering and rephrasing step, which increased the instructional quality of the data, improved performance during the annealing phase, and reduced overall compute requirements. Thanks to our architectural model and data choices, including prefiltering, our educational-quality filtering and rephrasal to raise the educational-quality, ELMOD is the strongest performer in its size class (<3B), matching the performance of 7B-parameter models in German.

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.

A generated rhythm-game chart need not reproduce one official note sequence: many note choices can fit the same song and difficulty. Reference-note agreement therefore measures reconstruction, not the full design problem. We introduce ChartGenEval, a six-question evaluation framework with an automatic, corruption-tested core. It leaves note choice open while anchoring timing to the song: the matched official chart supplies only its authored timing map, never target notes. We test each core output with dose-controlled failures rather than assume that a familiar statistic measures chart quality. Across 80 held-out song groups, seven output axes satisfy prespecified sensitivity and invariance criteria in nine nonredundant tests. Complementary stress tests on the 40-song development panel expose two broader lessons. A chart-wide phase estimate recovers injected shifts of 15, 30, and 60 ms while chart-only outputs remain essentially unchanged. Common-pattern rewriting lowers mean language-model perplexity by 37%, and loop collapse raises mean self-similarity by 62%. ChartGenEval therefore reports separate, role-specific signals instead of one proxy or total score. This profile provides automatic feedback for comparing and iterating generators; selected outputs are candidate optimization targets or constraints after task-specific stress testing.

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.

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.

Speech-to-speech (S2S) AI agents are advancing rapidly, yet evaluation lacks interpretable speech-native measures for conversational prosody and rhythm. Because $F_0$, speaking rate, articulation rate, and pausing shift with model-predicted speaker traits and interaction state, pooled human statistics can be poorly calibrated for evaluating a particular output. Using 4000+ hours of dyadic English conversation from the Seamless Interaction dataset, we construct matched reference regimes for $F_0$ mean, $F_0$ expressivity, speech rate, articulation rate, pause ratio, and mean pause duration. We then define a percentile-based evaluation protocol: extract the same metrics from an S2S output waveform, compare them to the closest matched human reference stratum, and report percentile deviations or 5th-95th percentile out-of-regime flags. On held-out human rows, pooled references over-flag state-conditioned $F_0$ expressivity and rhythm, while matched references return flag rates closer to the nominal 10% and make deviation direction interpretable. These outputs serve as behavioral plausibility checks that complement, rather than replace, perceptual and user-centered evaluation.

Text-based singing voice editing (SVE) aims to revise sung lyrics while preserving the original melody, total duration, and non-edited regions. In this paper, we propose MeloDISinger, a flow-matching-based SVE model for melody-aware and duration-preserving editing. Its core module, MeloDRP, predicts fixed-budget duration ratios, enabling explicit span-wise duration control. For melody-aware duration allocation, MeloDRP fuses phonetic cues with pseudo-MIDI melodic context through cross-attention, while temporal-overlap supervision encourages soft phoneme--note correspondences. We further use a flow-matching mel decoder for audio infilling to synthesize edited regions while preserving surrounding context. In addition, we introduce a duration-aware edited-lyric generation pipeline using WhisperX and an LLM to construct feasible evaluation scenarios. Experiments demonstrate state-of-the-art performance in both objective and subjective evaluations.

Recommendation systems are essential in modern music streaming platforms due to the vast amount of available content. While collaborative filtering is widely used to suggest items based on the preferences of others with similar patterns, it performs poorly in domains where user-item interactions are sparse, such as music. Content-based filtering is an alternative approach that examines the qualities of the items themselves. Genre, instrumentation, and lyrics have been explored; however, relatively little attention has been given to emotion recognition. Since a user's emotional state strongly influences their music choice, incorporating mood signals offers a promising direction for personalization. In this work, we propose a mood-conditioned ranking framework that integrates user affective signals into the recommendation process via softmax-based sampling in the energy-valence space. We evaluate the approach via single-blind experiments in which participants compare recommendations from the proposed system against a baseline. The results indicate improved perceived recommendation quality, providing preliminary evidence for the effectiveness of incorporating mood-based inputs into music recommendations.

Publicly available phonocardiogram (PCG) datasets remain limited in size and pathological diversity, constraining both auscultation training and the generalisation of automated heart-sound classifiers. A class-conditional diffusion model for PCG generation is developed in the log-mel domain and synthetic fidelity is assessed using complementary (i) physiology-inspired plausibility metrics, (ii) downstream label-consistency evaluation, and (iii) expert listening. Experiments use the Phy-sioNet/Computing in Cardiology Challenge 2016 dataset (3240 recordings) with recording-level splits. After preprocessing and quality control, 16,749 non-overlapping 4 s clips are mapped to a normalised 1 x 128 x 128 log-mel representation to train a conditional 2D U-Net denoiser with classifier-free guidance. Signal-level plausibility is quantified on reconstructed waveforms using three lightweight metrics: an envelope-autocorrelation rhythm score, an amplitude-based explosion score, and the dominant cycle lag. Synthetic clips preserve similar dominant cycle durations but exhibit reduced envelope periodicity and increased transient burstiness relative to real clips. For downstream evaluation, a ResNet-50 classifier achieves 92.24% accuracy on the held-out real test set and 82.8% accuracy on class-balanced synthetic batches, indicating that generated signals retain discriminative structure relevant to normal/abnormal classification. In a pilot expert listening study (60 clips, two clinicians), most synthetic clips are judged as heart-sound-like, while abnormality sensitivity is low for both real and synthetic 4 s excerpts. Overall, the results provide a practical baseline for diffusion-based PCG generation while highlighting remaining challenges in retaining abnormal acoustic cues and reducing reconstruction-induced artefacts.

Automatic movie trailer generation must select shots from a full-length film and synchronize them with background music. Existing methods either relegate music alignment to post-processing or enforce rigid one-to-one shot-music mappings, overlooking that professional editing rhythm is elastic: rapid cuts accompany high-energy passages while sustained shots span quieter bars. We introduce BEAT, a framework that addresses this gap with two core components: MuVA, a compact music-visual alignment encoder trained with Sinkhorn-regularized two-stage learning, and Bar-DP, an energy-adaptive dynamic programming algorithm that produces elastic many-to-one alignments following musical dynamics. These components are integrated into a five-phase agentic pipeline that grounds the core alignment in learned cross-modal features while coordinating higher-level creative decisions through structured text signals. To support comprehensive evaluation, we also introduce TrailerArena, a benchmark with 20+ metrics across four complementary dimensions. On TrailerArena, BEAT achieves state-of-the-art performance across shot selection, ordering, and perceptual quality, while producing fully composed trailers end-to-end.

We present STRUM (Spectral Transcription and Rhythm Understanding Model), an audio-to-chart pipeline that converts raw recordings into playable Clone Hero / YARG charts for drums, guitar, bass, vocals, and keys without any oracle metadata. STRUM is a multi-stage hybrid: a two-stage CRNN onset detector and a six-model ensemble classifier for drums; neural onset detectors with monophonic pitch tracking for guitar and bass; word-aligned ASR for vocals; and spectral keyboard detection for keys. We evaluate on a 30-song in-envelope benchmark constructed by screening candidate songs on a single audio-quality criterion -- the median 1-second drum-stem RMS after htdemucs_6s source separation. On this benchmark STRUM achieves drums onset F1 = 0.838, bass F1 = 0.694, guitar F1 = 0.651, and vocals F1 = 0.539 at a +/- 100 ms tolerance with per-song global offset search. We report a complete ablation of seven drum-pipeline components with paired per-song Wilcoxon tests, an analysis of ground-truth-to-audio timing distributions in community Clone Hero charts, and a per-class confusion matrix for the drum classifier. Code, model weights, and the full benchmark manifest are released.

Music comprises two core structural components, melody and rhythm, that vary widely across cultures. Whether these components coevolve in a coupled way or follow independent trajectories remains unclear. We introduce a novel computational pipeline to extract vocal melodic pitch-interval and percussive inter-onset timing distributions from 27,628 popular songs across 59 countries, enabling large-scale cross-cultural comparison that bypasses traditional music annotations. Musical similarities between countries aligned with geographic and linguistic relationships, validating our approach. Substantial variation emerged in both melodic and rhythmic structures across countries, yet the diversity of the two components was not significantly correlated, challenging assumptions of coupled evolution. Only rhythmic diversity was significantly associated with ethnic and linguistic heterogeneity, while melodic diversity showed no such association. These findings suggest that melody and rhythm constitute partially independent systems shaped by distinct cultural and evolutionary pressures, rather than components of a single monolithic musical style.

The pervasive integration of AI has enabled Offensive AI: the exploitation of AI for malicious ends across the cyber-kill chain. A critical manifestation is the user attribute inference attack, where AI infers sensitive Personally Identifiable Information (PII) from innocuous public data. We explore how music streaming ecosystems, where users routinely release public playlists, can be exploited for Offensive AI. To quantify this threat, we developed musicPIIrate. This novel tool leverages deep learning architectures that utilize both standalone data representations and the structural information embedded in a user's playlist collection. Our design explores set-based approaches (e.g., Deep Sets) and methodologies modeling relationships between playlists (e.g., Graph Neural Networks), which we also combine to leverage both perspectives. Our approach addresses feature extraction from unordered, variable-length set data, enabling accurate PII prediction. Empirical evaluation demonstrates that musicPIIrate achieves state-of-the-art inference accuracy. The tool successfully infers a wide array of attributes, including: Demographics (Age, Country, Gender), Habits (Alcohol, Smoke, Sport), and Personality Traits (OCEAN scores). musicPIIrate outperforms existing methods, beating baselines in 9 out of 15 attribute inference tasks. To counter this vulnerability, we propose JamShield, a lightweight defensive framework. JamShield strategically injects dummy playlists into an account to dilute the PII-carrying signal. Our analysis indicates that JamShield represents a promising defense, lowering inference F1-scores by an average of 10%. This work provides an initial Offensive-AI benchmark for playlist-based PII inference using architectures that leverage set- and graph-structured data and introduces a defense showing encouraging mitigation effects.

Driven by the escalating global burden of mental health conditions, music-based interventions have attracted significant attention as a non-invasive, cost-effective modality for emotion regulation and psychological stress relief. However, current digital music services rely on static preferences and fail to adapt to users' instantaneous psychological states. Furthermore, directly mapping electroencephalography (EEG) to music generation remains challenging due to severe paired-data scarcity and a lack of interpretability. To address these limitations, we propose MindMelody, a fully functional, closed-loop real-time system for EEG-driven personalized music intervention. MindMelody introduces an emotion-mediated semantic bridge. Specifically, a hybrid Transformer-GNN first decodes real-time EEG signals into global Valence-Arousal states and local temporal affect trajectories. These states are then fed into a Retrieval-Augmented Generation (RAG)-equipped Large Language Model (LLM) to formulate structured intervention plans. Subsequently, a novel Hierarchical EEG Controller injects global affect prefixes and local temporal guidance into a pretrained music backbone, enabling fine-grained controllable audio synthesis. Crucially, the system incorporates a continuous feedback loop that updates generation parameters on the fly based on the user's evolving EEG dynamics. Extensive experiments show that MindMelody improves control adherence and emotional alignment, and receives higher perceived helpfulness in a short-term listening setting, suggesting its promise as an adaptive affect-aware music generation framework.

Regenerating singing voices with altered lyrics while preserving melody consistency remains challenging, as existing methods either offer limited controllability or require laborious manual alignment. We propose YingMusic-Singer, a fully diffusion-based model enabling melody-controllable singing voice synthesis with flexible lyric manipulation. The model takes three inputs: an optional timbre reference, a melody-providing singing clip, and modified lyrics, without manual alignment. Trained with curriculum learning and Group Relative Policy Optimization, YingMusic-Singer achieves stronger melody preservation and lyric adherence than Vevo2, the most comparable baseline supporting melody control without manual alignment. We also introduce LyricEditBench, the first benchmark for melody-preserving lyric modification evaluation. The code, weights, benchmark, and demos are publicly available at https://github.com/ASLP-lab/YingMusic-Singer-Plus.

Since antiquity, musical scales have been explained by harmony rather than melody. This view relies on the mathematically designed scales of a few traditions, and was never directly tested. Testing it requires cross-cultural data and a method that judges theories by what they get wrong as well as right. We provide both, modelling scale evolution across 1,314 scales from 96 countries. A Melody model explains the near-universal preference for step-sizes of 1-3 semitones, and matches independent data from melodies, singing, and psychoacoustics. Harmony does far less: it explains the music-theoretic scales, but in those measured from performance it adds only a weak bias towards fourths, fifths, and octaves. Harmony's importance has been overstated, likely due to the historical focus on music-theoretic rather than measured scales. Melody is the primary driver of global scale structure; harmonic constraints are less impactful and mainly reflect musicological theory over musical performance.