Music Generation

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.

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

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

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.

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.

This work investigates the effect of batch sampling strategies during training for text-to-audio music generation under low-data and small-scale model settings. This paper describes our approach and findings for the ICME 2026 Grand Challenge on Academic Text-to-Music Generation. Training data are clustered using either text embeddings or audio embeddings, and samples with similar characteristics are grouped within the same mini-batch to mitigate gradient interference. The effects of modality and cluster granularity on clustering are analyzed. Results show that clustering based on text embeddings achieves better performance on objective evaluation metrics than clustering based on audio embeddings. In addition, different cluster granularity leads to different behaviors across evaluation criteria: a moderate number of clusters performs best on objective metrics, while a larger number of clusters tends to exhibit music with more coherent structure in listening tests.

Full-length song generation must preserve coherence and musicality, render detailed vocal and accompaniment acoustics, and follow lyrics and prompts. Existing language model-based systems face a structural trade-off: mixed-token modeling preserves vocal-instrument coordination but obscures track-specific details, whereas dual-track prediction improves acoustics but requires longer sequences and weakens global planning. We present LeVo 2, a hybrid LLM-Diffusion framework for controllable full-length song generation. LeVo 2 formulates this trade-off as hierarchical modeling: LeLM first predicts mixed tokens for semantic planning, then predicts vocal and accompaniment tokens in parallel for track-specific refinement, while a diffusion-based Music Codec reconstructs full-length waveforms. A central contribution of this extended version is an aesthetics-guided training schedule for alignment. During pre-training, an automated music aesthetic evaluation framework assigns musicality-tier conditions to large-scale data, providing musicality priors before preference alignment. Progressive post-training applies SFT, large-scale offline DPO, and closed-loop semi-online DPO to separately improve generation quality, controllability, and musicality. Modular extension then trains the Track-Specific LM for acoustic refinement while preserving the aligned semantic planner. This schedule separates musicality learning, controllability alignment, and acoustic refinement, mitigating optimization conflict and the limitations of static offline preference pairs. Expert listening tests and objective evaluations show that LeVo 2 outperforms open-source baselines across six subjective dimensions, and approaches leading commercial systems on several listening metrics. Ablations validate the effects of the training strategy, aesthetics guidance, scaling, and hierarchical architecture.

Interactive music and live performance relies on real-time human expression, but modern generative music AI remains largely absent from this domain due to its prohibitive inference latency and offline rendering paradigm. To provide pioneer musicians with a novel medium for interactive composition, we should fundamentally change these static models into dynamic, playable instruments. In this paper, we propose a framework that bridges this gap. To achieve the low latency required for live interaction without sacrificing structural coherence, we formulate distillation within a streaming autoregressive latent space. Our approach gets rid of the need for expensive paired audio-latent datasets by utilizing prompt-only inputs to synthesize teacher-guided, chunk-wise trajectories on the fly. Because live instruments require high acoustic fidelity, we introduce music-aware consistency objectives, which combine latent, spectral, and temporal-difference losses, to preserve crucial qualities like timbre, transients, and rhythmic stability during accelerated single-step streaming generation. Implemented via parameter-efficient adaptation, our distillation reduces generation steps to achieve a low real-time factor. Crucially, by operating as a continuous autoregressive stream, the system can seamlessly assimilate dynamic human inputs on the fly, allowing users to instantly steer the musical trajectory without interrupting the audio flow. Ultimately, this work recontextualizes generative text-to-music models not as passive prompt-and-wait systems, but as responsive instruments, opening new frontiers for live human-AI musical co-creation.

Generative music systems can now produce impressive audio from text prompts, but audio outputs are difficult to inspect, edit, and diagnose as musical structure. We introduce Libretto, an agent-facing framework for symbolic music generation and revision. Libretto uses an LLM-native grammar with explicit onset slots, voices, and bar-level organization, then evaluates each piece in a corpus-calibrated statistical space over rhythm, harmony, melody, texture, form, and variation. The same structural axes support retrieval, diagnosis, copy-risk control, and iterative self-revision. Across gap filling, reference-guided full-piece generation, gradual morphing, and educational music generation, Libretto turns symbolic music from a raw token sequence into a measurable and editable object for language-model agents.

As artificial intelligence advances into the era of Embodied AI, live musical interaction urgently needs to break free from the limitations of offline, unidirectional generation, achieving a "virtual synergy" capable of low-latency, dynamic interplay. To address this, this technical report presents LK_Jam, a real-time, bidirectional human-computer interactive music generation system based on a lightweight Gated Recurrent Unit (GRU) and a high-performance audio host architecture. In the algorithmic representation layer, this system abandons the computationally expensive fixed time-grid. Instead, it constructs a multi-dimensional sparse event stream integrating time-shifts, continuous harmonic embeddings, and role-aware encoding, enabling the model to accurately capture turn-taking logic and micro-timing in a single-step inference. In the engineering implementation layer, this paper builds a strict multithreaded lock-free communication bridge using C++ and the JUCE framework, incorporating the RTNeural inference engine designed specifically for real-time audio. By utilizing compile-time network topology solidification and a zero-allocation (allocation-free) mechanism, the end-to-end overhead of autoregressive decoding is strictly locked at $O(1)$ complexity, structurally mitigating the risk of audio thread dropouts in DAW plugin environments. Furthermore, this study designs a three-stage progressive training strategy, achieving a leap from basic chord harmonization to expert-level interaction. Preliminary observations and architectural analysis demonstrate that while ensuring musical coherence and interactive role-play, the proposed system successfully challenges extreme real-time engineering constraints, offering a highly robust and deployable technical paradigm for next-generation AI co-performers in live music.

In recent years, emerging research at the intersection of quantum physics and sound synthesis has opened new conceptual and technical possibilities for instrument design and sonic exploration. This study investigates the potential of formal analogies between quantum systems and classically non-deterministic systems for the generation of tangible acoustic phenomena. Specifically, it explores how quantum mechanical concepts can serve not only as metaphors but as operative frameworks in the design of new musical tools. Building on recent theoretical work on stochastic string excitation, we present the design, fabrication, and spectral characterization of a custom-built noise-driven electroacoustic string instrument. The system implements open-loop stochastic electromagnetic actuation without feedback or pitch stabilization. We show that this excitation strategy produces a dense and uniformly distributed spectral regime that differs from conventional deterministic string excitation. This work contributes to a growing field of quantum music creation by offering a hybrid artistic-scientific platform with potential applications in live performance, experimental composition, and science education.

Melodic material in Hindustani music is presented in relation to a tonic, usually sustained by the tanpura, a four-stringed drone instrument. Rooted in Hindustani music, 'The Moving Drone' sets the traditionally static drone into motion that, throughout the performance, gains increasing agency transitioning from reactive to more proactive roles. The work employs four independent loopers in Max/MSP to function as 'virtual' drones. They are populated cyclically in real-time as the vocalist improvises, creating an organic and evolving feedback loop between the voice and the virtual drone. This relationship further evolves melodically by pitch shifting the loops, which introduces a dimension of sudden, explicit movement. Then it changes timbrally, via the integration of GaMaDHaNi, a singer conditioned pitch-to-voice generative AI model to resynthesize looped audio. While current music AI approaches prioritize high-fidelity and realism of generated content which has sparked anxiety over job replacement for the music community, this work intentionally utilizes low-fidelity generative outputs, further necessitating human interpretation and situational context in order to be complete. 'The Moving Drone' positions technology and generative AI within established socio-cultural musical practices, proposing a virtual drone as an active, responsive, and co-creative musical agent.

While song generation and singing voice conversion (SVC) have evolved significantly, they have long been developed isolated: the former lacks zero-shot speaker cloning, while the latter overlooks vocal-accompaniment synergy. To bridge this gap, we propose UniSinger, the first end-to-end framework unifying speaker cloning song generation and accompaniment co-generation SVC. Building on the multimodal diffusion transformer, we construct a unified speaker embedding space transferring speaker representation from SVC to song generation, endowing fine-grained cross-task timbre control. To mitigate multi-task optimization conflicts, we design a curriculum learning strategy using task-specific modality masking to guide the model to gradually master the generative mechanisms among semantic content, vocal timbre, and accompaniment. Experiments show state-of-the-art performance on both tasks and realizes complementary benefits, offering new possibilities for intelligent music production.

Recent advancements in Large Language Models (LLMs) have shown promising results in music understanding and generation tasks. However, existing works remain confined to Western tonal traditions, offering little insight into whether current LLMs can handle structurally distinct low-resource musical traditions. We present the first systematic evaluation of LLM competence in South Asian classical music, a tradition governed by raga, tala-based melodic constraints that impose fundamentally different structural principles from Western harmony-driven music. We ground our evaluation in Hindustani classical theory and Bengali classical forms, including Rabindra and Nazrul Sangeet -- representative low-resource traditions within South Asian classical music. For music understanding evaluation, we introduce a 504-question-answer benchmark spanning raga grammar, cultural knowledge, and symbolic notation reasoning, evaluating 33 LLMs where frontier models such as Gemini 2.5 Pro achieve 85-90% accuracy, while most open-source models remain in the 23-40% range. For music generation, we design a five-level controlled prompting framework and find that even the strongest model produces stylistically faithful outputs only 40% of the time. These results reveal that structural validity and stylistic faithfulness in music generation are distinct objectives and highlight an open challenge for culturally grounded music modeling.

We present LiveBand, a real-time system that generates high-fidelity music accompaniments to live audio input, respecting strict causal constraints. Our method trains a causal transformer generator in the continuous latent space of a pre-trained causal audio autoencoder, using adversarial sequence-level supervision from a discriminator. At each timestep, the generator receives only the causally available mix context and Gaussian noise, and predicts accompaniment latents without access to future mix frames or ground-truth target latents. Training is performed in a single parallel forward pass under causal masking, while streaming inference proceeds autoregressively with a rolling attention state. The model's training and inference computations are matched by design, eliminating teacher forcing and the associated exposure bias. On a multi-instrument music accompaniment benchmark, LiveBand improves over prior work on objective measures of audio quality, beat alignment, and mix adherence, while enabling real-time streaming generation without lookahead into the future on consumer hardware.

Recent song generation systems can synthesize realistic audio, yet generating complete songs remains challenging for two reasons. First, explicit song-level arrangement planning remains limited in existing methods, so models often need to organize overall arrangement development while generating low-level audio details. This often leads to incoherence in arrangements, such as weak section transitions and limited dynamic progression. Second, coarse modeling of different musical parts obscures their distinct roles and interactions, limiting arrangement richness of generated songs. In this paper, we present SketchSong, a hierarchical song generation framework that addresses these issues through song-level sketch planning and fine-grained multi-track modeling. Along the temporal dimension, SketchSong first predicts a compact sequence of high-level sketch tokens derived from compressed audio representations, and then generates audio tokens conditioned on these sketches. This coarse-to-fine process gives the model an explicit arrangement plan before detailed audio generation. Along the track dimension, SketchSong explicitly models four tracks, i.e., vocals, bass, drums and other instruments. This enables the model to capture the roles and interactions of different musical parts more precisely. Experiments on song generation benchmarks show that SketchSong consistently outperforms our baseline on both objective metrics and human listening tests. Despite not employing additional post-training for preference optimization such as lyrics and text-prompt alignments, SketchSong achieves competitive results against strong, post-trained open-source systems, demonstrating the effectiveness of our overall design.

We present DEMON, a real-time diffusion engine that makes the denoising process playable as a live musical instrument: a control surface both broad (many parameters shaped per-frame across the output) and responsive (each control taking effect as fast as its place in the denoising loop allows). Built on ACE-Step 1.5 and StreamDiffusion's ring-buffer architecture with TensorRT acceleration, it sustains up to 12.3 decoder completions per second for 60-second music on a single consumer GPU (RTX 5090), or 11.3 generations per second at our production ring-depth of 4. At these rates denoising parameters become viable as live performance controls, but the ring buffer propagates per-request changes only at its drain rate, a floor of S denoising steps. We contribute four mechanisms. (1) Per-slot heterogeneous denoise scheduling: each ring-buffer slot owns its timestep schedule, so a moving denoise slider is tracked without wiping the in-flight queue, where the upstream global-schedule design must rebuild and discard it. (2) Shared mutable per-step state, giving any parameter consulted at every solver step next-tick effect, bypassing ring-buffer drain. (3) Per-frame source blending: a sampling-time control on the standard SDE re-noise step, giving a framewise transformation-strength axis that complements scalar denoise scheduling. (4) Windowed VAE decode exploiting receptive-field analysis for an 8.0x decode speedup. Together these separate streaming-diffusion parameters into four propagation classes, by onset and convergence latency.

Interactive streaming music generation promises the use of generative models for live performance and co-creation that is impossible with offline models. However, SOTA models exist in the discrete-AR regime, requiring industrial levels of compute for both training and inference. In this work, we investigate whether audio diffusion models, with their wide support in the open-source community but non-streaming bidirectional nature, can be repurposed efficiently into interactive models accessible on consumer hardware. By taking a critical look at the modern pipeline for block-wise outpainting diffusion, we identify critical inefficiencies during inference that result in strictly worse computational efficiency than their discrete-AR counterparts. We propose Live Music Diffusion Models (LMDMs), a simple modification of the generative diffusion process that recovers, and then outperforms, the inference complexity of the discrete Live Music Models (LMMs) through block-wise KV Caching. Unlike LMMs, LMDMs further enable stable post-training alignment through our novel ARC-Forcing paradigm, reducing error accumulation without any explicit RL or reward models. We demonstrate the application of LMDMs in a number of creative domains, including text-conditioned generation, sketch-based music synthesis, and jamming. We finally show how LMDMs can be used as a generative instrument in a real artist-AI collaboration, utilizing LMDMs as a "generative delay" to transform musicians' improvisation live for variable timbral effects while running locally on a consumer gaming laptop.

The project described in this paper explores the informative sonification of data received in real time from a supercomputer. These data capture the current activities in all the nodes of the computer, therefore, their sonification functions as a form of continuous monitoring of the nodes' behavior and, by extension, of the system as a whole. Because such monitoring is theoretically unending, the resulting sonification must be musically capable of conveying information through sound in a way that remains both intelligible and engaging over long durations. Rather than imposing a predefined musical style onto the data, we sought to identify one which the data themselves could plausibly support. From a small set of candidates, we selected EDM because it is a family of genres whose structural and temporal characteristics align well with continuous, data-driven processes and long-term listening. Through this style-based approach, this research builds on the long tradition of computer data sonification while uniquely combining three elements rarely addressed together: monitoring (rather than debugging) as the primary goal, real-time (rather than post-mortem) data interpretation, and generation of virtually infinite and stylistically coherent (rather than incongruous) music.

Text-to-music generation has advanced rapidly, with modern autoregressive and diffusion-based models producing convincing music from natural-language prompts. However, much of this progress relies on large-scale training data and external pretraining, making it difficult to isolate which design choices remain effective when data and pretraining are controlled. We study this setting using a Diffusion Transformer backbone with lyric and timbre conditioning, adapted to an instrumental-only text-to-music task in which the auxiliary lyric and timbre branches receive only degenerate conditioning signals. Through controlled ablations, we find that models retrained without these branches score lower across AudioBox aesthetics, LLM-as-judge, and human MOS, and that reinvesting the saved parameters as additional DiT depth recovers only marginally. This suggests the auxiliary branches may act as training-time architectural anchors whose contribution goes beyond their explicit conditioning content. We validate the same model through comparisons with external instrumental baselines and through our submission to the ICME 2026 Academic Text-to-Music (ATTM) Grand Challenge, where our Performance submission ranked first under both the objective metrics and the subsequent organizer-administered MOS over 35 raters, attaining the highest overall MOS across all challenge submissions, while our Efficiency submission was a finalist that tied for second under the objective metrics.

Generative artificial intelligence (GenAI) has enabled users to synthesize music with text prompts, combining copyrighted lyrics, AI-composed melodies, and synthetic vocals that imitate real artists. This paper examines the legal and technical dimensions of AI-based music creation (e.g., Google Gemini's music tools) under U.S. copyright law. We analyze whether a user who inputs one artist's protected lyrics into a GenAI system, directs it to use another artist's voice or style, publishes the resulting song, and monetizes it violates 17 U.S.C. Section 106's exclusive rights [3]. The analysis integrates Title 17 doctrine (rights of reproduction, derivative works, distribution), 17 U.S.C. Section 114's narrow sound recording protection [4], and the new voice-cloning laws emerging at the state level [20]. We argue that unauthorized lyric copying poses a high risk of infringement of the musical composition, whereas mere AI-generated voice imitation typically falls outside federal sound recording protection and instead implicates state publicity rights [12], [13]. Recent cases and legislation (Concord v. Anthropic [10]; Kadrey v. Meta [11]; Lehrman v. Lovo [12]; Tennessee's "ELVIS Act" [20]; UMG v. Uncharted Labs [14]; etc.) illustrate this split. We map AI technical components (prompt encoding, latent diffusion, neural vocoders, speaker embeddings) to legal risks and identify a regulatory gap: federal law robustly protects lyrics and melody but currently provides limited remedies for synthesized vocal likeness [22], [23]. The paper concludes with policy suggestions for clearer rules on AI music creation.

This paper presents an overview and the technical framework of the ICME 2026 Grand Challenge on Academic Text-to-Music Generation (ATTM). Despite the rapid progress in text-to-music generation (TTM) systems, the field is currently dominated by models trained on massive proprietary datasets with industrial-scale computational resources, creating a significant barrier for academic research. To address this, the ATTM Challenge establishes a fair-play benchmark that requires participants to train generative models strictly from scratch using a standardized, CC-licensed subset of the MTG-Jamendo dataset containing only instrumental music. The challenge is divided into two tracks: the Efficiency Track (limited to 500M parameters) and the Performance Track (no parameter limit). Submissions are evaluated through a multi-stage process involving objective metrics, including Frechet Audio Distance, CLAP score, and a novel Concept Coverage Score (CCS), followed by a subjective listening test. By providing open-source baselines, preprocessing pipelines, reference captions, and public evaluation code for computing FAD and CLAP, this challenge aims to facilitate and promote TTM research in academic contexts.

The I-Ching is one of the most influential texts in Chinese intellectual history, integrating divination, cosmology, and ethical reflection. While Western experimental music, most notably John Cage, has drawn on the I-Ching as a source of chance operation, such appropriations have often detached its formal mechanisms from the interpretive and philosophical processes that give the text meaning. This work, Music of Changing Lines, presents an interactive system that re-centers the I-Ching as a meaning-bearing framework rather than a neutral randomizer. Users perform Wen Wang Fa coin casting, which is accompanied in real time through probabilistic musical processes. The resulting hexagrams and changing lines are interpreted by a large language model, Gemini, in relation to the user's inquiry. This textual interpretation is then translated into a prompt for a generative music model, Lyria, producing a responsive musical realization. By situating AI as an interpretive intermediary rather than a compositional authority, the system foregrounds the I-Ching's ritual, interpretation, and participation as the primary sonic materials. Music of Changing Lines extends process-driven traditions in computer music by demonstrating how generative AI can support participatory, meaning-driven musical processes without prescribing musical structure or replacing human agency.

Retrieval-augmented text-to-music (TTM) systems augment underspecified user prompts using captions retrieved from a music caption dataset. This design introduces an integrity dependency on the music knowledge database. We show that an attacker can poison the database by injecting a small number of crafted music captions, causing the system to retrieve malicious captions that bias prompt augmentation and steer generation away from the user's intended function, without modifying the user prompt, retriever, or generator. To achieve the music caption poisoning attack, we propose a dual-layer caption poisoning strategy that preserves high-level retrieval anchors while injecting low-level acoustic descriptors to steer prompt augmentation and downstream music generation toward an attacker-chosen target intent. In a MusicCaps knowledge database, CLAP retriever, and MusicGen pipeline, poisoned generations move substantially closer to the attacker's target, while remaining comparably aligned with the original user query. These results expose a practical integrity risk for retrieval-augmented creative AI systems. Our demo can be found at: https://yizhu-wen.github.io/Mental-Damage/

Training data attribution (TDA) for music generation must answer two questions that copyright analysis requires, namely which training songs influence a generated output and along which musical aspects the influence operates. Existing methods reduce influence to a single scalar, without revealing which musical aspects are dominant in that influence. We propose ARIA, a framework that decomposes attribution along musical aspects (five for symbolic music, three for audio) and pairs the decomposition with reliability diagnostics computed from the segment-level score matrix. It measures within-group similarity among the top-K attributed tracks against random reference groups drawn from the training pool, and diagnoses the score matrix through its singular value decomposition and column statistics. On a symbolic-music model where attribution ground truth is available through counterfactual retraining, the reliability diagnostics rank four attribution methods identically to that ground truth. On an audio music generation model, ARIA reveals attribution behaviors that vary substantially across TDA methods, flags score matrices whose retrieved tracks are nearly identical across queries rather than reflecting per-query attribution, and characterizes embedding-similarity retrieval baselines by the musical aspect each encoder surfaces. Together, ARIA produces per-aspect attribution evidence aligned with the musical aspects considered under the idea-expression distinction in copyright analysis.

Autoregressive music generation depends strongly on the audio tokenizer. Existing high-fidelity codecs often use residual multi-codebook quantization, which preserves reconstruction quality but complicates language modeling after sequence flattening, as the residual hierarchy imposes strong sequential dependencies and can amplify error accumulation. We propose BandTok, a generation-oriented 2D Mel-spectrogram tokenizer that represents each frame with Mel-frequency band tokens from a single shared codebook. This design yields a physically interpretable time-frequency token grid with a more independent token structure, making it better suited for autoregressive modeling. BandTok improves reconstruction with a multi-scale PatchGAN objective and EMA codebook updates. We further introduce an autoregressive language model with 2D Rotary Position Embedding (2D RoPE) to preserve temporal and frequency-band structure during generation. Experiments show that BandTok improves over residual-codebook tokenizers and achieves strong results in a data-limited setting. The source code and generation demos for this work are publicly available.

Persian music, with its unique tonalities, modal systems (Dastgah), and rhythmic structures, presents significant challenges for music generation models trained primarily on Western music. We address this gap by curating the first large-scale dataset of Persian songs, comprising over 900 hours high-quality audio samples across diverse sub-genres, including pop, traditional, and contemporary styles. This dataset captures the rich melodic and cultural diversity of Persian music and serves as the foundation for fine-tuning MusicGen, a state-of-the-art generative music model. We adapt MusicGen to this domain and evaluate its performance by utilizing subjective and objective metrics. To assess the semantic alignment between generated music and intended style tags, we report the proportion of relevant tags accurately reflected in the generated outputs. Our results demonstrate that the fine-tuned model produces compositions that more align with Persian stylistic conventions. This work introduces a new resource for generative music research and illustrates the adaptability of music generation models to underrepresented cultural and linguistic contexts.

Current methods for creating drum loop audio in digital music production, such as using one-shot samples or resampling, often demand non-trivial efforts of creators. While recent generative models achieve high fidelity and adhere to text, they lack the specific control needed for such a task. Existing symbolic-to-audio research often focuses on single, tonal instruments, leaving the challenge of polyphonic, percussive drum synthesis unaddressed. We address this gap by introducing ``Break-the-Beat!,'' a model capable of rendering a drum MIDI with the timbre of a reference audio. It is built by fine-tuning a pre-trained text-to-audio model with our proposed content encoder and a effective hybrid conditioning mechanism. To enable this, we construct a new dataset of paired target-reference drum audio from existing drum audio datasets. Experiments demonstrate that our model generates high-quality drum audio that follows high-resolution drum MIDI, achieving strong performance across metrics of audio quality, rhythmic alignment, and beat continuity. This offer producers a new, controllable tool for creative production. Demo page: https://ik4sumii.github.io/break-the-beat/