Music Generation

Recent progress in speech dialogue systems requires Text-to-Speech (TTS) models to be faster and more responsive. Modern speech dialogue systems impose two primary requirements on TTS models: low latency and support for streaming inputs and outputs. However, most existing single-codebook LLM-based TTS methods rely on multi-stage pipelines that lack native streaming capabilities. These systems typically suffer from high end-to-end latency due to slow autoregressive prediction and multi-step flow matching. To address these limitations, we propose FlashTTS, an open-source and low-latency streaming TTS framework. FlashTTS introduces a lagged multi-track architecture that natively processes streaming text and speech inputs, thereby eliminating the need for sentence-level buffering. To accelerate acoustic generation, we integrate parallel Multi-Token Prediction (MTP) with an X-pred mean flow matching decoder. This configuration achieves high-fidelity token-to-mel generation in exactly two function evaluations (2-NFE). By jointly optimizing input processing and decoding efficiency, FlashTTS offers a practical foundation for real-time speech dialogue systems. Experiments show that FlashTTS substantially reduces First-Packet Latency to 325ms compared to robust streaming baselines, all while preserving strong zero-shot voice cloning and cross-lingual intelligibility. Speech samples are available. The model code and checkpoints will be released as open source.

AI-generated music detectors can appear robust on standard benchmark splits, yet their deployments require transfer to generator sources absent during training. We study this problem with source-restricted evaluation on \textsc{MoM-open}, an open reconstruction of MoM-CLAM that replaces the non-redistributable real corpus with FMA and MTG-Jamendo while preserving the fake-generator protocol. To isolate the role of representation, we introduce \textsc{CoMoE}, a compact fixed classifier for comparing heterogeneous audio token spaces while keeping the downstream architecture and training recipe unchanged. Experiments show that standard and real-source-restricted splits are nearly saturated, whereas fake-source restriction exposes large differences between token spaces: X-Codec tokens are strongest when training on Udio alone, while MERT-derived tokens are stronger when training on Suno-v3.5 alone. These results suggest that codec-style discrete token spaces should be treated as a primary experimental axis under generator shift in AI-generated music detection. Our code and data are available at https://github.com/MAAP-LAB/CoMoE.

State-of-the-art text-to-music generation systems rely on massive proprietary datasets and industrial-scale compute, making it impossible to disentangle architectural contributions from resource advantages. We propose \textit{score-aware training}, which treats audio-caption alignment score as a direct supervision signal throughout the pipeline. Rather than discarding low-scoring segments, we repurpose them via a CLAP-conditioned Beta noise timestep schedule that routes them to high-noise training regimes, acting as an effective implicit regularizer. Complementarily, segment-level filtering removes the most misaligned examples, and a two-stage caption procedure bridges the distribution gap between verbose training captions and concise inference prompts. A REPA auxiliary loss further transfers structured semantic knowledge from pretrained CLAP and MuQ encoders without additional data. Our 450M-parameter FluxAudio-based system, submitted to the ICME 2026 ATTM Grand Challenge Efficiency Track, ranked 2nd across both tracks in the objective evaluation and 3rd in the Efficiency Track in the final MOS evaluation.

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 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.

As generative platforms such as Suno and Udio reach human-grade audio quality, the scope of AI's utility has expanded across the entire music production workflow. Beyond simple track generation, these advancements have catalyzed the adoption of AI-driven methodologies in diverse forms. These include vocal synthesis, arrangement, and professional mastering. However, current detection research remains largely confined to a binary `AI-or-human' paradigm. It fails to reflect the realities of contemporary music production workflows. In real-world production, AI tools are increasingly used to refine or master human-produced tracks, and human engineers likewise post-process AI-generated material to ensure professional quality. Moreover, users often employ adversarial tactics to bypass AI detectors, such as applying human mastering to AI-generated tracks. This creates a grey area that a simple binary classification fails to capture. In this paper, we define and investigate ``AI Music Tracking'': the challenge of identifying specific AI integration across the multifaceted spectrum of music production. To this end, we introduce HAIM, a dataset with diverse labels for stages of music production. It is designed to isolate stages of AI intervention, including hybrid production and agent-level tracking. Our evaluation of state-of-the-art detectors reveals systemic flaws. By releasing HAIM, we propose a new benchmark that shifts the field beyond binary classification toward a granular, structured evaluation of AI music.

Recent advances in neural song generation have enabled high-quality synthesis from lyrics and global textual prompts. However, most systems fail to model temporally varying attributes of songs, severely limiting fine-grained control over musical structure and dynamics. To address this, we propose SegTune, a Diffusion Transformer-based framework enabling structured and fine-grained controllability by allowing users or large language models (LLMs) to specify local musical descriptions aligned to song segments. These segment prompts are temporally broadcast to corresponding time windows, while global prompts ensure stylistic coherence. To support precise lyric-to-music alignment, we introduce an LLM-based duration predictor that autoregressively generates sentence-level timestamps in LyRiCs format. We further construct a large-scale data pipeline for high-quality song collection with aligned lyrics and prompts, and propose new metrics to evaluate segment alignment and vocal consistency. Experiments demonstrate that SegTune outperforms existing baselines in both musicality and controllability. Visit our project page (https://github.com/KlingAIResearch/SegTune) for codes and more generated songs.

Recent advances in text-to-music generation enable high-fidelity synthesis of structured musical audio, raising growing concerns about data provenance, consent, and training transparency. These models are typically trained on large-scale corpora with little disclosure, leaving no practical mechanism to verify whether a particular audio sample was included in training. In this paper, we investigate black-box membership inference for generative music models, aiming to determine whether a candidate music sample was used during training, given only query access to the deployed system. Our key insight is that training membership induces systematically stronger semantic and structural alignment between a candidate sample and the model's generation conditioned on its caption. We query the target model with the associated caption and measure the relationship between the candidate audio and the generated output in a learned feature space. To capture features that separate members from non-members, we construct paired examples consisting of each track and its caption-conditioned generation from shadow models, and train a music auditor to classify membership. The auditor captures alignment patterns characteristic of training membership and generalizes to unseen target models in a fully black-box setting without access to model parameters or training metadata. Across multiple state-of-the-art music generators, our method achieves up to 98.6% accuracy, with false-positive and false-negative rates as low as 1.9% and 1.0%, demonstrating that reliable training-data auditing is feasible in realistic deployment scenarios.

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.

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.

Detecting AI-generated music is crucial for preserving artistic authenticity and preventing the misuse of generative music technologies. However, existing discriminative detectors typically rely on generated samples during training and often suffer from severe performance degradation when confronted with music produced by unseen generators, which limits their real-world applicability. To address this issue, we formulate a zero-shot setting for AI-generated music detection, where the detector is trained exclusively on real music without access to any generated samples. Under this setting, we propose MusicDET, a generator-agnostic detection framework based on frequency-guided normalizing flows that probabilistically models the distribution of real music features. By evaluating the likelihood of an input sample under the learned real-music distribution, MusicDET enables effective detection of out-of-distribution music signals. Experiments on the FakeMusicCaps and SONICS datasets show that MusicDET consistently outperforms conventional discriminative detectors, particularly when detecting music generated by previously unseen models.

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/

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/

Developing text-driven symbolic music generation models remains challenging due to the scarcity of aligned text-music datasets and the unreliability of automated captioning pipelines. While most efforts have focused on MIDI, sheet music representations are largely underexplored in text-driven generation. We present Text2Score, a two-stage framework comprising a planning stage and an execution stage for generating sheet music from natural language prompts. By deriving supervision signals directly from symbolic XML data, we propose an alternative training paradigm that bypasses noisy or scarce text-music pairs. In the planning stage, an LLM orchestrator translates a natural language prompt into a structured measure-wise plan defining musical attributes such as instruments, key, time signatures, harmony, etc. This plan is then consumed by a generative model in the execution stage to produce interleaved ABC notation conditioned on the plan's structural constraints. To assess output quality, we introduce an evaluation framework covering playability, readability, instrument utilization, structural complexity, and prompt adherence, validated by expert musicians. Text2Score consistently outperforms both a pure LLM-based agentic framework and three end-to-end baselines across objective and subjective dimensions. We open-source the dataset, code, evaluation set and LLM prompts used in this work; a demo is available on our project page (https://keshavbhandari.github.io/portfolio/text2score).

The advancement of diffusion-based text-to-music generation has opened new avenues for zero-shot music editing. However, existing methods fail to achieve stem-specific timbre transfer, which requires altering specific stems while strictly preserving the background accompaniment. This limitation severely hinders practical application, since real-world production necessitates precise manipulation of components within dense mixtures. Our key finding is that, while vanilla cross-attention captures semantic features of stems, it lacks the spectral resolution to strictly localize targets in dense mixtures, leading to boundary leakage. To resolve this dilemma, we propose Polyphonia, a zero-shot editing framework with Acoustic-Informed Attention Calibration. Rather than relying solely on diffuse semantic attention, Polyphonia leverages a probabilistic acoustic prior to establish coarse boundaries, enabling non-target stems preserved precise semantic synthesis. For evaluation, we propose PolyEvalPrompts, a standardized prompt set with 1,170 timbre transfer tasks in polyphonic music. Specifically, Polyphonia achieves an increase of 15.5% in target alignment compared to baselines, while maintaining competitive music fidelity and non-target integrity.

Chord generation is an inherently constrained creative task that requires balancing stylistic diversity with music-theoretic feasibility. Existing approaches typically entangle candidate generation and constraint enforcement within a single model, making the diversity-feasibility trade-off difficult to control and interpret. In this work, we approach chord generation from a system-level perspective, introducing a Retrieval-Edit-Rerank (RER) framework that decomposes the task into three explicit stages: i) retrieval, which defines a stylistically plausible candidate space; ii) editing, which enforces music-theoretic feasibility through minimal modifications; and iii) reranking, which resolves soft preferences among feasible candidates. This separation provides a controllable pipeline, where each component addresses a distinct aspect of the generation process, thereby enhancing both the interpretability and adjustability of the output chords. Through objective metrics and subjective evaluation, our decomposed system outperforms all end-to-end chord generation baselines in balancing chord diversity and music-theoretic feasibility. Ablation studies further confirm the complementary roles of each stage in creative exploration and constraint satisfaction.

Music popularity prediction has attracted growing research interest, with relevance to artists, platforms, and recommendation systems. However, the explosive rise of AI-generated music platforms has created an entirely new and largely unexplored landscape, where a surge of songs is produced and consumed daily without the traditional markers of artist reputation or label backing. Key, yet unexplored in this pursuit is aesthetic quality. We propose APEX, the first large-scale multi-task learning framework for AI-generated music, trained on over 211k songs (10k hours of audio) from Suno and Udio, that jointly predicts engagement-based popularity signals - streams and likes scores - alongside five perceptual aesthetic quality dimensions from frozen audio embeddings extracted from MERT, a self-supervised music understanding model. Aesthetic quality and popularity capture complementary aspects of music that together prove valuable: in an out-of-distribution evaluation on the Music Arena dataset, comprising pairwise human preference battles across eleven generative music systems unseen during training, including aesthetic features consistently improves preference prediction, demonstrating strong generalisation of the learned representations across generative architectures.

Unified audio-visual generation is rapidly gaining industrial and creative relevance, enabling applications in virtual production and interactive media. However, when moving from general audio-video synthesis to music-dance co-generation, the task becomes substantially harder: musical rhythm, phrasing, and accents must drive choreographic motion at fine temporal resolution, and such rhythmic coupling is not captured by unimodal metrics or generic audiovisual consistency scores used in current evaluation practice. We introduce TMD-Bench, a benchmark for text-driven music-dance co-generation that assesses systems across unimodal generation quality, instruction adherence, and cross-modal rhythmic alignment. The benchmark integrates computable physical metrics with perceptual multimodal judgments, and is supported by a curated rhythm-aligned music-dance dataset and a fine-grained Music Captioner for structured music semantics. TMD-Bench further reveals that (i) modern commercial audio-visual models, such as Veo 3 and Sora 2, produce high-quality music and video, while rhythmic coupling remains less consistently optimized and leaves room for improvement, and (ii) our unified baseline RhyJAM trained on rhythm-aligned data achieves competitive beat-level synchronization while maintaining competitive unimodal fidelity. This presents prospects for building next-generation music-dance models that explicitly optimize rhythmic and kinetic coherence.

A common design pattern in high-quality music generation is to handle structure and fidelity in different representation spaces: a generator first models high-level structure, followed by diffusion-based or neural decoding stages that reconstruct fine details. In this work, we explore an alternative view: both may be progressively modeled within a single deep acoustic-token hierarchy. To study this, we build a 64-layer residual vector quantization (RVQ) acoustic representation and propose a two-stage coarse-to-fine generation framework. A backbone model first generates coarse acoustic tokens for the full track, and a super-resolution model then completes finer tokens within the same acoustic token space. The super-resolution stage works at full-track scale and refines tokens layer by layer while running in parallel over time, leading to a fixed 62-step inference process. To jointly improve lyric alignment and fine-detail reconstruction, we further introduce hybrid-attention training: the alignment objective uses causal attention, while layer-wise refinement uses full attention. A key finding is that text-vocal alignment can emerge within pure acoustic-token language modeling, without requiring a separate semantic token stage. Moreover, initializing the super-resolution model from the trained backbone significantly improves convergence and final quality. Taken together, our results suggest that high-quality music generation can be effectively pursued without separating structure and fidelity into heterogeneous representation spaces. Instead, both can be progressively modeled within a unified acoustic-token hierarchy, pointing toward a simpler and more unified path to high-quality music generation.

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.

Generating symphonic music requires simultaneously managing high-level structural form and dense, multi-track orchestration. Existing symbolic models often struggle with a "complexity-control imbalance", in which scaling bottlenecks limit long-term granular steerability. We present SymphonyGen, a 3D hierarchical framework for contemporary cinematic orchestration. SymphonyGen employs a cascading decoder architecture that decomposes the Bar, Track, and Event axes, improving computational efficiency and scalability over conventional 1D or 2D models. We introduce "short-score" conditioning via a beat-quantized multi-voice harmony skeleton, enabling outline control while preserving textural diversity. The model is further refined using Group Relative Policy Optimization (GRPO) with a cross-modal audio-perceptual reward, aligning symbolic output with modern acoustic expectations. Additionally, we implement a dissonance-averse sampling algorithm to suppress unintended tonal clashes during inference. Objective evaluations show that both reinforcement learning and dissonance-averse sampling effectively enhance harmonic cleanliness while maintaining melodic expression. Subjective evaluations demonstrate that SymphonyGen outperforms baselines in musicality and preference for orchestral music generation. Demo page: https://symphonygen.github.io/

This performance presents a duet between two intelligent musical instruments, Sù (to trace back; to go upstream) and Agentier (playing on agentic clavier), and their human performers, connected through feedback loops. Rather than treating AI as a tool that responds predictably to input, both systems operate recursively, where past actions continuously influence future behaviour. The Sù operates in the audio space through latent representation. Its performer uses Make Noise 0-series synthesisers and MIDI controllers to work with a neural feedback synthesis system based on a RAVE model, with a latent feedback loop embedded within the model's internal structure. This allows the instrument to remember and reuse its own internal states, influencing ongoing sound generation through its recent sonic history. The Agentier functions in the control space. Its performer interacts with the system using a Roland S-1 synthesiser and Keith McMillen QuNeo touchpad, where control gestures are routed into a recurrent neural network that feeds back into the synthesis process. Through this feedback loop, the system actively shapes the evolution of control signals over time. Contrasting feedback in the audio and control domains, the performance explores shared agency, resistance, and negotiation between humans and intelligent musical systems. Musical phenomena are co-produced through the entangled states of interaction, rather than through pre-existing system configuration or fixed mappings.

Large Language Models (LLMs) show promise in lyric-to-melody generation, but models trained with Supervised Fine-Tuning (SFT) often produce musically implausible melodies with issues like poor rhythm and unsuitable vocal ranges, a phenomenon we term "constraint violation". To address this, we propose a novel alignment framework that instills musical knowledge without human annotation. We define rule-based musical constraints to automatically generate a preference dataset from an SFT model's outputs. The model is then aligned through a sequential process, first using Direct Preference Optimization (DPO) on paired preference data, followed by Kahneman-Tversky Optimization (KTO) on unpaired negative samples. Experimental results demonstrate that our aligned model substantially reduces rule violations and outperforms strong baselines in both objective and subjective evaluations, generating melodies with substantially improved musicality and coherence. An interactive demo with audio comparisons is available at https://arain233.github.io/AligningMelody-demo.

We introduce the Latent Fourier Transform (LatentFT), a framework that provides novel frequency-domain controls for generative music models. LatentFT combines a diffusion autoencoder with a latent-space Fourier transform to separate musical patterns by timescale. By masking latents in the frequency domain during training, our method yields representations that can be manipulated coherently at inference. This allows us to generate musical variations and blends from reference examples while preserving characteristics at desired timescales, which are specified as frequencies in the latent space. LatentFT parallels the role of the equalizer in music production: while traditional equalizers operates on audible frequencies to shape timbre, LatentFT operates on latent-space frequencies to shape musical structure. Experiments and listening tests show that LatentFT improves condition adherence and quality compared to baselines. We also present a technique for hearing frequencies in the latent space in isolation, and show different musical attributes reside in different regions of the latent spectrum. Our results show how frequency-domain control in latent space provides an intuitive, continuous frequency axis for conditioning and blending, advancing us toward more interpretable and interactive generative music models.

In this paper, we propose a novel approach for generating music based on an artificial intelligence (AI) system. We analyze the features of music and use them to fit and predict the music. The fractional Fourier transform (FrFT) and the long short-term memory (LSTM) network are the foundations of our method. The FrFT method is used to extract the spectral features of a music piece, where the music signal is expressed on the time and frequency domains. The LSTM network is used to generate new music based on the extracted features, where we predict the music according to the hidden layer features and real-time inputs using GiantMIDI-Piano dataset. The results of our experiments show that our proposed system is capable of generating high-quality music that is comparable to human-generated music.

Video-to-music (V2M) is the fundamental task of creating background music for an input video. Recent V2M models achieve audiovisual alignment by typically relying on visual conditioning alone and provide limited semantic and stylistic controllability to the end user. In this paper, we present Video-Robin, a novel text-conditioned video-to-music generation model that enables fast, high-quality, semantically aligned music generation for video content. To balance musical fidelity and semantic understanding, Video-Robin integrates autoregressive planning with diffusion-based synthesis. Specifically, an autoregressive module models global structure by semantically aligning visual and textual inputs to produce high-level music latents. These latents are subsequently refined into coherent, high-fidelity music using local Diffusion Transformers. By factoring semantically driven planning into diffusion-based synthesis, Video-Robin enables fine-grained creator control without sacrificing audio realism. Our proposed model outperforms baselines that solely accept video input and additional feature conditioned baselines on both in-distribution and out-of-distribution benchmarks with a 2.21x speed in inference compared to SOTA. We will open-source everything upon paper acceptance.

Existing music-driven dance generation approaches have achieved strong realism and effective audio-motion alignment. However, they generally lack semantic controllability, making it difficult to guide specific movements through natural language descriptions. This limitation primarily stems from the absence of large-scale datasets that jointly align music, text, and motion for supervised learning of text-conditioned control. To address this challenge, we propose TeMuDance, a framework that enables text-based control for music-conditioned dance generation without requiring any manually annotated music-text-motion triplet dataset. TeMuDance introduces a motion-centred bridging paradigm that leverages motion as a shared semantic anchor to align disjoint music-dance and text-motion datasets within a unified embedding space, enabling cross-modal retrieval of missing modalities for end-to-end training. A lightweight text control branch is then trained on top of a frozen music-to-dance diffusion backbone, preserving rhythmic fidelity while enabling fine-grained semantic guidance. To further suppress noise inherent in the retrieved supervision, we design a dual-stream fine-tuning strategy with confidence-based filtering. We also propose a novel task-aligned metric that quantifies whether textual prompts induce the intended kinematic attributes under music conditioning. Extensive experiments demonstrate that TeMuDance achieves competitive dance quality while substantially improving text-conditioned control over existing methods.

We present ArtifactNet, a lightweight framework that detects AI-generated music by reframing the problem as forensic physics -- extracting and analyzing the physical artifacts that neural audio codecs inevitably imprint on generated audio. A bounded-mask UNet (ArtifactUNet, 3.6M parameters) extracts codec residuals from magnitude spectrograms, which are then decomposed via HPSS into 7-channel forensic features for classification by a compact CNN (0.4M parameters; 4.0M total). We introduce ArtifactBench, a multi-generator evaluation benchmark comprising 6,183 tracks (4,383 AI from 22 generators and 1,800 real from 6 diverse sources). Each track is tagged with bench_origin for fair zero-shot evaluation. On the unseen test partition (n=2,263), ArtifactNet achieves F1 = 0.9829 with FPR = 1.49%, compared to CLAM (F1 = 0.7576, FPR = 69.26%) and SpecTTTra (F1 = 0.7713, FPR = 19.43%) evaluated under identical conditions with published checkpoints. Codec-aware training (4-way WAV/MP3/AAC/Opus augmentation) further reduces cross-codec probability drift by 83% (Delta = 0.95 -> 0.16), resolving the primary codec-invariance failure mode. These results establish forensic physics -- direct extraction of codec-level artifacts -- as a more generalizable and parameter-efficient paradigm for AI music detection than representation learning, using 49x fewer parameters than CLAM and 4.8x fewer than SpecTTTra.

Recent advancements in Text-to-Song generation have enabled realistic musical content production, yet existing evaluation benchmarks lack the professional granularity to capture multi-dimensional aesthetic nuances. In this paper, we propose SongBench, a specialized framework for fine-grained song assessment across seven key dimensions: Vocal, Instrument, Melody, Structure, Arrangement, Mixing, and Musicality. Utilizing this framework, we construct an expert-annotated database comprising 11,717 samples from state-of-the-art models, labeled by music professionals. Extensive experimental results demonstrate that SongBench achieves high correlation with expert ratings. By revealing fine-grained performance gaps in current state-of-the-art models, SongBench serves as a diagnostic benchmark to steer the development toward more professional and musically coherent song generation.

Recent advances in multimodal audio generation have enabled music synthesis from text, visual cues, and other high-level conditions. However, most systems are designed for a single operating mode: either generating music without a reference mixture or extracting a target source from an existing mixture. This fixed-task design limits their use when different combinations of text, visual, and mixture inputs are available. To address this gap, we propose MAGE, a modality-agnostic framework for conditional music generation and mixture-grounded target-source extraction within a shared continuous latent space. Our approach introduces three key components. First, a Controlled Multimodal FluxFormer models the conditional flow from noise to a target audio latent, enabling the same backbone to operate with or without a mixture condition. Second, Audio-Visual Nexus Alignment maps frame-level visual features onto the audio latent sequence, allowing visual evidence to condition the generation process at the audio-token level. Third, a cross-gated modulation mechanism uses the aligned visual representation to regulate intermediate audio features, while text provides separate semantic guidance. We further train MAGE with dynamic modality masking, exposing the same model to text-only, visual-only, joint text-visual, mixture-conditioned, and unconditional configurations. Experiments on the MUSIC benchmark evaluate MAGE under separate protocols for mixture-free generation and mixture-grounded target-source extraction. The results show that MAGE provides a shared conditioning interface across both settings, and that the proposed alignment and gating components improve interference suppression in the extraction task.

Music accompaniment generation aims to automatically produce instrumental accompaniments that are rhythmically, harmonically, and timbrally coherent with a given vocal input, with broad applications in personalized music creation, arrangement assistance, and music education. Existing approaches, primarily operating in the symbolic domain or relying on single-stage audio generation frameworks, commonly suffer from insufficient high-level semantic structure modeling, limited acoustic detail reconstruction, and weak conditional controllability. To address these limitations, this paper proposes HAFM, a Hierarchical Autoregressive Foundation Model for vocal-conditioned music accompaniment generation. The model employs a dual-rate tokenization strategy in which $50$ Hz HuBERT semantic tokens capture high-level musical structure and $75$ Hz EnCodec acoustic tokens encode fine-grained acoustic content, enabling explicit disentanglement of semantic and acoustic representations. Building on this foundation, a three-stage cascaded generation framework is designed to progressively generate semantic tokens, coarse acoustic tokens, and fine acoustic tokens, refining the accompaniment from global structure to local detail. . Objective evaluation on the MUSDB18 dataset demonstrates that the full three-stage model achieves a Fr{é}chet Audio Distance (FAD) score of 1.71, representing an 18.6% relative improvement over the two-stage baseline (FAD = 2.10). Subjective listening tests show that the generated accompaniments achieve a 51.5% preference rate against ground-truth accompaniments in head-to-head comparisons, and substantially outperform the random baseline in terms of rhythmic alignment, harmonic compatibility, and overall musical coherence. The source code and demo are available at https://github.com/HackerHyper/HAFM.git.

We introduce Echoes, a new dataset for music deepfake detection designed for training and benchmarking detectors under realistic and provider-diverse conditions. Echoes comprises 4,468 tracks (131 hours of audio) spanning multiple genres (pop, rock, electronic), and includes content generated by ten popular AI music generation systems. To prevent shortcut learning and promote robust generalization, the dataset is deliberately constructed to be challenging, enforcing semantic-level alignment between spoofed audio and bona fide references. This alignment is achieved by conditioning generated audio samples directly on bona-fide waveforms or song descriptors. We evaluate Echoes in a cross-dataset setting against three existing AI-generated music datasets using state-of-the-art Wav2Vec2 XLS-R 2B representations. Results show that (i) Echoes is the hardest in-domain dataset; (ii) detectors trained on existing datasets transfer poorly to Echoes; (iii) training on Echoes yields the strongest generalization performance. These findings suggest that provider diversity and semantic alignment help learn more transferable detection cues.

Recent text-to-audio models enable adaptive game soundtracks, but small prompt changes can cause abrupt musical shifts. We evaluate MusicGen-small, MusicGen-large, and Stable Audio 2.5 under Minimal Lexical Substitution, Intensity Shifts, and Structural Rephrasing using log-Mel distance, MFCC/chroma-DTW, and CLAP similarity. Stable Audio 2.5 achieves the lowest pooled acoustic distances and the highest audio-audio CLAP similarity under structural rephrasing, while MusicGen-large has the highest audio-audio CLAP similarity under lexical substitutions and intensity shifts. Stable Audio 2.5 also shows the greatest between-seed variation in prompt-to-audio alignment, demonstrating the importance of multi-seed robustness evaluation for adaptive game audio.

We present a family of open-source Music Foundation Models designed to advance large-scale music understanding and generation across diverse tasks and modalities. Our framework consists of four major components: (1) HeartCLAP, an audio-text alignment model; (2) HeartTranscriptor, a robust lyric recognition model optimized for real-world music scenarios; and (3) HeartCodec, a low-frame-rate (12.5 Hz) yet high-fidelity music codec tokenizer that captures long-range musical structure while preserving fine-grained acoustic details and enabling efficient autoregressive modeling; (4) HeartMuLa, an LLM-based song generation model capable of synthesizing high-fidelity music under rich, user-controllable conditions (e.g., textual style descriptions, lyrics, and reference audio). In addition, it provides two specialized modes: (i) fine-grained musical attribute control, which allows users to specify the style of different song sections (e.g., intro, verse, chorus) using natural language prompts; and (ii) short, engaging music generation, which is suitable as background music for short videos. Lastly, HeartMuLa improves significantly when scaled to 7B parameters. For the first time, we show that a Suno-level, commercial-grade system can be reproduced using academic-scale data and GPU resources. We expect these foundation models to serve as strong baselines for future research and to facilitate practical applications in multimodal content production.

We present Sleeping-DISCO 9M, a large-scale pre-training dataset for music and song. To the best of our knowledge, there are no open-source high-quality dataset representing popular and well-known songs for generative music modeling tasks such as text-music, music-captioning, singing-voice synthesis, melody reconstruction and cross-model retrieval. Past contributions focused on isolated and constrained factors whose core perspective was to create synthetic or re-recorded music corpus (e.g. GTSinger, M4Singer) and arbitrarily large-scale audio datasets (e.g. DISCO-10M and LAIONDISCO-12M) had been another focus for the community. Unfortunately, adoption of these datasets has been below substantial in the generative music community as these datasets fail to reflect real-world music and its flavour. Our dataset changes this narrative and provides a dataset that is constructed using actual popular music and world-renowned artists.

The ultimate purpose of generative music AI is music production. The studio-lab, a social form within the art-science branch of cross-disciplinarity, is a way to advance music production with AI music models. During a studio-lab experiment involving researchers, music producers, and an AI model for music generating bass-like audio, it was observed that the producers used the model's output to convey two or more pitches with a single harmonic complex tone, which in turn revealed that the model had learned to generate structured and coherent simultaneous melodic lines using monophonic sequences of harmonic complex tones. These findings prompt a reconsideration of the long-standing debate on whether humans can perceive harmonics as distinct pitches and highlight how generative AI can not only enhance musical creativity but also contribute to a deeper understanding of music.

This study aims to enhance the quality of music generation using Transformers by incorporating meta-information. While Transformer-based approaches are effective at capturing long-term dependencies in musical compositions, the music they generate often suffers from issues such as excessive repetition or duplication of notes, leading to unnatural melodies. To address these limitations, we propose Musical Attention, a mechanism that incorporates meta-information such as bar numbers, key, signatures, and tempos into the attention process. Musical Attention explicitly leverages both the structural properties of music and its associated metadata, enabling the Transformer's attention mechanism to operate more effectively and thereby improving the quality of the generated output. In our framework, each musical note is represented as a combination of five events-pitch, bar number, onset, duration, and velocity in addition to the three metadata elements. The attention mechanism is then modified to reflect the correlations among these eight features, allowing the model to better capture the inherent characteristics of musical composition. Experimental results demonstrate that the model incorporating Musical Attention outperforms prior methods, such as Full Attention and Strided Attention, in terms of musical coherence, variation, and overall quality. Notably, it significantly reduces repetition and enhances the model's ability to generate diverse, harmonically consistent melodies. Musical Attention thus represents a meaningful advancement in AI-driven music generation, facilitating the creation of more natural and expressive compositions.