Text2midi-InferAlign: Improving Symbolic Music Generation with Inference-Time Alignment

We present Text2midi-InferAlign, a novel technique for improving symbolic music generation at inference time. Our method leverages text-to-audio alignment and music structural alignment rewards during inference to encourage the generated music to be consistent with the input caption. Specifically, we introduce two objectives scores: a text-audio consistency score that measures rhythmic alignment between the generated music and the original text caption, and a harmonic consistency score that penalizes generated music containing notes inconsistent with the key. By optimizing these alignment-based objectives during the generation process, our model produces symbolic music that is more closely tied to the input captions, thereby improving the overall quality and coherence of the generated compositions. Our approach can extend any existing autoregressive model without requiring further training or fine-tuning. We evaluate our work on top of Text2midi - an existing text-to-midi generation model, demonstrating significant improvements in both objective and subjective evaluation metrics.

MMAR: A Challenging Benchmark for Deep Reasoning in Speech, Audio, Music, and Their Mix

We introduce MMAR, a new benchmark designed to evaluate the deep reasoning capabilities of Audio-Language Models (ALMs) across massive multi-disciplinary tasks. MMAR comprises 1,000 meticulously curated audio-question-answer triplets, collected from real-world internet videos and refined through iterative error corrections and quality checks to ensure high quality. Unlike existing benchmarks that are limited to specific domains of sound, music, or speech, MMAR extends them to a broad spectrum of real-world audio scenarios, including mixed-modality combinations of sound, music, and speech. Each question in MMAR is hierarchically categorized across four reasoning layers: Signal, Perception, Semantic, and Cultural, with additional sub-categories within each layer to reflect task diversity and complexity. To further foster research in this area, we annotate every question with a Chain-of-Thought (CoT) rationale to promote future advancements in audio reasoning. Each item in the benchmark demands multi-step deep reasoning beyond surface-level understanding. Moreover, a part of the questions requires graduate-level perceptual and domain-specific knowledge, elevating the benchmark's difficulty and depth. We evaluate MMAR using a broad set of models, including Large Audio-Language Models (LALMs), Large Audio Reasoning Models (LARMs), Omni Language Models (OLMs), Large Language Models (LLMs), and Large Reasoning Models (LRMs), with audio caption inputs. The performance of these models on MMAR highlights the benchmark's challenging nature, and our analysis further reveals critical limitations of understanding and reasoning capabilities among current models. We hope MMAR will serve as a catalyst for future advances in this important but little-explored area.

MusFlow: Multimodal Music Generation via Conditional Flow Matching

Music generation aims to create music segments that align with human aesthetics based on diverse conditional information. Despite advancements in generating music from specific textual descriptions (e.g., style, genre, instruments), the practical application is still hindered by ordinary users' limited expertise or time to write accurate prompts. To bridge this application gap, this paper introduces MusFlow, a novel multimodal music generation model using Conditional Flow Matching. We employ multiple Multi-Layer Perceptrons (MLPs) to align multimodal conditional information into the audio's CLAP embedding space. Conditional flow matching is trained to reconstruct the compressed Mel-spectrogram in the pretrained VAE latent space guided by aligned feature embedding. MusFlow can generate music from images, story texts, and music captions. To collect data for model training, inspired by multi-agent collaboration, we construct an intelligent data annotation workflow centered around a fine-tuned Qwen2-VL model. Using this workflow, we build a new multimodal music dataset, MMusSet, with each sample containing a quadruple of image, story text, music caption, and music piece. We conduct four sets of experiments: image-to-music, story-to-music, caption-to-music, and multimodal music generation. Experimental results demonstrate that MusFlow can generate high-quality music pieces whether the input conditions are unimodal or multimodal. We hope this work can advance the application of music generation in multimedia field, making music creation more accessible. Our generated samples, code and dataset are available at musflow.github.io.

AudioX: Diffusion Transformer for Anything-to-Audio Generation

Audio and music generation have emerged as crucial tasks in many applications, yet existing approaches face significant limitations: they operate in isolation without unified capabilities across modalities, suffer from scarce high-quality, multi-modal training data, and struggle to effectively integrate diverse inputs. In this work, we propose AudioX, a unified Diffusion Transformer model for Anything-to-Audio and Music Generation. Unlike previous domain-specific models, AudioX can generate both general audio and music with high quality, while offering flexible natural language control and seamless processing of various modalities including text, video, image, music, and audio. Its key innovation is a multi-modal masked training strategy that masks inputs across modalities and forces the model to learn from masked inputs, yielding robust and unified cross-modal representations. To address data scarcity, we curate two comprehensive datasets: vggsound-caps with 190K audio captions based on the VGGSound dataset, and V2M-caps with 6 million music captions derived from the V2M dataset. Extensive experiments demonstrate that AudioX not only matches or outperforms state-of-the-art specialized models, but also offers remarkable versatility in handling diverse input modalities and generation tasks within a unified architecture. The code and datasets will be available at https://zeyuet.github.io/AudioX/

JamendoMaxCaps: A Large Scale Music-caption Dataset with Imputed Metadata

We introduce JamendoMaxCaps, a large-scale music-caption dataset featuring over 200,000 freely licensed instrumental tracks from the renowned Jamendo platform. The dataset includes captions generated by a state-of-the-art captioning model, enhanced with imputed metadata. We also introduce a retrieval system that leverages both musical features and metadata to identify similar songs, which are then used to fill in missing metadata using a local large language model (LLLM). This approach allows us to provide a more comprehensive and informative dataset for researchers working on music-language understanding tasks. We validate this approach quantitatively with five different measurements. By making the JamendoMaxCaps dataset publicly available, we provide a high-quality resource to advance research in music-language understanding tasks such as music retrieval, multimodal representation learning, and generative music models.

Audio Flamingo 2: An Audio-Language Model with Long-Audio Understanding and Expert Reasoning Abilities

Understanding and reasoning over non-speech sounds and music are crucial for both humans and AI agents to interact effectively with their environments. In this paper, we introduce Audio Flamingo 2 (AF2), an Audio-Language Model (ALM) with advanced audio understanding and reasoning capabilities. AF2 leverages (i) a custom CLAP model, (ii) synthetic Audio QA data for fine-grained audio reasoning, and (iii) a multi-stage curriculum learning strategy. AF2 achieves state-of-the-art performance with only a 3B parameter small language model, surpassing large open-source and proprietary models across over 20 benchmarks. Next, for the first time, we extend audio understanding to long audio segments (30 secs to 5 mins) and propose LongAudio, a large and novel dataset for training ALMs on long audio captioning and question-answering tasks. Fine-tuning AF2 on LongAudio leads to exceptional performance on our proposed LongAudioBench, an expert annotated benchmark for evaluating ALMs on long audio understanding capabilities. We conduct extensive ablation studies to confirm the efficacy of our approach. Project Website: https://research.nvidia.com/labs/adlr/AF2/.

Can Impressions of Music be Extracted from Thumbnail Images?

In recent years, there has been a notable increase in research on machine learning models for music retrieval and generation systems that are capable of taking natural language sentences as inputs. However, there is a scarcity of large-scale publicly available datasets, consisting of music data and their corresponding natural language descriptions known as music captions. In particular, non-musical information such as suitable situations for listening to a track and the emotions elicited upon listening is crucial for describing music. This type of information is underrepresented in existing music caption datasets due to the challenges associated with extracting it directly from music data. To address this issue, we propose a method for generating music caption data that incorporates non-musical aspects inferred from music thumbnail images, and validated the effectiveness of our approach through human evaluations. Additionally, we created a dataset with approximately 360,000 captions containing non-musical aspects. Leveraging this dataset, we trained a music retrieval model and demonstrated its effectiveness in music retrieval tasks through evaluation.

MMVA: Multimodal Matching Based on Valence and Arousal across Images, Music, and Musical Captions

We introduce Multimodal Matching based on Valence and Arousal (MMVA), a tri-modal encoder framework designed to capture emotional content across images, music, and musical captions. To support this framework, we expand the Image-Music-Emotion-Matching-Net (IMEMNet) dataset, creating IMEMNet-C which includes 24,756 images and 25,944 music clips with corresponding musical captions. We employ multimodal matching scores based on the continuous valence (emotional positivity) and arousal (emotional intensity) values. This continuous matching score allows for random sampling of image-music pairs during training by computing similarity scores from the valence-arousal values across different modalities. Consequently, the proposed approach achieves state-of-the-art performance in valence-arousal prediction tasks. Furthermore, the framework demonstrates its efficacy in various zeroshot tasks, highlighting the potential of valence and arousal predictions in downstream applications.

Text2midi: Generating Symbolic Music from Captions

This paper introduces text2midi, an end-to-end model to generate MIDI files from textual descriptions. Leveraging the growing popularity of multimodal generative approaches, text2midi capitalizes on the extensive availability of textual data and the success of large language models (LLMs). Our end-to-end system harnesses the power of LLMs to generate symbolic music in the form of MIDI files. Specifically, we utilize a pretrained LLM encoder to process captions, which then condition an autoregressive transformer decoder to produce MIDI sequences that accurately reflect the provided descriptions. This intuitive and user-friendly method significantly streamlines the music creation process by allowing users to generate music pieces using text prompts. We conduct comprehensive empirical evaluations, incorporating both automated and human studies, that show our model generates MIDI files of high quality that are indeed controllable by text captions that may include music theory terms such as chords, keys, and tempo. We release the code and music samples on our demo page (https://github.com/AMAAI-Lab/Text2midi) for users to interact with text2midi.

Do Captioning Metrics Reflect Music Semantic Alignment?

Music captioning has emerged as a promising task, fueled by the advent of advanced language generation models. However, the evaluation of music captioning relies heavily on traditional metrics such as BLEU, METEOR, and ROUGE which were developed for other domains, without proper justification for their use in this new field. We present cases where traditional metrics are vulnerable to syntactic changes, and show they do not correlate well with human judgments. By addressing these issues, we aim to emphasize the need for a critical reevaluation of how music captions are assessed.