Music generation is the task of generating music or music-like sounds from a model or algorithm.
Music often shares notable parallels with language, motivating the use of pretrained large language models (LLMs) for symbolic music understanding and generation. Despite growing interest, the practical effectiveness of adapting instruction-tuned LLMs to symbolic music remains insufficiently characterized. We present a controlled comparative study of finetuning strategies for ABC-based generation and understanding, comparing an off-the-shelf instruction-tuned backbone to domain-adapted variants and a music-specialized LLM baseline. Across multiple symbolic music corpora and evaluation signals, we provide some insights into adaptation choices for symbolic music applications. We highlight the domain adaptation vs.~preserving prior information tradeoff as well as the distinct behaviour of metrics used to measure the domain adaptation for symbolic music.
This paper introduces TRAILDREAMS, a framework that uses a large language model (LLM) to automate the production of movie trailers. The purpose of LLM is to select key visual sequences and impactful dialogues, and to help TRAILDREAMS to generate audio elements such as music and voiceovers. The goal is to produce engaging and visually appealing trailers efficiently. In comparative evaluations, TRAILDREAMS surpasses current state-of-the-art trailer generation methods in viewer ratings. However, it still falls short when compared to real, human-crafted trailers. While TRAILDREAMS demonstrates significant promise and marks an advancement in automated creative processes, further improvements are necessary to bridge the quality gap with traditional trailers.
Audio codecs power discrete music generative modelling, music streaming, and immersive media by shrinking PCM audio to bandwidth-friendly bitrates. Recent works have gravitated towards processing in the spectral domain; however, spectrogram domains typically struggle with phase modeling, which is naturally complex-valued. Most frequency-domain neural codecs either disregard phase information or encode it as two separate real-valued channels, limiting spatial fidelity. This entails the need to introduce adversarial discriminators at the expense of convergence speed and training stability to compensate for the inadequate representation power of the audio signal. In this work we introduce an end-to-end complex-valued RVQ-VAE audio codec that preserves magnitude-phase coupling across the entire analysis-quantization-synthesis pipeline and removes adversarial discriminators and diffusion post-filters. Without GANs or diffusion, we match or surpass much longer-trained baselines in-domain and reach SOTA out-of-domain performance on phase coherence and waveform fidelity. Compared to standard baselines that train for hundreds of thousands of steps, our model, which reduces the training budget by an order of magnitude, is markedly more compute-efficient while preserving high perceptual quality.
While existing Singing Voice Synthesis systems achieve high-fidelity solo performances, they are constrained by global timbre control, failing to address dynamic multi-singer arrangement and vocal texture within a single song. To address this, we propose Tutti, a unified framework designed for structured multi-singer generation. Specifically, we introduce a Structure-Aware Singer Prompt to enable flexible singer scheduling evolving with musical structure, and propose Complementary Texture Learning via Condition-Guided VAE to capture implicit acoustic textures (e.g., spatial reverberation and spectral fusion) that are complementary to explicit controls. Experiments demonstrate that Tutti excels in precise multi-singer scheduling and significantly enhances the acoustic realism of choral generation, offering a novel paradigm for complex multi-singer arrangement. Audio samples are available at https://annoauth123-ctrl.github.io/Tutii_Demo/.
Current audio foundation models typically rely on rigid, task-specific supervision, addressing isolated factors of audio rather than the whole. In contrast, human intelligence processes audio holistically, seamlessly bridging physical signals with abstract cognitive concepts to execute complex tasks. Grounded in this philosophy, we introduce Bagpiper, an 8B audio foundation model that interprets physical audio via rich captions, i.e., comprehensive natural language descriptions that encapsulate the critical cognitive concepts inherent in the signal (e.g., transcription, audio events). By pre-training on a massive corpus of 600B tokens, the model establishes a robust bidirectional mapping between raw audio and this high-level conceptual space. During fine-tuning, Bagpiper adopts a caption-then-process workflow, simulating an intermediate cognitive reasoning step to solve diverse tasks without task-specific priors. Experimentally, Bagpiper outperforms Qwen-2.5-Omni on MMAU and AIRBench for audio understanding and surpasses CosyVoice3 and TangoFlux in generation quality, capable of synthesizing arbitrary compositions of speech, music, and sound effects. To the best of our knowledge, Bagpiper is among the first works that achieve unified understanding generation for general audio. Model, data, and code are available at Bagpiper Home Page.
Generative recommendation systems have achieved significant advances by leveraging semantic IDs to represent items. However, existing approaches that tokenize each modality independently face two critical limitations: (1) redundancy across modalities that reduces efficiency, and (2) failure to capture inter-modal interactions that limits item representation. We introduce FusID, a modality-fused semantic ID framework that addresses these limitations through three key components: (i) multimodal fusion that learns unified representations by jointly encoding information across modalities, (ii) representation learning that brings frequently co-occurring item embeddings closer while maintaining distinctiveness and preventing feature redundancy, and (iii) product quantization that converts the fused continuous embeddings into multiple discrete tokens to mitigate ID conflict. Evaluated on a multimodal next-song recommendation (i.e., playlist continuation) benchmark, FusID achieves zero ID conflicts, ensuring that each token sequence maps to exactly one song, mitigates codebook underutilization, and outperforms baselines in terms of MRR and Recall@k (k = 1, 5, 10, 20).
This study explores the capacity of generative artificial intelligence (Gen AI) to contribute to the construction of peace narratives and the revitalization of musical heritage in Mali. The study has been made in a political and social context where inter-community tensions and social fractures motivate a search for new symbolic frameworks for reconciliation. The study empirically explores three questions: (1) how Gen AI can be used as a tool for musical creation rooted in national languages and traditions; (2) to what extent Gen AI systems enable a balanced hybridization between technological innovation and cultural authenticity; and (3) how AI-assisted musical co-creation can strengthen social cohesion and cultural sovereignty. The experimental results suggest that Gen AI, embedded in a culturally conscious participatory framework, can act as a catalyst for symbolic diplomacy, amplifying local voices instead of standardizing them. However, challenges persist regarding the availability of linguistic corpora, algorithmic censorship, and the ethics of generating compositions derived from copyrighted sources.
Generative retrieval has emerged as a promising paradigm in recommender systems, offering superior sequence modeling capabilities over traditional dual-tower architectures. However, in large-scale industrial scenarios, such models often suffer from inherent myopia: due to single-step inference and strict latency constraints, they tend to collapse diverse user intents into locally optimal predictions, failing to capture long-horizon and multi-item consumption patterns. Moreover, real-world retrieval systems must follow explicit retrieval instructions, such as category-level control and policy constraints. Incorporating such instruction-following behavior into generative retrieval remains challenging, as existing conditioning or post-hoc filtering approaches often compromise relevance or efficiency. In this work, we present Climber-Pilot, a unified generative retrieval framework to address both limitations. First, we introduce Time-Aware Multi-Item Prediction (TAMIP), a novel training paradigm designed to mitigate inherent myopia in generative retrieval. By distilling long-horizon, multi-item foresight into model parameters through time-aware masking, TAMIP alleviates locally optimal predictions while preserving efficient single-step inference. Second, to support flexible instruction-following retrieval, we propose Condition-Guided Sparse Attention (CGSA), which incorporates business constraints directly into the generative process via sparse attention, without introducing additional inference steps. Extensive offline experiments and online A/B testing at NetEase Cloud Music, one of the largest music streaming platforms, demonstrate that Climber-Pilot significantly outperforms state-of-the-art baselines, achieving a 4.24\% lift of the core business metric.
This monograph introduces a novel approach to polyphonic music generation by addressing the "Missing Middle" problem through structural inductive bias. Focusing on Beethoven's piano sonatas as a case study, we empirically verify the independence of pitch and hand attributes using normalized mutual information (NMI=0.167) and propose the Smart Embedding architecture, achieving a 48.30% reduction in parameters. We provide rigorous mathematical proofs using information theory (negligible loss bounded at 0.153 bits), Rademacher complexity (28.09% tighter generalization bound), and category theory to demonstrate improved stability and generalization. Empirical results show a 9.47% reduction in validation loss, confirmed by SVD analysis and an expert listening study (N=53). This dual theoretical and applied framework bridges gaps in AI music generation, offering verifiable insights for mathematically grounded deep learning.
Audio is indispensable for real-world video, yet generation models have largely overlooked audio components. Current approaches to producing audio-visual content often rely on cascaded pipelines, which increase cost, accumulate errors, and degrade overall quality. While systems such as Veo 3 and Sora 2 emphasize the value of simultaneous generation, joint multimodal modeling introduces unique challenges in architecture, data, and training. Moreover, the closed-source nature of existing systems limits progress in the field. In this work, we introduce MOVA (MOSS Video and Audio), an open-source model capable of generating high-quality, synchronized audio-visual content, including realistic lip-synced speech, environment-aware sound effects, and content-aligned music. MOVA employs a Mixture-of-Experts (MoE) architecture, with a total of 32B parameters, of which 18B are active during inference. It supports IT2VA (Image-Text to Video-Audio) generation task. By releasing the model weights and code, we aim to advance research and foster a vibrant community of creators. The released codebase features comprehensive support for efficient inference, LoRA fine-tuning, and prompt enhancement.