Opening Musical Creativity? Embedded Ideologies in Generative-AI Music Systems

AI systems for music generation are increasingly common and easy to use, granting people without any musical background the ability to create music. Because of this, generative-AI has been marketed and celebrated as a means of democratizing music making. However, inclusivity often functions as marketable rhetoric rather than a genuine guiding principle in these industry settings. In this paper, we look at four generative-AI music making systems available to the public as of mid-2025 (AIVA, Stable Audio, Suno, and Udio) and track how they are rhetoricized by their developers, and received by users. Our aim is to investigate ideologies that are driving the early-stage development and adoption of generative-AI in music making, with a particular focus on democratization. A combination of autoethnography and digital ethnography is used to examine patterns and incongruities in rhetoric when positioned against product functionality. The results are then collated to develop a nuanced, contextual discussion. The shared ideology we map between producers and consumers is individualist, globalist, techno-liberal, and ethically evasive. It is a 'total ideology' which obfuscates individual responsibility, and through which the nature of music and musical practice is transfigured to suit generative outcomes.

MDD: A Dataset for Text-and-Music Conditioned Duet Dance Generation

We introduce Multimodal DuetDance (MDD), a diverse multimodal benchmark dataset designed for text-controlled and music-conditioned 3D duet dance motion generation. Our dataset comprises 620 minutes of high-quality motion capture data performed by professional dancers, synchronized with music, and detailed with over 10K fine-grained natural language descriptions. The annotations capture a rich movement vocabulary, detailing spatial relationships, body movements, and rhythm, making MDD the first dataset to seamlessly integrate human motions, music, and text for duet dance generation. We introduce two novel tasks supported by our dataset: (1) Text-to-Duet, where given music and a textual prompt, both the leader and follower dance motion are generated (2) Text-to-Dance Accompaniment, where given music, textual prompt, and the leader's motion, the follower's motion is generated in a cohesive, text-aligned manner. We include baseline evaluations on both tasks to support future research.

Contrastive timbre representations for musical instrument and synthesizer retrieval

Efficiently retrieving specific instrument timbres from audio mixtures remains a challenge in digital music production. This paper introduces a contrastive learning framework for musical instrument retrieval, enabling direct querying of instrument databases using a single model for both single- and multi-instrument sounds. We propose techniques to generate realistic positive/negative pairs of sounds for virtual musical instruments, such as samplers and synthesizers, addressing limitations in common audio data augmentation methods. The first experiment focuses on instrument retrieval from a dataset of 3,884 instruments, using single-instrument audio as input. Contrastive approaches are competitive with previous works based on classification pre-training. The second experiment considers multi-instrument retrieval with a mixture of instruments as audio input. In this case, the proposed contrastive framework outperforms related works, achieving 81.7\% top-1 and 95.7\% top-5 accuracies for three-instrument mixtures.

Video Object Segmentation-Aware Audio Generation

Existing multimodal audio generation models often lack precise user control, which limits their applicability in professional Foley workflows. In particular, these models focus on the entire video and do not provide precise methods for prioritizing a specific object within a scene, generating unnecessary background sounds, or focusing on the wrong objects. To address this gap, we introduce the novel task of video object segmentation-aware audio generation, which explicitly conditions sound synthesis on object-level segmentation maps. We present SAGANet, a new multimodal generative model that enables controllable audio generation by leveraging visual segmentation masks along with video and textual cues. Our model provides users with fine-grained and visually localized control over audio generation. To support this task and further research on segmentation-aware Foley, we propose Segmented Music Solos, a benchmark dataset of musical instrument performance videos with segmentation information. Our method demonstrates substantial improvements over current state-of-the-art methods and sets a new standard for controllable, high-fidelity Foley synthesis. Code, samples, and Segmented Music Solos are available at https://saganet.notion.site

From Language to Locomotion: Retargeting-free Humanoid Control via Motion Latent Guidance

Natural language offers a natural interface for humanoid robots, but existing language-guided humanoid locomotion pipelines remain cumbersome and unreliable. They typically decode human motion, retarget it to robot morphology, and then track it with a physics-based controller. However, this multi-stage process is prone to cumulative errors, introduces high latency, and yields weak coupling between semantics and control. These limitations call for a more direct pathway from language to action, one that eliminates fragile intermediate stages. Therefore, we present RoboGhost, a retargeting-free framework that directly conditions humanoid policies on language-grounded motion latents. By bypassing explicit motion decoding and retargeting, RoboGhost enables a diffusion-based policy to denoise executable actions directly from noise, preserving semantic intent and supporting fast, reactive control. A hybrid causal transformer-diffusion motion generator further ensures long-horizon consistency while maintaining stability and diversity, yielding rich latent representations for precise humanoid behavior. Extensive experiments demonstrate that RoboGhost substantially reduces deployment latency, improves success rates and tracking accuracy, and produces smooth, semantically aligned locomotion on real humanoids. Beyond text, the framework naturally extends to other modalities such as images, audio, and music, providing a general foundation for vision-language-action humanoid systems.

DanceEditor: Towards Iterative Editable Music-driven Dance Generation with Open-Vocabulary Descriptions

Generating coherent and diverse human dances from music signals has gained tremendous progress in animating virtual avatars. While existing methods support direct dance synthesis, they fail to recognize that enabling users to edit dance movements is far more practical in real-world choreography scenarios. Moreover, the lack of high-quality dance datasets incorporating iterative editing also limits addressing this challenge. To achieve this goal, we first construct DanceRemix, a large-scale multi-turn editable dance dataset comprising the prompt featuring over 25.3M dance frames and 84.5K pairs. In addition, we propose a novel framework for iterative and editable dance generation coherently aligned with given music signals, namely DanceEditor. Considering the dance motion should be both musical rhythmic and enable iterative editing by user descriptions, our framework is built upon a prediction-then-editing paradigm unifying multi-modal conditions. At the initial prediction stage, our framework improves the authority of generated results by directly modeling dance movements from tailored, aligned music. Moreover, at the subsequent iterative editing stages, we incorporate text descriptions as conditioning information to draw the editable results through a specifically designed Cross-modality Editing Module (CEM). Specifically, CEM adaptively integrates the initial prediction with music and text prompts as temporal motion cues to guide the synthesized sequences. Thereby, the results display music harmonics while preserving fine-grained semantic alignment with text descriptions. Extensive experiments demonstrate that our method outperforms the state-of-the-art models on our newly collected DanceRemix dataset. Code is available at https://lzvsdy.github.io/DanceEditor/.

Controllable Video-to-Music Generation with Multiple Time-Varying Conditions

Music enhances video narratives and emotions, driving demand for automatic video-to-music (V2M) generation. However, existing V2M methods relying solely on visual features or supplementary textual inputs generate music in a black-box manner, often failing to meet user expectations. To address this challenge, we propose a novel multi-condition guided V2M generation framework that incorporates multiple time-varying conditions for enhanced control over music generation. Our method uses a two-stage training strategy that enables learning of V2M fundamentals and audiovisual temporal synchronization while meeting users' needs for multi-condition control. In the first stage, we introduce a fine-grained feature selection module and a progressive temporal alignment attention mechanism to ensure flexible feature alignment. For the second stage, we develop a dynamic conditional fusion module and a control-guided decoder module to integrate multiple conditions and accurately guide the music composition process. Extensive experiments demonstrate that our method outperforms existing V2M pipelines in both subjective and objective evaluations, significantly enhancing control and alignment with user expectations.

High-Quality Sound Separation Across Diverse Categories via Visually-Guided Generative Modeling

We propose DAVIS, a Diffusion-based Audio-VIsual Separation framework that solves the audio-visual sound source separation task through generative learning. Existing methods typically frame sound separation as a mask-based regression problem, achieving significant progress. However, they face limitations in capturing the complex data distribution required for high-quality separation of sounds from diverse categories. In contrast, DAVIS circumvents these issues by leveraging potent generative modeling paradigms, specifically Denoising Diffusion Probabilistic Models (DDPM) and the more recent Flow Matching (FM), integrated within a specialized Separation U-Net architecture. Our framework operates by synthesizing the desired separated sound spectrograms directly from a noise distribution, conditioned concurrently on the mixed audio input and associated visual information. The inherent nature of its generative objective makes DAVIS particularly adept at producing high-quality sound separations for diverse sound categories. We present comparative evaluations of DAVIS, encompassing both its DDPM and Flow Matching variants, against leading methods on the standard AVE and MUSIC datasets. The results affirm that both variants surpass existing approaches in separation quality, highlighting the efficacy of our generative framework for tackling the audio-visual source separation task.

Back to Ear: Perceptually Driven High Fidelity Music Reconstruction

Variational Autoencoders (VAEs) are essential for large-scale audio tasks like diffusion-based generation. However, existing open-source models often neglect auditory perceptual aspects during training, leading to weaknesses in phase accuracy and stereophonic spatial representation. To address these challenges, we propose {\epsilon}ar-VAE, an open-source music signal reconstruction model that rethinks and optimizes the VAE training paradigm. Our contributions are threefold: (i) A K-weighting perceptual filter applied prior to loss calculation to align the objective with auditory perception. (ii) Two novel phase losses: a Correlation Loss for stereo coherence, and a Phase Loss using its derivatives--Instantaneous Frequency and Group Delay--for precision. (iii) A new spectral supervision paradigm where magnitude is supervised by all four Mid/Side/Left/Right components, while phase is supervised only by the LR components. Experiments show {\epsilon}ar-VAE at 44.1kHz substantially outperforms leading open-source models across diverse metrics, showing particular strength in reconstructing high-frequency harmonics and the spatial characteristics.

Live Music Models

We introduce a new class of generative models for music called live music models that produce a continuous stream of music in real-time with synchronized user control. We release Magenta RealTime, an open-weights live music model that can be steered using text or audio prompts to control acoustic style. On automatic metrics of music quality, Magenta RealTime outperforms other open-weights music generation models, despite using fewer parameters and offering first-of-its-kind live generation capabilities. We also release Lyria RealTime, an API-based model with extended controls, offering access to our most powerful model with wide prompt coverage. These models demonstrate a new paradigm for AI-assisted music creation that emphasizes human-in-the-loop interaction for live music performance.