CompLex: Music Theory Lexicon Constructed by Autonomous Agents for Automatic Music Generation

Generative artificial intelligence in music has made significant strides, yet it still falls short of the substantial achievements seen in natural language processing, primarily due to the limited availability of music data. Knowledge-informed approaches have been shown to enhance the performance of music generation models, even when only a few pieces of musical knowledge are integrated. This paper seeks to leverage comprehensive music theory in AI-driven music generation tasks, such as algorithmic composition and style transfer, which traditionally require significant manual effort with existing techniques. We introduce a novel automatic music lexicon construction model that generates a lexicon, named CompLex, comprising 37,432 items derived from just 9 manually input category keywords and 5 sentence prompt templates. A new multi-agent algorithm is proposed to automatically detect and mitigate hallucinations. CompLex demonstrates impressive performance improvements across three state-of-the-art text-to-music generation models, encompassing both symbolic and audio-based methods. Furthermore, we evaluate CompLex in terms of completeness, accuracy, non-redundancy, and executability, confirming that it possesses the key characteristics of an effective lexicon.

Amadeus: Autoregressive Model with Bidirectional Attribute Modelling for Symbolic Music

Existing state-of-the-art symbolic music generation models predominantly adopt autoregressive or hierarchical autoregressive architectures, modelling symbolic music as a sequence of attribute tokens with unidirectional temporal dependencies, under the assumption of a fixed, strict dependency structure among these attributes. However, we observe that using different attributes as the initial token in these models leads to comparable performance. This suggests that the attributes of a musical note are, in essence, a concurrent and unordered set, rather than a temporally dependent sequence. Based on this insight, we introduce Amadeus, a novel symbolic music generation framework. Amadeus adopts a two-level architecture: an autoregressive model for note sequences and a bidirectional discrete diffusion model for attributes. To enhance performance, we propose Music Latent Space Discriminability Enhancement Strategy(MLSDES), incorporating contrastive learning constraints that amplify discriminability of intermediate music representations. The Conditional Information Enhancement Module (CIEM) simultaneously strengthens note latent vector representation via attention mechanisms, enabling more precise note decoding. We conduct extensive experiments on unconditional and text-conditioned generation tasks. Amadeus significantly outperforms SOTA models across multiple metrics while achieving at least 4$\times$ speed-up. Furthermore, we demonstrate training-free, fine-grained note attribute control feasibility using our model. To explore the upper performance bound of the Amadeus architecture, we compile the largest open-source symbolic music dataset to date, AMD (Amadeus MIDI Dataset), supporting both pre-training and fine-tuning.

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/.

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.

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.

Exploring Procedural Data Generation for Automatic Acoustic Guitar Fingerpicking Transcription

Automatic transcription of acoustic guitar fingerpicking performances remains a challenging task due to the scarcity of labeled training data and legal constraints connected with musical recordings. This work investigates a procedural data generation pipeline as an alternative to real audio recordings for training transcription models. Our approach synthesizes training data through four stages: knowledge-based fingerpicking tablature composition, MIDI performance rendering, physical modeling using an extended Karplus-Strong algorithm, and audio augmentation including reverb and distortion. We train and evaluate a CRNN-based note-tracking model on both real and synthetic datasets, demonstrating that procedural data can be used to achieve reasonable note-tracking results. Finetuning with a small amount of real data further enhances transcription accuracy, improving over models trained exclusively on real recordings. These results highlight the potential of procedurally generated audio for data-scarce music information retrieval tasks.

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.

QAMRO: Quality-aware Adaptive Margin Ranking Optimization for Human-aligned Assessment of Audio Generation Systems

Evaluating audio generation systems, including text-to-music (TTM), text-to-speech (TTS), and text-to-audio (TTA), remains challenging due to the subjective and multi-dimensional nature of human perception. Existing methods treat mean opinion score (MOS) prediction as a regression problem, but standard regression losses overlook the relativity of perceptual judgments. To address this limitation, we introduce QAMRO, a novel Quality-aware Adaptive Margin Ranking Optimization framework that seamlessly integrates regression objectives from different perspectives, aiming to highlight perceptual differences and prioritize accurate ratings. Our framework leverages pre-trained audio-text models such as CLAP and Audiobox-Aesthetics, and is trained exclusively on the official AudioMOS Challenge 2025 dataset. It demonstrates superior alignment with human evaluations across all dimensions, significantly outperforming robust baseline models.

Coherent Compensation-Based Sensing for Long-Range Targets in Integrated Sensing and Communication System

Integrated sensing and communication (ISAC) is a promising candidate technology for 6G due to its improvement in spectral efficiency and energy efficiency. Orthogonal frequency division multiplexing (OFDM) signal is a mainstream candidate ISAC waveform. However, there are inter-symbol interference (ISI) and inter-carrier interference (ICI) when the round-trip delay exceeds the cyclic prefix (CP) duration for OFDM signals, which limits the maximum sensing range of ISAC system. When detecting a long-range target, the wide beam inevitably covers the close-range target, of which the echo's power is much larger than that of the long-range target. In order to tackle the above problem, a multiple signal classification (MUSIC) and least squares (LS)-based spatial signal separation method is proposed to separate the echo signals reflected from different targets. Moreover, a coherent compensation-based sensing signal processing method at the receiver is proposed to enhance the signal to interference plus noise power ratio (SINR) of the OFDM block for generating the range-Doppler map (RDM) with higher SINR. Simulation results reveal that the proposed method greatly enhances the SINR of RDM by 10 dB for a target at 500 m compared with two-dimensional fast Fourier transform (2D-FFT) method. Besides, the detection probability is also significantly improved compared to the benchmarking method.

Balancing Privacy and Efficiency: Music Information Retrieval via Additive Homomorphic Encryption

In the era of generative AI, ensuring the privacy of music data presents unique challenges: unlike static artworks such as images, music data is inherently temporal and multimodal, and it is sampled, transformed, and remixed at an unprecedented scale. These characteristics make its core vector embeddings, i.e, the numerical representations of the music, highly susceptible to being learned, misused, or even stolen by models without accessing the original audio files. Traditional methods like copyright licensing and digital watermarking offer limited protection for these abstract mathematical representations, thus necessitating a stronger, e.g., cryptographic, approach to safeguarding the embeddings themselves. Standard encryption schemes, such as AES, render data unintelligible for computation, making such searches impossible. While Fully Homomorphic Encryption (FHE) provides a plausible solution by allowing arbitrary computations on ciphertexts, its substantial performance overhead remains impractical for large-scale vector similarity searches. Given this trade-off, we propose a more practical approach using Additive Homomorphic Encryption (AHE) for vector similarity search. The primary contributions of this paper are threefold: we analyze threat models unique to music information retrieval systems; we provide a theoretical analysis and propose an efficient AHE-based solution through inner products of music embeddings to deliver privacy-preserving similarity search; and finally, we demonstrate the efficiency and practicality of the proposed approach through empirical evaluation and comparison to FHE schemes on real-world MP3 files.