Wideband Near-Field Sensing in ISAC: Unified Algorithm Design and Decoupled Effect Analysis

To advance integrated sensing and communications (ISAC) in sixth-generation (6G) extremely large-scale multiple-input multiple-output (XL-MIMO) networks, a low-complexity compressed sensing (CS)-based dictionary design is proposed for wideband near-field (WB-NF) target localization. Currently, the massive signal dimensions in the WB-NF regime impose severe computational burdens and high spatial-frequency coherence on conventional grid-based algorithms. Furthermore, a unified framework exploiting both wideband (WB) and near-field (NF) effects is lacking, and the analytical conditions for simplifying this model into decoupled approximations remain uncharacterized. To address these challenges, the proposed algorithm mathematically decouples the mutual coherence function and introduces a novel angle-distance sampling grid with customized distance adjustments, drastically reducing dictionary dimensions while ensuring low coherence. To isolate the individual WB and NF impacts, two coherence-based metrics are formulated to establish the effective boundaries of the narrowband near-field (NB-NF) and wideband far-field (WB-FF) regions, where respective multiple signal classification (MUSIC) algorithms are utilized. Simulations demonstrate that the CS-based method achieves robust performance across the entire regime, and the established boundaries provide crucial theoretical guidelines for WB and NF effect decoupling.

Cinematic Audio Source Separation Using Visual Cues

Cinematic Audio Source Separation (CASS) aims to decompose mixed film audio into speech, music, and sound effects, enabling applications like dubbing and remastering. Existing CASS approaches are audio-only, overlooking the inherent audio-visual nature of films, where sounds often align with visual cues. We present the first framework for audio-visual CASS (AV-CASS), leveraging visual context to enhance separation quality. Our method formulates CASS as a conditional generative modeling problem using conditional flow matching, enabling multimodal audio source separation. To address the lack of cinematic datasets with isolated sound tracks, we introduce a training data synthesis pipeline that pairs in-the-wild audio and video streams (e.g., facial videos for speech, scene videos for effects) and design a dedicated visual encoder for this dual-stream setup. Trained entirely on synthetic data, our model generalizes effectively to real-world cinematic content and achieves strong performance on synthetic, real-world, and audio-only CASS benchmarks. Code and demo are available at \url{https://cass-flowmatching.github.io}.

OmniCodec: Low Frame Rate Universal Audio Codec with Semantic-Acoustic Disentanglement

Large Language Models (LLMs) have advanced audio generation through discrete representation learning. However, most existing neural codecs focus on speech and emphasize reconstruction fidelity, overlooking unified low frame rate modeling across diverse audio domains, including speech, music, and general sound. Moreover, high reconstruction quality does not necessarily yield semantically informative representations, limiting effectiveness in downstream generation tasks. We propose OmniCodec, a universal neural audio codec tailored for low frame rate. It adopts a hierarchical multi-codebook design with semantic-acoustic decoupling by leveraging the audio encoder of the pre-trained understanding model, along with a self-guidance strategy to improve codebook utilization and reconstruction. Compared with the Mimi codec, experiments show that OmniCodec achieves outstanding performance at the same bitrate, delivering superior reconstruction quality while also providing more semantically informative representations that benefit downstream generation tasks. Our model and code will be open-sourced. Our demo page is available.

V2M-Zero: Zero-Pair Time-Aligned Video-to-Music Generation

Generating music that temporally aligns with video events is challenging for existing text-to-music models, which lack fine-grained temporal control. We introduce V2M-Zero, a zero-pair video-to-music generation approach that outputs time-aligned music for video. Our method is motivated by a key observation: temporal synchronization requires matching when and how much change occurs, not what changes. While musical and visual events differ semantically, they exhibit shared temporal structure that can be captured independently within each modality. We capture this structure through event curves computed from intra-modal similarity using pretrained music and video encoders. By measuring temporal change within each modality independently, these curves provide comparable representations across modalities. This enables a simple training strategy: fine-tune a text-to-music model on music-event curves, then substitute video-event curves at inference without cross-modal training or paired data. Across OES-Pub, MovieGenBench-Music, and AIST++, V2M-Zero achieves substantial gains over paired-data baselines: 5-21% higher audio quality, 13-15% better semantic alignment, 21-52% improved temporal synchronization, and 28% higher beat alignment on dance videos. We find similar results via a large crowd-source subjective listening test. Overall, our results validate that temporal alignment through within-modality features, rather than paired cross-modal supervision, is effective for video-to-music generation. Results are available at https://genjib.github.io/v2m_zero/

Multi-Source Evidence Fusion for Audio Question Answering

Large audio language models (LALMs) can answer questions about speech, music, and environmental sounds, yet their internal reasoning is largely opaque and difficult to validate. We describe TalTech's solution to the Agent Track of the Interspeech 2026 Audio Reasoning Challenge, in which systems are evaluated on reasoning process quality, specifically the factual accuracy, logical soundness, and completeness of their reasoning chains. Our multi-source ensemble pipeline uses two LALMs that generate independent observations, while a separate text-only reasoning model cross-checks these against outputs from 25 acoustic tools organized into reliability tiers. By grounding every inference step in explicit, reliability-tagged evidence, the system produces dense, verifiable reasoning chains. Our system ranked first in the challenge, outperforming all competing systems by a wide margin in challenge's reasoning quality metric.

Diffusion Models for Joint Audio-Video Generation

Multimodal generative models have shown remarkable progress in single-modality video and audio synthesis, yet truly joint audio-video generation remains an open challenge. In this paper, I explore four key contributions to advance this field. First, I release two high-quality, paired audio-video datasets. The datasets consisting on 13 hours of video-game clips and 64 hours of concert performances, each segmented into consistent 34-second samples to facilitate reproducible research. Second, I train the MM-Diffusion architecture from scratch on our datasets, demonstrating its ability to produce semantically coherent audio-video pairs and quantitatively evaluating alignment on rapid actions and musical cues. Third, I investigate joint latent diffusion by leveraging pretrained video and audio encoder-decoders, uncovering challenges and inconsistencies in the multimodal decoding stage. Finally, I propose a sequential two-step text-to-audio-video generation pipeline: first generating video, then conditioning on both the video output and the original prompt to synthesize temporally synchronized audio. My experiments show that this modular approach yields high-fidelity generations of audio video generation.

Evaluating Semantic Fragility in Text-to-Audio Generation Systems Under Controlled Prompt Perturbations

Recent advances in text-to-audio generation enable models to translate natural-language descriptions into diverse musical output. However, the robustness of these systems under semantically equivalent prompt variations remains largely unexplored. Small linguistic changes may lead to substantial variation in generated audio, raising concerns about reliability in practical use. In this study, we evaluate the semantic fragility of text-to-audio systems under controlled prompt perturbations. We selected MusicGen-small, MusicGen-large, and Stable Audio 2.5 as representative models, and we evaluated them under Minimal Lexical Substitution (MLS), Intensity Shifts (IS), and Structural Rephrasing (SR). The proposed dataset contains 75 prompt groups designed to preserve semantic intent while introducing localized linguistic variation. Generated outputs are compared through complementary spectral, temporal, and semantic similarity measures, enabling robustness analysis across multiple representational levels. Experimental results show that larger models achieve improved semantic consistency, with MusicGen-large reaching cosine similarities of 0.77 under MLS and 0.82 under IS. However, acoustic and temporal analyses reveal persistent divergence across all models, even when embedding similarity remains high. These findings indicate that fragility arises primarily during semantic-to-acoustic realization rather than multi-modal embedding alignment. Our study introduces a controlled framework for evaluating robustness in text-to-audio generation and highlights the need for multi-level stability assessment in generative audio systems.

Not Like Transformers: Drop the Beat Representation for Dance Generation with Mamba-Based Diffusion Model

Dance is a form of human motion characterized by emotional expression and communication, playing a role in various fields such as music, virtual reality, and content creation. Existing methods for dance generation often fail to adequately capture the inherently sequential, rhythmical, and music-synchronized characteristics of dance. In this paper, we propose \emph{MambaDance}, a new dance generation approach that leverages a Mamba-based diffusion model. Mamba, well-suited to handling long and autoregressive sequences, is integrated into our two-stage diffusion architecture, substituting off-the-shelf Transformer. Additionally, considering the critical role of musical beats in dance choreography, we propose a Gaussian-based beat representation to explicitly guide the decoding of dance sequences. Experiments on AIST++ and FineDance datasets for each sequence length show that our proposed method effectively generates plausible dance movements while reflecting essential characteristics, consistently from short to long dances, compared to the previous methods. Additional qualitative results and demo videos are available at \small{https://vision3d-lab.github.io/mambadance}.

InfiniteDance: Scalable 3D Dance Generation Towards in-the-wild Generalization

Although existing 3D dance generation methods perform well in controlled scenarios, they often struggle to generalize in the wild. When conditioned on unseen music, existing methods often produce unstructured or physically implausible dance, largely due to limited music-to-dance data and restricted model capacity. This work aims to push the frontier of generalizable 3D dance generation by scaling up both data and model design. (1) On the data side, we develop a fully automated pipeline that reconstructs high-fidelity 3D dance motions from monocular videos. To eliminate the physical artifacts prevalent in existing reconstruction methods, we introduce a Foot Restoration Diffusion Model (FRDM) guided by foot-contact and geometric constraints that enforce physical plausibility while preserving kinematic smoothness and expressiveness, resulting in a diverse, high-quality multimodal 3D dance dataset totaling 100.69 hours. (2) On model design, we propose Choreographic LLaMA (ChoreoLLaMA), a scalable LLaMA-based architecture. To enhance robustness under unfamiliar music conditions, we integrate a retrieval-augmented generation (RAG) module that injects reference dance as a prompt. Additionally, we design a slow/fast-cadence Mixture-of-Experts (MoE) module that enables ChoreoLLaMA to smoothly adapt motion rhythms across varying music tempos. Extensive experiments across diverse dance genres show that our approach surpasses existing methods in both qualitative and quantitative evaluations, marking a step toward scalable, real-world 3D dance generation. Code, models, and data will be released.

CMI-RewardBench: Evaluating Music Reward Models with Compositional Multimodal Instruction

While music generation models have evolved to handle complex multimodal inputs mixing text, lyrics, and reference audio, evaluation mechanisms have lagged behind. In this paper, we bridge this critical gap by establishing a comprehensive ecosystem for music reward modeling under Compositional Multimodal Instruction (CMI), where the generated music may be conditioned on text descriptions, lyrics, and audio prompts. We first introduce CMI-Pref-Pseudo, a large-scale preference dataset comprising 110k pseudo-labeled samples, and CMI-Pref, a high-quality, human-annotated corpus tailored for fine-grained alignment tasks. To unify the evaluation landscape, we propose CMI-RewardBench, a unified benchmark that evaluates music reward models on heterogeneous samples across musicality, text-music alignment, and compositional instruction alignment. Leveraging these resources, we develop CMI reward models (CMI-RMs), a parameter-efficient reward model family capable of processing heterogeneous inputs. We evaluate their correlation with human judgments scores on musicality and alignment on CMI-Pref along with previous datasets. Further experiments demonstrate that CMI-RM not only correlates strongly with human judgments, but also enables effective inference-time scaling via top-k filtering. The necessary training data, benchmarks, and reward models are publicly available.