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Mar 14

Multi-Track MusicLDM: Towards Versatile Music Generation with Latent Diffusion Model

Diffusion models have shown promising results in cross-modal generation tasks involving audio and music, such as text-to-sound and text-to-music generation. These text-controlled music generation models typically focus on generating music by capturing global musical attributes like genre and mood. However, music composition is a complex, multilayered task that often involves musical arrangement as an integral part of the process. This process involves composing each instrument to align with existing ones in terms of beat, dynamics, harmony, and melody, requiring greater precision and control over tracks than text prompts usually provide. In this work, we address these challenges by extending the MusicLDM, a latent diffusion model for music, into a multi-track generative model. By learning the joint probability of tracks sharing a context, our model is capable of generating music across several tracks that correspond well to each other, either conditionally or unconditionally. Additionally, our model is capable of arrangement generation, where the model can generate any subset of tracks given the others (e.g., generating a piano track complementing given bass and drum tracks). We compared our model with an existing multi-track generative model and demonstrated that our model achieves considerable improvements across objective metrics for both total and arrangement generation tasks.

Exploring Quality and Generalizability in Parameterized Neural Audio Effects

Deep neural networks have shown promise for music audio signal processing applications, often surpassing prior approaches, particularly as end-to-end models in the waveform domain. Yet results to date have tended to be constrained by low sample rates, noise, narrow domains of signal types, and/or lack of parameterized controls (i.e. "knobs"), making their suitability for professional audio engineering workflows still lacking. This work expands on prior research published on modeling nonlinear time-dependent signal processing effects associated with music production by means of a deep neural network, one which includes the ability to emulate the parameterized settings you would see on an analog piece of equipment, with the goal of eventually producing commercially viable, high quality audio, i.e. 44.1 kHz sampling rate at 16-bit resolution. The results in this paper highlight progress in modeling these effects through architecture and optimization changes, towards increasing computational efficiency, lowering signal-to-noise ratio, and extending to a larger variety of nonlinear audio effects. Toward these ends, the strategies employed involved a three-pronged approach: model speed, model accuracy, and model generalizability. Most of the presented methods provide marginal or no increase in output accuracy over the original model, with the exception of dataset manipulation. We found that limiting the audio content of the dataset, for example using datasets of just a single instrument, provided a significant improvement in model accuracy over models trained on more general datasets.

ConvNets for Counting: Object Detection of Transient Phenomena in Steelpan Drums

We train an object detector built from convolutional neural networks to count interference fringes in elliptical antinode regions in frames of high-speed video recordings of transient oscillations in Caribbean steelpan drums illuminated by electronic speckle pattern interferometry (ESPI). The annotations provided by our model aim to contribute to the understanding of time-dependent behavior in such drums by tracking the development of sympathetic vibration modes. The system is trained on a dataset of crowdsourced human-annotated images obtained from the Zooniverse Steelpan Vibrations Project. Due to the small number of human-annotated images and the ambiguity of the annotation task, we also evaluate the model on a large corpus of synthetic images whose properties have been matched to the real images by style transfer using a Generative Adversarial Network. Applying the model to thousands of unlabeled video frames, we measure oscillations consistent with audio recordings of these drum strikes. One unanticipated result is that sympathetic oscillations of higher-octave notes significantly precede the rise in sound intensity of the corresponding second harmonic tones; the mechanism responsible for this remains unidentified. This paper primarily concerns the development of the predictive model; further exploration of the steelpan images and deeper physical insights await its further application.

MusicLDM: Enhancing Novelty in Text-to-Music Generation Using Beat-Synchronous Mixup Strategies

Diffusion models have shown promising results in cross-modal generation tasks, including text-to-image and text-to-audio generation. However, generating music, as a special type of audio, presents unique challenges due to limited availability of music data and sensitive issues related to copyright and plagiarism. In this paper, to tackle these challenges, we first construct a state-of-the-art text-to-music model, MusicLDM, that adapts Stable Diffusion and AudioLDM architectures to the music domain. We achieve this by retraining the contrastive language-audio pretraining model (CLAP) and the Hifi-GAN vocoder, as components of MusicLDM, on a collection of music data samples. Then, to address the limitations of training data and to avoid plagiarism, we leverage a beat tracking model and propose two different mixup strategies for data augmentation: beat-synchronous audio mixup and beat-synchronous latent mixup, which recombine training audio directly or via a latent embeddings space, respectively. Such mixup strategies encourage the model to interpolate between musical training samples and generate new music within the convex hull of the training data, making the generated music more diverse while still staying faithful to the corresponding style. In addition to popular evaluation metrics, we design several new evaluation metrics based on CLAP score to demonstrate that our proposed MusicLDM and beat-synchronous mixup strategies improve both the quality and novelty of generated music, as well as the correspondence between input text and generated music.

Music ControlNet: Multiple Time-varying Controls for Music Generation

Text-to-music generation models are now capable of generating high-quality music audio in broad styles. However, text control is primarily suitable for the manipulation of global musical attributes like genre, mood, and tempo, and is less suitable for precise control over time-varying attributes such as the positions of beats in time or the changing dynamics of the music. We propose Music ControlNet, a diffusion-based music generation model that offers multiple precise, time-varying controls over generated audio. To imbue text-to-music models with time-varying control, we propose an approach analogous to pixel-wise control of the image-domain ControlNet method. Specifically, we extract controls from training audio yielding paired data, and fine-tune a diffusion-based conditional generative model over audio spectrograms given melody, dynamics, and rhythm controls. While the image-domain Uni-ControlNet method already allows generation with any subset of controls, we devise a new strategy to allow creators to input controls that are only partially specified in time. We evaluate both on controls extracted from audio and controls we expect creators to provide, demonstrating that we can generate realistic music that corresponds to control inputs in both settings. While few comparable music generation models exist, we benchmark against MusicGen, a recent model that accepts text and melody input, and show that our model generates music that is 49% more faithful to input melodies despite having 35x fewer parameters, training on 11x less data, and enabling two additional forms of time-varying control. Sound examples can be found at https://MusicControlNet.github.io/web/.

Bidirectional Autoregressive Diffusion Model for Dance Generation

Dance serves as a powerful medium for expressing human emotions, but the lifelike generation of dance is still a considerable challenge. Recently, diffusion models have showcased remarkable generative abilities across various domains. They hold promise for human motion generation due to their adaptable many-to-many nature. Nonetheless, current diffusion-based motion generation models often create entire motion sequences directly and unidirectionally, lacking focus on the motion with local and bidirectional enhancement. When choreographing high-quality dance movements, people need to take into account not only the musical context but also the nearby music-aligned dance motions. To authentically capture human behavior, we propose a Bidirectional Autoregressive Diffusion Model (BADM) for music-to-dance generation, where a bidirectional encoder is built to enforce that the generated dance is harmonious in both the forward and backward directions. To make the generated dance motion smoother, a local information decoder is built for local motion enhancement. The proposed framework is able to generate new motions based on the input conditions and nearby motions, which foresees individual motion slices iteratively and consolidates all predictions. To further refine the synchronicity between the generated dance and the beat, the beat information is incorporated as an input to generate better music-aligned dance movements. Experimental results demonstrate that the proposed model achieves state-of-the-art performance compared to existing unidirectional approaches on the prominent benchmark for music-to-dance generation.

BEAT: A Large-Scale Semantic and Emotional Multi-Modal Dataset for Conversational Gestures Synthesis

Achieving realistic, vivid, and human-like synthesized conversational gestures conditioned on multi-modal data is still an unsolved problem due to the lack of available datasets, models and standard evaluation metrics. To address this, we build Body-Expression-Audio-Text dataset, BEAT, which has i) 76 hours, high-quality, multi-modal data captured from 30 speakers talking with eight different emotions and in four different languages, ii) 32 millions frame-level emotion and semantic relevance annotations. Our statistical analysis on BEAT demonstrates the correlation of conversational gestures with facial expressions, emotions, and semantics, in addition to the known correlation with audio, text, and speaker identity. Based on this observation, we propose a baseline model, Cascaded Motion Network (CaMN), which consists of above six modalities modeled in a cascaded architecture for gesture synthesis. To evaluate the semantic relevancy, we introduce a metric, Semantic Relevance Gesture Recall (SRGR). Qualitative and quantitative experiments demonstrate metrics' validness, ground truth data quality, and baseline's state-of-the-art performance. To the best of our knowledge, BEAT is the largest motion capture dataset for investigating human gestures, which may contribute to a number of different research fields, including controllable gesture synthesis, cross-modality analysis, and emotional gesture recognition. The data, code and model are available on https://pantomatrix.github.io/BEAT/.

VMAS: Video-to-Music Generation via Semantic Alignment in Web Music Videos

We present a framework for learning to generate background music from video inputs. Unlike existing works that rely on symbolic musical annotations, which are limited in quantity and diversity, our method leverages large-scale web videos accompanied by background music. This enables our model to learn to generate realistic and diverse music. To accomplish this goal, we develop a generative video-music Transformer with a novel semantic video-music alignment scheme. Our model uses a joint autoregressive and contrastive learning objective, which encourages the generation of music aligned with high-level video content. We also introduce a novel video-beat alignment scheme to match the generated music beats with the low-level motions in the video. Lastly, to capture fine-grained visual cues in a video needed for realistic background music generation, we introduce a new temporal video encoder architecture, allowing us to efficiently process videos consisting of many densely sampled frames. We train our framework on our newly curated DISCO-MV dataset, consisting of 2.2M video-music samples, which is orders of magnitude larger than any prior datasets used for video music generation. Our method outperforms existing approaches on the DISCO-MV and MusicCaps datasets according to various music generation evaluation metrics, including human evaluation. Results are available at https://genjib.github.io/project_page/VMAs/index.html

Pictures Of MIDI: Controlled Music Generation via Graphical Prompts for Image-Based Diffusion Inpainting

Recent years have witnessed significant progress in generative models for music, featuring diverse architectures that balance output quality, diversity, speed, and user control. This study explores a user-friendly graphical interface enabling the drawing of masked regions for inpainting by an Hourglass Diffusion Transformer (HDiT) model trained on MIDI piano roll images. To enhance note generation in specified areas, masked regions can be "repainted" with extra noise. The non-latent HDiTs linear scaling with pixel count allows efficient generation in pixel space, providing intuitive and interpretable controls such as masking throughout the network and removing the need to operate in compressed latent spaces such as those provided by pretrained autoencoders. We demonstrate that, in addition to inpainting of melodies, accompaniment, and continuations, the use of repainting can help increase note density yielding musical structures closely matching user specifications such as rising, falling, or diverging melody and/or accompaniment, even when these lie outside the typical training data distribution. We achieve performance on par with prior results while operating at longer context windows, with no autoencoder, and can enable complex geometries for inpainting masks, increasing the options for machine-assisted composers to control the generated music.

Assessment of a cost-effective headphone calibration procedure for soundscape evaluations

To increase the availability and adoption of the soundscape standard, a low-cost calibration procedure for reproduction of audio stimuli over headphones was proposed as part of the global ``Soundscape Attributes Translation Project'' (SATP) for validating ISO/TS~12913-2:2018 perceived affective quality (PAQ) attribute translations. A previous preliminary study revealed significant deviations from the intended equivalent continuous A-weighted sound pressure levels (L_{A,eq}) using the open-circuit voltage (OCV) calibration procedure. For a more holistic human-centric perspective, the OCV method is further investigated here in terms of psychoacoustic parameters, including relevant exceedance levels to account for temporal effects on the same 27 stimuli from the SATP. Moreover, a within-subjects experiment with 36 participants was conducted to examine the effects of OCV calibration on the PAQ attributes in ISO/TS~12913-2:2018. Bland-Altman analysis of the objective indicators revealed large biases in the OCV method across all weighted sound level and loudness indicators; and roughness indicators at 5{\%} and 10{\%} exceedance levels. Significant perceptual differences due to the OCV method were observed in about 20{\%} of the stimuli, which did not correspond clearly with the biased acoustic indicators. A cautioned interpretation of the objective and perceptual differences due to small and unpaired samples nevertheless provide grounds for further investigation.

GETMusic: Generating Any Music Tracks with a Unified Representation and Diffusion Framework

Symbolic music generation aims to create musical notes, which can help users compose music, such as generating target instrumental tracks from scratch, or based on user-provided source tracks. Considering the diverse and flexible combination between source and target tracks, a unified model capable of generating any arbitrary tracks is of crucial necessity. Previous works fail to address this need due to inherent constraints in music representations and model architectures. To address this need, we propose a unified representation and diffusion framework named GETMusic (`GET' stands for GEnerate music Tracks), which includes a novel music representation named GETScore, and a diffusion model named GETDiff. GETScore represents notes as tokens and organizes them in a 2D structure, with tracks stacked vertically and progressing horizontally over time. During training, tracks are randomly selected as either the target or source. In the forward process, target tracks are corrupted by masking their tokens, while source tracks remain as ground truth. In the denoising process, GETDiff learns to predict the masked target tokens, conditioning on the source tracks. With separate tracks in GETScore and the non-autoregressive behavior of the model, GETMusic can explicitly control the generation of any target tracks from scratch or conditioning on source tracks. We conduct experiments on music generation involving six instrumental tracks, resulting in a total of 665 combinations. GETMusic provides high-quality results across diverse combinations and surpasses prior works proposed for some specific combinations.

MusicRL: Aligning Music Generation to Human Preferences

We propose MusicRL, the first music generation system finetuned from human feedback. Appreciation of text-to-music models is particularly subjective since the concept of musicality as well as the specific intention behind a caption are user-dependent (e.g. a caption such as "upbeat work-out music" can map to a retro guitar solo or a techno pop beat). Not only this makes supervised training of such models challenging, but it also calls for integrating continuous human feedback in their post-deployment finetuning. MusicRL is a pretrained autoregressive MusicLM (Agostinelli et al., 2023) model of discrete audio tokens finetuned with reinforcement learning to maximise sequence-level rewards. We design reward functions related specifically to text-adherence and audio quality with the help from selected raters, and use those to finetune MusicLM into MusicRL-R. We deploy MusicLM to users and collect a substantial dataset comprising 300,000 pairwise preferences. Using Reinforcement Learning from Human Feedback (RLHF), we train MusicRL-U, the first text-to-music model that incorporates human feedback at scale. Human evaluations show that both MusicRL-R and MusicRL-U are preferred to the baseline. Ultimately, MusicRL-RU combines the two approaches and results in the best model according to human raters. Ablation studies shed light on the musical attributes influencing human preferences, indicating that text adherence and quality only account for a part of it. This underscores the prevalence of subjectivity in musical appreciation and calls for further involvement of human listeners in the finetuning of music generation models.

AUDIT: Audio Editing by Following Instructions with Latent Diffusion Models

Audio editing is applicable for various purposes, such as adding background sound effects, replacing a musical instrument, and repairing damaged audio. Recently, some diffusion-based methods achieved zero-shot audio editing by using a diffusion and denoising process conditioned on the text description of the output audio. However, these methods still have some problems: 1) they have not been trained on editing tasks and cannot ensure good editing effects; 2) they can erroneously modify audio segments that do not require editing; 3) they need a complete description of the output audio, which is not always available or necessary in practical scenarios. In this work, we propose AUDIT, an instruction-guided audio editing model based on latent diffusion models. Specifically, AUDIT has three main design features: 1) we construct triplet training data (instruction, input audio, output audio) for different audio editing tasks and train a diffusion model using instruction and input (to be edited) audio as conditions and generating output (edited) audio; 2) it can automatically learn to only modify segments that need to be edited by comparing the difference between the input and output audio; 3) it only needs edit instructions instead of full target audio descriptions as text input. AUDIT achieves state-of-the-art results in both objective and subjective metrics for several audio editing tasks (e.g., adding, dropping, replacement, inpainting, super-resolution). Demo samples are available at https://audit-demo.github.io/.

Quantized GAN for Complex Music Generation from Dance Videos

We present Dance2Music-GAN (D2M-GAN), a novel adversarial multi-modal framework that generates complex musical samples conditioned on dance videos. Our proposed framework takes dance video frames and human body motions as input, and learns to generate music samples that plausibly accompany the corresponding input. Unlike most existing conditional music generation works that generate specific types of mono-instrumental sounds using symbolic audio representations (e.g., MIDI), and that usually rely on pre-defined musical synthesizers, in this work we generate dance music in complex styles (e.g., pop, breaking, etc.) by employing a Vector Quantized (VQ) audio representation, and leverage both its generality and high abstraction capacity of its symbolic and continuous counterparts. By performing an extensive set of experiments on multiple datasets, and following a comprehensive evaluation protocol, we assess the generative qualities of our proposal against alternatives. The attained quantitative results, which measure the music consistency, beats correspondence, and music diversity, demonstrate the effectiveness of our proposed method. Last but not least, we curate a challenging dance-music dataset of in-the-wild TikTok videos, which we use to further demonstrate the efficacy of our approach in real-world applications -- and which we hope to serve as a starting point for relevant future research.

DiffRhythm: Blazingly Fast and Embarrassingly Simple End-to-End Full-Length Song Generation with Latent Diffusion

Recent advancements in music generation have garnered significant attention, yet existing approaches face critical limitations. Some current generative models can only synthesize either the vocal track or the accompaniment track. While some models can generate combined vocal and accompaniment, they typically rely on meticulously designed multi-stage cascading architectures and intricate data pipelines, hindering scalability. Additionally, most systems are restricted to generating short musical segments rather than full-length songs. Furthermore, widely used language model-based methods suffer from slow inference speeds. To address these challenges, we propose DiffRhythm, the first latent diffusion-based song generation model capable of synthesizing complete songs with both vocal and accompaniment for durations of up to 4m45s in only ten seconds, maintaining high musicality and intelligibility. Despite its remarkable capabilities, DiffRhythm is designed to be simple and elegant: it eliminates the need for complex data preparation, employs a straightforward model structure, and requires only lyrics and a style prompt during inference. Additionally, its non-autoregressive structure ensures fast inference speeds. This simplicity guarantees the scalability of DiffRhythm. Moreover, we release the complete training code along with the pre-trained model on large-scale data to promote reproducibility and further research.

Video2Music: Suitable Music Generation from Videos using an Affective Multimodal Transformer model

Numerous studies in the field of music generation have demonstrated impressive performance, yet virtually no models are able to directly generate music to match accompanying videos. In this work, we develop a generative music AI framework, Video2Music, that can match a provided video. We first curated a unique collection of music videos. Then, we analysed the music videos to obtain semantic, scene offset, motion, and emotion features. These distinct features are then employed as guiding input to our music generation model. We transcribe the audio files into MIDI and chords, and extract features such as note density and loudness. This results in a rich multimodal dataset, called MuVi-Sync, on which we train a novel Affective Multimodal Transformer (AMT) model to generate music given a video. This model includes a novel mechanism to enforce affective similarity between video and music. Finally, post-processing is performed based on a biGRU-based regression model to estimate note density and loudness based on the video features. This ensures a dynamic rendering of the generated chords with varying rhythm and volume. In a thorough experiment, we show that our proposed framework can generate music that matches the video content in terms of emotion. The musical quality, along with the quality of music-video matching is confirmed in a user study. The proposed AMT model, along with the new MuVi-Sync dataset, presents a promising step for the new task of music generation for videos.

ARAUS: A Large-Scale Dataset and Baseline Models of Affective Responses to Augmented Urban Soundscapes

Choosing optimal maskers for existing soundscapes to effect a desired perceptual change via soundscape augmentation is non-trivial due to extensive varieties of maskers and a dearth of benchmark datasets with which to compare and develop soundscape augmentation models. To address this problem, we make publicly available the ARAUS (Affective Responses to Augmented Urban Soundscapes) dataset, which comprises a five-fold cross-validation set and independent test set totaling 25,440 unique subjective perceptual responses to augmented soundscapes presented as audio-visual stimuli. Each augmented soundscape is made by digitally adding "maskers" (bird, water, wind, traffic, construction, or silence) to urban soundscape recordings at fixed soundscape-to-masker ratios. Responses were then collected by asking participants to rate how pleasant, annoying, eventful, uneventful, vibrant, monotonous, chaotic, calm, and appropriate each augmented soundscape was, in accordance with ISO 12913-2:2018. Participants also provided relevant demographic information and completed standard psychological questionnaires. We perform exploratory and statistical analysis of the responses obtained to verify internal consistency and agreement with known results in the literature. Finally, we demonstrate the benchmarking capability of the dataset by training and comparing four baseline models for urban soundscape pleasantness: a low-parameter regression model, a high-parameter convolutional neural network, and two attention-based networks in the literature.

Instruct-MusicGen: Unlocking Text-to-Music Editing for Music Language Models via Instruction Tuning

Recent advances in text-to-music editing, which employ text queries to modify music (e.g.\ by changing its style or adjusting instrumental components), present unique challenges and opportunities for AI-assisted music creation. Previous approaches in this domain have been constrained by the necessity to train specific editing models from scratch, which is both resource-intensive and inefficient; other research uses large language models to predict edited music, resulting in imprecise audio reconstruction. To Combine the strengths and address these limitations, we introduce Instruct-MusicGen, a novel approach that finetunes a pretrained MusicGen model to efficiently follow editing instructions such as adding, removing, or separating stems. Our approach involves a modification of the original MusicGen architecture by incorporating a text fusion module and an audio fusion module, which allow the model to process instruction texts and audio inputs concurrently and yield the desired edited music. Remarkably, Instruct-MusicGen only introduces 8% new parameters to the original MusicGen model and only trains for 5K steps, yet it achieves superior performance across all tasks compared to existing baselines, and demonstrates performance comparable to the models trained for specific tasks. This advancement not only enhances the efficiency of text-to-music editing but also broadens the applicability of music language models in dynamic music production environments.

A Dataset of Dynamic Reverberant Sound Scenes with Directional Interferers for Sound Event Localization and Detection

This report presents the dataset and baseline of Task 3 of the DCASE2021 Challenge on Sound Event Localization and Detection (SELD). The dataset is based on emulation of real recordings of static or moving sound events under real conditions of reverberation and ambient noise, using spatial room impulse responses captured in a variety of rooms and delivered in two spatial formats. The acoustical synthesis remains the same as in the previous iteration of the challenge, however the new dataset brings more challenging conditions of polyphony and overlapping instances of the same class. The most important difference of the new dataset is the introduction of directional interferers, meaning sound events that are localized in space but do not belong to the target classes to be detected and are not annotated. Since such interfering events are expected in every real-world scenario of SELD, the new dataset aims to promote systems that deal with this condition effectively. A modified SELDnet baseline employing the recent ACCDOA representation of SELD problems accompanies the dataset and it is shown to outperform the previous one. The new dataset is shown to be significantly more challenging for both baselines according to all considered metrics. To investigate the individual and combined effects of ambient noise, interferers, and reverberation, we study the performance of the baseline on different versions of the dataset excluding or including combinations of these factors. The results indicate that by far the most detrimental effects are caused by directional interferers.

JEN-1 Composer: A Unified Framework for High-Fidelity Multi-Track Music Generation

With rapid advances in generative artificial intelligence, the text-to-music synthesis task has emerged as a promising direction for music generation from scratch. However, finer-grained control over multi-track generation remains an open challenge. Existing models exhibit strong raw generation capability but lack the flexibility to compose separate tracks and combine them in a controllable manner, differing from typical workflows of human composers. To address this issue, we propose JEN-1 Composer, a unified framework to efficiently model marginal, conditional, and joint distributions over multi-track music via a single model. JEN-1 Composer framework exhibits the capacity to seamlessly incorporate any diffusion-based music generation system, e.g. Jen-1, enhancing its capacity for versatile multi-track music generation. We introduce a curriculum training strategy aimed at incrementally instructing the model in the transition from single-track generation to the flexible generation of multi-track combinations. During the inference, users have the ability to iteratively produce and choose music tracks that meet their preferences, subsequently creating an entire musical composition incrementally following the proposed Human-AI co-composition workflow. Quantitative and qualitative assessments demonstrate state-of-the-art performance in controllable and high-fidelity multi-track music synthesis. The proposed JEN-1 Composer represents a significant advance toward interactive AI-facilitated music creation and composition. Demos will be available at https://jenmusic.ai/audio-demos.

Mustango: Toward Controllable Text-to-Music Generation

With recent advancements in text-to-audio and text-to-music based on latent diffusion models, the quality of generated content has been reaching new heights. The controllability of musical aspects, however, has not been explicitly explored in text-to-music systems yet. In this paper, we present Mustango, a music-domain-knowledge-inspired text-to-music system based on diffusion, that expands the Tango text-to-audio model. Mustango aims to control the generated music, not only with general text captions, but from more rich captions that could include specific instructions related to chords, beats, tempo, and key. As part of Mustango, we propose MuNet, a Music-Domain-Knowledge-Informed UNet sub-module to integrate these music-specific features, which we predict from the text prompt, as well as the general text embedding, into the diffusion denoising process. To overcome the limited availability of open datasets of music with text captions, we propose a novel data augmentation method that includes altering the harmonic, rhythmic, and dynamic aspects of music audio and using state-of-the-art Music Information Retrieval methods to extract the music features which will then be appended to the existing descriptions in text format. We release the resulting MusicBench dataset which contains over 52K instances and includes music-theory-based descriptions in the caption text. Through extensive experiments, we show that the quality of the music generated by Mustango is state-of-the-art, and the controllability through music-specific text prompts greatly outperforms other models in terms of desired chords, beat, key, and tempo, on multiple datasets.

EmoGen: Eliminating Subjective Bias in Emotional Music Generation

Music is used to convey emotions, and thus generating emotional music is important in automatic music generation. Previous work on emotional music generation directly uses annotated emotion labels as control signals, which suffers from subjective bias: different people may annotate different emotions on the same music, and one person may feel different emotions under different situations. Therefore, directly mapping emotion labels to music sequences in an end-to-end way would confuse the learning process and hinder the model from generating music with general emotions. In this paper, we propose EmoGen, an emotional music generation system that leverages a set of emotion-related music attributes as the bridge between emotion and music, and divides the generation into two stages: emotion-to-attribute mapping with supervised clustering, and attribute-to-music generation with self-supervised learning. Both stages are beneficial: in the first stage, the attribute values around the clustering center represent the general emotions of these samples, which help eliminate the impacts of the subjective bias of emotion labels; in the second stage, the generation is completely disentangled from emotion labels and thus free from the subjective bias. Both subjective and objective evaluations show that EmoGen outperforms previous methods on emotion control accuracy and music quality respectively, which demonstrate our superiority in generating emotional music. Music samples generated by EmoGen are available via this link:https://ai-muzic.github.io/emogen/, and the code is available at this link:https://github.com/microsoft/muzic/.

DITTO-2: Distilled Diffusion Inference-Time T-Optimization for Music Generation

Controllable music generation methods are critical for human-centered AI-based music creation, but are currently limited by speed, quality, and control design trade-offs. Diffusion Inference-Time T-optimization (DITTO), in particular, offers state-of-the-art results, but is over 10x slower than real-time, limiting practical use. We propose Distilled Diffusion Inference-Time T -Optimization (or DITTO-2), a new method to speed up inference-time optimization-based control and unlock faster-than-real-time generation for a wide-variety of applications such as music inpainting, outpainting, intensity, melody, and musical structure control. Our method works by (1) distilling a pre-trained diffusion model for fast sampling via an efficient, modified consistency or consistency trajectory distillation process (2) performing inference-time optimization using our distilled model with one-step sampling as an efficient surrogate optimization task and (3) running a final multi-step sampling generation (decoding) using our estimated noise latents for best-quality, fast, controllable generation. Through thorough evaluation, we find our method not only speeds up generation over 10-20x, but simultaneously improves control adherence and generation quality all at once. Furthermore, we apply our approach to a new application of maximizing text adherence (CLAP score) and show we can convert an unconditional diffusion model without text inputs into a model that yields state-of-the-art text control. Sound examples can be found at https://ditto-music.github.io/ditto2/.

Taming Visually Guided Sound Generation

Recent advances in visually-induced audio generation are based on sampling short, low-fidelity, and one-class sounds. Moreover, sampling 1 second of audio from the state-of-the-art model takes minutes on a high-end GPU. In this work, we propose a single model capable of generating visually relevant, high-fidelity sounds prompted with a set of frames from open-domain videos in less time than it takes to play it on a single GPU. We train a transformer to sample a new spectrogram from the pre-trained spectrogram codebook given the set of video features. The codebook is obtained using a variant of VQGAN trained to produce a compact sampling space with a novel spectrogram-based perceptual loss. The generated spectrogram is transformed into a waveform using a window-based GAN that significantly speeds up generation. Considering the lack of metrics for automatic evaluation of generated spectrograms, we also build a family of metrics called FID and MKL. These metrics are based on a novel sound classifier, called Melception, and designed to evaluate the fidelity and relevance of open-domain samples. Both qualitative and quantitative studies are conducted on small- and large-scale datasets to evaluate the fidelity and relevance of generated samples. We also compare our model to the state-of-the-art and observe a substantial improvement in quality, size, and computation time. Code, demo, and samples: v-iashin.github.io/SpecVQGAN

An Analysis of Approaches Taken in the ACM RecSys Challenge 2018 for Automatic Music Playlist Continuation

The ACM Recommender Systems Challenge 2018 focused on the task of automatic music playlist continuation, which is a form of the more general task of sequential recommendation. Given a playlist of arbitrary length with some additional meta-data, the task was to recommend up to 500 tracks that fit the target characteristics of the original playlist. For the RecSys Challenge, Spotify released a dataset of one million user-generated playlists. Participants could compete in two tracks, i.e., main and creative tracks. Participants in the main track were only allowed to use the provided training set, however, in the creative track, the use of external public sources was permitted. In total, 113 teams submitted 1,228 runs to the main track; 33 teams submitted 239 runs to the creative track. The highest performing team in the main track achieved an R-precision of 0.2241, an NDCG of 0.3946, and an average number of recommended songs clicks of 1.784. In the creative track, an R-precision of 0.2233, an NDCG of 0.3939, and a click rate of 1.785 was obtained by the best team. This article provides an overview of the challenge, including motivation, task definition, dataset description, and evaluation. We further report and analyze the results obtained by the top performing teams in each track and explore the approaches taken by the winners. We finally summarize our key findings, discuss generalizability of approaches and results to domains other than music, and list the open avenues and possible future directions in the area of automatic playlist continuation.

JEN-1 DreamStyler: Customized Musical Concept Learning via Pivotal Parameters Tuning

Large models for text-to-music generation have achieved significant progress, facilitating the creation of high-quality and varied musical compositions from provided text prompts. However, input text prompts may not precisely capture user requirements, particularly when the objective is to generate music that embodies a specific concept derived from a designated reference collection. In this paper, we propose a novel method for customized text-to-music generation, which can capture the concept from a two-minute reference music and generate a new piece of music conforming to the concept. We achieve this by fine-tuning a pretrained text-to-music model using the reference music. However, directly fine-tuning all parameters leads to overfitting issues. To address this problem, we propose a Pivotal Parameters Tuning method that enables the model to assimilate the new concept while preserving its original generative capabilities. Additionally, we identify a potential concept conflict when introducing multiple concepts into the pretrained model. We present a concept enhancement strategy to distinguish multiple concepts, enabling the fine-tuned model to generate music incorporating either individual or multiple concepts simultaneously. Since we are the first to work on the customized music generation task, we also introduce a new dataset and evaluation protocol for the new task. Our proposed Jen1-DreamStyler outperforms several baselines in both qualitative and quantitative evaluations. Demos will be available at https://www.jenmusic.ai/research#DreamStyler.

TM2D: Bimodality Driven 3D Dance Generation via Music-Text Integration

We propose a novel task for generating 3D dance movements that simultaneously incorporate both text and music modalities. Unlike existing works that generate dance movements using a single modality such as music, our goal is to produce richer dance movements guided by the instructive information provided by the text. However, the lack of paired motion data with both music and text modalities limits the ability to generate dance movements that integrate both. To alleviate this challenge, we propose to utilize a 3D human motion VQ-VAE to project the motions of the two datasets into a latent space consisting of quantized vectors, which effectively mix the motion tokens from the two datasets with different distributions for training. Additionally, we propose a cross-modal transformer to integrate text instructions into motion generation architecture for generating 3D dance movements without degrading the performance of music-conditioned dance generation. To better evaluate the quality of the generated motion, we introduce two novel metrics, namely Motion Prediction Distance (MPD) and Freezing Score, to measure the coherence and freezing percentage of the generated motion. Extensive experiments show that our approach can generate realistic and coherent dance movements conditioned on both text and music while maintaining comparable performance with the two single modalities. Code will be available at: https://garfield-kh.github.io/TM2D/.

RAVE: A variational autoencoder for fast and high-quality neural audio synthesis

Deep generative models applied to audio have improved by a large margin the state-of-the-art in many speech and music related tasks. However, as raw waveform modelling remains an inherently difficult task, audio generative models are either computationally intensive, rely on low sampling rates, are complicated to control or restrict the nature of possible signals. Among those models, Variational AutoEncoders (VAE) give control over the generation by exposing latent variables, although they usually suffer from low synthesis quality. In this paper, we introduce a Realtime Audio Variational autoEncoder (RAVE) allowing both fast and high-quality audio waveform synthesis. We introduce a novel two-stage training procedure, namely representation learning and adversarial fine-tuning. We show that using a post-training analysis of the latent space allows a direct control between the reconstruction fidelity and the representation compactness. By leveraging a multi-band decomposition of the raw waveform, we show that our model is the first able to generate 48kHz audio signals, while simultaneously running 20 times faster than real-time on a standard laptop CPU. We evaluate synthesis quality using both quantitative and qualitative subjective experiments and show the superiority of our approach compared to existing models. Finally, we present applications of our model for timbre transfer and signal compression. All of our source code and audio examples are publicly available.

Weakly Supervised Deep Recurrent Neural Networks for Basic Dance Step Generation

Synthesizing human's movements such as dancing is a flourishing research field which has several applications in computer graphics. Recent studies have demonstrated the advantages of deep neural networks (DNNs) for achieving remarkable performance in motion and music tasks with little effort for feature pre-processing. However, applying DNNs for generating dance to a piece of music is nevertheless challenging, because of 1) DNNs need to generate large sequences while mapping the music input, 2) the DNN needs to constraint the motion beat to the music, and 3) DNNs require a considerable amount of hand-crafted data. In this study, we propose a weakly supervised deep recurrent method for real-time basic dance generation with audio power spectrum as input. The proposed model employs convolutional layers and a multilayered Long Short-Term memory (LSTM) to process the audio input. Then, another deep LSTM layer decodes the target dance sequence. Notably, this end-to-end approach has 1) an auto-conditioned decode configuration that reduces accumulation of feedback error of large dance sequence, 2) uses a contrastive cost function to regulate the mapping between the music and motion beat, and 3) trains with weak labels generated from the motion beat, reducing the amount of hand-crafted data. We evaluate the proposed network based on i) the similarities between generated and the baseline dancer motion with a cross entropy measure for large dance sequences, and ii) accurate timing between the music and motion beat with an F-measure. Experimental results revealed that, after training using a small dataset, the model generates basic dance steps with low cross entropy and maintains an F-measure score similar to that of a baseline dancer.

MIDI-DDSP: Detailed Control of Musical Performance via Hierarchical Modeling

Musical expression requires control of both what notes are played, and how they are performed. Conventional audio synthesizers provide detailed expressive controls, but at the cost of realism. Black-box neural audio synthesis and concatenative samplers can produce realistic audio, but have few mechanisms for control. In this work, we introduce MIDI-DDSP a hierarchical model of musical instruments that enables both realistic neural audio synthesis and detailed user control. Starting from interpretable Differentiable Digital Signal Processing (DDSP) synthesis parameters, we infer musical notes and high-level properties of their expressive performance (such as timbre, vibrato, dynamics, and articulation). This creates a 3-level hierarchy (notes, performance, synthesis) that affords individuals the option to intervene at each level, or utilize trained priors (performance given notes, synthesis given performance) for creative assistance. Through quantitative experiments and listening tests, we demonstrate that this hierarchy can reconstruct high-fidelity audio, accurately predict performance attributes for a note sequence, independently manipulate the attributes of a given performance, and as a complete system, generate realistic audio from a novel note sequence. By utilizing an interpretable hierarchy, with multiple levels of granularity, MIDI-DDSP opens the door to assistive tools to empower individuals across a diverse range of musical experience.

Autonomous In-Situ Soundscape Augmentation via Joint Selection of Masker and Gain

The selection of maskers and playback gain levels in a soundscape augmentation system is crucial to its effectiveness in improving the overall acoustic comfort of a given environment. Traditionally, the selection of appropriate maskers and gain levels has been informed by expert opinion, which may not representative of the target population, or by listening tests, which can be time-consuming and labour-intensive. Furthermore, the resulting static choices of masker and gain are often inflexible to the dynamic nature of real-world soundscapes. In this work, we utilized a deep learning model to perform joint selection of the optimal masker and its gain level for a given soundscape. The proposed model was designed with highly modular building blocks, allowing for an optimized inference process that can quickly search through a large number of masker and gain combinations. In addition, we introduced the use of feature-domain soundscape augmentation conditioned on the digital gain level, eliminating the computationally expensive waveform-domain mixing process during inference time, as well as the tedious pre-calibration process required for new maskers. The proposed system was validated on a large-scale dataset of subjective responses to augmented soundscapes with more than 440 participants, ensuring the ability of the model to predict combined effect of the masker and its gain level on the perceptual pleasantness level.

SoundCTM: Uniting Score-based and Consistency Models for Text-to-Sound Generation

Sound content is an indispensable element for multimedia works such as video games, music, and films. Recent high-quality diffusion-based sound generation models can serve as valuable tools for the creators. However, despite producing high-quality sounds, these models often suffer from slow inference speeds. This drawback burdens creators, who typically refine their sounds through trial and error to align them with their artistic intentions. To address this issue, we introduce Sound Consistency Trajectory Models (SoundCTM). Our model enables flexible transitioning between high-quality 1-step sound generation and superior sound quality through multi-step generation. This allows creators to initially control sounds with 1-step samples before refining them through multi-step generation. While CTM fundamentally achieves flexible 1-step and multi-step generation, its impressive performance heavily depends on an additional pretrained feature extractor and an adversarial loss, which are expensive to train and not always available in other domains. Thus, we reframe CTM's training framework and introduce a novel feature distance by utilizing the teacher's network for a distillation loss. Additionally, while distilling classifier-free guided trajectories, we train conditional and unconditional student models simultaneously and interpolate between these models during inference. We also propose training-free controllable frameworks for SoundCTM, leveraging its flexible sampling capability. SoundCTM achieves both promising 1-step and multi-step real-time sound generation without using any extra off-the-shelf networks. Furthermore, we demonstrate SoundCTM's capability of controllable sound generation in a training-free manner.