Daily Papers

We introduce NotaGen, a symbolic music generation model aiming to explore the potential of producing high-quality classical sheet music. Inspired by the success of Large Language Models (LLMs), NotaGen adopts pre-training, fine-tuning, and reinforcement learning paradigms (henceforth referred to as the LLM training paradigms). It is pre-trained on 1.6M pieces of music, and then fine-tuned on approximately 9K high-quality classical compositions conditioned on "period-composer-instrumentation" prompts. For reinforcement learning, we propose the CLaMP-DPO method, which further enhances generation quality and controllability without requiring human annotations or predefined rewards. Our experiments demonstrate the efficacy of CLaMP-DPO in symbolic music generation models with different architectures and encoding schemes. Furthermore, subjective A/B tests show that NotaGen outperforms baseline models against human compositions, greatly advancing musical aesthetics in symbolic music generation.The project homepage is https://electricalexis.github.io/notagen-demo.

Recent advances in large language models (LLMs) and audio language models have significantly improved music generation, particularly in lyrics-to-song generation. However, existing approaches still struggle with the complex composition of songs and the scarcity of high-quality data, leading to limitations in sound quality, musicality, instruction following, and vocal-instrument harmony. To address these challenges, we introduce LeVo, an LM-based framework consisting of LeLM and a music codec. LeLM is capable of parallelly modeling two types of tokens: mixed tokens, which represent the combined audio of vocals and accompaniment to achieve vocal-instrument harmony, and dual-track tokens, which separately encode vocals and accompaniment for high-quality song generation. It employs two decoder-only transformers and a modular extension training strategy to prevent interference between different token types. To further enhance musicality and instruction following, we introduce a multi-preference alignment method based on Direct Preference Optimization (DPO). This method handles diverse human preferences through a semi-automatic data construction process and DPO post-training. Experimental results demonstrate that LeVo consistently outperforms existing methods on both objective and subjective metrics. Ablation studies further justify the effectiveness of our designs. Audio examples are available at https://levo-demo.github.io/.

Generating music from text descriptions is a user-friendly mode since the text is a relatively easy interface for user engagement. While some approaches utilize texts to control music audio generation, editing musical elements in generated audio is challenging for users. In contrast, symbolic music offers ease of editing, making it more accessible for users to manipulate specific musical elements. In this paper, we propose MuseCoco, which generates symbolic music from text descriptions with musical attributes as the bridge to break down the task into text-to-attribute understanding and attribute-to-music generation stages. MuseCoCo stands for Music Composition Copilot that empowers musicians to generate music directly from given text descriptions, offering a significant improvement in efficiency compared to creating music entirely from scratch. The system has two main advantages: Firstly, it is data efficient. In the attribute-to-music generation stage, the attributes can be directly extracted from music sequences, making the model training self-supervised. In the text-to-attribute understanding stage, the text is synthesized and refined by ChatGPT based on the defined attribute templates. Secondly, the system can achieve precise control with specific attributes in text descriptions and offers multiple control options through attribute-conditioned or text-conditioned approaches. MuseCoco outperforms baseline systems in terms of musicality, controllability, and overall score by at least 1.27, 1.08, and 1.32 respectively. Besides, there is a notable enhancement of about 20% in objective control accuracy. In addition, we have developed a robust large-scale model with 1.2 billion parameters, showcasing exceptional controllability and musicality.

We introduce anticipation: a method for constructing a controllable generative model of a temporal point process (the event process) conditioned asynchronously on realizations of a second, correlated process (the control process). We achieve this by interleaving sequences of events and controls, such that controls appear following stopping times in the event sequence. This work is motivated by problems arising in the control of symbolic music generation. We focus on infilling control tasks, whereby the controls are a subset of the events themselves, and conditional generation completes a sequence of events given the fixed control events. We train anticipatory infilling models using the large and diverse Lakh MIDI music dataset. These models match the performance of autoregressive models for prompted music generation, with the additional capability to perform infilling control tasks, including accompaniment. Human evaluators report that an anticipatory model produces accompaniments with similar musicality to even music composed by humans over a 20-second clip.

We propose a unified framework for Singing Voice Synthesis (SVS) and Conversion (SVC), addressing the limitations of existing approaches in cross-domain SVS/SVC, poor output musicality, and scarcity of singing data. Our framework enables control over multiple aspects, including language content based on lyrics, performance attributes based on a musical score, singing style and vocal techniques based on a selector, and voice identity based on a speech sample. The proposed zero-shot learning paradigm consists of one SVS model and two SVC models, utilizing pre-trained content embeddings and a diffusion-based generator. The proposed framework is also trained on mixed datasets comprising both singing and speech audio, allowing singing voice cloning based on speech reference. Experiments show substantial improvements in timbre similarity and musicality over state-of-the-art baselines, providing insights into other low-data music tasks such as instrumental style transfer. Examples can be found at: everyone-can-sing.github.io.

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.

We tackle the task of long-form music generation--particularly the challenging lyrics-to-song problem--by introducing YuE, a family of open foundation models based on the LLaMA2 architecture. Specifically, YuE scales to trillions of tokens and generates up to five minutes of music while maintaining lyrical alignment, coherent musical structure, and engaging vocal melodies with appropriate accompaniment. It achieves this through (1) track-decoupled next-token prediction to overcome dense mixture signals, (2) structural progressive conditioning for long-context lyrical alignment, and (3) a multitask, multiphase pre-training recipe to converge and generalize. In addition, we redesign the in-context learning technique for music generation, enabling versatile style transfer (e.g., converting Japanese city pop into an English rap while preserving the original accompaniment) and bidirectional generation. Through extensive evaluation, we demonstrate that YuE matches or even surpasses some of the proprietary systems in musicality and vocal agility. In addition, fine-tuning YuE enables additional controls and enhanced support for tail languages. Furthermore, beyond generation, we show that YuE's learned representations can perform well on music understanding tasks, where the results of YuE match or exceed state-of-the-art methods on the MARBLE benchmark. Keywords: lyrics2song, song generation, long-form, foundation model, music generation

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.

Recent progress in music generation has been remarkably advanced by the state-of-the-art MusicLM, which comprises a hierarchy of three LMs, respectively, for semantic, coarse acoustic, and fine acoustic modelings. Yet, sampling with the MusicLM requires processing through these LMs one by one to obtain the fine-grained acoustic tokens, making it computationally expensive and prohibitive for a real-time generation. Efficient music generation with a quality on par with MusicLM remains a significant challenge. In this paper, we present MeLoDy (M for music; L for LM; D for diffusion), an LM-guided diffusion model that generates music audios of state-of-the-art quality meanwhile reducing 95.7% or 99.6% forward passes in MusicLM, respectively, for sampling 10s or 30s music. MeLoDy inherits the highest-level LM from MusicLM for semantic modeling, and applies a novel dual-path diffusion (DPD) model and an audio VAE-GAN to efficiently decode the conditioning semantic tokens into waveform. DPD is proposed to simultaneously model the coarse and fine acoustics by incorporating the semantic information into segments of latents effectively via cross-attention at each denoising step. Our experimental results suggest the superiority of MeLoDy, not only in its practical advantages on sampling speed and infinitely continuable generation, but also in its state-of-the-art musicality, audio quality, and text correlation. Our samples are available at https://Efficient-MeLoDy.github.io/.

Autoregressive (AR) models have demonstrated impressive capabilities in generating high-fidelity music. However, the conventional next-token prediction paradigm in AR models does not align with the human creative process in music composition, potentially compromising the musicality of generated samples. To overcome this limitation, we introduce MusiCoT, a novel chain-of-thought (CoT) prompting technique tailored for music generation. MusiCoT empowers the AR model to first outline an overall music structure before generating audio tokens, thereby enhancing the coherence and creativity of the resulting compositions. By leveraging the contrastive language-audio pretraining (CLAP) model, we establish a chain of "musical thoughts", making MusiCoT scalable and independent of human-labeled data, in contrast to conventional CoT methods. Moreover, MusiCoT allows for in-depth analysis of music structure, such as instrumental arrangements, and supports music referencing -- accepting variable-length audio inputs as optional style references. This innovative approach effectively addresses copying issues, positioning MusiCoT as a vital practical method for music prompting. Our experimental results indicate that MusiCoT consistently achieves superior performance across both objective and subjective metrics, producing music quality that rivals state-of-the-art generation models. Our samples are available at https://MusiCoT.github.io/.

In this work, we implement music production for silent film clips using LLM-driven method. Given the strong professional demands of film music production, we propose the FilmComposer, simulating the actual workflows of professional musicians. FilmComposer is the first to combine large generative models with a multi-agent approach, leveraging the advantages of both waveform music and symbolic music generation. Additionally, FilmComposer is the first to focus on the three core elements of music production for film-audio quality, musicality, and musical development-and introduces various controls, such as rhythm, semantics, and visuals, to enhance these key aspects. Specifically, FilmComposer consists of the visual processing module, rhythm-controllable MusicGen, and multi-agent assessment, arrangement and mix. In addition, our framework can seamlessly integrate into the actual music production pipeline and allows user intervention in every step, providing strong interactivity and a high degree of creative freedom. Furthermore, we propose MusicPro-7k which includes 7,418 film clips, music, description, rhythm spots and main melody, considering the lack of a professional and high-quality film music dataset. Finally, both the standard metrics and the new specialized metrics we propose demonstrate that the music generated by our model achieves state-of-the-art performance in terms of quality, consistency with video, diversity, musicality, and musical development. Project page: https://apple-jun.github.io/FilmComposer.github.io/

In recent years, diffusion-based text-to-music (TTM) generation has gained prominence, offering an innovative approach to synthesizing musical content from textual descriptions. Achieving high accuracy and diversity in this generation process requires extensive, high-quality data, including both high-fidelity audio waveforms and detailed text descriptions, which often constitute only a small portion of available datasets. In open-source datasets, issues such as low-quality music waveforms, mislabeling, weak labeling, and unlabeled data significantly hinder the development of music generation models. To address these challenges, we propose a novel paradigm for high-quality music generation that incorporates a quality-aware training strategy, enabling generative models to discern the quality of input music waveforms during training. Leveraging the unique properties of musical signals, we first adapted and implemented a masked diffusion transformer (MDT) model for the TTM task, demonstrating its distinct capacity for quality control and enhanced musicality. Additionally, we address the issue of low-quality captions in TTM with a caption refinement data processing approach. Experiments demonstrate our state-of-the-art (SOTA) performance on MusicCaps and the Song-Describer Dataset. Our demo page can be accessed at https://qa-mdt.github.io/.

Aesthetics serve as an implicit and important criterion in song generation tasks that reflect human perception beyond objective metrics. However, evaluating the aesthetics of generated songs remains a fundamental challenge, as the appreciation of music is highly subjective. Existing evaluation metrics, such as embedding-based distances, are limited in reflecting the subjective and perceptual aspects that define musical appeal. To address this issue, we introduce SongEval, the first open-source, large-scale benchmark dataset for evaluating the aesthetics of full-length songs. SongEval includes over 2,399 songs in full length, summing up to more than 140 hours, with aesthetic ratings from 16 professional annotators with musical backgrounds. Each song is evaluated across five key dimensions: overall coherence, memorability, naturalness of vocal breathing and phrasing, clarity of song structure, and overall musicality. The dataset covers both English and Chinese songs, spanning nine mainstream genres. Moreover, to assess the effectiveness of song aesthetic evaluation, we conduct experiments using SongEval to predict aesthetic scores and demonstrate better performance than existing objective evaluation metrics in predicting human-perceived musical quality.