Zeyue Tian

Ruibin Yuan, Yinghao Ma, Yizhi Li et al. · deepmind, mila

In the era of extensive intersection between art and Artificial Intelligence (AI), such as image generation and fiction co-creation, AI for music remains relatively nascent, particularly in music understanding. This is evident in the limited work on deep music representations, the scarcity of large-scale datasets, and the absence of a universal and community-driven benchmark. To address this issue, we introduce the Music Audio Representation Benchmark for universaL Evaluation, termed MARBLE. It aims to provide a benchmark for various Music Information Retrieval (MIR) tasks by defining a comprehensive taxonomy with four hierarchy levels, including acoustic, performance, score, and high-level description. We then establish a unified protocol based on 14 tasks on 8 public-available datasets, providing a fair and standard assessment of representations of all open-sourced pre-trained models developed on music recordings as baselines. Besides, MARBLE offers an easy-to-use, extendable, and reproducible suite for the community, with a clear statement on copyright issues on datasets. Results suggest recently proposed large-scale pre-trained musical language models perform the best in most tasks, with room for further improvement. The leaderboard and toolkit repository are published at https://marble-bm.shef.ac.uk to promote future music AI research.

Feng Wang, Sinan Tan, Xinghang Li et al. · tsinghua

Synthesizing high-fidelity videos from real-world multi-view input is challenging because of the complexities of real-world environments and highly dynamic motions. Previous works based on neural radiance fields have demonstrated high-quality reconstructions of dynamic scenes. However, training such models on real-world scenes is time-consuming, usually taking days or weeks. In this paper, we present a novel method named MixVoxels to better represent the dynamic scenes with fast training speed and competitive rendering qualities. The proposed MixVoxels represents the 4D dynamic scenes as a mixture of static and dynamic voxels and processes them with different networks. In this way, the computation of the required modalities for static voxels can be processed by a lightweight model, which essentially reduces the amount of computation, especially for many daily dynamic scenes dominated by the static background. To separate the two kinds of voxels, we propose a novel variation field to estimate the temporal variance of each voxel. For the dynamic voxels, we design an inner-product time query method to efficiently query multiple time steps, which is essential to recover the high-dynamic motions. As a result, with 15 minutes of training for dynamic scenes with inputs of 300-frame videos, MixVoxels achieves better PSNR than previous methods. Codes and trained models are available at https://github.com/fengres/mixvoxels

Yinghao Ma, Anders Øland, Anton Ragni et al.

In recent years, foundation models (FMs) such as large language models (LLMs) and latent diffusion models (LDMs) have profoundly impacted diverse sectors, including music. This comprehensive review examines state-of-the-art (SOTA) pre-trained models and foundation models in music, spanning from representation learning, generative learning and multimodal learning. We first contextualise the significance of music in various industries and trace the evolution of AI in music. By delineating the modalities targeted by foundation models, we discover many of the music representations are underexplored in FM development. Then, emphasis is placed on the lack of versatility of previous methods on diverse music applications, along with the potential of FMs in music understanding, generation and medical application. By comprehensively exploring the details of the model pre-training paradigm, architectural choices, tokenisation, finetuning methodologies and controllability, we emphasise the important topics that should have been well explored, like instruction tuning and in-context learning, scaling law and emergent ability, as well as long-sequence modelling etc. A dedicated section presents insights into music agents, accompanied by a thorough analysis of datasets and evaluations essential for pre-training and downstream tasks. Finally, by underscoring the vital importance of ethical considerations, we advocate that following research on FM for music should focus more on such issues as interpretability, transparency, human responsibility, and copyright issues. The paper offers insights into future challenges and trends on FMs for music, aiming to shape the trajectory of human-AI collaboration in the music realm.

Ruibin Yuan, Hanfeng Lin, Yi Wang et al.

While Large Language Models (LLMs) demonstrate impressive capabilities in text generation, we find that their ability has yet to be generalized to music, humanity's creative language. We introduce ChatMusician, an open-source LLM that integrates intrinsic musical abilities. It is based on continual pre-training and finetuning LLaMA2 on a text-compatible music representation, ABC notation, and the music is treated as a second language. ChatMusician can understand and generate music with a pure text tokenizer without any external multi-modal neural structures or tokenizers. Interestingly, endowing musical abilities does not harm language abilities, even achieving a slightly higher MMLU score. Our model is capable of composing well-structured, full-length music, conditioned on texts, chords, melodies, motifs, musical forms, etc, surpassing GPT-4 baseline. On our meticulously curated college-level music understanding benchmark, MusicTheoryBench, ChatMusician surpasses LLaMA2 and GPT-3.5 on zero-shot setting by a noticeable margin. Our work reveals that LLMs can be an excellent compressor for music, but there remains significant territory to be conquered. We release our 4B token music-language corpora MusicPile, the collected MusicTheoryBench, code, model and demo in GitHub.

Zhaoyang Liu, Jingjing Xie, Zichen Ding et al.

Vision-Language Models (VLMs) have enabled computer use agents (CUAs) that operate GUIs autonomously, showing great potential, yet progress is limited by the lack of large-scale, open-source computer use data and foundation models. In this work, we introduce ScaleCUA, a step toward scaling open-source CUAs. It offers a large-scale dataset spanning 6 operating systems and 3 task domains, built via a closed-loop pipeline uniting automated agents with human experts. Trained on this scaled-up data, ScaleCUA can operate seamlessly across platforms. Specifically, it delivers strong gains over baselines (+26.6 on WebArena-Lite-v2, +10.7 on ScreenSpot-Pro) and sets new state-of-the-art results (94.4% on MMBench-GUI L1-Hard, 60.6% on OSWorld-G, 47.4% on WebArena-Lite-v2). These findings underscore the power of data-driven scaling for general-purpose computer use agents. We will release data, models, and code to advance future research: https://github.com/OpenGVLab/ScaleCUA.

Qixin Deng, Qikai Yang, Ruibin Yuan et al.

Music composition represents the creative side of humanity, and itself is a complex task that requires abilities to understand and generate information with long dependency and harmony constraints. While demonstrating impressive capabilities in STEM subjects, current LLMs easily fail in this task, generating ill-written music even when equipped with modern techniques like In-Context-Learning and Chain-of-Thoughts. To further explore and enhance LLMs' potential in music composition by leveraging their reasoning ability and the large knowledge base in music history and theory, we propose ComposerX, an agent-based symbolic music generation framework. We find that applying a multi-agent approach significantly improves the music composition quality of GPT-4. The results demonstrate that ComposerX is capable of producing coherent polyphonic music compositions with captivating melodies, while adhering to user instructions.

Ruibin Yuan, Hanfeng Lin, Shuyue Guo et al.

We tackle the task of long-form music generation--particularly the challenging \textbf{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

Liumeng Xue, Ziya Zhou, Jiahao Pan et al.

Recent advancements in audio tokenization have significantly enhanced the integration of audio capabilities into large language models (LLMs). However, audio understanding and generation are often treated as distinct tasks, hindering the development of truly unified audio-language models. While instruction tuning has demonstrated remarkable success in improving generalization and zero-shot learning across text and vision, its application to audio remains largely unexplored. A major obstacle is the lack of comprehensive datasets that unify audio understanding and generation. To address this, we introduce Audio-FLAN, a large-scale instruction-tuning dataset covering 80 diverse tasks across speech, music, and sound domains, with over 100 million instances. Audio-FLAN lays the foundation for unified audio-language models that can seamlessly handle both understanding (e.g., transcription, comprehension) and generation (e.g., speech, music, sound) tasks across a wide range of audio domains in a zero-shot manner. The Audio-FLAN dataset is available on HuggingFace and GitHub and will be continuously updated.

Yizhu Jin, Zhen Ye, Zeyue Tian et al.

Diffusion models have demonstrated remarkable success in generative tasks, including audio super-resolution (SR). In many applications like movie post-production and album mastering, substantial computational budgets are available for achieving superior audio quality. However, while existing diffusion approaches typically increase sampling steps to improve quality, the performance remains fundamentally limited by the stochastic nature of the sampling process, leading to high-variance and quality-limited outputs. Here, rather than simply increasing the number of sampling steps, we propose a different paradigm through inference-time scaling for SR, which explores multiple solution trajectories during the sampling process. Different task-specific verifiers are developed, and two search algorithms, including the random search and zero-order search for SR, are introduced. By actively guiding the exploration of the high-dimensional solution space through verifier-algorithm combinations, we enable more robust and higher-quality outputs. Through extensive validation across diverse audio domains (speech, music, sound effects) and frequency ranges, we demonstrate consistent performance gains, achieving improvements of up to 9.70% in aesthetics, 5.88% in speaker similarity, 15.20% in word error rate, and 46.98% in spectral distance for speech SR from 4kHz to 24kHz, showcasing the effectiveness of our approach. Audio samples are available at: https://racerk.github.io/tt-scale-audiosr/.

Kam Man Wu, Zeyue Tian, Liya Ji et al.

Video and audio inpainting for mixed audio-visual content has become a crucial task in multimedia editing recently. However, precisely removing an object and its corresponding audio from a video without affecting the rest of the scene remains a significant challenge. To address this, we propose VAInpaint, a novel pipeline that first utilizes a segmentation model to generate masks and guide a video inpainting model in removing objects. At the same time, an LLM then analyzes the scene globally, while a region-specific model provides localized descriptions. Both the overall and regional descriptions will be inputted into an LLM, which will refine the content and turn it into text queries for our text-driven audio separation model. Our audio separation model is fine-tuned on a customized dataset comprising segmented MUSIC instrument images and VGGSound backgrounds to enhance its generalization performance. Experiments show that our method achieves performance comparable to current benchmarks in both audio and video inpainting.