Ziyu Wang

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.

Yusuf Aytar, Tobias Pfaff, David Budden et al.

Deep reinforcement learning methods traditionally struggle with tasks where environment rewards are particularly sparse. One successful method of guiding exploration in these domains is to imitate trajectories provided by a human demonstrator. However, these demonstrations are typically collected under artificial conditions, i.e. with access to the agent's exact environment setup and the demonstrator's action and reward trajectories. Here we propose a two-stage method that overcomes these limitations by relying on noisy, unaligned footage without access to such data. First, we learn to map unaligned videos from multiple sources to a common representation using self-supervised objectives constructed over both time and modality (i.e. vision and sound). Second, we embed a single YouTube video in this representation to construct a reward function that encourages an agent to imitate human gameplay. This method of one-shot imitation allows our agent to convincingly exceed human-level performance on the infamously hard exploration games Montezuma's Revenge, Pitfall! and Private Eye for the first time, even if the agent is not presented with any environment rewards.