Daily Papers

This review presents a comprehensive analysis of two emerging paradigms in AI-assisted software development: vibe coding and agentic coding. While both leverage large language models (LLMs), they differ fundamentally in autonomy, architectural design, and the role of the developer. Vibe coding emphasizes intuitive, human-in-the-loop interaction through prompt-based, conversational workflows that support ideation, experimentation, and creative exploration. In contrast, agentic coding enables autonomous software development through goal-driven agents capable of planning, executing, testing, and iterating tasks with minimal human intervention. We propose a detailed taxonomy spanning conceptual foundations, execution models, feedback loops, safety mechanisms, debugging strategies, and real-world tool ecosystems. Through comparative workflow analysis and 20 detailed use cases, we illustrate how vibe systems thrive in early-stage prototyping and education, while agentic systems excel in enterprise-grade automation, codebase refactoring, and CI/CD integration. We further examine emerging trends in hybrid architectures, where natural language interfaces are coupled with autonomous execution pipelines. Finally, we articulate a future roadmap for agentic AI, outlining the infrastructure needed for trustworthy, explainable, and collaborative systems. Our findings suggest that successful AI software engineering will rely not on choosing one paradigm, but on harmonizing their strengths within a unified, human-centered development lifecycle.

Vibe coding is a new programming paradigm in which human engineers instruct large language model (LLM) agents to complete complex coding tasks with little supervision. Although it is increasingly adopted, are vibe coding outputs really safe to deploy in production? To answer this question, we propose SU S VI B E S, a benchmark consisting of 200 feature-request software engineering tasks from real-world open-source projects, which, when given to human programmers, led to vulnerable implementations. We evaluate multiple widely used coding agents with frontier models on this benchmark. Disturbingly, all agents perform poorly in terms of software security. Although 61% of the solutions from SWE-Agent with Claude 4 Sonnet are functionally correct, only 10.5% are secure. Further experiments demonstrate that preliminary security strategies, such as augmenting the feature request with vulnerability hints, cannot mitigate these security issues. Our findings raise serious concerns about the widespread adoption of vibe-coding, particularly in security-sensitive applications.

The advancement of large language models (LLMs) has catalyzed a paradigm shift from code generation assistance to autonomous coding agents, enabling a novel development methodology termed "Vibe Coding" where developers validate AI-generated implementations through outcome observation rather than line-by-line code comprehension. Despite its transformative potential, the effectiveness of this emergent paradigm remains under-explored, with empirical evidence revealing unexpected productivity losses and fundamental challenges in human-AI collaboration. To address this gap, this survey provides the first comprehensive and systematic review of Vibe Coding with large language models, establishing both theoretical foundations and practical frameworks for this transformative development approach. Drawing from systematic analysis of over 1000 research papers, we survey the entire vibe coding ecosystem, examining critical infrastructure components including LLMs for coding, LLM-based coding agent, development environment of coding agent, and feedback mechanisms. We first introduce Vibe Coding as a formal discipline by formalizing it through a Constrained Markov Decision Process that captures the dynamic triadic relationship among human developers, software projects, and coding agents. Building upon this theoretical foundation, we then synthesize existing practices into five distinct development models: Unconstrained Automation, Iterative Conversational Collaboration, Planning-Driven, Test-Driven, and Context-Enhanced Models, thus providing the first comprehensive taxonomy in this domain. Critically, our analysis reveals that successful Vibe Coding depends not merely on agent capabilities but on systematic context engineering, well-established development environments, and human-agent collaborative development models.

The rapid advancement of Large Language Models (LLMs) has given rise to a novel software development paradigm known as "vibe coding," where users interact with coding agents through high-level natural language. However, existing evaluation benchmarks for code generation inadequately assess an agent's vibe coding capabilities. Existing benchmarks are misaligned, as they either require code-level specifications or focus narrowly on issue-solving, neglecting the critical scenario of feature implementation within the vibe coding paradiam. To address this gap, we propose FeatBench, a novel benchmark for vibe coding that focuses on feature implementation. Our benchmark is distinguished by several key features: 1. Pure Natural Language Prompts. Task inputs consist solely of abstract natural language descriptions, devoid of any code or structural hints. 2. A Rigorous & Evolving Data Collection Process. FeatBench is built on a multi-level filtering pipeline to ensure quality and a fully automated pipeline to evolve the benchmark, mitigating data contamination. 3. Comprehensive Test Cases. Each task includes Fail-to-Pass (F2P) and Pass-to-Pass (P2P) tests to verify correctness and prevent regressions. 4. Diverse Application Domains. The benchmark includes repositories from diverse domains to ensure it reflects real-world scenarios. We evaluate two state-of-the-art agent frameworks with four leading LLMs on FeatBench. Our evaluation reveals that feature implementation within the vibe coding paradigm is a significant challenge, with the highest success rate of only 29.94%. Our analysis also reveals a tendency for "aggressive implementation," a strategy that paradoxically leads to both critical failures and superior software design. We release FeatBench, our automated collection pipeline, and all experimental results to facilitate further community research.

Large Language Models (LLMs) have catalyzed vibe coding, where users leverage LLMs to generate and iteratively refine code through natural language interactions until it passes their vibe check. Vibe check is tied to real-world human preference and goes beyond functionality: the solution should feel right, read cleanly, preserve intent, and remain correct. However, current code evaluation remains anchored to pass@k and captures only functional correctness, overlooking the non-functional instructions that users routinely apply. In this paper, we hypothesize that instruction following is the missing piece underlying vibe check that represents human preference in coding besides functional correctness. To quantify models' code instruction following capabilities with measurable signals, we present VeriCode, a taxonomy of 30 verifiable code instructions together with corresponding deterministic verifiers. We use the taxonomy to augment established evaluation suites, resulting in Vibe Checker, a testbed to assess both code instruction following and functional correctness. Upon evaluating 31 leading LLMs, we show that even the strongest models struggle to comply with multiple instructions and exhibit clear functional regression. Most importantly, a composite score of functional correctness and instruction following correlates the best with human preference, with the latter emerging as the primary differentiator on real-world programming tasks. Our work identifies core factors of the vibe check, providing a concrete path for benchmarking and developing models that better align with user preferences in coding.

For the past decade, the trajectory of generative artificial intelligence (AI) has been dominated by a model-centric paradigm driven by scaling laws. Despite significant leaps in visual fidelity, this approach has encountered a ``usability ceiling'' manifested as the Intent-Execution Gap (i.e., the fundamental disparity between a creator's high-level intent and the stochastic, black-box nature of current single-shot models). In this paper, inspired by the Vibe Coding, we introduce the Vibe AIGC, a new paradigm for content generation via agentic orchestration, which represents the autonomous synthesis of hierarchical multi-agent workflows. Under this paradigm, the user's role transcends traditional prompt engineering, evolving into a Commander who provides a Vibe, a high-level representation encompassing aesthetic preferences, functional logic, and etc. A centralized Meta-Planner then functions as a system architect, deconstructing this ``Vibe'' into executable, verifiable, and adaptive agentic pipelines. By transitioning from stochastic inference to logical orchestration, Vibe AIGC bridges the gap between human imagination and machine execution. We contend that this shift will redefine the human-AI collaborative economy, transforming AI from a fragile inference engine into a robust system-level engineering partner that democratizes the creation of complex, long-horizon digital assets.

Large language models (LLMs) are increasingly used for code generation in fast, informal development workflows, often referred to as vibe coding, where speed and convenience are prioritized, and security requirements are rarely made explicit. In this setting, models frequently produce functionally correct but insecure code, creating a growing security risk. Existing approaches to improving code security rely on full-parameter fine-tuning or parameter-efficient adaptations, which are either costly and prone to catastrophic forgetting or operate at coarse granularity with limited interpretability and control. We present GoodVibe, a neuron-level framework for improving the security of code language models by default. GoodVibe is based on the key insight that security-relevant reasoning is localized to a small subset of neurons. We identify these neurons using gradient-based attribution from a supervised security task and perform neuron-selective fine-tuning that updates only this security-critical subspace. To further reduce training cost, we introduce activation-driven neuron clustering, enabling structured updates with minimal overhead. We evaluate GoodVibe on six LLMs across security-critical programming languages, including C++, Java, Swift, and Go. GoodVibe substantially improves the security of generated code while preserving general model utility, achieving up to a 2.5x improvement over base models, matching or exceeding full fine-tuning with over 4,700x fewer trainable parameters, and reducing training computation by more than 3.6x compared to the parameter-efficient baseline (LoRA). Our results demonstrate that neuron-level optimization offers an effective and scalable approach to securing code generation without sacrificing efficiency or generality.

Test-Driven Development (TDD) is a widely adopted software engineering practice that requires developers to create and execute tests alongside code implementation, ensuring that software behavior is continuously validated and refined. In the era of vibe coding, where developers increasingly delegate code writing to large language models (LLMs) by specifying high-level intentions, TDD becomes even more crucial, as test cases serve as executable specifications that explicitly define and verify intended functionality beyond what natural-language descriptions and code context can convey. While vibe coding under TDD is promising, there are three main challenges: (1) selecting a small yet effective test suite to improve the generation accuracy and control the execution workload, (2) retrieving context such as relevant code effectively, and (3) systematically using test feedback for effective code refinement. To address these challenges, we introduce TENET, an LLM agent for generating functions in complex real-world repositories under the TDD setting. TENET features three components: (1) a novel test harness mechanism that selects a concise test suite to maximize diversity of target usage scenarios; (2) a tailored agent toolset that performs efficient retrieval of relevant code with interactive debugging; and (3) a reflection-based refinement workflow that iteratively analyzes failures, replenishes context, and applies code refinement. TENET achieves 69.08% and 81.77% Pass@1 on RepoCod and RepoEval benchmarks, outperforming the best agentic baselines by 9.49 and 2.17 percentage points, respectively. In addition, this is the first study of test-driven code generation with repository-level context, examining how different aspects of test suites affect the performance of LLM agents under the TDD setting.

As Large Language Models increasingly automate complex, long-horizon tasks such as vibe coding, a supervision gap has emerged. While models excel at execution, users often struggle to guide them effectively due to insufficient domain expertise, the difficulty of articulating precise intent, and the inability to reliably validate complex outputs. It presents a critical challenge in scalable oversight: enabling humans to responsibly steer AI systems on tasks that surpass their own ability to specify or verify. To tackle this, we propose Scalable Interactive Oversight, a framework that decomposes complex intent into a recursive tree of manageable decisions to amplify human supervision. Rather than relying on open-ended prompting, our system elicits low-burden feedback at each node and recursively aggregates these signals into precise global guidance. Validated in web development task, our framework enables non-experts to produce expert-level Product Requirement Documents, achieving a 54\% improvement in alignment. Crucially, we demonstrate that this framework can be optimized via Reinforcement Learning using only online user feedback, offering a practical pathway for maintaining human control as AI scales.

Code generation with large language models (LLMs), often termed vibe coding, is increasingly adopted in production but fails to ensure code quality, particularly in security (e.g., SQL injection vulnerabilities) and maintainability (e.g., missing type annotations). Existing methods, such as supervised fine-tuning and rule-based post-processing, rely on labor-intensive annotations or brittle heuristics, limiting their scalability and effectiveness. We propose REAL, a reinforcement learning framework that incentivizes LLMs to generate production-quality code using program analysis-guided feedback. Specifically, REAL integrates two automated signals: (1) program analysis detecting security or maintainability defects and (2) unit tests ensuring functional correctness. Unlike prior work, our framework is prompt-agnostic and reference-free, enabling scalable supervision without manual intervention. Experiments across multiple datasets and model scales demonstrate that REAL outperforms state-of-the-art methods in simultaneous assessments of functionality and code quality. Our work bridges the gap between rapid prototyping and production-ready code, enabling LLMs to deliver both speed and quality.

Recent advances in large language models (LLMs) and multi-agent systems have demonstrated remarkable capabilities in complex problem-solving tasks such as deep research, vibe coding, and mathematical reasoning. However, most existing multi-agent systems are built upon manual prompt/workflow engineering with sophisticated agent frameworks, making them computationally inefficient, less capable, and can not benefit from data-centric learning. In this work, we introduce Chain-of-Agents (CoA), a novel paradigm of LLM reasoning that enables native end-to-end complex problem-solving in the same way as a multi-agent system (i.e., multi-turn problem solving with multiple tools and multiple agents) within one model. In chain-of-agents problem-solving, the model dynamically activates different tool agents and role-playing agents to simulate multi-agent collaboration in an end-to-end fashion. To elicit end-to-end chain-of-agents problem-solving abilities in LLMs, we introduce a multi-agent distillation framework to distill state-of-the-art multi-agent systems into chain-of-agents trajectories for agentic supervised fine-tuning. We then use agentic reinforcement learning on verifiable agentic tasks to further improve the models' capabilities on chain-of-agents problem solving. We call the resulting models Agent Foundation Models (AFMs). Our empirical studies demonstrate that AFM establishes new state-of-the-art performance across diverse benchmarks in both web agent and code agent settings. We make the entire research, including the model weights, code for training and evaluation, and the training data, fully open-sourced, which offers a solid starting point for future research on agent models and agentic RL.

We present and test the largest benchmark for vericoding, LLM-generation of formally verified code from formal specifications - in contrast to vibe coding, which generates potentially buggy code from a natural language description. Our benchmark contains 12,504 formal specifications, with 3,029 in Dafny, 2,334 in Verus/Rust and 7,141 in Lean. Of these, 6,174 are new unseen problems. We find vericoding success rates of 27% in Lean, 44% in Verus/Rust and 82% in Dafny using off-the-shelf LLMs. Adding natural-language descriptions does not significantly improve performance. We also find that LLM progress has improved progress on pure Dafny verification from 68% to 96% over the past year. The benchmark and vericoding results are shared at https://github.com/Beneficial-AI-Foundation/vericoding-benchmark

We introduce Vibe-Eval: a new open benchmark and framework for evaluating multimodal chat models. Vibe-Eval consists of 269 visual understanding prompts, including 100 of hard difficulty, complete with gold-standard responses authored by experts. Vibe-Eval is open-ended and challenging with dual objectives: (i) vibe checking multimodal chat models for day-to-day tasks and (ii) rigorously testing and probing the capabilities of present frontier models. Notably, our hard set contains >50% questions that all frontier models answer incorrectly. We explore the nuances of designing, evaluating, and ranking models on ultra challenging prompts. We also discuss trade-offs between human and automatic evaluation, and show that automatic model evaluation using Reka Core roughly correlates to human judgment. We offer free API access for the purpose of lightweight evaluation and plan to conduct formal human evaluations for public models that perform well on the Vibe-Eval's automatic scores. We release the evaluation code and data, see https://github.com/reka-ai/reka-vibe-eval

This report presents VibeVoice-ASR, a general-purpose speech understanding framework built upon VibeVoice, designed to address the persistent challenges of context fragmentation and multi-speaker complexity in long-form audio (e.g., meetings, podcasts) that remain despite recent advancements in short-form speech recognition. Unlike traditional pipelined approaches that rely on audio chunking, VibeVoice-ASRsupports single-pass processing for up to 60 minutes of audio. It unifies Automatic Speech Recognition, Speaker Diarization, and Timestamping into a single end-to-end generation task. In addition, VibeVoice-ASR supports over 50 languages, requires no explicit language setting, and natively handles code-switching within and across utterances. Furthermore, we introduce a prompt-based context injection mechanism that allows users to supply customized conetxt, significantly improving accuracy on domain-specific terminology and polyphonic character disambiguation.

We present a new large-scale emotion-labeled symbolic music dataset consisting of 12k MIDI songs. To create this dataset, we first trained emotion classification models on the GoEmotions dataset, achieving state-of-the-art results with a model half the size of the baseline. We then applied these models to lyrics from two large-scale MIDI datasets. Our dataset covers a wide range of fine-grained emotions, providing a valuable resource to explore the connection between music and emotions and, especially, to develop models that can generate music based on specific emotions. Our code for inference, trained models, and datasets are available online.

Environmental sounds like footsteps, keyboard typing, or dog barking carry rich information and emotional context, making them valuable for designing haptics in user applications. Existing audio-to-vibration methods, however, rely on signal-processing rules tuned for music or games and often fail to generalize across diverse sounds. To address this, we first investigated user perception of four existing audio-to-haptic algorithms, then created a data-driven model for environmental sounds. In Study 1, 34 participants rated vibrations generated by the four algorithms for 1,000 sounds, revealing no consistent algorithm preferences. Using this dataset, we trained Sound2Hap, a CNN-based autoencoder, to generate perceptually meaningful vibrations from diverse sounds with low latency. In Study 2, 15 participants rated its output higher than signal-processing baselines on both audio-vibration match and Haptic Experience Index (HXI), finding it more harmonious with diverse sounds. This work demonstrates a perceptually validated approach to audio-haptic translation, broadening the reach of sound-driven haptics.

Diffusion models excel in image generation, but controlling them remains a challenge. We focus on the problem of style-conditioned image generation. Although example images work, they are cumbersome: srefs (style-reference codes) from MidJourney solve this issue by expressing a specific image style in a short numeric code. These have seen widespread adoption throughout social media due to both their ease of sharing and the fact they allow using an image for style control, without having to post the source images themselves. However, users are not able to generate srefs from their own images, nor is the underlying training procedure public. We propose StyleCodes: an open-source and open-research style encoder architecture and training procedure to express image style as a 20-symbol base64 code. Our experiments show that our encoding results in minimal loss in quality compared to traditional image-to-style techniques.

Although the mapping between sound and meaning in human language is assumed to be largely arbitrary, research in cognitive science has shown that there are non-trivial correlations between particular sounds and meanings across languages and demographic groups, a phenomenon known as sound symbolism. Among the many dimensions of meaning, sound symbolism is particularly salient and well-demonstrated with regards to cross-modal associations between language and the visual domain. In this work, we address the question of whether sound symbolism is reflected in vision-and-language models such as CLIP and Stable Diffusion. Using zero-shot knowledge probing to investigate the inherent knowledge of these models, we find strong evidence that they do show this pattern, paralleling the well-known kiki-bouba effect in psycholinguistics. Our work provides a novel method for demonstrating sound symbolism and understanding its nature using computational tools. Our code will be made publicly available.

Masked token prediction has emerged as a powerful pre-training objective across language, vision, and speech, offering the potential to unify these diverse modalities through a single pre-training task. However, its application for general audio understanding remains underexplored, with BEATs being the only notable example. BEATs has seen limited modifications due to the absence of open-source pre-training code. Furthermore, BEATs was trained only on AudioSet, restricting its broader downstream applicability. To address these gaps, we present OpenBEATs, an open-source framework that extends BEATs via multi-domain audio pre-training. We conduct comprehensive evaluations across six types of tasks, twenty five datasets, and three audio domains, including audio reasoning tasks such as audio question answering, entailment, and captioning. OpenBEATs achieves state-of-the-art performance on six bioacoustics datasets, two environmental sound datasets and five reasoning datasets, performing better than models exceeding a billion parameters at one-fourth their parameter size. These results demonstrate the effectiveness of multi-domain datasets and masked token prediction task to learn general-purpose audio representations. To promote further research and reproducibility, we release all pre-training and evaluation code, pretrained and fine-tuned checkpoints, and training logs at https://shikhar-s.github.io/OpenBEATs

In this work, we address the task of video background music generation. Some previous works achieve effective music generation but are unable to generate melodious music tailored to a particular video, and none of them considers the video-music rhythmic consistency. To generate the background music that matches the given video, we first establish the rhythmic relations between video and background music. In particular, we connect timing, motion speed, and motion saliency from video with beat, simu-note density, and simu-note strength from music, respectively. We then propose CMT, a Controllable Music Transformer that enables local control of the aforementioned rhythmic features and global control of the music genre and instruments. Objective and subjective evaluations show that the generated background music has achieved satisfactory compatibility with the input videos, and at the same time, impressive music quality. Code and models are available at https://github.com/wzk1015/video-bgm-generation.

While AI shows promise for enhancing the efficiency of qualitative analysis, the unique human-AI interaction resulting from varied coding strategies makes it challenging to develop a trustworthy AI-assisted qualitative coding system (AIQCs) that supports coding tasks effectively. We bridge this gap by exploring the impact of varying coding strategies on user trust and reliance on AI. We conducted a mixed-methods split-plot 3x3 study, involving 30 participants, and a follow-up study with 6 participants, exploring varying text selection and code length in the use of our AIQCs system for qualitative analysis. Our results indicate that qualitative open coding should be conceptualized as a series of distinct subtasks, each with differing levels of complexity, and therefore, should be given tailored design considerations. We further observed a discrepancy between perceived and behavioral measures, and emphasized the potential challenges of under- and over-reliance on AIQCs systems. Additional design implications were also proposed for consideration.

It is known that human speech and certain animal vocalizations can convey meaningful content because we can decipher the content that a given utterance does convey. This paper explores an alternative approach to determining whether a signal is meaningful, one that analyzes only the signal itself and is independent of what the conveyed meaning might be. We devise a method that takes a waveform as input and outputs a score indicating its degree of `meaningfulness`. We cluster contiguous portions of the input to minimize the total description length, and then take the length of the code of the assigned cluster labels as meaningfulness score. We evaluate our method empirically, against several baselines, and show that it is the only one to give a high score to human speech in various languages and with various speakers, a moderate score to animal vocalizations from birds and orcas, and a low score to ambient noise from various sources.

Large Multi-modal Models (LMMs) have recently demonstrated remarkable abilities in visual context understanding and coherent response generation. However, alongside these advancements, the issue of hallucinations has emerged as a significant challenge, producing erroneous responses that are unrelated to the visual contents. In this paper, we introduce a novel contrastive-based decoding method, COuntering DEscription Contrastive Decoding (CODE), which leverages self-generated descriptions as contrasting references during the decoding phase of LMMs to address hallucination issues. CODE utilizes the comprehensive descriptions from model itself as visual counterpart to correct and improve response alignment with actual visual content. By dynamically adjusting the information flow and distribution of next-token predictions in the LMM's vocabulary, CODE enhances the coherence and informativeness of generated responses. Extensive experiments demonstrate that our method significantly reduces hallucinations and improves cross-modal consistency across various benchmarks and cutting-edge LMMs. Our method provides a simple yet effective decoding strategy that can be integrated to existing LMM frameworks without additional training.

We consider the problem of generating musical soundtracks in sync with rhythmic visual cues. Most existing works rely on pre-defined music representations, leading to the incompetence of generative flexibility and complexity. Other methods directly generating video-conditioned waveforms suffer from limited scenarios, short lengths, and unstable generation quality. To this end, we present Long-Term Rhythmic Video Soundtracker (LORIS), a novel framework to synthesize long-term conditional waveforms. Specifically, our framework consists of a latent conditional diffusion probabilistic model to perform waveform synthesis. Furthermore, a series of context-aware conditioning encoders are proposed to take temporal information into consideration for a long-term generation. Notably, we extend our model's applicability from dances to multiple sports scenarios such as floor exercise and figure skating. To perform comprehensive evaluations, we establish a benchmark for rhythmic video soundtracks including the pre-processed dataset, improved evaluation metrics, and robust generative baselines. Extensive experiments show that our model generates long-term soundtracks with state-of-the-art musical quality and rhythmic correspondence. Codes are available at https://github.com/OpenGVLab/LORIS.

The EMelodyGen system focuses on emotional melody generation in ABC notation controlled by the musical feature template. Owing to the scarcity of well-structured and emotionally labeled sheet music, we designed a template for controlling emotional melody generation by statistical correlations between musical features and emotion labels derived from small-scale emotional symbolic music datasets and music psychology conclusions. We then automatically annotated a large, well-structured sheet music collection with rough emotional labels by the template, converted them into ABC notation, and reduced label imbalance by data augmentation, resulting in a dataset named Rough4Q. Our system backbone pre-trained on Rough4Q can achieve up to 99% music21 parsing rate and melodies generated by our template can lead to a 91% alignment on emotional expressions in blind listening tests. Ablation studies further validated the effectiveness of the feature controls in the template. Available code and demos are at https://github.com/monetjoe/EMelodyGen.

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/.

Haptic signals, from smartphone vibrations to virtual reality touch feedback, can effectively convey information and enhance realism, but designing signals that resonate meaningfully with users is challenging. To facilitate this, we introduce a multimodal dataset and task, of matching user descriptions to vibration haptic signals, and highlight two primary challenges: (1) lack of large haptic vibration datasets annotated with textual descriptions as collecting haptic descriptions is time-consuming, and (2) limited capability of existing tasks and models to describe vibration signals in text. To advance this area, we create HapticCap, the first fully human-annotated haptic-captioned dataset, containing 92,070 haptic-text pairs for user descriptions of sensory, emotional, and associative attributes of vibrations. Based on HapticCap, we propose the haptic-caption retrieval task and present the results of this task from a supervised contrastive learning framework that brings together text representations within specific categories and vibrations. Overall, the combination of language model T5 and audio model AST yields the best performance in the haptic-caption retrieval task, especially when separately trained for each description category.

Programming often involves converting detailed and complex specifications into code, a process during which developers typically utilize visual aids to more effectively convey concepts. While recent developments in Large Multimodal Models have demonstrated remarkable abilities in visual reasoning and mathematical tasks, there is little work on investigating whether these models can effectively interpret visual elements for code generation. To this end, we present MMCode, the first multi-modal coding dataset for evaluating algorithmic problem-solving skills in visually rich contexts. MMCode contains 3,548 questions and 6,620 images collected from real-world programming challenges harvested from 10 code competition websites, presenting significant challenges due to the extreme demand for reasoning abilities. Our experiment results show that current state-of-the-art models struggle to solve these problems. The results highlight the lack of powerful vision-code models, and we hope MMCode can serve as an inspiration for future works in this domain. The data and code are publicly available at https://github.com/happylkx/MMCode.

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 introduce BeepBank-500, a compact, fully synthetic earcon/alert dataset (300-500 clips) designed for rapid, rights-clean experimentation in human-computer interaction and audio machine learning. Each clip is generated from a parametric recipe controlling waveform family (sine, square, triangle, FM), fundamental frequency, duration, amplitude envelope, amplitude modulation (AM), and lightweight Schroeder-style reverberation. We use three reverberation settings: dry, and two synthetic rooms denoted 'rir small' ('small') and 'rir medium' ('medium') throughout the paper and in the metadata. We release mono 48 kHz WAV audio (16-bit), a rich metadata table (signal/spectral features), and tiny reproducible baselines for (i) waveform-family classification and (ii) f0 regression on single tones. The corpus targets tasks such as earcon classification, timbre analyses, and onset detection, with clearly stated licensing and limitations. Audio is dedicated to the public domain via CC0-1.0; code is under MIT. Data DOI: https://doi.org/10.5281/zenodo.17172015. Code: https://github.com/mandip42/earcons-mini-500.

High-level musical qualities (such as emotion) are often abstract, subjective, and hard to quantify. Given these difficulties, it is not easy to learn good feature representations with supervised learning techniques, either because of the insufficiency of labels, or the subjectiveness (and hence large variance) in human-annotated labels. In this paper, we present a framework that can learn high-level feature representations with a limited amount of data, by first modelling their corresponding quantifiable low-level attributes. We refer to our proposed framework as Music FaderNets, which is inspired by the fact that low-level attributes can be continuously manipulated by separate "sliding faders" through feature disentanglement and latent regularization techniques. High-level features are then inferred from the low-level representations through semi-supervised clustering using Gaussian Mixture Variational Autoencoders (GM-VAEs). Using arousal as an example of a high-level feature, we show that the "faders" of our model are disentangled and change linearly w.r.t. the modelled low-level attributes of the generated output music. Furthermore, we demonstrate that the model successfully learns the intrinsic relationship between arousal and its corresponding low-level attributes (rhythm and note density), with only 1% of the training set being labelled. Finally, using the learnt high-level feature representations, we explore the application of our framework in style transfer tasks across different arousal states. The effectiveness of this approach is verified through a subjective listening test.

In the field of neural data compression, the prevailing focus has been on optimizing algorithms for either classical distortion metrics, such as PSNR or SSIM, or human perceptual quality. With increasing amounts of data consumed by machines rather than humans, a new paradigm of machine-oriented compressionx2013which prioritizes the retention of features salient for machine perception over traditional human-centric criteriax2013has emerged, creating several new challenges to the development, evaluation, and deployment of systems utilizing lossy compression. In particular, it is unclear how different approaches to lossy compression will affect the performance of downstream machine perception tasks. To address this under-explored area, we evaluate various perception modelsx2013including image classification, image segmentation, speech recognition, and music source separationx2013under severe lossy compression. We utilize several popular codecs spanning conventional, neural, and generative compression architectures. Our results indicate three key findings: (1) using generative compression, it is feasible to leverage highly compressed data while incurring a negligible impact on machine perceptual quality; (2) machine perceptual quality correlates strongly with deep similarity metrics, indicating a crucial role of these metrics in the development of machine-oriented codecs; and (3) using lossy compressed datasets, (e.g. ImageNet) for pre-training can lead to counter-intuitive scenarios where lossy compression increases machine perceptual quality rather than degrading it. To encourage engagement on this growing area of research, our code and experiments are available at: https://github.com/danjacobellis/MPQ.

Automatic music generation systems have gained in popularity and sophistication as advances in cloud computing have enabled large-scale complex computations such as deep models and optimization algorithms on personal devices. Yet, they still face an important challenge, that of long-term structure, which is key to conveying a sense of musical coherence. We present the MorpheuS music generation system designed to tackle this problem. MorpheuS' novel framework has the ability to generate polyphonic pieces with a given tension profile and long- and short-term repeated pattern structures. A mathematical model for tonal tension quantifies the tension profile and state-of-the-art pattern detection algorithms extract repeated patterns in a template piece. An efficient optimization metaheuristic, variable neighborhood search, generates music by assigning pitches that best fit the prescribed tension profile to the template rhythm while hard constraining long-term structure through the detected patterns. This ability to generate affective music with specific tension profile and long-term structure is particularly useful in a game or film music context. Music generated by the MorpheuS system has been performed live in concerts.

Current paradigms for code verification rely heavily on external mechanisms-such as execution-based unit tests or auxiliary LLM judges-which are often labor-intensive or limited by the judging model's own capabilities. This raises a fundamental, yet unexplored question: Can an LLM's functional correctness be assessed purely from its internal computational structure? Our primary objective is to investigate whether the model's neural dynamics encode internally decodable signals that are predictive of logical validity during code generation. Inspired by mechanistic interpretability, we propose to treat code verification as a mechanistic diagnostic task, mapping the model's explicit algorithmic trajectory into line-level attribution graphs. By decomposing complex residual flows, we aim to identify the structural signatures that distinguish sound reasoning from logical failure within the model's internal circuits. Analysis across Python, C++, and Java confirms that intrinsic correctness signals are robust across diverse syntaxes. Topological features from these internal graphs predict correctness more reliably than surface heuristics and enable targeted causal interventions to fix erroneous logic. These findings establish internal introspection as a decodable property for verifying generated code. Our code is at https:// github.com/bruno686/CodeCircuit.

The connection between music and lyrics is far beyond semantic bonds. Conceptual pairs in the two modalities such as rhythm and rhyme, note duration and syllabic stress, and structure correspondence, raise a compelling yet seldom-explored direction in the field of music information retrieval. In this paper, we present melody-lyrics matching (MLM), a new task which retrieves potential lyrics for a given symbolic melody from text sources. Rather than generating lyrics from scratch, MLM essentially exploits the relationships between melody and lyrics. We propose a self-supervised representation learning framework with contrastive alignment loss for melody and lyrics. This has the potential to leverage the abundance of existing songs with paired melody and lyrics. No alignment annotations are required. Additionally, we introduce sylphone, a novel representation for lyrics at syllable-level activated by phoneme identity and vowel stress. We demonstrate that our method can match melody with coherent and singable lyrics with empirical results and intuitive examples. We open source code and provide matching examples on the companion webpage: https://github.com/changhongw/mlm.

Novice programmers experience emotional difficulties in informal online learning environments, where confusion and frustration can hinder motivation and learning outcomes. This study investigates novice programmers' emotional experiences in informal settings, identifies the causes of emotional struggle, and explores design opportunities for affect-aware support systems. We manually annotated 1,500 posts from r/learnprogramming using the Learning-Centered Emotions framework and conducted clustering and axial coding. Confusion, curiosity, and frustration were the most common emotions, often co-occurring and associated with early learning stages. Positive emotions were relatively rare. The primary emotional triggers included ambiguous errors, unclear learning pathways, and misaligned learning resources. We identify five key areas where novice programmers need support in informal learning spaces: stress relief and resilient motivation, topic explanation and resource recommendation, strategic decision-making and learning guidance, technical support, and acknowledgment of their challenges. Our findings highlight the need for intelligent, affect-sensitive mechanisms that provide timely support aligned with learners' emotional states.

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/.

Generating music with emotion is an important task in automatic music generation, in which emotion is evoked through a variety of musical elements (such as pitch and duration) that change over time and collaborate with each other. However, prior research on deep learning-based emotional music generation has rarely explored the contribution of different musical elements to emotions, let alone the deliberate manipulation of these elements to alter the emotion of music, which is not conducive to fine-grained element-level control over emotions. To address this gap, we present a novel approach employing musical element-based regularization in the latent space to disentangle distinct elements, investigate their roles in distinguishing emotions, and further manipulate elements to alter musical emotions. Specifically, we propose a novel VQ-VAE-based model named MusER. MusER incorporates a regularization loss to enforce the correspondence between the musical element sequences and the specific dimensions of latent variable sequences, providing a new solution for disentangling discrete sequences. Taking advantage of the disentangled latent vectors, a two-level decoding strategy that includes multiple decoders attending to latent vectors with different semantics is devised to better predict the elements. By visualizing latent space, we conclude that MusER yields a disentangled and interpretable latent space and gain insights into the contribution of distinct elements to the emotional dimensions (i.e., arousal and valence). Experimental results demonstrate that MusER outperforms the state-of-the-art models for generating emotional music in both objective and subjective evaluation. Besides, we rearrange music through element transfer and attempt to alter the emotion of music by transferring emotion-distinguishable elements.

Large Language Models (LLMs) have made significant advancements in the field of code generation, offering unprecedented support for automated programming and assisting developers. However, LLMs sometimes generate code that appears plausible but fails to meet the expected requirements or executes incorrectly. This phenomenon of hallucinations in the coding field has not been explored. To advance the community's understanding and research on code hallucinations in LLMs, we propose a definition method for these hallucinations based on execution verification and introduce the concept of code hallucinations for the first time. We categorize code hallucinations into four main types: mapping, naming, resource, and logic hallucinations, each further divided into different subcategories to better understand and address the unique challenges faced by LLMs during code generation. To systematically evaluate code hallucinations, we propose a dynamic detection algorithm for code hallucinations and construct the CodeHalu benchmark, which includes 8,883 samples from 699 tasks, to actively detect hallucination phenomena in LLMs during programming. We tested 16 popular LLMs on this benchmark to evaluate the frequency and nature of their hallucinations during code generation. The findings reveal significant variations in the accuracy and reliability of LLMs in generating code, highlighting the urgent need to improve models and training methods to ensure the functional correctness and safety of automatically generated code. This study not only classifies and quantifies code hallucinations but also provides insights for future improvements in LLM-based code generation research. The CodeHalu benchmark and code are publicly available at https://github.com/yuchen814/CodeHalu.

Multimodal emotion recognition is an active research topic in artificial intelligence. Its primary objective is to integrate multi-modalities (such as acoustic, visual, and lexical clues) to identify human emotional states. Current works generally assume accurate emotion labels for benchmark datasets and focus on developing more effective architectures. But due to the inherent subjectivity of emotions, existing datasets often lack high annotation consistency, resulting in potentially inaccurate labels. Consequently, models built on these datasets may struggle to meet the demands of practical applications. To address this issue, it is crucial to enhance the reliability of emotion annotations. In this paper, we propose a novel task called ``Explainable Multimodal Emotion Reasoning (EMER)''. In contrast to previous works that primarily focus on predicting emotions, EMER takes a step further by providing explanations for these predictions. The prediction is considered correct as long as the reasoning process behind the predicted emotion is plausible. This paper presents our initial efforts on EMER, where we introduce a benchmark dataset, establish baseline models, and define evaluation metrics. Meanwhile, we observe the necessity of integrating multi-faceted capabilities to deal with EMER. Therefore, we propose the first multimodal large language model (LLM) in affective computing, called AffectGPT. We aim to tackle the long-standing challenge of label ambiguity and chart a path toward more reliable techniques. Furthermore, EMER offers an opportunity to evaluate the audio-video-text understanding capabilities of recent multimodal LLM. To facilitate further research, we make the code and data available at: https://github.com/zeroQiaoba/AffectGPT.

Concept-based interpretability methods like TCAV require clean, well-separated positive and negative examples for each concept. Existing music datasets lack this structure: tags are sparse, noisy, or ill-defined. We introduce ConceptCaps, a dataset of 23k music-caption-audio triplets with explicit labels from a 200-attribute taxonomy. Our pipeline separates semantic modeling from text generation: a VAE learns plausible attribute co-occurrence patterns, a fine-tuned LLM converts attribute lists into professional descriptions, and MusicGen synthesizes corresponding audio. This separation improves coherence and controllability over end-to-end approaches. We validate the dataset through audio-text alignment (CLAP), linguistic quality metrics (BERTScore, MAUVE), and TCAV analysis confirming that concept probes recover musically meaningful patterns. Dataset and code are available online.

Audio and speech coding lack unified evaluation and open-source testing. Many candidate systems were evaluated on proprietary, non-reproducible, or small data, and machine learning-based codecs are often tested on datasets with similar distributions as trained on, which is unfairly compared to digital signal processing-based codecs that usually work well with unseen data. This paper presents a full-band audio and speech coding quality benchmark with more variable content types, including traditional open test vectors. An example use case of audio coding quality assessment is presented with open-source Opus, 3GPP's EVS, and recent ETSI's LC3 with LC3+ used in Bluetooth LE Audio profiles. Besides, quality variations of emotional speech encoding at 16 kbps are shown. The proposed open-source benchmark contributes to audio and speech coding democratization and is available at https://github.com/JozefColdenhoff/OpenACE.

Dance, as an art form, fundamentally hinges on the precise synchronization with musical beats. However, achieving aesthetically pleasing dance sequences from music is challenging, with existing methods often falling short in controllability and beat alignment. To address these shortcomings, this paper introduces Beat-It, a novel framework for beat-specific, key pose-guided dance generation. Unlike prior approaches, Beat-It uniquely integrates explicit beat awareness and key pose guidance, effectively resolving two main issues: the misalignment of generated dance motions with musical beats, and the inability to map key poses to specific beats, critical for practical choreography. Our approach disentangles beat conditions from music using a nearest beat distance representation and employs a hierarchical multi-condition fusion mechanism. This mechanism seamlessly integrates key poses, beats, and music features, mitigating condition conflicts and offering rich, multi-conditioned guidance for dance generation. Additionally, a specially designed beat alignment loss ensures the generated dance movements remain in sync with the designated beats. Extensive experiments confirm Beat-It's superiority over existing state-of-the-art methods in terms of beat alignment and motion controllability.

Dance requires skillful composition of complex movements that follow rhythmic, tonal and timbral features of music. Formally, generating dance conditioned on a piece of music can be expressed as a problem of modelling a high-dimensional continuous motion signal, conditioned on an audio signal. In this work we make two contributions to tackle this problem. First, we present a novel probabilistic autoregressive architecture that models the distribution over future poses with a normalizing flow conditioned on previous poses as well as music context, using a multimodal transformer encoder. Second, we introduce the currently largest 3D dance-motion dataset, obtained with a variety of motion-capture technologies, and including both professional and casual dancers. Using this dataset, we compare our new model against two baselines, via objective metrics and a user study, and show that both the ability to model a probability distribution, as well as being able to attend over a large motion and music context are necessary to produce interesting, diverse, and realistic dance that matches the music.

Human motion stylization aims to revise the style of an input motion while keeping its content unaltered. Unlike existing works that operate directly in pose space, we leverage the latent space of pretrained autoencoders as a more expressive and robust representation for motion extraction and infusion. Building upon this, we present a novel generative model that produces diverse stylization results of a single motion (latent) code. During training, a motion code is decomposed into two coding components: a deterministic content code, and a probabilistic style code adhering to a prior distribution; then a generator massages the random combination of content and style codes to reconstruct the corresponding motion codes. Our approach is versatile, allowing the learning of probabilistic style space from either style labeled or unlabeled motions, providing notable flexibility in stylization as well. In inference, users can opt to stylize a motion using style cues from a reference motion or a label. Even in the absence of explicit style input, our model facilitates novel re-stylization by sampling from the unconditional style prior distribution. Experimental results show that our proposed stylization models, despite their lightweight design, outperform the state-of-the-art in style reenactment, content preservation, and generalization across various applications and settings. Project Page: https://murrol.github.io/GenMoStyle

Deep learning models for music have advanced drastically in recent years, but how good are machine learning models at capturing emotion, and what challenges are researchers facing? In this paper, we provide a comprehensive overview of the available music-emotion datasets and discuss evaluation standards as well as competitions in the field. We also offer a brief overview of various types of music emotion prediction models that have been built over the years, providing insights into the diverse approaches within the field. Through this examination, we highlight the challenges that persist in accurately capturing emotion in music, including issues related to dataset quality, annotation consistency, and model generalization. Additionally, we explore the impact of different modalities, such as audio, MIDI, and physiological signals, on the effectiveness of emotion prediction models. Recognizing the dynamic nature of this field, we have complemented our findings with an accompanying GitHub repository. This repository contains a comprehensive list of music emotion datasets and recent predictive models.

This technical report describes our submission to the ICME 2025 audio encoder challenge. Our submitted system is built on BEATs, a masked speech token prediction based audio encoder. We extend the BEATs model using 74,000 hours of data derived from various speech, music, and sound corpora and scale its architecture upto 300 million parameters. We experiment with speech-heavy and balanced pre-training mixtures to study the impact of different domains on final performance. Our submitted system consists of an ensemble of the Dasheng 1.2 billion model with two custom scaled-up BEATs models trained on the aforementioned pre-training data mixtures. We also propose a simple ensembling technique that retains the best capabilities of constituent models and surpasses both the baseline and Dasheng 1.2B. For open science, we publicly release our trained checkpoints via huggingface at https://huggingface.co/shikhar7ssu/OpenBEATs-ICME-SOUND and https://huggingface.co/shikhar7ssu/OpenBEATs-ICME.

Video-to-music (V2M) generation aims to create music that aligns with visual content. However, two main challenges persist in existing methods: (1) the lack of explicit rhythm modeling hinders audiovisual temporal alignments; (2) effectively integrating various visual features to condition music generation remains non-trivial. To address these issues, we propose Diff-V2M, a general V2M framework based on a hierarchical conditional diffusion model, comprising two core components: visual feature extraction and conditional music generation. For rhythm modeling, we begin by evaluating several rhythmic representations, including low-resolution mel-spectrograms, tempograms, and onset detection functions (ODF), and devise a rhythmic predictor to infer them directly from videos. To ensure contextual and affective coherence, we also extract semantic and emotional features. All features are incorporated into the generator via a hierarchical cross-attention mechanism, where emotional features shape the affective tone via the first layer, while semantic and rhythmic features are fused in the second cross-attention layer. To enhance feature integration, we introduce timestep-aware fusion strategies, including feature-wise linear modulation (FiLM) and weighted fusion, allowing the model to adaptively balance semantic and rhythmic cues throughout the diffusion process. Extensive experiments identify low-resolution ODF as a more effective signal for modeling musical rhythm and demonstrate that Diff-V2M outperforms existing models on both in-domain and out-of-domain datasets, achieving state-of-the-art performance in terms of objective metrics and subjective comparisons. Demo and code are available at https://Tayjsl97.github.io/Diff-V2M-Demo/.

Recent years have witnessed the success of foundation models pre-trained with self-supervised learning (SSL) in various music informatics understanding tasks, including music tagging, instrument classification, key detection, and more. In this paper, we propose a self-supervised music representation learning model for music understanding. Distinguished from previous studies adopting random projection or existing neural codec, the proposed model, named MuQ, is trained to predict tokens generated by Mel Residual Vector Quantization (Mel-RVQ). Our Mel-RVQ utilizes residual linear projection structure for Mel spectrum quantization to enhance the stability and efficiency of target extraction and lead to better performance. Experiments in a large variety of downstream tasks demonstrate that MuQ outperforms previous self-supervised music representation models with only 0.9K hours of open-source pre-training data. Scaling up the data to over 160K hours and adopting iterative training consistently improve the model performance. To further validate the strength of our model, we present MuQ-MuLan, a joint music-text embedding model based on contrastive learning, which achieves state-of-the-art performance in the zero-shot music tagging task on the MagnaTagATune dataset. Code and checkpoints are open source in https://github.com/tencent-ailab/MuQ.

MER2025 is the third year of our MER series of challenges, aiming to bring together researchers in the affective computing community to explore emerging trends and future directions in the field. Previously, MER2023 focused on multi-label learning, noise robustness, and semi-supervised learning, while MER2024 introduced a new track dedicated to open-vocabulary emotion recognition. This year, MER2025 centers on the theme "When Affective Computing Meets Large Language Models (LLMs)".We aim to shift the paradigm from traditional categorical frameworks reliant on predefined emotion taxonomies to LLM-driven generative methods, offering innovative solutions for more accurate and reliable emotion understanding. The challenge features four tracks: MER-SEMI focuses on fixed categorical emotion recognition enhanced by semi-supervised learning; MER-FG explores fine-grained emotions, expanding recognition from basic to nuanced emotional states; MER-DES incorporates multimodal cues (beyond emotion words) into predictions to enhance model interpretability; MER-PR investigates whether emotion prediction results can improve personality recognition performance. For the first three tracks, baseline code is available at MERTools, and datasets can be accessed via Hugging Face. For the last track, the dataset and baseline code are available on GitHub.

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/.

We introduce the Expanded Groove MIDI dataset (E-GMD), an automatic drum transcription (ADT) dataset that contains 444 hours of audio from 43 drum kits, making it an order of magnitude larger than similar datasets, and the first with human-performed velocity annotations. We use E-GMD to optimize classifiers for use in downstream generation by predicting expressive dynamics (velocity) and show with listening tests that they produce outputs with improved perceptual quality, despite similar results on classification metrics. Via the listening tests, we argue that standard classifier metrics, such as accuracy and F-measure score, are insufficient proxies of performance in downstream tasks because they do not fully align with the perceptual quality of generated outputs.

Bayesian models of cognition have gained considerable traction in computational neuroscience and psychiatry. Their scopes are now expected to expand rapidly to artificial intelligence, providing general inference frameworks to support embodied, adaptable, and energy-efficient autonomous agents. A central theory in this domain is predictive coding, which posits that learning and behaviour are driven by hierarchical probabilistic inferences about the causes of sensory inputs. Biological realism constrains these networks to rely on simple local computations in the form of precision-weighted predictions and prediction errors. This can make this framework highly efficient, but its implementation comes with unique challenges on the software development side. Embedding such models in standard neural network libraries often becomes limiting, as these libraries' compilation and differentiation backends can force a conceptual separation between optimization algorithms and the systems being optimized. This critically departs from other biological principles such as self-monitoring, self-organisation, cellular growth and functional plasticity. In this paper, we introduce pyhgf: a Python package backed by JAX and Rust for creating, manipulating and sampling dynamic networks for predictive coding. We improve over other frameworks by enclosing the network components as transparent, modular and malleable variables in the message-passing steps. The resulting graphs can implement arbitrary computational complexities as beliefs propagation. But the transparency of core variables can also translate into inference processes that leverage self-organisation principles, and express structure learning, meta-learning or causal discovery as the consequence of network structural adaptation to surprising inputs. The code, tutorials and documentation are hosted at: https://github.com/ilabcode/pyhgf.

Cue points indicate possible temporal boundaries in a transition between two pieces of music in DJ mixing and constitute a crucial element in autonomous DJ systems as well as for live mixing. In this work, we present a novel method for automatic cue point estimation, interpreted as a computer vision object detection task. Our proposed system is based on a pre-trained object detection transformer which we fine-tune on our novel cue point dataset. Our provided dataset contains 21k manually annotated cue points from human experts as well as metronome information for nearly 5k individual tracks, making this dataset 35x larger than the previously available cue point dataset. Unlike previous methods, our approach does not require low-level musical information analysis, while demonstrating increased precision in retrieving cue point positions. Moreover, our proposed method demonstrates high adherence to phrasing, a type of high-level music structure commonly emphasized in electronic dance music. The code, model checkpoints, and dataset are made publicly available.

Achieving high-fidelity audio compression while preserving perceptual quality across diverse content remains a key challenge in Neural Audio Coding (NAC). We introduce MUFFIN, a fully convolutional Neural Psychoacoustic Coding (NPC) framework that leverages psychoacoustically guided multi-band frequency reconstruction. At its core is a Multi-Band Spectral Residual Vector Quantization (MBS-RVQ) module that allocates bitrate across frequency bands based on perceptual salience. This design enables efficient compression while disentangling speaker identity from content using distinct codebooks. MUFFIN incorporates a transformer-inspired convolutional backbone and a modified snake activation to enhance resolution in fine-grained spectral regions. Experimental results on multiple benchmarks demonstrate that MUFFIN consistently outperforms existing approaches in reconstruction quality. A high-compression variant achieves a state-of-the-art 12.5 Hz rate with minimal loss. MUFFIN also proves effective in downstream generative tasks, highlighting its promise as a token representation for integration with language models. Audio samples and code are available.

High-quality, large-scale audio captioning is crucial for advancing audio understanding, yet current automated methods often generate captions that lack fine-grained detail and contextual accuracy, primarily due to their reliance on limited unimodal or superficial multimodal information. Drawing inspiration from human auditory perception, which adeptly integrates cross-modal cues and performs sophisticated auditory scene analysis, we introduce a novel two-stage automated pipeline. This pipeline first employs specialized pretrained models to extract diverse contextual cues (e.g., speech, music, general sounds, and visual information from associated video). A large language model (LLM) then synthesizes these rich, multimodal inputs to generate detailed and context-aware audio captions. Key contributions of this work include: (1) the proposed scalable method for fine-grained audio caption generation; (2) FusionAudio, a new large-scale dataset comprising 1.2 million such detailed captions, combined with 6 million QA pairs; and (3) enhanced audio models developed using FusionAudio, specifically a CLAP-based audio encoder with superior audio-text alignment and instruction following. This paper paves the way for more nuanced and accurate automated understanding of complex audio environments. Code and data can be found in https://github.com/satsuki2486441738/FusionAudio.

Natural language image-caption datasets, widely used for training Large Multimodal Models, mainly focus on natural scenarios and overlook the intricate details of mathematical figures that are critical for problem-solving, hindering the advancement of current LMMs in multimodal mathematical reasoning. To this end, we propose leveraging code as supervision for cross-modal alignment, since code inherently encodes all information needed to generate corresponding figures, establishing a precise connection between the two modalities. Specifically, we co-develop our image-to-code model and dataset with model-in-the-loop approach, resulting in an image-to-code model, FigCodifier and ImgCode-8.6M dataset, the largest image-code dataset to date. Furthermore, we utilize FigCodifier to synthesize novel mathematical figures and then construct MM-MathInstruct-3M, a high-quality multimodal math instruction fine-tuning dataset. Finally, we present MathCoder-VL, trained with ImgCode-8.6M for cross-modal alignment and subsequently fine-tuned on MM-MathInstruct-3M for multimodal math problem solving. Our model achieves a new open-source SOTA across all six metrics. Notably, it surpasses GPT-4o and Claude 3.5 Sonnet in the geometry problem-solving subset of MathVista, achieving improvements of 8.9% and 9.2%. The dataset and models will be released at https://github.com/mathllm/MathCoder.

Large Language Models (LLMs) have demonstrated great potential for assisting developers in their daily development. However, most research focuses on generating correct code, how to use LLMs to generate personalized code has seldom been investigated. To bridge this gap, we proposed MPCoder (Multi-user Personalized Code Generator) to generate personalized code for multiple users. To better learn coding style features, we utilize explicit coding style residual learning to capture the syntax code style standards and implicit style learning to capture the semantic code style conventions. We train a multi-user style adapter to better differentiate the implicit feature representations of different users through contrastive learning, ultimately enabling personalized code generation for multiple users. We further propose a novel evaluation metric for estimating similarities between codes of different coding styles. The experimental results show the effectiveness of our approach for this novel task.

Representation learning focused on disentangling the underlying factors of variation in given data has become an important area of research in machine learning. However, most of the studies in this area have relied on datasets from the computer vision domain and thus, have not been readily extended to music. In this paper, we present a new symbolic music dataset that will help researchers working on disentanglement problems demonstrate the efficacy of their algorithms on diverse domains. This will also provide a means for evaluating algorithms specifically designed for music. To this end, we create a dataset comprising of 2-bar monophonic melodies where each melody is the result of a unique combination of nine latent factors that span ordinal, categorical, and binary types. The dataset is large enough (approx. 1.3 million data points) to train and test deep networks for disentanglement learning. In addition, we present benchmarking experiments using popular unsupervised disentanglement algorithms on this dataset and compare the results with those obtained on an image-based dataset.

Music has a unique and complex structure which is challenging for both expert humans and existing AI systems to understand, and presents unique challenges relative to other forms of audio. We present LLark, an instruction-tuned multimodal model for music understanding. We detail our process for dataset creation, which involves augmenting the annotations of diverse open-source music datasets and converting them to a unified instruction-tuning format. We propose a multimodal architecture for LLark, integrating a pretrained generative model for music with a pretrained language model. In evaluations on three types of tasks (music understanding, captioning, and reasoning), we show that our model matches or outperforms existing baselines in zero-shot generalization for music understanding, and that humans show a high degree of agreement with the model's responses in captioning and reasoning tasks. LLark is trained entirely from open-source music data and models, and we make our training code available along with the release of this paper. Additional results and audio examples are at https://bit.ly/llark, and our source code is available at https://github.com/spotify-research/llark .

We present JASCO, a temporally controlled text-to-music generation model utilizing both symbolic and audio-based conditions. JASCO can generate high-quality music samples conditioned on global text descriptions along with fine-grained local controls. JASCO is based on the Flow Matching modeling paradigm together with a novel conditioning method. This allows music generation controlled both locally (e.g., chords) and globally (text description). Specifically, we apply information bottleneck layers in conjunction with temporal blurring to extract relevant information with respect to specific controls. This allows the incorporation of both symbolic and audio-based conditions in the same text-to-music model. We experiment with various symbolic control signals (e.g., chords, melody), as well as with audio representations (e.g., separated drum tracks, full-mix). We evaluate JASCO considering both generation quality and condition adherence, using both objective metrics and human studies. Results suggest that JASCO is comparable to the evaluated baselines considering generation quality while allowing significantly better and more versatile controls over the generated music. Samples are available on our demo page https://pages.cs.huji.ac.il/adiyoss-lab/JASCO.

Music foundation models possess impressive music generation capabilities. When people compose music, they may infuse their understanding of music into their work, by using notes and intervals to craft melodies, chords to build progressions, and tempo to create a rhythmic feel. To what extent is this true of music generation models? More specifically, are fundamental Western music theory concepts observable within the "inner workings" of these models? Recent work proposed leveraging latent audio representations from music generation models towards music information retrieval tasks (e.g. genre classification, emotion recognition), which suggests that high-level musical characteristics are encoded within these models. However, probing individual music theory concepts (e.g. tempo, pitch class, chord quality) remains under-explored. Thus, we introduce SynTheory, a synthetic MIDI and audio music theory dataset, consisting of tempos, time signatures, notes, intervals, scales, chords, and chord progressions concepts. We then propose a framework to probe for these music theory concepts in music foundation models (Jukebox and MusicGen) and assess how strongly they encode these concepts within their internal representations. Our findings suggest that music theory concepts are discernible within foundation models and that the degree to which they are detectable varies by model size and layer.

This study examines the integration of Contrastive Predictive Coding (CPC) with Spiking Neural Networks (SNN). While CPC learns the predictive structure of data to generate meaningful representations, SNN mimics the computational processes of biological neural systems over time. In this study, the goal is to develop a predictive coding model with greater biological plausibility by processing inputs and outputs in a spike-based system. The proposed model was tested on the MNIST dataset and achieved a high classification rate in distinguishing positive sequential samples from non-sequential negative samples. The study demonstrates that CPC can be effectively combined with SNN, showing that an SNN trained for classification tasks can also function as an encoding mechanism. Project codes and detailed results can be accessed on our GitHub page: https://github.com/vnd-ogrenme/ongorusel-kodlama/tree/main/CPC_SNN

Recent advancements in large language models (LLMs) have significantly enhanced their ability to understand both natural language and code, driving their use in tasks like natural language-to-code (NL2Code) and code summarization. However, LLMs are prone to hallucination-outputs that stray from intended meanings. Detecting hallucinations in code summarization is especially difficult due to the complex interplay between programming and natural languages. We introduce a first-of-its-kind dataset with sim10K samples, curated specifically for hallucination detection in code summarization. We further propose a novel Entity Tracing Framework (ETF) that a) utilizes static program analysis to identify code entities from the program and b) uses LLMs to map and verify these entities and their intents within generated code summaries. Our experimental analysis demonstrates the effectiveness of the framework, leading to a 0.73 F1 score. This approach provides an interpretable method for detecting hallucinations by grounding entities, allowing us to evaluate summary accuracy.

Human conversational styles are measured by the sense of humor, personality, and tone of voice. These characteristics have become essential for conversational intelligent virtual assistants. However, most of the state-of-the-art intelligent virtual assistants (IVAs) are failed to interpret the affective semantics of human voices. This research proposes an anthropomorphic intelligent system that can hold a proper human-like conversation with emotion and personality. A voice style transfer method is also proposed to map the attributes of a specific emotion. Initially, the frequency domain data (Mel-Spectrogram) is created by converting the temporal audio wave data, which comprises discrete patterns for audio features such as notes, pitch, rhythm, and melody. A collateral CNN-Transformer-Encoder is used to predict seven different affective states from voice. The voice is also fed parallelly to the deep-speech, an RNN model that generates the text transcription from the spectrogram. Then the transcripted text is transferred to the multi-domain conversation agent using blended skill talk, transformer-based retrieve-and-generate generation strategy, and beam-search decoding, and an appropriate textual response is generated. The system learns an invertible mapping of data to a latent space that can be manipulated and generates a Mel-spectrogram frame based on previous Mel-spectrogram frames to voice synthesize and style transfer. Finally, the waveform is generated using WaveGlow from the spectrogram. The outcomes of the studies we conducted on individual models were auspicious. Furthermore, users who interacted with the system provided positive feedback, demonstrating the system's effectiveness.

Recent developments in generative AI have shone a spotlight on high-performance synthetic text generation technologies. The now wide availability and ease of use of such models highlights the urgent need to provide equally powerful technologies capable of identifying synthetic text. With this in mind, we draw inspiration from psychological studies which suggest that people can be driven by emotion and encode emotion in the text they compose. We hypothesize that pretrained language models (PLMs) have an affective deficit because they lack such an emotional driver when generating text and consequently may generate synthetic text which has affective incoherence i.e. lacking the kind of emotional coherence present in human-authored text. We subsequently develop an emotionally aware detector by fine-tuning a PLM on emotion. Experiment results indicate that our emotionally-aware detector achieves improvements across a range of synthetic text generators, various sized models, datasets, and domains. Finally, we compare our emotionally-aware synthetic text detector to ChatGPT in the task of identification of its own output and show substantial gains, reinforcing the potential of emotion as a signal to identify synthetic text. Code, models, and datasets are available at https: //github.com/alanagiasi/emoPLMsynth

We present a novel music generation framework for music infilling, with a user friendly interface. Infilling refers to the task of generating musical sections given the surrounding multi-track music. The proposed transformer-based framework is extensible for new control tokens as the added music control tokens such as tonal tension per bar and track polyphony level in this work. We explore the effects of including several musically meaningful control tokens, and evaluate the results using objective metrics related to pitch and rhythm. Our results demonstrate that adding additional control tokens helps to generate music with stronger stylistic similarities to the original music. It also provides the user with more control to change properties like the music texture and tonal tension in each bar compared to previous research which only provided control for track density. We present the model in a Google Colab notebook to enable interactive generation.

The field of automatic music composition has seen great progress in the last few years, much of which can be attributed to advances in deep neural networks. There are numerous studies that present different strategies for generating sheet music from scratch. The inclusion of high-level musical characteristics (e.g., perceived emotional qualities), however, as conditions for controlling the generation output remains a challenge. In this paper, we present a novel approach for calculating the valence (the positivity or negativity of the perceived emotion) of a chord progression within a lead sheet, using pre-defined mood tags proposed by music experts. Based on this approach, we propose a novel strategy for conditional lead sheet generation that allows us to steer the music generation in terms of valence, phrasing, and time signature. Our approach is similar to a Neural Machine Translation (NMT) problem, as we include high-level conditions in the encoder part of the sequence-to-sequence architectures used (i.e., long-short term memory networks, and a Transformer network). We conducted experiments to thoroughly analyze these two architectures. The results show that the proposed strategy is able to generate lead sheets in a controllable manner, resulting in distributions of musical attributes similar to those of the training dataset. We also verified through a subjective listening test that our approach is effective in controlling the valence of a generated chord progression.

We introduce LMCodec, a causal neural speech codec that provides high quality audio at very low bitrates. The backbone of the system is a causal convolutional codec that encodes audio into a hierarchy of coarse-to-fine tokens using residual vector quantization. LMCodec trains a Transformer language model to predict the fine tokens from the coarse ones in a generative fashion, allowing for the transmission of fewer codes. A second Transformer predicts the uncertainty of the next codes given the past transmitted codes, and is used to perform conditional entropy coding. A MUSHRA subjective test was conducted and shows that the quality is comparable to reference codecs at higher bitrates. Example audio is available at https://mjenrungrot.github.io/chrome-media-audio-papers/publications/lmcodec.

Recently, Image-to-Music (I2M) generation has garnered significant attention, with potential applications in fields such as gaming, advertising, and multi-modal art creation. However, due to the ambiguous and subjective nature of I2M tasks, most end-to-end methods lack interpretability, leaving users puzzled about the generation results. Even methods based on emotion mapping face controversy, as emotion represents only a singular aspect of art. Additionally, most learning-based methods require substantial computational resources and large datasets for training, hindering accessibility for common users. To address these challenges, we propose the first Vision Language Model (VLM)-based I2M framework that offers high interpretability and low computational cost. Specifically, we utilize ABC notation to bridge the text and music modalities, enabling the VLM to generate music using natural language. We then apply multi-modal Retrieval-Augmented Generation (RAG) and self-refinement techniques to allow the VLM to produce high-quality music without external training. Furthermore, we leverage the generated motivations in text and the attention maps from the VLM to provide explanations for the generated results in both text and image modalities. To validate our method, we conduct both human studies and machine evaluations, where our method outperforms others in terms of music quality and music-image consistency, indicating promising results. Our code is available at https://github.com/RS2002/Image2Music .

Music therapy has been shown in recent years to provide multiple health benefits related to emotional wellness. In turn, maintaining a healthy emotional state has proven to be effective for patients undergoing treatment, such as Parkinson's patients or patients suffering from stress and anxiety. We propose fine-tuning MusicGen, a music-generating transformer model, to create short musical clips that assist patients in transitioning from negative to desired emotional states. Using low-rank decomposition fine-tuning on the MTG-Jamendo Dataset with emotion tags, we generate 30-second clips that adhere to the iso principle, guiding patients through intermediate states in the valence-arousal circumplex. The generated music is evaluated using a music emotion recognition model to ensure alignment with intended emotions. By concatenating these clips, we produce a 15-minute "music medicine" resembling a music therapy session. Our approach is the first model to leverage Language Models to generate music medicine. Ultimately, the output is intended to be used as a temporary relief between music therapy sessions with a board-certified therapist.

Emotional support conversation aims at reducing the emotional distress of the help-seeker, which is a new and challenging task. It requires the system to explore the cause of help-seeker's emotional distress and understand their psychological intention to provide supportive responses. However, existing methods mainly focus on the sequential contextual information, ignoring the hierarchical relationships with the global cause and local psychological intention behind conversations, thus leads to a weak ability of emotional support. In this paper, we propose a Global-to-Local Hierarchical Graph Network to capture the multi-source information (global cause, local intentions and dialog history) and model hierarchical relationships between them, which consists of a multi-source encoder, a hierarchical graph reasoner, and a global-guide decoder. Furthermore, a novel training objective is designed to monitor semantic information of the global cause. Experimental results on the emotional support conversation dataset, ESConv, confirm that the proposed GLHG has achieved the state-of-the-art performance on the automatic and human evaluations. The code will be released in here \small{~https://github.com/pengwei-iie/GLHG}.

The residual vector quantization (RVQ) technique plays a central role in recent advances in neural audio codecs. These models effectively synthesize high-fidelity audio from a limited number of codes due to the hierarchical structure among quantization levels. In this paper, we propose an encoding algorithm to further enhance the synthesis quality of RVQ-based neural codecs at test-time. Firstly, we point out the suboptimal nature of quantized vectors generated by conventional methods. We demonstrate that quantization error can be mitigated by selecting a different set of codes. Subsequently, we present our encoding algorithm, designed to identify a set of discrete codes that achieve a lower quantization error. We then apply the proposed method to pre-trained models and evaluate its efficacy using diverse metrics. Our experimental findings validate that our method not only reduces quantization errors, but also improves synthesis quality.

In recent years, remarkable advancements in artificial intelligence-generated content (AIGC) have been achieved in the fields of image synthesis and text generation, generating content comparable to that produced by humans. However, the quality of AI-generated music has not yet reached this standard, primarily due to the challenge of effectively controlling musical emotions and ensuring high-quality outputs. This paper presents a generalized symbolic music generation framework, XMusic, which supports flexible prompts (i.e., images, videos, texts, tags, and humming) to generate emotionally controllable and high-quality symbolic music. XMusic consists of two core components, XProjector and XComposer. XProjector parses the prompts of various modalities into symbolic music elements (i.e., emotions, genres, rhythms and notes) within the projection space to generate matching music. XComposer contains a Generator and a Selector. The Generator generates emotionally controllable and melodious music based on our innovative symbolic music representation, whereas the Selector identifies high-quality symbolic music by constructing a multi-task learning scheme involving quality assessment, emotion recognition, and genre recognition tasks. In addition, we build XMIDI, a large-scale symbolic music dataset that contains 108,023 MIDI files annotated with precise emotion and genre labels. Objective and subjective evaluations show that XMusic significantly outperforms the current state-of-the-art methods with impressive music quality. Our XMusic has been awarded as one of the nine Highlights of Collectibles at WAIC 2023. The project homepage of XMusic is https://xmusic-project.github.io.

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.

Conversational Speech Synthesis (CSS) aims to align synthesized speech with the emotional and stylistic context of user-agent interactions to achieve empathy. Current generative CSS models face interpretability limitations due to insufficient emotional perception and redundant discrete speech coding. To address the above issues, we present Chain-Talker, a three-stage framework mimicking human cognition: Emotion Understanding derives context-aware emotion descriptors from dialogue history; Semantic Understanding generates compact semantic codes via serialized prediction; and Empathetic Rendering synthesizes expressive speech by integrating both components. To support emotion modeling, we develop CSS-EmCap, an LLM-driven automated pipeline for generating precise conversational speech emotion captions. Experiments on three benchmark datasets demonstrate that Chain-Talker produces more expressive and empathetic speech than existing methods, with CSS-EmCap contributing to reliable emotion modeling. The code and demos are available at: https://github.com/AI-S2-Lab/Chain-Talker.

The scope of neural code intelligence is rapidly expanding beyond text-based source code to encompass the rich visual outputs that programs generate. This visual dimension is critical for advanced applications like flexible content generation and precise, program-driven editing of visualizations. However, progress has been impeded by the scarcity of high-quality multimodal code data, a bottleneck stemming from challenges in synthesis and quality assessment. To address these challenges, we make contributions from both a data and modeling perspective. We first introduce a complete synthesis toolkit that leverages reciprocal synergies between data modalities to efficiently produce a large-scale, high-quality corpus spanning from standard charts to complex interactive web UIs and code-driven animations. Leveraging this toolkit, we construct JanusCode-800K, the largest multimodal code corpus to date. This powers the training of our models, JanusCoder and JanusCoderV, which establish a visual-programmatic interface for generating code from textual instructions, visual inputs, or a combination of both. Our unified model is a departure from existing approaches that build specialized models for isolated tasks. Extensive experiments on both text-centric and vision-centric coding tasks demonstrate the superior performance of the JanusCoder series, with our 7B to 14B scale models approaching or even exceeding the performance of commercial models. Furthermore, extensive analysis provides key insights into harmonizing programmatic logic with its visual expression. Our code and checkpoints will are available at https://github.com/InternLM/JanusCoder.

Recent neural codec language models have made great progress in the field of text-to-speech (TTS), but controllable emotional TTS still faces many challenges. Traditional methods rely on predefined discrete emotion labels to control emotion categories and intensities, which can't capture the complexity and continuity of human emotional perception and expression. The lack of large-scale emotional speech datasets with balanced emotion distributions and fine-grained emotion annotations often causes overfitting in synthesis models and impedes effective emotion control. To address these issues, we propose UDDETTS, a neural codec language model unifying discrete and dimensional emotions for controllable emotional TTS. This model introduces the interpretable Arousal-Dominance-Valence (ADV) space for dimensional emotion description and supports emotion control driven by either discrete emotion labels or nonlinearly quantified ADV values. Furthermore, a semi-supervised training strategy is designed to comprehensively utilize diverse speech datasets with different types of emotion annotations to train the UDDETTS. Experiments show that UDDETTS achieves linear emotion control along the three dimensions of ADV space, and exhibits superior end-to-end emotional speech synthesis capabilities.

Music-driven 3D dance generation has attracted increasing attention in recent years, with promising applications in choreography, virtual reality, and creative content creation. Previous research has generated promising realistic dance movement from audio signals. However, traditional methods underutilize genre conditioning, often treating it as auxiliary modifiers rather than core semantic drivers. This oversight compromises music-motion synchronization and disrupts dance genre continuity, particularly during complex rhythmic transitions, thereby leading to visually unsatisfactory effects. To address the challenge, we propose MEGADance, a novel architecture for music-driven 3D dance generation. By decoupling choreographic consistency into dance generality and genre specificity, MEGADance demonstrates significant dance quality and strong genre controllability. It consists of two stages: (1) High-Fidelity Dance Quantization Stage (HFDQ), which encodes dance motions into a latent representation by Finite Scalar Quantization (FSQ) and reconstructs them with kinematic-dynamic constraints, and (2) Genre-Aware Dance Generation Stage (GADG), which maps music into the latent representation by synergistic utilization of Mixture-of-Experts (MoE) mechanism with Mamba-Transformer hybrid backbone. Extensive experiments on the FineDance and AIST++ dataset demonstrate the state-of-the-art performance of MEGADance both qualitatively and quantitatively. Code will be released upon acceptance.

Emotional Support Conversation (ESC) is a typical dialogue that can effectively assist the user in mitigating emotional pressures. However, owing to the inherent subjectivity involved in analyzing emotions, current non-artificial methodologies face challenges in effectively appraising the emotional support capability. These metrics exhibit a low correlation with human judgments. Concurrently, manual evaluation methods extremely will cause high costs. To solve these problems, we propose a novel model FEEL (Framework for Evaluating Emotional Support Capability with Large Lan-guage Models), employing Large Language Models (LLMs) as evaluators to assess emotional support capabilities. The model meticulously considers various evaluative aspects of ESC to apply a more comprehensive and accurate evaluation method for ESC. Additionally, it employs a probability distribution approach for a more stable result and integrates an ensemble learning strategy, leveraging multiple LLMs with assigned weights to enhance evaluation accuracy. To appraise the performance of FEEL, we conduct extensive experiments on existing ESC model dialogues. Experimental results demonstrate our model exhibits a substantial enhancement in alignment with human evaluations compared to the baselines. Our source code is available at https://github.com/Ansisy/FEEL.

We present an open, reproducible reference for automotive sound quality that connects standardized psychoacoustic metrics with lightweight AI/ML baselines, with a specific focus on electric vehicles (EVs). We implement loudness (ISO 532-1/2), tonality (DIN 45681), and modulation-based descriptors (roughness, fluctuation strength), and document assumptions and parameterizations for reliable reuse. For modeling, we provide simple, fully reproducible baselines (logistic regression, random forest, SVM) on synthetic EV-like cases using fixed splits and seeds, reporting accuracy and rank correlations as examples of end-to-end workflows rather than a comparative benchmark. Program-level normalization is reported in LUFS via ITU-R BS.1770, while psychoacoustic analysis uses ISO-532 loudness (sones). All figures and tables are regenerated by scripts with pinned environments; code and minimal audio stimuli are released under permissive licenses to support teaching, replication, and extension to EV-specific noise phenomena (e.g., inverter whine, reduced masking).

Video-to-audio generation is essential for synthesizing realistic audio tracks that synchronize effectively with silent videos. Following the perspective of extracting essential signals from videos that can precisely control the mature text-to-audio generative diffusion models, this paper presents how to balance the representation of mel-spectrograms in terms of completeness and complexity through a new approach called Mel Quantization-Continuum Decomposition (Mel-QCD). We decompose the mel-spectrogram into three distinct types of signals, employing quantization or continuity to them, we can effectively predict them from video by a devised video-to-all (V2X) predictor. Then, the predicted signals are recomposed and fed into a ControlNet, along with a textual inversion design, to control the audio generation process. Our proposed Mel-QCD method demonstrates state-of-the-art performance across eight metrics, evaluating dimensions such as quality, synchronization, and semantic consistency. Our codes and demos will be released at Website{https://wjc2830.github.io/MelQCD/}.

Generating music that aligns with the visual content of a video has been a challenging task, as it requires a deep understanding of visual semantics and involves generating music whose melody, rhythm, and dynamics harmonize with the visual narratives. This paper presents MuVi, a novel framework that effectively addresses these challenges to enhance the cohesion and immersive experience of audio-visual content. MuVi analyzes video content through a specially designed visual adaptor to extract contextually and temporally relevant features. These features are used to generate music that not only matches the video's mood and theme but also its rhythm and pacing. We also introduce a contrastive music-visual pre-training scheme to ensure synchronization, based on the periodicity nature of music phrases. In addition, we demonstrate that our flow-matching-based music generator has in-context learning ability, allowing us to control the style and genre of the generated music. Experimental results show that MuVi demonstrates superior performance in both audio quality and temporal synchronization. The generated music video samples are available at https://muvi-v2m.github.io.

Music codecs are a vital aspect of audio codec research, and ultra low-bitrate compression holds significant importance for music transmission and generation. Due to the complexity of music backgrounds and the richness of vocals, solely relying on modeling semantic or acoustic information cannot effectively reconstruct music with both vocals and backgrounds. To address this issue, we propose MuCodec, specifically targeting music compression and reconstruction tasks at ultra low bitrates. MuCodec employs MuEncoder to extract both acoustic and semantic features, discretizes them with RVQ, and obtains Mel-VAE features via flow-matching. The music is then reconstructed using a pre-trained MEL-VAE decoder and HiFi-GAN. MuCodec can reconstruct high-fidelity music at ultra low (0.35kbps) or high bitrates (1.35kbps), achieving the best results to date in both subjective and objective metrics. Code and Demo: https://xuyaoxun.github.io/MuCodec_demo/.

Large language models (LLMs) have shown remarkable capabilities in code generation. However, the effects of hallucinations (e.g., output noise) make it particularly challenging for LLMs to generate high-quality code in one pass. In this work, we propose a simple and effective uncertainty-aware selective contrastive decoding (USCD) mechanism to improve the quality of one-pass code generation in LLMs and reduce the impact of output noise. To be specific, we first elaborately designed a negative prompt (namely lame prompt) to output noise by removing input-output examples from the standard few-shot prompt. Our preliminary study shows that the Jensen-Shannon divergence (JS divergence) between token distribution uncertainty and the output noise is relatively low (approximately 0.25), indicating their high relevance. Then, we selectively eliminate output noise induced by lame prompts based on the uncertainty of the prediction distribution from the standard prompt. Notably, our proposed plug-and-play mechanism is an inference-only method, enjoying appealing flexibility. Extensive experiments on widely used benchmarks, e.g., HumanEval, MBPP, and MultiPL-E, upon several LLMs (i.e., Inocder-6b, CodeLlama-7b, WizardCoder-15b, StarCoder, and Llama2-7b), demonstrate that our proposed USCD significantly improves one-pass code generation, with an average pass@1 scores increase of 16.59\%. We will release code and data on GitHub.

We investigate applying audio manipulations using pretrained neural network-based autoencoders as an alternative to traditional signal processing methods, since the former may provide greater semantic or perceptual organization. To establish the potential of this approach, we first establish if representations from these models encode information about manipulations. We carry out experiments and produce visualizations using representations from two different pretrained autoencoders. Our findings indicate that, while some information about audio manipulations is encoded, this information is both limited and encoded in a non-trivial way. This is supported by our attempts to visualize these representations, which demonstrated that trajectories of representations for common manipulations are typically nonlinear and content dependent, even for linear signal manipulations. As a result, it is not yet clear how these pretrained autoencoders can be used to manipulate audio signals, however, our results indicate this may be due to the lack of disentanglement with respect to common audio manipulations.

We propose an end-to-end music mixing style transfer system that converts the mixing style of an input multitrack to that of a reference song. This is achieved with an encoder pre-trained with a contrastive objective to extract only audio effects related information from a reference music recording. All our models are trained in a self-supervised manner from an already-processed wet multitrack dataset with an effective data preprocessing method that alleviates the data scarcity of obtaining unprocessed dry data. We analyze the proposed encoder for the disentanglement capability of audio effects and also validate its performance for mixing style transfer through both objective and subjective evaluations. From the results, we show the proposed system not only converts the mixing style of multitrack audio close to a reference but is also robust with mixture-wise style transfer upon using a music source separation model.

Given a piece of text, a video clip, and a reference audio, the movie dubbing task aims to generate speech that aligns with the video while cloning the desired voice. The existing methods have two primary deficiencies: (1) They struggle to simultaneously hold audio-visual sync and achieve clear pronunciation; (2) They lack the capacity to express user-defined emotions. To address these problems, we propose EmoDubber, an emotion-controllable dubbing architecture that allows users to specify emotion type and emotional intensity while satisfying high-quality lip sync and pronunciation. Specifically, we first design Lip-related Prosody Aligning (LPA), which focuses on learning the inherent consistency between lip motion and prosody variation by duration level contrastive learning to incorporate reasonable alignment. Then, we design Pronunciation Enhancing (PE) strategy to fuse the video-level phoneme sequences by efficient conformer to improve speech intelligibility. Next, the speaker identity adapting module aims to decode acoustics prior and inject the speaker style embedding. After that, the proposed Flow-based User Emotion Controlling (FUEC) is used to synthesize waveform by flow matching prediction network conditioned on acoustics prior. In this process, the FUEC determines the gradient direction and guidance scale based on the user's emotion instructions by the positive and negative guidance mechanism, which focuses on amplifying the desired emotion while suppressing others. Extensive experimental results on three benchmark datasets demonstrate favorable performance compared to several state-of-the-art methods.

This paper introduces text2midi, an end-to-end model to generate MIDI files from textual descriptions. Leveraging the growing popularity of multimodal generative approaches, text2midi capitalizes on the extensive availability of textual data and the success of large language models (LLMs). Our end-to-end system harnesses the power of LLMs to generate symbolic music in the form of MIDI files. Specifically, we utilize a pretrained LLM encoder to process captions, which then condition an autoregressive transformer decoder to produce MIDI sequences that accurately reflect the provided descriptions. This intuitive and user-friendly method significantly streamlines the music creation process by allowing users to generate music pieces using text prompts. We conduct comprehensive empirical evaluations, incorporating both automated and human studies, that show our model generates MIDI files of high quality that are indeed controllable by text captions that may include music theory terms such as chords, keys, and tempo. We release the code and music samples on our demo page (https://github.com/AMAAI-Lab/Text2midi) for users to interact with text2midi.

This study investigates the use of Large Language Models (LLMs) for predicting human-perceived misery scores from natural language descriptions of real-world scenarios. The task is framed as a regression problem, where the model assigns a scalar value from 0 to 100 to each input statement. We evaluate multiple prompting strategies, including zero-shot, fixed-context few-shot, and retrieval-based prompting using BERT sentence embeddings. Few-shot approaches consistently outperform zero-shot baselines, underscoring the value of contextual examples in affective prediction. To move beyond static evaluation, we introduce the "Misery Game Show", a novel gamified framework inspired by a television format. It tests LLMs through structured rounds involving ordinal comparison, binary classification, scalar estimation, and feedback-driven reasoning. This setup enables us to assess not only predictive accuracy but also the model's ability to adapt based on corrective feedback. The gamified evaluation highlights the broader potential of LLMs in dynamic emotional reasoning tasks beyond standard regression. Code and data link: https://github.com/abhi1nandy2/Misery_Data_Exps_GitHub

Existing methods for synthesizing 3D human gestures from speech have shown promising results, but they do not explicitly model the impact of emotions on the generated gestures. Instead, these methods directly output animations from speech without control over the expressed emotion. To address this limitation, we present AMUSE, an emotional speech-driven body animation model based on latent diffusion. Our observation is that content (i.e., gestures related to speech rhythm and word utterances), emotion, and personal style are separable. To account for this, AMUSE maps the driving audio to three disentangled latent vectors: one for content, one for emotion, and one for personal style. A latent diffusion model, trained to generate gesture motion sequences, is then conditioned on these latent vectors. Once trained, AMUSE synthesizes 3D human gestures directly from speech with control over the expressed emotions and style by combining the content from the driving speech with the emotion and style of another speech sequence. Randomly sampling the noise of the diffusion model further generates variations of the gesture with the same emotional expressivity. Qualitative, quantitative, and perceptual evaluations demonstrate that AMUSE outputs realistic gesture sequences. Compared to the state of the art, the generated gestures are better synchronized with the speech content and better represent the emotion expressed by the input speech. Our project website is amuse.is.tue.mpg.de.

People employ expressive behaviors to effectively communicate and coordinate their actions with others, such as nodding to acknowledge a person glancing at them or saying "excuse me" to pass people in a busy corridor. We would like robots to also demonstrate expressive behaviors in human-robot interaction. Prior work proposes rule-based methods that struggle to scale to new communication modalities or social situations, while data-driven methods require specialized datasets for each social situation the robot is used in. We propose to leverage the rich social context available from large language models (LLMs) and their ability to generate motion based on instructions or user preferences, to generate expressive robot motion that is adaptable and composable, building upon each other. Our approach utilizes few-shot chain-of-thought prompting to translate human language instructions into parametrized control code using the robot's available and learned skills. Through user studies and simulation experiments, we demonstrate that our approach produces behaviors that users found to be competent and easy to understand. Supplementary material can be found at https://generative-expressive-motion.github.io/.

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

Emotion Recognition in Conversation (ERC) involves detecting the underlying emotion behind each utterance within a conversation. Effectively generating representations for utterances remains a significant challenge in this task. Recent works propose various models to address this issue, but they still struggle with differentiating similar emotions such as excitement and happiness. To alleviate this problem, We propose an Emotion-Anchored Contrastive Learning (EACL) framework that can generate more distinguishable utterance representations for similar emotions. To achieve this, we utilize label encodings as anchors to guide the learning of utterance representations and design an auxiliary loss to ensure the effective separation of anchors for similar emotions. Moreover, an additional adaptation process is proposed to adapt anchors to serve as effective classifiers to improve classification performance. Across extensive experiments, our proposed EACL achieves state-of-the-art emotion recognition performance and exhibits superior performance on similar emotions. Our code is available at https://github.com/Yu-Fangxu/EACL.

The ecological validity of soundscape studies usually rests on a choice of soundscapes that are representative of the perceptual space under investigation. For example, a soundscape pleasantness study might investigate locations with soundscapes ranging from "pleasant" to "annoying". The choice of soundscapes is typically researcher-led, but a participant-led process can reduce selection bias and improve result reliability. Hence, we propose a robust participant-led method to pinpoint characteristic soundscapes possessing arbitrary perceptual attributes. We validate our method by identifying Singaporean soundscapes spanning the perceptual quadrants generated from the "Pleasantness" and "Eventfulness" axes of the ISO 12913-2 circumplex model of soundscape perception, as perceived by local experts. From memory and experience, 67 participants first selected locations corresponding to each perceptual quadrant in each major planning region of Singapore. We then performed weighted k-means clustering on the selected locations, with weights for each location derived from previous frequencies and durations spent in each location by each participant. Weights hence acted as proxies for participant confidence. In total, 62 locations were thereby identified as suitable locations with characteristic soundscapes for further research utilizing the ISO 12913-2 perceptual quadrants. Audio-visual recordings and acoustic characterization of the soundscapes will be made in a future study.

In this paper, we delineate the strategy employed by our team, DeepLearningBrasil, which secured us the first place in the shared task DepSign-LT-EDI@RANLP-2023, achieving a 47.0% Macro F1-Score and a notable 2.4% advantage. The task was to classify social media texts into three distinct levels of depression - "not depressed," "moderately depressed," and "severely depressed." Leveraging the power of the RoBERTa and DeBERTa models, we further pre-trained them on a collected Reddit dataset, specifically curated from mental health-related Reddit's communities (Subreddits), leading to an enhanced understanding of nuanced mental health discourse. To address lengthy textual data, we used truncation techniques that retained the essence of the content by focusing on its beginnings and endings. Our model was robust against unbalanced data by incorporating sample weights into the loss. Cross-validation and ensemble techniques were then employed to combine our k-fold trained models, delivering an optimal solution. The accompanying code is made available for transparency and further development.

State-of-the-art text-to-speech (TTS) systems realize high naturalness in monolingual environments, synthesizing speech with correct multilingual accents (especially for Indic languages) and context-relevant emotions still poses difficulty owing to cultural nuance discrepancies in current frameworks. This paper introduces a new TTS architecture integrating accent along with preserving transliteration with multi-scale emotion modelling, in particularly tuned for Hindi and Indian English accent. Our approach extends the Parler-TTS model by integrating A language-specific phoneme alignment hybrid encoder-decoder architecture, and culture-sensitive emotion embedding layers trained on native speaker corpora, as well as incorporating a dynamic accent code switching with residual vector quantization. Quantitative tests demonstrate 23.7% improvement in accent accuracy (Word Error Rate reduction from 15.4% to 11.8%) and 85.3% emotion recognition accuracy from native listeners, surpassing METTS and VECL-TTS baselines. The novelty of the system is that it can mix code in real time - generating statements such as "Namaste, let's talk about <Hindi phrase>" with uninterrupted accent shifts while preserving emotional consistency. Subjective evaluation with 200 users reported a mean opinion score (MOS) of 4.2/5 for cultural correctness, much better than existing multilingual systems (p<0.01). This research makes cross-lingual synthesis more feasible by showcasing scalable accent-emotion disentanglement, with direct application in South Asian EdTech and accessibility software.

We introduce a film score generation framework to harmonize visual pixels and music melodies utilizing a latent diffusion model. Our framework processes film clips as input and generates music that aligns with a general theme while offering the capability to tailor outputs to a specific composition style. Our model directly produces music from video, utilizing a streamlined and efficient tuning mechanism on ControlNet. It also integrates a film encoder adept at understanding the film's semantic depth, emotional impact, and aesthetic appeal. Additionally, we introduce a novel, effective yet straightforward evaluation metric to evaluate the originality and recognizability of music within film scores. To fill this gap for film scores, we curate a comprehensive dataset of film videos and legendary original scores, injecting domain-specific knowledge into our data-driven generation model. Our model outperforms existing methodologies in creating film scores, capable of generating music that reflects the guidance of a maestro's style, thereby redefining the benchmark for automated film scores and laying a robust groundwork for future research in this domain. The code and generated samples are available at https://anonymous.4open.science/r/HPM.

Spectrograms are 2D representations of sound that look very different from the images found in our visual world. And natural images, when played as spectrograms, make unnatural sounds. In this paper, we show that it is possible to synthesize spectrograms that simultaneously look like natural images and sound like natural audio. We call these spectrograms images that sound. Our approach is simple and zero-shot, and it leverages pre-trained text-to-image and text-to-spectrogram diffusion models that operate in a shared latent space. During the reverse process, we denoise noisy latents with both the audio and image diffusion models in parallel, resulting in a sample that is likely under both models. Through quantitative evaluations and perceptual studies, we find that our method successfully generates spectrograms that align with a desired audio prompt while also taking the visual appearance of a desired image prompt. Please see our project page for video results: https://ificl.github.io/images-that-sound/

Code embedding models attract increasing attention due to the widespread popularity of retrieval-augmented generation (RAG) in software development. These models are expected to capture the rich semantic relationships inherent to code, which differ significantly from those found in text. However, existing models remain severely limited due to the scarcity of high-quality training data. In this work, we introduce CodeR (Code Retrieval), a state-of-the-art embedding model for general-purpose code retrieval. The superior performance of CodeR is built upon CodeR-Pile, a large-scale synthetic dataset constructed under the DRU (Diversity, Reliability, Usability) principle via a novel data synthesis pipeline. To optimize training effectiveness, we propose Annealing, a curriculum learning strategy that enables effective knowledge transfer across heterogeneous sources of data. We evaluate CodeR based on 16 diverse code retrieval tasks, where it significantly outperforms existing baselines and exhibits strong out-of-domain generalization performance. We have publicly released our code and the well-trained model to facilitate further research in this critical area. https://github.com/FlagOpen/FlagEmbedding/tree/master/research/BGE_Coder.

Code Large Language Models (Code LLMs) have emerged as powerful tools, revolutionizing the software development landscape by automating the coding process and reducing time and effort required to build applications. This paper focuses on training Code LLMs to specialize in the field of quantum computing. We begin by discussing the unique needs of quantum computing programming, which differ significantly from classical programming approaches or languages. A Code LLM specializing in quantum computing requires a foundational understanding of quantum computing and quantum information theory. However, the scarcity of available quantum code examples and the rapidly evolving field, which necessitates continuous dataset updates, present significant challenges. Moreover, we discuss our work on training Code LLMs to produce high-quality quantum code using the Qiskit library. This work includes an examination of the various aspects of the LLMs used for training and the specific training conditions, as well as the results obtained with our current models. To evaluate our models, we have developed a custom benchmark, similar to HumanEval, which includes a set of tests specifically designed for the field of quantum computing programming using Qiskit. Our findings indicate that our model outperforms existing state-of-the-art models in quantum computing tasks. We also provide examples of code suggestions, comparing our model to other relevant code LLMs. Finally, we introduce a discussion on the potential benefits of Code LLMs for quantum computing computational scientists, researchers, and practitioners. We also explore various features and future work that could be relevant in this context.

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.

We investigate the possibility of forcing a self-supervised model trained using a contrastive predictive loss to extract slowly varying latent representations. Rather than producing individual predictions for each of the future representations, the model emits a sequence of predictions shorter than that of the upcoming representations to which they will be aligned. In this way, the prediction network solves a simpler task of predicting the next symbols, but not their exact timing, while the encoding network is trained to produce piece-wise constant latent codes. We evaluate the model on a speech coding task and demonstrate that the proposed Aligned Contrastive Predictive Coding (ACPC) leads to higher linear phone prediction accuracy and lower ABX error rates, while being slightly faster to train due to the reduced number of prediction heads.

The rise of deep learning technologies has quickly advanced many fields, including that of generative music systems. There exist a number of systems that allow for the generation of good sounding short snippets, yet, these generated snippets often lack an overarching, longer-term structure. In this work, we propose CM-HRNN: a conditional melody generation model based on a hierarchical recurrent neural network. This model allows us to generate melodies with long-term structures based on given chord accompaniments. We also propose a novel, concise event-based representation to encode musical lead sheets while retaining the notes' relative position within the bar with respect to the musical meter. With this new data representation, the proposed architecture can simultaneously model the rhythmic, as well as the pitch structures in an effective way. Melodies generated by the proposed model were extensively evaluated in quantitative experiments as well as a user study to ensure the musical quality of the output as well as to evaluate if they contain repeating patterns. We also compared the system with the state-of-the-art AttentionRNN. This comparison shows that melodies generated by CM-HRNN contain more repeated patterns (i.e., higher compression ratio) and a lower tonal tension (i.e., more tonally concise). Results from our listening test indicate that CM-HRNN outperforms AttentionRNN in terms of long-term structure and overall rating.

Generative models guided by text prompts are increasingly becoming more popular. However, no text-to-MIDI models currently exist, mostly due to the lack of a captioned MIDI dataset. This work aims to enable research that combines LLMs with symbolic music by presenting the first large-scale MIDI dataset with text captions that is openly available: MidiCaps. MIDI (Musical Instrument Digital Interface) files are a widely used format for encoding musical information. Their structured format captures the nuances of musical composition and has practical applications by music producers, composers, musicologists, as well as performers. Inspired by recent advancements in captioning techniques applied to various domains, we present a large-scale curated dataset of over 168k MIDI files accompanied by textual descriptions. Each MIDI caption succinctly describes the musical content, encompassing tempo, chord progression, time signature, instruments present, genre and mood; thereby facilitating multi-modal exploration and analysis. The dataset contains a mix of various genres, styles, and complexities, offering a rich source for training and evaluating models for tasks such as music information retrieval, music understanding and cross-modal translation. We provide detailed statistics about the dataset and have assessed the quality of the captions in an extensive listening study. We anticipate that this resource will stimulate further research in the intersection of music and natural language processing, fostering advancements in both fields.

Recent years have seen the rapid development of large generative models for text; however, much less research has explored the connection between text and another "language" of communication -- music. Music, much like text, can convey emotions, stories, and ideas, and has its own unique structure and syntax. In our work, we bridge text and music via a text-to-music generation model that is highly efficient, expressive, and can handle long-term structure. Specifically, we develop Mo\^usai, a cascading two-stage latent diffusion model that can generate multiple minutes of high-quality stereo music at 48kHz from textual descriptions. Moreover, our model features high efficiency, which enables real-time inference on a single consumer GPU with a reasonable speed. Through experiments and property analyses, we show our model's competence over a variety of criteria compared with existing music generation models. Lastly, to promote the open-source culture, we provide a collection of open-source libraries with the hope of facilitating future work in the field. We open-source the following: Codes: https://github.com/archinetai/audio-diffusion-pytorch; music samples for this paper: http://bit.ly/44ozWDH; all music samples for all models: https://bit.ly/audio-diffusion.

In recent years, deep learning techniques have been applied to music generation systems with promising results. However, one of the main challenges in this field has been the lack of annotated datasets, making it difficult for models to learn musical forms in compositions. To address this issue, we present TunesFormer, a Transformer-based melody generation system that is trained on a large dataset of 285,449 ABC tunes. By utilizing specific symbols commonly found in ABC notation to indicate section boundaries, TunesFormer can understand and generate melodies with given musical forms based on control codes. Our objective evaluations demonstrate the effectiveness of the control codes in achieving controlled musical forms, and subjective experiments show that the generated melodies are of comparable quality to human compositions. Our results also provide insights into the optimal placement of control codes and their impact on the generated melodies. TunesFormer presents a promising approach for generating melodies with desired musical forms through the use of deep learning techniques.

The field has made significant progress in synthesizing realistic human motion driven by various modalities. Yet, the need for different methods to animate various body parts according to different control signals limits the scalability of these techniques in practical scenarios. In this paper, we introduce a cohesive and scalable approach that consolidates multimodal (text, music, speech) and multi-part (hand, torso) human motion generation. Our methodology unfolds in several steps: We begin by quantizing the motions of diverse body parts into separate codebooks tailored to their respective domains. Next, we harness the robust capabilities of pre-trained models to transcode multimodal signals into a shared latent space. We then translate these signals into discrete motion tokens by iteratively predicting subsequent tokens to form a complete sequence. Finally, we reconstruct the continuous actual motion from this tokenized sequence. Our method frames the multimodal motion generation challenge as a token prediction task, drawing from specialized codebooks based on the modality of the control signal. This approach is inherently scalable, allowing for the easy integration of new modalities. Extensive experiments demonstrated the effectiveness of our design, emphasizing its potential for broad application.

This paper introduces a novel voice conversion (VC) model, guided by text instructions such as "articulate slowly with a deep tone" or "speak in a cheerful boyish voice". Unlike traditional methods that rely on reference utterances to determine the attributes of the converted speech, our model adds versatility and specificity to voice conversion. The proposed VC model is a neural codec language model which processes a sequence of discrete codes, resulting in the code sequence of converted speech. It utilizes text instructions as style prompts to modify the prosody and emotional information of the given speech. In contrast to previous approaches, which often rely on employing separate encoders like prosody and content encoders to handle different aspects of the source speech, our model handles various information of speech in an end-to-end manner. Experiments have demonstrated the impressive capabilities of our model in comprehending instructions and delivering reasonable results.

Deep generative models can generate high-fidelity audio conditioned on various types of representations (e.g., mel-spectrograms, Mel-frequency Cepstral Coefficients (MFCC)). Recently, such models have been used to synthesize audio waveforms conditioned on highly compressed representations. Although such methods produce impressive results, they are prone to generate audible artifacts when the conditioning is flawed or imperfect. An alternative modeling approach is to use diffusion models. However, these have mainly been used as speech vocoders (i.e., conditioned on mel-spectrograms) or generating relatively low sampling rate signals. In this work, we propose a high-fidelity multi-band diffusion-based framework that generates any type of audio modality (e.g., speech, music, environmental sounds) from low-bitrate discrete representations. At equal bit rate, the proposed approach outperforms state-of-the-art generative techniques in terms of perceptual quality. Training and, evaluation code, along with audio samples, are available on the facebookresearch/audiocraft Github page.

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.

Predicting human mobility is inherently challenging due to complex long-range dependencies and multi-scale periodic behaviors. To address this, we introduce RHYTHM (Reasoning with Hierarchical Temporal Tokenization for Human Mobility), a unified framework that leverages large language models (LLMs) as general-purpose spatio-temporal predictors and trajectory reasoners. Methodologically, RHYTHM employs temporal tokenization to partition each trajectory into daily segments and encode them as discrete tokens with hierarchical attention that captures both daily and weekly dependencies, thereby significantly reducing the sequence length while preserving cyclical information. Additionally, we enrich token representations by adding pre-computed prompt embeddings for trajectory segments and prediction targets via a frozen LLM, and feeding these combined embeddings back into the LLM backbone to capture complex interdependencies. Computationally, RHYTHM freezes the pretrained LLM's backbone to reduce attention complexity and memory cost. We evaluate our model against state-of-the-art methods using three real-world datasets. Notably, RHYTHM achieves a 2.4% improvement in overall accuracy, a 5.0% increase on weekends, and a 24.6% reduction in training time. Code is publicly available at https://github.com/he-h/rhythm.

This work introduces audio2chart, a framework for the automatic generation of Guitar Hero style charts directly from raw audio. The task is formalized as a sequence prediction problem, where models are trained to generate discrete chart tokens aligned with the audio on discrete time steps. An unconditional baseline demonstrates strong predictive performance, while the addition of audio conditioning yields consistent improvements across accuracy based metrics. This work demonstrates that incorporating audio conditioning is both feasible and effective for improving note prediction in automatic chart generation. The complete codebase for training and inference is publicly available on GitHub supporting reproducible research on neural chart generation. A family of pretrained models is released on Hugging Face.

Music Emotion Recognition involves the automatic identification of emotional elements within music tracks, and it has garnered significant attention due to its broad applicability in the field of Music Information Retrieval. It can also be used as the upstream task of many other human-related tasks such as emotional music generation and music recommendation. Due to existing psychology research, music emotion is determined by multiple factors such as the Timbre, Velocity, and Structure of the music. Incorporating multiple factors in MER helps achieve more interpretable and finer-grained methods. However, most prior works were uni-domain and showed weak consistency between arousal modeling performance and valence modeling performance. Based on this background, we designed a multi-domain emotion modeling method for instrumental music that combines symbolic analysis and acoustic analysis. At the same time, because of the rarity of music data and the difficulty of labeling, our multi-domain approach can make full use of limited data. Our approach was implemented and assessed using the publicly available piano dataset EMOPIA, resulting in a notable improvement over our baseline model with a 2.4% increase in overall accuracy, establishing its state-of-the-art performance.

As digital music production has become mainstream, the selection of appropriate virtual instruments plays a crucial role in determining the quality of music. To search the musical instrument samples or virtual instruments that make one's desired sound, music producers use their ears to listen and compare each instrument sample in their collection, which is time-consuming and inefficient. In this paper, we call this task as Musical Instrument Retrieval and propose a method for retrieving desired musical instruments using reference music mixture as a query. The proposed model consists of the Single-Instrument Encoder and the Multi-Instrument Encoder, both based on convolutional neural networks. The Single-Instrument Encoder is trained to classify the instruments used in single-track audio, and we take its penultimate layer's activation as the instrument embedding. The Multi-Instrument Encoder is trained to estimate multiple instrument embeddings using the instrument embeddings computed by the Single-Instrument Encoder as a set of target embeddings. For more generalized training and realistic evaluation, we also propose a new dataset called Nlakh. Experimental results showed that the Single-Instrument Encoder was able to learn the mapping from the audio signal of unseen instruments to the instrument embedding space and the Multi-Instrument Encoder was able to extract multiple embeddings from the mixture of music and retrieve the desired instruments successfully. The code used for the experiment and audio samples are available at: https://github.com/minju0821/musical_instrument_retrieval

Large Language Models (LLMs) have achieved remarkable success in source code understanding, yet as software systems grow in scale, computational efficiency has become a critical bottleneck. Currently, these models rely on a text-based paradigm that treats source code as a linear sequence of tokens, which leads to a linear increase in context length and associated computational costs. The rapid advancement of Multimodal LLMs (MLLMs) introduces an opportunity to optimize efficiency by representing source code as rendered images. Unlike text, which is difficult to compress without losing semantic meaning, the image modality is inherently suitable for compression. By adjusting resolution, images can be scaled to a fraction of their original token cost while remaining recognizable to vision-capable models. To explore the feasibility of this approach, we conduct the first systematic study on the effectiveness of MLLMs for code understanding. Our experiments reveal that: (1) MLLMs can effectively understand code with substantial token reduction, achieving up to 8x compression; (2) MLLMs can effectively leverage visual cues such as syntax highlighting, improving code completion performance under 4x compression; and (3) Code-understanding tasks like clone detection exhibit exceptional resilience to visual compression, with some compression ratios even slightly outperforming raw text inputs. Our findings highlight both the potential and current limitations of MLLMs in code understanding, which points out a shift toward image-modality code representation as a pathway to more efficient inference.

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.

Formalized in ISO 12913, the "soundscape" approach is a paradigmatic shift towards perception-based urban sound management, aiming to alleviate the substantial socioeconomic costs of noise pollution to advance the United Nations Sustainable Development Goals. Focusing on traffic-exposed outdoor residential sites, we implemented an automatic masker selection system (AMSS) utilizing natural sounds to mask (or augment) traffic soundscapes. We employed a pre-trained AI model to automatically select the optimal masker and adjust its playback level, adapting to changes over time in the ambient environment to maximize "Pleasantness", a perceptual dimension of soundscape quality in ISO 12913. Our validation study involving (N=68) residents revealed a significant 14.6 % enhancement in "Pleasantness" after intervention, correlating with increased restorativeness and positive affect. Perceptual enhancements at the traffic-exposed site matched those at a quieter control site with 6 dB(A) lower L_A,eq and road traffic noise dominance, affirming the efficacy of AMSS as a soundscape intervention, while streamlining the labour-intensive assessment of "Pleasantness" with probabilistic AI prediction.

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.

In recent decades, neuroscientific and psychological research has traced direct relationships between taste and auditory perceptions. This article explores multimodal generative models capable of converting taste information into music, building on this foundational research. We provide a brief review of the state of the art in this field, highlighting key findings and methodologies. We present an experiment in which a fine-tuned version of a generative music model (MusicGEN) is used to generate music based on detailed taste descriptions provided for each musical piece. The results are promising: according the participants' (n=111) evaluation, the fine-tuned model produces music that more coherently reflects the input taste descriptions compared to the non-fine-tuned model. This study represents a significant step towards understanding and developing embodied interactions between AI, sound, and taste, opening new possibilities in the field of generative AI. We release our dataset, code and pre-trained model at: https://osf.io/xs5jy/.