Daily Papers

This paper introduces Harmonica, a family of instrument-agnostic music transcription models built around multi-depth harmonic convolution. At each model scale, Harmonica achieves the best performance among the evaluated models: the x-large model attains state-of-the-art performance in instrument-agnostic transcription, while the medium variant offers competitive accuracy with faster inference than all baselines. Pushing the limit of computational efficiency, the nano variant has only 26.3K parameters and runs at 1,622.5 times real time, yet achieves a frame F1 of 0.796 on the development set, 14.6 percentage points higher than Basic Pitch. We further demonstrate that multi-depth harmonic convolution effectively exploits harmonic information to benefit transcription performance through comparative experiments with existing harmonic aggregation methods, including harmonic stacking, harmonic attention, single-depth harmonic convolution, and the HD-Conv layer.

We present Harmonic, a hierarchical state space model (SSM) for language modeling. The architecture stacks three recurrent levels at progressively slower timescales; each level receives the prediction error of the level below as input, rather than its raw hidden state. On enwiki8 with equal token budgets, Harmonic outperforms a comparable Transformer (28M params) by +1.4% at 1K tokens, +6.7% at 8K tokens, and +11.4% at 32K tokens (bpt, lower is better). It also outperforms Mamba at every tested length by 0.7--1.8%. At 64K tokens, both Mamba and Transformer run out of memory on an 80GB H100; Harmonic trains successfully, reaching 6.169 bpt. Results replicate on WikiText-103 (H-TF gap +1.7% to +7.2% across 1K--32K). At 1B parameter scale, replacing all attention layers in TinyLlama 1.1B with HarmonicBlock eliminates the RoPE positional encoding limit: the resulting Hallamonic model maintains stable loss across sequence lengths 1K--8K on two independent clean benchmarks (Lambada and fineweb-edu held-out), while TinyLlama degrades catastrophically past its 2K-token RoPE limit (gap: +9.4 bpt at seq=8K on Lambada). Compute is O(L) per forward pass vs. O(L^2) for attention. Logs: https://github.com/Omibranch/harmonic-logs.

In this paper, we give an in-depth analysis on the mathematical problem formulations and the probabilistic optimization explorations for some of the key components in Transformer model [33] in the field of generative AI. We explore and discuss some potential further enhancement for current state of the art methods for some key underlying technologies of generative AI models from algorithmic and probabilistic optimization perspective. In particular, we present an optimal solution for sub-word encoding (SWE) based on similar initial settings as that of byte-pair encoding (BPE) algorithm in [9] with similar objectives as that of WordPiece approach in [28, 31] to maximize the likelihood of the training data. We also present cross entropy optimization method to optimize hyperparameters for word2vec model [17]. In addition, we propose a factored combination of rotary positional encoding (RoPE) [32] and attention with linear biases (ALiBi) [23] with a harmonic series. We also present a probabilistic FlashAttention [6, 7] (PrFlashAttention) method with a probability distribution over block distances in the matrix to decide which block is likely to participate in a given round of attention computation while maintaining the lower triangle shape of the tensor for autoregressive language models by re-shaping the tensors. Finally, we present staircase adaptive quantization (SAQ) of key-value (KV) cache for multi-query attention (MQA) based on the framework presented in [16] to have gradual quantization degradation while achieving reasonable model quality and cost savings.

Despite advances, video diffusion transformers still struggle to generalize beyond their training length, a challenge we term video length extrapolation. We identify two failure modes: model-specific periodic content repetition and a universal quality degradation. Prior works attempt to solve repetition via positional encodings, overlooking quality degradation and achieving only limited extrapolation. In this paper, we revisit this challenge from a more fundamental view: attention maps, which directly govern how context influences outputs. We identify that both failure modes arise from a unified cause: attention dispersion, where tokens beyond the training window dilute learned attention patterns. This leads to quality degradation and repetition emerges as a special case when this dispersion becomes structured into periodic attention patterns, induced by harmonic properties of positional encodings. Building on this insight, we propose UltraViCo, a training-free, plug-and-play method that suppresses attention for tokens beyond the training window via a constant decay factor. By jointly addressing both failure modes, we outperform a broad set of baselines largely across models and extrapolation ratios, pushing the extrapolation limit from 2x to 4x. Remarkably, it improves Dynamic Degree and Imaging Quality by 233% and 40.5% over the previous best method at 4x extrapolation. Furthermore, our method generalizes seamlessly to downstream tasks such as controllable video synthesis and editing.

Transformers and variational autoencoders (VAE) have been extensively employed for symbolic (e.g., MIDI) domain music generation. While the former boast an impressive capability in modeling long sequences, the latter allow users to willingly exert control over different parts (e.g., bars) of the music to be generated. In this paper, we are interested in bringing the two together to construct a single model that exhibits both strengths. The task is split into two steps. First, we equip Transformer decoders with the ability to accept segment-level, time-varying conditions during sequence generation. Subsequently, we combine the developed and tested in-attention decoder with a Transformer encoder, and train the resulting MuseMorphose model with the VAE objective to achieve style transfer of long pop piano pieces, in which users can specify musical attributes including rhythmic intensity and polyphony (i.e., harmonic fullness) they desire, down to the bar level. Experiments show that MuseMorphose outperforms recurrent neural network (RNN) based baselines on numerous widely-used metrics for style transfer tasks.

Score-informed note separation seeks to extract the performed waveform of all individual notes, often from a polyphonic recording. Existing deep learning systems generally only target instrument-level stems. We present, to our knowledge, the first deep learning approach to score-informed note separation, NoteSep. NoteSep extracts the queried notes by applying an extraction stage model, NoteGrab, once per note. Conditioned on pitch, onset, and offset, NoteGrab separates harmonic and percussive components in two U-Nets linked by bidirectional cross-attention; selective harmonic gating suppresses lower-octave interference while preserving percussive attacks. Finally, a joint separation stage applies Adaptive Set Ownership (ASO) to compare concurrent NoteGrab estimates and reallocate mixture energy. We curate SCNS-Train (25,729 mixtures and 743,920 targets) for training and SCNS-Eval (16 instruments, disjoint scores and libraries) for evaluation. On SCNS-Eval, NoteSep reaches a median SI-SDR of 7.39~dB, compared with 2.49~dB for our strongest baseline. See the demo page at https://benschou.com/notesep.

Existing approaches for generating multitrack music with transformer models have been limited in terms of the number of instruments, the length of the music segments and slow inference. This is partly due to the memory requirements of the lengthy input sequences necessitated by existing representations. In this work, we propose a new multitrack music representation that allows a diverse set of instruments while keeping a short sequence length. Our proposed Multitrack Music Transformer (MMT) achieves comparable performance with state-of-the-art systems, landing in between two recently proposed models in a subjective listening test, while achieving substantial speedups and memory reductions over both, making the method attractive for real time improvisation or near real time creative applications. Further, we propose a new measure for analyzing musical self-attention and show that the trained model attends more to notes that form a consonant interval with the current note and to notes that are 4N beats away from the current step.

Music relies heavily on repetition to build structure and meaning. Self-reference occurs on multiple timescales, from motifs to phrases to reusing of entire sections of music, such as in pieces with ABA structure. The Transformer (Vaswani et al., 2017), a sequence model based on self-attention, has achieved compelling results in many generation tasks that require maintaining long-range coherence. This suggests that self-attention might also be well-suited to modeling music. In musical composition and performance, however, relative timing is critically important. Existing approaches for representing relative positional information in the Transformer modulate attention based on pairwise distance (Shaw et al., 2018). This is impractical for long sequences such as musical compositions since their memory complexity for intermediate relative information is quadratic in the sequence length. We propose an algorithm that reduces their intermediate memory requirement to linear in the sequence length. This enables us to demonstrate that a Transformer with our modified relative attention mechanism can generate minute-long compositions (thousands of steps, four times the length modeled in Oore et al., 2018) with compelling structure, generate continuations that coherently elaborate on a given motif, and in a seq2seq setup generate accompaniments conditioned on melodies. We evaluate the Transformer with our relative attention mechanism on two datasets, JSB Chorales and Piano-e-Competition, and obtain state-of-the-art results on the latter.

We propose the Multi-Track Music Machine (MMM), a generative system based on the Transformer architecture that is capable of generating multi-track music. In contrast to previous work, which represents musical material as a single time-ordered sequence, where the musical events corresponding to different tracks are interleaved, we create a time-ordered sequence of musical events for each track and concatenate several tracks into a single sequence. This takes advantage of the Transformer's attention-mechanism, which can adeptly handle long-term dependencies. We explore how various representations can offer the user a high degree of control at generation time, providing an interactive demo that accommodates track-level and bar-level inpainting, and offers control over track instrumentation and note density.

Humans rely on gaze, head movements, and visual cues to attend to speakers in noisy environments, yet auditory attention decoding (AAD) has been studied primarily using electroencephalography (EEG). We introduce the Multimodal Auditory-attention Egocentric Speech-TRacking Open (MAESTRO) corpus, the first AAD dataset to simultaneously record EEG, eye gaze, pupillometry, egocentric video, and head inertial measurement unit (IMU) data. MAESTRO includes four competing speakers and background noise across multiple signal-to-noise ratio (SNR) conditions, enabling attention decoding under realistic listening scenarios. Through a four-speaker attention decoding benchmark, we show that combining behavioral and physiological signals improves decoding performance over EEG-only approaches, enabling future advances in multimodal auditory attention decoding. These findings open the door to new applications, analyses, and methodological advances in multimodal AAD. The complete dataset is publicly available at https://huggingface.co/datasets/aspire-osu/maestro-eeg-dataset . The official code repository is available at https://github.com/ASPIRE-OSU/MAESTRO .

We study sinusoidal recurrence as an iterative mechanism for harmonic spectral enrichment in implicit neural representations (INRs). Our analysis reveals that sinusoidal activations induce a harmonic line spectrum, providing a spectral account of how recurrent unrolling enriches the effective spectral support. We realize this principle with a shared sinusoidal block that iteratively refines the latent representation. We empirically validate the resulting spectral behavior against feed-forward INRs, non-sinusoidal recurrent variants, and equilibrium-style sinusoidal models. Complementing this analysis, we evaluate the proposed architecture across image and 3D representation tasks. On RGB image benchmarks, our method achieves higher fidelity than feed-forward baselines with fewer parameters and fewer optimization steps, and it further transfers favorably to super-resolution, NeRF, and SDF tasks.

Music is characterized by complex hierarchical structures. Developing a comprehensive model to capture these structures has been a significant challenge in the field of Music Information Retrieval (MIR). Prior research has mainly focused on addressing individual tasks for specific hierarchical levels, rather than providing a unified approach. In this paper, we introduce a versatile, all-in-one model that jointly performs beat and downbeat tracking as well as functional structure segmentation and labeling. The model leverages source-separated spectrograms as inputs and employs dilated neighborhood attentions to capture temporal long-term dependencies, along with non-dilated attentions for local instrumental dependencies. Consequently, the proposed model achieves state-of-the-art performance in all four tasks on the Harmonix Set while maintaining a relatively lower number of parameters compared to recent state-of-the-art models. Furthermore, our ablation study demonstrates that the concurrent learning of beats, downbeats, and segments can lead to enhanced performance, with each task mutually benefiting from the others.

Recent advancements in deep learning have led to drastic improvements in speech segregation models. Despite their success and growing applicability, few efforts have been made to analyze the underlying principles that these networks learn to perform segregation. Here we analyze the role of harmonicity on two state-of-the-art Deep Neural Networks (DNN)-based models- Conv-TasNet and DPT-Net. We evaluate their performance with mixtures of natural speech versus slightly manipulated inharmonic speech, where harmonics are slightly frequency jittered. We find that performance deteriorates significantly if one source is even slightly harmonically jittered, e.g., an imperceptible 3% harmonic jitter degrades performance of Conv-TasNet from 15.4 dB to 0.70 dB. Training the model on inharmonic speech does not remedy this sensitivity, instead resulting in worse performance on natural speech mixtures, making inharmonicity a powerful adversarial factor in DNN models. Furthermore, additional analyses reveal that DNN algorithms deviate markedly from biologically inspired algorithms that rely primarily on timing cues and not harmonicity to segregate speech.

We present Mirable's submission to the 2021 Emotions and Themes in Music challenge. In this work, we intend to address the question: can we leverage semi-supervised learning techniques on music emotion recognition? With that, we experiment with noisy student training, which has improved model performance in the image classification domain. As the noisy student method requires a strong teacher model, we further delve into the factors including (i) input training length and (ii) complementary music representations to further boost the performance of the teacher model. For (i), we find that models trained with short input length perform better in PR-AUC, whereas those trained with long input length perform better in ROC-AUC. For (ii), we find that using harmonic pitch class profiles (HPCP) consistently improve tagging performance, which suggests that harmonic representation is useful for music emotion tagging. Finally, we find that noisy student method only improves tagging results for the case of long training length. Additionally, we find that ensembling representations trained with different training lengths can improve tagging results significantly, which suggest a possible direction to explore incorporating multiple temporal resolutions in the network architecture for future work.

Self-attention is an attention mechanism that learns a representation by relating different positions in the sequence. The transformer, which is a sequence model solely based on self-attention, and its variants achieved state-of-the-art results in many natural language processing tasks. Since music composes its semantics based on the relations between components in sparse positions, adopting the self-attention mechanism to solve music information retrieval (MIR) problems can be beneficial. Hence, we propose a self-attention based deep sequence model for music tagging. The proposed architecture consists of shallow convolutional layers followed by stacked Transformer encoders. Compared to conventional approaches using fully convolutional or recurrent neural networks, our model is more interpretable while reporting competitive results. We validate the performance of our model with the MagnaTagATune and the Million Song Dataset. In addition, we demonstrate the interpretability of the proposed architecture with a heat map visualization.

Recent advances in automatic music transcription (AMT) have achieved highly accurate polyphonic piano transcription results by incorporating onset and offset detection. The existing literature, however, focuses mainly on the leverage of deep and complex models to achieve state-of-the-art (SOTA) accuracy, without understanding model behaviour. In this paper, we conduct a comprehensive examination of the Onsets-and-Frames AMT model, and pinpoint the essential components contributing to a strong AMT performance. This is achieved through exploitation of a modified additive attention mechanism. The experimental results suggest that the attention mechanism beyond a moderate temporal context does not benefit the model, and that rule-based post-processing is largely responsible for the SOTA performance. We also demonstrate that the onsets are the most significant attentive feature regardless of model complexity. The findings encourage AMT research to weigh more on both a robust onset detector and an effective post-processor.

End-to-end learning models have demonstrated a remarkable capability in performing speech segregation. Despite their wide-scope of real-world applications, little is known about the mechanisms they employ to group and consequently segregate individual speakers. Knowing that harmonicity is a critical cue for these networks to group sources, in this work, we perform a thorough investigation on ConvTasnet and DPT-Net to analyze how they perform a harmonic analysis of the input mixture. We perform ablation studies where we apply low-pass, high-pass, and band-stop filters of varying pass-bands to empirically analyze the harmonics most critical for segregation. We also investigate how these networks decide which output channel to assign to an estimated source by introducing discontinuities in synthetic mixtures. We find that end-to-end networks are highly unstable, and perform poorly when confronted with deformations which are imperceptible to humans. Replacing the encoder in these networks with a spectrogram leads to lower overall performance, but much higher stability. This work helps us to understand what information these network rely on for speech segregation, and exposes two sources of generalization-errors. It also pinpoints the encoder as the part of the network responsible for these errors, allowing for a redesign with expert knowledge or transfer learning.

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.

Following the success of the transformer architecture in the natural language domain, transformer-like architectures have been widely applied to the domain of symbolic music recently. Symbolic music and text, however, are two different modalities. Symbolic music contains multiple attributes, both absolute attributes (e.g., pitch) and relative attributes (e.g., pitch interval). These relative attributes shape human perception of musical motifs. These important relative attributes, however, are mostly ignored in existing symbolic music modeling methods with the main reason being the lack of a musically-meaningful embedding space where both the absolute and relative embeddings of the symbolic music tokens can be efficiently represented. In this paper, we propose the Fundamental Music Embedding (FME) for symbolic music based on a bias-adjusted sinusoidal encoding within which both the absolute and the relative attributes can be embedded and the fundamental musical properties (e.g., translational invariance) are explicitly preserved. Taking advantage of the proposed FME, we further propose a novel attention mechanism based on the relative index, pitch and onset embeddings (RIPO attention) such that the musical domain knowledge can be fully utilized for symbolic music modeling. Experiment results show that our proposed model: RIPO transformer which utilizes FME and RIPO attention outperforms the state-of-the-art transformers (i.e., music transformer, linear transformer) in a melody completion task. Moreover, using the RIPO transformer in a downstream music generation task, we notice that the notorious degeneration phenomenon no longer exists and the music generated by the RIPO transformer outperforms the music generated by state-of-the-art transformer models in both subjective and objective evaluations.

Identifying auditory attention by comparing auditory stimuli and corresponding brain responses, is known as auditory attention decoding (AAD). The majority of AAD algorithms utilize the so-called envelope entrainment mechanism, whereby auditory attention is identified by how the envelope of the auditory stream drives variation in the electroencephalography (EEG) signal. However, neural processing can also be decoded based on endogenous cognitive responses, in this case, neural responses evoked by attention to specific words in a speech stream. This approach is largely unexplored in the field of AAD but leads to a single-word auditory attention decoding problem in which an epoch of an EEG signal timed to a specific word is labeled as attended or unattended. This paper presents a deep learning approach, based on EEGNet, to address this challenge. We conducted a subject-independent evaluation on an event-based AAD dataset with three different paradigms: word category oddball, word category with competing speakers, and competing speech streams with targets. The results demonstrate that the adapted model is capable of exploiting cognitive-related spatiotemporal EEG features and achieving at least 58% accuracy on the most realistic competing paradigm for the unseen subjects. To our knowledge, this is the first study dealing with this problem.

We show that the three movements of Beethoven's "Moonlight Sonata" (Op. 27 No. 2) instantiate three distinct machine learning architectures -- not by analogy, but by structural correspondence. Through computational analysis of the score (entropy, Jensen-Shannon divergence, dissonance, hand distributional overlap, self-similarity matrices, temporal memory decay, and contextual pitch embeddings), we establish four counterintuitive findings: (1) perceived musical "temperature" is governed by throughput, not distributional width; (2) the lightest movement carries the highest dissonance; (3) the movements implement streaming, recurrent, and periodic positional encoding memory architectures; and (4) the same pitch class acquires different contextual identities across movements, analogous to contextual vs.static embeddings in NLP -- and unsupervised clustering recovers the tonal structure without music-theoretic input. We construct a reverse sonification (decoding analytical features back into MIDI) and quantify the chirality of the encode-decode cycle: what distributions preserve and sequential ordering destroys. Prompted by a listener's observation that the decoded piece sounds like "mirror isomers that can't be superimposed," the chirality measurement reveals reconstruction loss increasing monotonically with n-gram order. Bootstrap baselines and subsample checks confirm all movements carry sequential information above noise, though raw values are confounded by sample size. Cross-domain comparison shows natural language has higher chirality than music, reflecting stronger sequential constraints.

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

In this paper, we introduce **harmonic loss** as an alternative to the standard cross-entropy loss for training neural networks and large language models (LLMs). Harmonic loss enables improved interpretability and faster convergence, owing to its scale invariance and finite convergence point by design, which can be interpreted as a class center. We first validate the performance of harmonic models across algorithmic, vision, and language datasets. Through extensive experiments, we demonstrate that models trained with harmonic loss outperform standard models by: (a) enhancing interpretability, (b) requiring less data for generalization, and (c) reducing grokking. Moreover, we compare a GPT-2 model trained with harmonic loss to the standard GPT-2, illustrating that the harmonic model develops more interpretable representations. Looking forward, we believe harmonic loss has the potential to become a valuable tool in domains with limited data availability or in high-stakes applications where interpretability and reliability are paramount, paving the way for more robust and efficient neural network models.

A key function of auditory cognition is the association of characteristic sounds with their corresponding semantics over time. Humans attempting to discriminate between fine-grained audio categories, often replay the same discriminative sounds to increase their prediction confidence. We propose an end-to-end attention-based architecture that through selective repetition attends over the most discriminative sounds across the audio sequence. Our model initially uses the full audio sequence and iteratively refines the temporal segments replayed based on slot attention. At each playback, the selected segments are replayed using a smaller hop length which represents higher resolution features within these segments. We show that our method can consistently achieve state-of-the-art performance across three audio-classification benchmarks: AudioSet, VGG-Sound, and EPIC-KITCHENS-100.

Auditory foundation models, including auditory large language models (LLMs), process all sound inputs equally, independent of listener perception. However, human auditory perception is inherently selective: listeners focus on specific speakers while ignoring others in complex auditory scenes. Existing models do not incorporate this selectivity, limiting their ability to generate perception-aligned responses. To address this, we introduce Intention-Informed Auditory Scene Understanding (II-ASU) and present Auditory Attention-Driven LLM (AAD-LLM), a prototype system that integrates brain signals to infer listener attention. AAD-LLM extends an auditory LLM by incorporating intracranial electroencephalography (iEEG) recordings to decode which speaker a listener is attending to and refine responses accordingly. The model first predicts the attended speaker from neural activity, then conditions response generation on this inferred attentional state. We evaluate AAD-LLM on speaker description, speech transcription and extraction, and question answering in multitalker scenarios, with both objective and subjective ratings showing improved alignment with listener intention. By taking a first step toward intention-aware auditory AI, this work explores a new paradigm where listener perception informs machine listening, paving the way for future listener-centered auditory systems. Demo and code available: https://aad-llm.github.io.

Although native speech and music envelope following responses (EFRs) play a crucial role in auditory processing and cognition, their frequency profile, such as the dominating frequency and spectral coherence, is largely unknown. We have assumed that the auditory pathway - which transmits envelope components of speech and music to the scalp through time-varying neurophysiological processes - is a linear time-varying system, with the envelope and the multi-channel EEG responses as excitation and response, respectively. This paper investigates the transfer function of this system through two analytical techniques - time-averaged spectral responses and cross-spectral density - in the frequency domain at four different positions of the human scalp. Our findings suggest that alpha (8-11 Hz), lower gamma (53-56 Hz), and higher gamma (78-81 Hz) bands are the peak responses of the system. These frequently appearing dominant frequency responses may be the key components of familiar speech perception, maintaining attention, binding acoustic features, and memory processing. The cross-spectral density, which reflects the spatial neural coherence of the human brain, shows that 10-13 Hz, 27-29 Hz, and 62-64 Hz are common for all channel pairs. As neural coherences are frequently observed in these frequencies among native participants, we suggest that these distributed neural processes are also dominant in native speech and music perception.

Attention Model has now become an important concept in neural networks that has been researched within diverse application domains. This survey provides a structured and comprehensive overview of the developments in modeling attention. In particular, we propose a taxonomy which groups existing techniques into coherent categories. We review salient neural architectures in which attention has been incorporated, and discuss applications in which modeling attention has shown a significant impact. We also describe how attention has been used to improve the interpretability of neural networks. Finally, we discuss some future research directions in attention. We hope this survey will provide a succinct introduction to attention models and guide practitioners while developing approaches for their applications.

Self-supervised learning (SSL) has emerged as an essential paradigm for music information retrieval (MIR). While current SSL models achieve state-of-the-art performance across various MIR tasks, they typically treat audio as 1D sequences, either operating on time-domain waveforms or on flattened time-frequency-domain spectrograms. This discards the rich spatial and structural information in time-frequency representations and overlooks a fundamental intuition in music production. In particular, music is naturally represented as time-frequency grids in MIDI-based workflows, a structure that tightly corresponds to 2D spectrograms and inherently makes many MIR tasks trivial. Motivated by this intuition, we propose PupuJEPA, a visual Joint-Embedding Predictive Architecture (JEPA) that is trained directly on 2D spectrograms. Instead of applying masked language modeling (MLM) to 1D sequences, PupuJEPA learns robust representations by predicting the latent embeddings of masked 2D spectrogram patches from unmasked contexts. To optimally adapt such a visual framework to music signals, we also apply domain-specific modifications to model architecture, training scheme, and inference paradigm, with comprehensive ablation studies showing their effectiveness. Evaluations on the MARBLE benchmark show that PupuJEPA outperforms the 1D sequence-based SSL models across multiple MIR tasks in linear probing. Additionally, case studies of the attention maps also confirm that PupuJEPA captures musically meaningful patterns within the 2D time-frequency domain. Codes and checkpoints are available at: https://www.yichenggu.com/PupuJEPA/.

We introduce Self-Monitored Inference-Time INtervention (SMITIN), an approach for controlling an autoregressive generative music transformer using classifier probes. These simple logistic regression probes are trained on the output of each attention head in the transformer using a small dataset of audio examples both exhibiting and missing a specific musical trait (e.g., the presence/absence of drums, or real/synthetic music). We then steer the attention heads in the probe direction, ensuring the generative model output captures the desired musical trait. Additionally, we monitor the probe output to avoid adding an excessive amount of intervention into the autoregressive generation, which could lead to temporally incoherent music. We validate our results objectively and subjectively for both audio continuation and text-to-music applications, demonstrating the ability to add controls to large generative models for which retraining or even fine-tuning is impractical for most musicians. Audio samples of the proposed intervention approach are available on our demo page http://tinyurl.com/smitin .

Music generation has progressed significantly, especially in the domain of audio generation. However, generating symbolic music that is both long-structured and expressive remains a significant challenge. In this paper, we propose PerceiverS (Segmentation and Scale), a novel architecture designed to address this issue by leveraging both Effective Segmentation and Multi-Scale attention mechanisms. Our approach enhances symbolic music generation by simultaneously learning long-term structural dependencies and short-term expressive details. By combining cross-attention and self-attention in a Multi-Scale setting, PerceiverS captures long-range musical structure while preserving performance nuances. The proposed model, evaluated on datasets like Maestro, demonstrates improvements in generating coherent and diverse music with both structural consistency and expressive variation. The project demos and the generated music samples can be accessed through the link: https://perceivers.github.io.

Deep learning-based speech enhancement has seen huge improvements and recently also expanded to full band audio (48 kHz). However, many approaches have a rather high computational complexity and require big temporal buffers for real time usage e.g. due to temporal convolutions or attention. Both make those approaches not feasible on embedded devices. This work further extends DeepFilterNet, which exploits harmonic structure of speech allowing for efficient speech enhancement (SE). Several optimizations in the training procedure, data augmentation, and network structure result in state-of-the-art SE performance while reducing the real-time factor to 0.04 on a notebook Core-i5 CPU. This makes the algorithm applicable to run on embedded devices in real-time. The DeepFilterNet framework can be obtained under an open source license.

Audio diffusion models can synthesize high-fidelity music from text, yet their internal mechanisms for representing high-level concepts remain poorly understood. In this work, we use activation patching to demonstrate that distinct semantic musical concepts, such as the presence of specific instruments, vocals, or genre characteristics, are controlled by a small, shared subset of attention layers in state-of-the-art audio diffusion architectures. Next, we demonstrate that applying Contrastive Activation Addition and Sparse Autoencoders in these layers enables more precise control over the generated audio, indicating a direct benefit of the specialization phenomenon. By steering activations of the identified layers, we can alter specific musical elements with high precision, such as modulating tempo or changing a track's mood.

In this paper, we propose the use of spatial and harmonic features in combination with long short term memory (LSTM) recurrent neural network (RNN) for automatic sound event detection (SED) task. Real life sound recordings typically have many overlapping sound events, making it hard to recognize with just mono channel audio. Human listeners have been successfully recognizing the mixture of overlapping sound events using pitch cues and exploiting the stereo (multichannel) audio signal available at their ears to spatially localize these events. Traditionally SED systems have only been using mono channel audio, motivated by the human listener we propose to extend them to use multichannel audio. The proposed SED system is compared against the state of the art mono channel method on the development subset of TUT sound events detection 2016 database. The usage of spatial and harmonic features are shown to improve the performance of SED.

Motivated by the factorization inherent in the original fast multipole method and the improved fast Gauss transform we introduce a factorable form of attention that operates efficiently in high dimensions. This approach reduces the computational and memory complexity of the attention mechanism in transformers from O(N^2) to O(N). In comparison to previous attempts, our work presents a linearly scaled attention mechanism that maintains the full representation of the attention matrix without compromising on sparsification and incorporates the all-to-all relationship between tokens. We explore the properties of our new attention metric and conduct tests in various standard settings. Results indicate that our attention mechanism has a robust performance and holds significant promise for diverse applications where self-attention is used.

We present AIBA (Attention-In-Band Alignment), a lightweight, training-free pipeline to quantify where text-to-audio diffusion models attend on the time-frequency (T-F) plane. AIBA (i) hooks cross-attention at inference to record attention probabilities without modifying weights; (ii) projects them to fixed-size mel grids that are directly comparable to audio energy; and (iii) scores agreement with instrument-band ground truth via interpretable metrics (T-F IoU/AP, frequency-profile correlation, and a pointing game). On Slakh2100 with an AudioLDM2 backbone, AIBA reveals consistent instrument-dependent trends (e.g., bass favoring low bands) and achieves high precision with moderate recall.

Dense self-attention treats all token pairs as equally plausible before learning, an interaction-isotropic prior that can be mismatched to structured signals. For structured, low signal-to-noise ratio (SNR) signals such as EEG, dependencies are organized along the electrode and time axes, and this uniform prior exposes each token to many irrelevant interactions. We introduce Adaptive Anisotropic Attention (AAA), which splits attention into two paths: a temporal path, where each token attends to the tokens of its own electrode across time, and a spatial path, where it attends to the tokens of the other electrodes at the same time step. A small gate predicts, for every token, a convex combination of the two path outputs: two non-negative weights that sum to one. On six EEG downstream tasks, the resulting model, AXON (AXis-factorized Operator Network), improves mean balanced accuracy over a dense baseline under both linear probing and full fine-tuning. We show that both paths (temporal and spatial) are necessary and that the weighted sum beats a hard choice of one path; most of the benefit comes from the gate learning a different temporal/spatial balance at each layer of the network. Controlled audio spectrogram experiments show that axis factorization transfers beyond EEG. These results suggest that aligning attention with the natural axes of structured signals provides a useful inductive bias.

Attention is a powerful and ubiquitous mechanism for allowing neural models to focus on particular salient pieces of information by taking their weighted average when making predictions. In particular, multi-headed attention is a driving force behind many recent state-of-the-art NLP models such as Transformer-based MT models and BERT. These models apply multiple attention mechanisms in parallel, with each attention "head" potentially focusing on different parts of the input, which makes it possible to express sophisticated functions beyond the simple weighted average. In this paper we make the surprising observation that even if models have been trained using multiple heads, in practice, a large percentage of attention heads can be removed at test time without significantly impacting performance. In fact, some layers can even be reduced to a single head. We further examine greedy algorithms for pruning down models, and the potential speed, memory efficiency, and accuracy improvements obtainable therefrom. Finally, we analyze the results with respect to which parts of the model are more reliant on having multiple heads, and provide precursory evidence that training dynamics play a role in the gains provided by multi-head attention.

Nowadays, humans are constantly exposed to music, whether through voluntary streaming services or incidental encounters during commercial breaks. Despite the abundance of music, certain pieces remain more memorable and often gain greater popularity. Inspired by this phenomenon, we focus on measuring and predicting music memorability. To achieve this, we collect a new music piece dataset with reliable memorability labels using a novel interactive experimental procedure. We then train baselines to predict and analyze music memorability, leveraging both interpretable features and audio mel-spectrograms as inputs. To the best of our knowledge, we are the first to explore music memorability using data-driven deep learning-based methods. Through a series of experiments and ablation studies, we demonstrate that while there is room for improvement, predicting music memorability with limited data is possible. Certain intrinsic elements, such as higher valence, arousal, and faster tempo, contribute to memorable music. As prediction techniques continue to evolve, real-life applications like music recommendation systems and music style transfer will undoubtedly benefit from this new area of research.

Short segments of perceived speech can be retrieved from non-invasive magnetoencephalographic (MEG) recordings by deep networks trained with a CLIP-style objective against wav2vec 2.0 audio embeddings. Yet their weights do not map onto electrophysiological quantities, and it remains unclear which speech properties drive retrieval. We build on a high-performing MEG-to-audio retrieval architecture but redesign both its front end and decoder. Its spatial attention operates on a flattened sensor layout; we replace it with spherical harmonics defined on the three-dimensional MEG helmet geometry. We reduce the subject-specific representation from 270 to 25 branches, add a temporal filter to each branch to match it to a neuronal source in space and time, and make the convolutional decoder shallower. Ocular and cardiac components are removed before training to reduce the risk of stimulus-locked shortcuts. On MEG-MASC, the model reaches 39.75 +/- 0.34% Top-1 accuracy among 1005 candidates across six trained solutions, with about 20 times fewer decoder parameters. Its weights map to source space, recovering generators consistent with the speech-perception network, while left-lateralized branches carry higher-frequency rhythmic components not evident on the right. Paired MEG occlusion shows that 15 of 19 stimulus features contribute, with the largest effects for silence, sound intensity, vowels, and acoustic onsets. Random word lists behave oppositely: substituting narrative MEG into them improves retrieval, indicating that activity without narrative structure carries less recoverable information than activity during coherent speech. The wav2vec target can be reduced to about twelve learned feature dimensions without loss of accuracy, whereas strong temporal compression causes a clear loss. Together, source mapping and input interventions reveal what drives retrieval.

Even with strong sequence models like Transformers, generating expressive piano performances with long-range musical structures remains challenging. Meanwhile, methods to compose well-structured melodies or lead sheets (melody + chords), i.e., simpler forms of music, gained more success. Observing the above, we devise a two-stage Transformer-based framework that Composes a lead sheet first, and then Embellishes it with accompaniment and expressive touches. Such a factorization also enables pretraining on non-piano data. Our objective and subjective experiments show that Compose & Embellish shrinks the gap in structureness between a current state of the art and real performances by half, and improves other musical aspects such as richness and coherence as well.

Multimodal large language models can exhibit text dominance, over-relying on linguistic priors instead of grounding predictions in non-text inputs. One example is large audio-language models (LALMs) where decisive audio evidence can be under-utilized even when it contains important information. To address this issue we use mechanistic interpretability to identify a small set of audio-specialist attention heads whose audio attention yields a ``listening'' signal. We show that this signal increases when audio evidence affects the model's output, providing an indicator of audio engagement under standard prompting. Leveraging this localization, we construct an audio--silence steering direction and apply an inference-time activation intervention to the final representation, amplifying the model's audio effect. To demonstrate the utility of this intervention, we show on MMAU that this improves accuracy by up to +8.0 percentage points on two Qwen-based LALMs, without any parameter updates.

In this work, we upgrade the multi-head attention mechanism, the core of the Transformer model, to improve efficiency while maintaining or surpassing the previous accuracy level. We show that multi-head attention can be expressed in the summation form. Drawing on the insight that not all attention heads hold equal significance, we propose Mixture-of-Head attention (MoH), a new architecture that treats attention heads as experts in the Mixture-of-Experts (MoE) mechanism. MoH has two significant advantages: First, MoH enables each token to select the appropriate attention heads, enhancing inference efficiency without compromising accuracy or increasing the number of parameters. Second, MoH replaces the standard summation in multi-head attention with a weighted summation, introducing flexibility to the attention mechanism and unlocking extra performance potential. Extensive experiments on ViT, DiT, and LLMs demonstrate that MoH outperforms multi-head attention by using only 50%-90% of the attention heads. Moreover, we demonstrate that pre-trained multi-head attention models, such as LLaMA3-8B, can be further continue-tuned into our MoH models. Notably, MoH-LLaMA3-8B achieves an average accuracy of 64.0% across 14 benchmarks, outperforming LLaMA3-8B by 2.4% by utilizing only 75% of the attention heads. We believe the proposed MoH is a promising alternative to multi-head attention and provides a strong foundation for developing advanced and efficient attention-based models.

We introduce three new attention mechanisms that outperform standard multi-head attention in terms of efficiency and learning capabilities, thereby improving the performance and broader deployability of Transformer models. Our first contribution is Optimised Attention, which performs similarly to standard attention, but has 3/4 as many parameters and one matrix multiplication fewer per head. Next, we introduce Efficient Attention, which performs on par with standard attention with only 1/2 as many parameters as many parameters and two matrix multiplications fewer per head and is up to twice as fast as standard attention. Lastly, we introduce Super Attention, which surpasses standard attention by a significant margin in both vision and natural language processing tasks while having fewer parameters and matrix multiplications. In addition to providing rigorous mathematical comparisons, we evaluate the presented attention mechanisms on MNIST, CIFAR100, IMDB Movie Reviews, and Amazon Reviews datasets.

This paper proposes singing voice synthesis (SVS) based on frame-level sequence-to-sequence models considering vocal timing deviation. In SVS, it is essential to synchronize the timing of singing with temporal structures represented by scores, taking into account that there are differences between actual vocal timing and note start timing. In many SVS systems including our previous work, phoneme-level score features are converted into frame-level ones on the basis of phoneme boundaries obtained by external aligners to take into account vocal timing deviations. Therefore, the sound quality is affected by the aligner accuracy in this system. To alleviate this problem, we introduce an attention mechanism with frame-level features. In the proposed system, the attention mechanism absorbs alignment errors in phoneme boundaries. Additionally, we evaluate the system with pseudo-phoneme-boundaries defined by heuristic rules based on musical scores when there is no aligner. The experimental results show the effectiveness of the proposed system.

Convolutions operate only locally, thus failing to model global interactions. Self-attention is, however, able to learn representations that capture long-range dependencies in sequences. We propose a network architecture for audio super-resolution that combines convolution and self-attention. Attention-based Feature-Wise Linear Modulation (AFiLM) uses self-attention mechanism instead of recurrent neural networks to modulate the activations of the convolutional model. Extensive experiments show that our model outperforms existing approaches on standard benchmarks. Moreover, it allows for more parallelization resulting in significantly faster training.

We propose MuseControlLite, a lightweight mechanism designed to fine-tune text-to-music generation models for precise conditioning using various time-varying musical attributes and reference audio signals. The key finding is that positional embeddings, which have been seldom used by text-to-music generation models in the conditioner for text conditions, are critical when the condition of interest is a function of time. Using melody control as an example, our experiments show that simply adding rotary positional embeddings to the decoupled cross-attention layers increases control accuracy from 56.6% to 61.1%, while requiring 6.75 times fewer trainable parameters than state-of-the-art fine-tuning mechanisms, using the same pre-trained diffusion Transformer model of Stable Audio Open. We evaluate various forms of musical attribute control, audio inpainting, and audio outpainting, demonstrating improved controllability over MusicGen-Large and Stable Audio Open ControlNet at a significantly lower fine-tuning cost, with only 85M trainble parameters. Source code, model checkpoints, and demo examples are available at: https://musecontrollite.github.io/web/.

Large Audio Language Models (LALMs) achieve strong performance on a variety of audio understanding tasks but continue to struggle with temporal reasoning, a fundamental capability central to human auditory perception. Understanding the causes of these failures remains challenging as existing benchmarks report performance gaps without probing underlying mechanisms. To address this, we introduce a benchmark with 1,657 questions across three foundational tasks designed specifically for mechanistic analysis. Examining model outputs across varying input settings (behavioral analysis) reveals that models often under-utilize audio when textual cues are available. We also provide the first causal mechanistic analysis of temporal reasoning failures in LALMs. Comparing attention upweighting against scaling, we find that redistributing attention across audio tokens is more effective than increasing audio attention. Targeting task-relevant tokens yields further gains. These findings suggest that modality imbalance alone cannot explain failures. Attention scaling at bottleneck layers improves accuracy from 55.9% to 59.1% without fine-tuning, demonstrating a promising direction for future work.

Training causal transformers at extreme sequence lengths is bottlenecked by the quadratic time and memory of scaled dot-product attention (SDPA). In this work, we propose Lighthouse Attention, a training-only symmetrical selection-based hierarchical attention algorithm that wraps around ordinary SDPA and can be easily removed towards the end of the training. Our hierarchical selection is also gradient-free, which exempts us from dealing with a complicated and potentially inefficient backward pass kernel. Our contribution is three-fold: (i) A subquadratic hierarchical pre- and post-processing step that does adaptive compression and decompression of the sequence. (ii) A symmetrical compression strategy that pools queries, keys and values at the same time, while preserving left-to-right causality, which greatly improves parallelism. (iii) A two stage training approach which we pre-train for the majority of the time with Lighthouse Attention and recover a full attention model at the end with a short training. We run preliminary small scale LLM pre-training experiments that show the effectiveness of our method compared to full attention training with all other settings matched, where we achieve a faster total training time and lower final loss after the recovery phase. Full code is available at: https://github.com/ighoshsubho/lighthouse-attention

We present Lightning Attention, the first linear attention implementation that maintains a constant training speed for various sequence lengths under fixed memory consumption. Due to the issue with cumulative summation operations (cumsum), previous linear attention implementations cannot achieve their theoretical advantage in a casual setting. However, this issue can be effectively solved by utilizing different attention calculation strategies to compute the different parts of attention. Specifically, we split the attention calculation into intra-blocks and inter-blocks and use conventional attention computation for intra-blocks and linear attention kernel tricks for inter-blocks. This eliminates the need for cumsum in the linear attention calculation. Furthermore, a tiling technique is adopted through both forward and backward procedures to take full advantage of the GPU hardware. To enhance accuracy while preserving efficacy, we introduce TransNormerLLM (TNL), a new architecture that is tailored to our lightning attention. We conduct rigorous testing on standard and self-collected datasets with varying model sizes and sequence lengths. TNL is notably more efficient than other language models. In addition, benchmark results indicate that TNL performs on par with state-of-the-art LLMs utilizing conventional transformer structures. The source code is released at github.com/OpenNLPLab/TransnormerLLM.

Multimodal Large Language Models (MLLMs) have demonstrated capabilities in audio understanding, but current evaluations may obscure fundamental weaknesses in relational reasoning. We introduce the Music Understanding and Structural Evaluation (MUSE) Benchmark, an open-source resource with 10 tasks designed to probe fundamental music perception skills. We evaluate four SOTA models (Gemini Pro and Flash, Qwen2.5-Omni, and Audio-Flamingo 3) against a large human baseline (N=200). Our results reveal a wide variance in SOTA capabilities and a persistent gap with human experts. While Gemini Pro succeeds on basic perception, Qwen and Audio Flamingo 3 perform at or near chance, exposing severe perceptual deficits. Furthermore, we find Chain-of-Thought (CoT) prompting provides inconsistent, often detrimental results. Our work provides a critical tool for evaluating invariant musical representations and driving development of more robust AI systems.

Recent advancements in video generation have seen a shift towards unified, transformer-based foundation models that can handle multiple conditional inputs in-context. However, these models have primarily focused on modalities like text, images, and depth maps, while strictly time-synchronous signals like audio have been underexplored. This paper introduces In-Context Audio Control of video diffusion transformers (ICAC), a framework that investigates the integration of audio signals for speech-driven video generation within a unified full-attention architecture, akin to FullDiT. We systematically explore three distinct mechanisms for injecting audio conditions: standard cross-attention, 2D self-attention, and unified 3D self-attention. Our findings reveal that while 3D attention offers the highest potential for capturing spatio-temporal audio-visual correlations, it presents significant training challenges. To overcome this, we propose a Masked 3D Attention mechanism that constrains the attention pattern to enforce temporal alignment, enabling stable training and superior performance. Our experiments demonstrate that this approach achieves strong lip synchronization and video quality, conditioned on an audio stream and reference images.

We introduce Adaptive Filter Attention (AFA), a novel attention mechanism that incorporates a learnable dynamics model directly into the computation of attention weights. Rather than comparing queries and keys directly, we model the input sequence as discrete observations of a linear stochastic differential equation (SDE). By imposing a linear dynamics model with simultaneously diagonalizable state matrices and noise covariances, we can make use of a closed-form solution to the differential Lyapunov equation to efficiently propagate pairwise uncertainties through the dynamics. Attention naturally arises as the maximum likelihood solution for this linear SDE, with attention weights corresponding to robust residual-based reweightings of the propagated pairwise precisions. Imposing an additional constraint on the state matrix's eigenvalues leads to a simplified variant with the same computational and memory complexity as standard attention. In the limit of vanishing dynamics and process noise, and using a small-angle approximation, we recover ordinary dot-product attention.

Conventional self-attention mechanisms incur quadratic complexity, limiting their scalability on long sequences. We introduce FFTNet, an adaptive spectral filtering framework that leverages the Fast Fourier Transform (FFT) to achieve global token mixing in O(nlog n) time. By transforming inputs into the frequency domain, FFTNet exploits the orthogonality and energy preservation guaranteed by Parseval's theorem to capture long-range dependencies efficiently. A learnable spectral filter and modReLU activation dynamically emphasize salient frequency components, providing a rigorous and adaptive alternative to traditional self-attention. Experiments on the Long Range Arena and ImageNet benchmarks validate our theoretical insights and demonstrate superior performance over fixed Fourier and standard attention models.

Moonbeam is a transformer-based foundation model for symbolic music, pretrained on a large and diverse collection of MIDI data totaling 81.6K hours of music and 18 billion tokens. Moonbeam incorporates music-domain inductive biases by capturing both absolute and relative musical attributes through the introduction of a novel domain-knowledge-inspired tokenization method and Multidimensional Relative Attention (MRA), which captures relative music information without additional trainable parameters. Leveraging the pretrained Moonbeam, we propose 2 finetuning architectures with full anticipatory capabilities, targeting 2 categories of downstream tasks: symbolic music understanding and conditional music generation (including music infilling). Our model outperforms other large-scale pretrained music models in most cases in terms of accuracy and F1 score across 3 downstream music classification tasks on 4 datasets. Moreover, our finetuned conditional music generation model outperforms a strong transformer baseline with a REMI-like tokenizer. We open-source the code, pretrained model, and generated samples on Github.

The aim of this work is to define a model based on deep learning that is able to identify different instrument timbres with as few parameters as possible. For this purpose, we have worked with classical orchestral instruments played with different dynamics, which are part of a few instrument families and which play notes in the same pitch range. It has been possible to assess the ability to classify instruments by timbre even if the instruments are playing the same note with the same intensity. The network employed uses a multi-head attention mechanism, with 8 heads and a dense network at the output taking as input the log-mel magnitude spectrograms of the sound samples. This network allows the identification of 20 instrument classes of the classical orchestra, achieving an overall F_1 value of 0.62. An analysis of the weights of the attention layer has been performed and the confusion matrix of the model is presented, allowing us to assess the ability of the proposed architecture to distinguish timbre and to establish the aspects on which future work should focus.

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.

Transformers have rapidly become the preferred choice for audio classification, surpassing methods based on CNNs. However, Audio Spectrogram Transformers (ASTs) exhibit quadratic scaling due to self-attention. The removal of this quadratic self-attention cost presents an appealing direction. Recently, state space models (SSMs), such as Mamba, have demonstrated potential in language and vision tasks in this regard. In this study, we explore whether reliance on self-attention is necessary for audio classification tasks. By introducing Audio Mamba (AuM), the first self-attention-free, purely SSM-based model for audio classification, we aim to address this question. We evaluate AuM on various audio datasets - comprising six different benchmarks - where it achieves comparable or better performance compared to well-established AST model.

During music listening, cortical activity encodes both acoustic and expectation-related information. Prior work has shown that ANN representations resemble cortical representations and can serve as supervisory signals for EEG recognition. Here we show that distinguishing acoustic and expectation-related ANN representations as teacher targets improves EEG-based music identification. Models pretrained to predict either representation outperform non-pretrained baselines, and combining them yields complementary gains that exceed strong seed ensembles formed by varying random initializations. These findings show that teacher representation type shapes downstream performance and that representation learning can be guided by neural encoding. This work points toward advances in predictive music cognition and neural decoding. Our expectation representation, computed directly from raw signals without manual labels, reflects predictive structure beyond onset or pitch, enabling investigation of multilayer predictive encoding across diverse stimuli. Its scalability to large, diverse datasets further suggests potential for developing general-purpose EEG models grounded in cortical encoding principles.

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.

In this paper, we demonstrated the benefit of using pre-trained model to extract acoustic embedding to jointly predict (multitask learning) three tasks: emotion, age, and native country. The pre-trained model was trained with wav2vec 2.0 large robust model on the speech emotion corpus. The emotion and age tasks were regression problems, while country prediction was a classification task. A single harmonic mean from three metrics was used to evaluate the performance of multitask learning. The classifier was a linear network with two independent layers and shared layers, including the output layers. This study explores multitask learning on different acoustic features (including the acoustic embedding extracted from a model trained on an affective speech dataset), seed numbers, batch sizes, and normalizations for predicting paralinguistic information from speech.

Since its introduction, softmax attention has become the backbone of modern transformer architectures due to its expressiveness and scalability across a wide range of tasks. However, the main drawback of softmax attention is the quadratic memory requirement and computational complexity with respect to the sequence length. By replacing the softmax nonlinearity, linear attention and similar methods have been introduced to avoid the quadratic bottleneck of softmax attention. Despite these linear forms of attention being derived from the original softmax formulation, they typically lag in terms of downstream accuracy. While strong intuition of the softmax nonlinearity on the query and key inner product suggests that it has desirable properties compared to other nonlinearities, the question of why this discrepancy exists still remains unanswered. This work demonstrates that linear attention is an approximation of softmax attention by deriving the recurrent form of softmax attention. Using this form, each part of softmax attention can be described in the language of recurrent neural networks (RNNs). Describing softmax attention as an RNN allows for the ablation of the components of softmax attention to understand the importance of each part and how they interact. In this way, our work helps explain why softmax attention is more expressive than its counterparts.

Transformers serve as the foundation of most modern large language models. To mitigate the quadratic complexity of standard full attention, various efficient attention mechanisms, such as linear and hybrid attention, have been developed. A fundamental gap remains: their expressive power relative to full attention lacks a rigorous theoretical characterization. In this work, we theoretically characterize the performance differences among these attention mechanisms. Our theory applies to all linear attention variants that can be formulated as a recurrence, including Mamba, DeltaNet, etc. Specifically, we establish an expressiveness hierarchy: for the sequential function composition-a multi-step reasoning task that must occur within a model's forward pass, an (L+1)-layer full attention network is sufficient, whereas any hybrid network interleaving L-1 layers of full attention with a substantially larger number (2^{3L^2}) of linear attention layers cannot solve it. This result demonstrates a clear separation in expressive power between the two types of attention. Our work provides the first provable separation between hybrid attention and standard full attention, offering a theoretical perspective for understanding the fundamental capabilities and limitations of different attention mechanisms.

Attention mechanisms are a central property of cognitive systems allowing them to selectively deploy cognitive resources in a flexible manner. Attention has been long studied in the neurosciences and there are numerous phenomenological models that try to capture its core properties. Recently attentional mechanisms have become a dominating architectural choice of machine learning and are the central innovation of Transformers. The dominant intuition and formalism underlying their development has drawn on ideas of keys and queries in database management systems. In this work, we propose an alternative Bayesian foundation for attentional mechanisms and show how this unifies different attentional architectures in machine learning. This formulation allows to to identify commonality across different attention ML architectures as well as suggest a bridge to those developed in neuroscience. We hope this work will guide more sophisticated intuitions into the key properties of attention architectures and suggest new ones.

Despite the central role that melody plays in music perception, it remains an open challenge in music information retrieval to reliably detect the notes of the melody present in an arbitrary music recording. A key challenge in melody transcription is building methods which can handle broad audio containing any number of instrument ensembles and musical styles - existing strategies work well for some melody instruments or styles but not all. To confront this challenge, we leverage representations from Jukebox (Dhariwal et al. 2020), a generative model of broad music audio, thereby improving performance on melody transcription by 20% relative to conventional spectrogram features. Another obstacle in melody transcription is a lack of training data - we derive a new dataset containing 50 hours of melody transcriptions from crowdsourced annotations of broad music. The combination of generative pre-training and a new dataset for this task results in 77% stronger performance on melody transcription relative to the strongest available baseline. By pairing our new melody transcription approach with solutions for beat detection, key estimation, and chord recognition, we build Sheet Sage, a system capable of transcribing human-readable lead sheets directly from music audio. Audio examples can be found at https://chrisdonahue.com/sheetsage and code at https://github.com/chrisdonahue/sheetsage .

Attention-based Transformer models have been increasingly employed for automatic music generation. To condition the generation process of such a model with a user-specified sequence, a popular approach is to take that conditioning sequence as a priming sequence and ask a Transformer decoder to generate a continuation. However, this prompt-based conditioning cannot guarantee that the conditioning sequence would develop or even simply repeat itself in the generated continuation. In this paper, we propose an alternative conditioning approach, called theme-based conditioning, that explicitly trains the Transformer to treat the conditioning sequence as a thematic material that has to manifest itself multiple times in its generation result. This is achieved with two main technical contributions. First, we propose a deep learning-based approach that uses contrastive representation learning and clustering to automatically retrieve thematic materials from music pieces in the training data. Second, we propose a novel gated parallel attention module to be used in a sequence-to-sequence (seq2seq) encoder/decoder architecture to more effectively account for a given conditioning thematic material in the generation process of the Transformer decoder. We report on objective and subjective evaluations of variants of the proposed Theme Transformer and the conventional prompt-based baseline, showing that our best model can generate, to some extent, polyphonic pop piano music with repetition and plausible variations of a given condition.

We explore the potential of a popular distributional semantics vector space model, word2vec, for capturing meaningful relationships in ecological (complex polyphonic) music. More precisely, the skip-gram version of word2vec is used to model slices of music from a large corpus spanning eight musical genres. In this newly learned vector space, a metric based on cosine distance is able to distinguish between functional chord relationships, as well as harmonic associations in the music. Evidence, based on cosine distance between chord-pair vectors, suggests that an implicit circle-of-fifths exists in the vector space. In addition, a comparison between pieces in different keys reveals that key relationships are represented in word2vec space. These results suggest that the newly learned embedded vector representation does in fact capture tonal and harmonic characteristics of music, without receiving explicit information about the musical content of the constituent slices. In order to investigate whether proximity in the discovered space of embeddings is indicative of `semantically-related' slices, we explore a music generation task, by automatically replacing existing slices from a given piece of music with new slices. We propose an algorithm to find substitute slices based on spatial proximity and the pitch class distribution inferred in the chosen subspace. The results indicate that the size of the subspace used has a significant effect on whether slices belonging to the same key are selected. In sum, the proposed word2vec model is able to learn music-vector embeddings that capture meaningful tonal and harmonic relationships in music, thereby providing a useful tool for exploring musical properties and comparisons across pieces, as a potential input representation for deep learning models, and as a music generation device.

Attention-based mechanisms are widely used in machine learning, most prominently in transformers. However, hyperparameters such as the rank of the attention matrices and the number of heads are scaled nearly the same way in all realizations of this architecture, without theoretical justification. In this work we show that there are dramatic trade-offs between the rank and number of heads of the attention mechanism. Specifically, we present a simple and natural target function that can be represented using a single full-rank attention head for any context length, but that cannot be approximated by low-rank attention unless the number of heads is exponential in the embedding dimension, even for short context lengths. Moreover, we prove that, for short context lengths, adding depth allows the target to be approximated by low-rank attention. For long contexts, we conjecture that full-rank attention is necessary. Finally, we present experiments with off-the-shelf transformers that validate our theoretical findings.

Despite the ability to produce human-level speech for in-domain text, attention-based end-to-end text-to-speech (TTS) systems suffer from text alignment failures that increase in frequency for out-of-domain text. We show that these failures can be addressed using simple location-relative attention mechanisms that do away with content-based query/key comparisons. We compare two families of attention mechanisms: location-relative GMM-based mechanisms and additive energy-based mechanisms. We suggest simple modifications to GMM-based attention that allow it to align quickly and consistently during training, and introduce a new location-relative attention mechanism to the additive energy-based family, called Dynamic Convolution Attention (DCA). We compare the various mechanisms in terms of alignment speed and consistency during training, naturalness, and ability to generalize to long utterances, and conclude that GMM attention and DCA can generalize to very long utterances, while preserving naturalness for shorter, in-domain utterances.

Cross-entropy loss has long been the standard choice for training deep neural networks, yet it suffers from interpretability limitations, unbounded weight growth, and inefficiencies that can contribute to costly training dynamics. The harmonic loss is a distance-based alternative grounded in Euclidean geometry that improves interpretability and mitigates phenomena such as grokking, or delayed generalization on the test set. However, the study of harmonic loss remains narrow: only Euclidean distance is explored, and no systematic evaluation of computational efficiency or sustainability was conducted. We extend harmonic loss by systematically investigating a broad spectrum of distance metrics as replacements for the Euclidean distance. We comprehensively evaluate distance-tailored harmonic losses on both vision backbones and large language models. Our analysis is framed around a three-way evaluation of model performance, interpretability, and sustainability. On vision tasks, cosine distances provide the most favorable trade-off, consistently improving accuracy while lowering carbon emissions, whereas Bray-Curtis and Mahalanobis further enhance interpretability at varying efficiency costs. On language models, cosine-based harmonic losses improve gradient and learning stability, strengthen representation structure, and reduce emissions relative to cross-entropy and Euclidean heads. Our code is available at: https://anonymous.4open.science/r/rethinking-harmonic-loss-5BAB/.

End-to-end models reach state-of-the-art performance for speech recognition, but global soft attention is not monotonic, which might lead to convergence problems, to instability, to bad generalisation, cannot be used for online streaming, and is also inefficient in calculation. Monotonicity can potentially fix all of this. There are several ad-hoc solutions or heuristics to introduce monotonicity, but a principled introduction is rarely found in literature so far. In this paper, we present a mathematically clean solution to introduce monotonicity, by introducing a new latent variable which represents the audio position or segment boundaries. We compare several monotonic latent models to our global soft attention baseline such as a hard attention model, a local windowed soft attention model, and a segmental soft attention model. We can show that our monotonic models perform as good as the global soft attention model. We perform our experiments on Switchboard 300h. We carefully outline the details of our training and release our code and configs.

The design choices in the Transformer attention mechanism, including weak inductive bias and quadratic computational complexity, have limited its application for modeling long sequences. In this paper, we introduce Mega, a simple, theoretically grounded, single-head gated attention mechanism equipped with (exponential) moving average to incorporate inductive bias of position-aware local dependencies into the position-agnostic attention mechanism. We further propose a variant of Mega that offers linear time and space complexity yet yields only minimal quality loss, by efficiently splitting the whole sequence into multiple chunks with fixed length. Extensive experiments on a wide range of sequence modeling benchmarks, including the Long Range Arena, neural machine translation, auto-regressive language modeling, and image and speech classification, show that Mega achieves significant improvements over other sequence models, including variants of Transformers and recent state space models.

Live accompaniment models generate music for an incoming audio stream, committing to each output frame before hearing what comes next. In this strictly causal setting the model must infer tempo, meter, and metrical phase from its own imperfect past, whereby compounding errors quickly become audible as rhythmic drift. Put simply, the model has ears but no temporal reference, so when the ears hear imperfect, ambiguous music, the model will produce a flawed output. We propose Silent Metronome (SiMe), which gives it the temporal reference, encoding the phase within the beat and within the bar as periodic functions, pairing them with tempo and time signature, and supplying the result as a separate conditioning channel. Because this reference is independent of the generated audio, it cannot drift. Complementary auxiliary heads shape the latent representation, including a novel head that predicts the model's own future tokens. With the metrical signal taken from ground-truth annotations, beat alignment improves by a factor of 3.2 over the strictly causal baseline and surpasses a non-causal reference granted a full second of look-ahead. Coherence between input and accompaniment stays within a single point of that reference. These results suggest that streaming accompaniment systems should treat rhythm as a signal to be shared, as human ensembles do, rather than inferred.

Linear attention transformers have become a strong alternative to softmax attention due to their efficiency. However, linear attention tends to be less expressive and results in reduced accuracy compared to softmax attention. To bridge the accuracy gap between softmax attention and linear attention, we manipulate Mamba-2, a very strong linear attention variant. We first simplify Mamba-2 down to its most fundamental and important components, evaluating which specific choices make it most accurate. From this simplified Mamba variant (Mamba-2S), we improve the A-mask and increase the order of the hidden state, resulting in a method, which we call 2Mamba, that is nearly as accurate as softmax attention, yet much more memory efficient for long context lengths. We also investigate elements to Mamba-2 that help surpass softmax attention accuracy. Code is provided for all our experiments.

Linear attention is an efficient attention mechanism that has recently emerged as a promising alternative to conventional softmax attention. With its ability to process tokens in linear computational complexities, linear attention, in theory, can handle sequences of unlimited length without sacrificing speed, i.e., maintaining a constant training speed for various sequence lengths with a fixed memory consumption. However, due to the issue with cumulative summation (cumsum), current linear attention algorithms cannot demonstrate their theoretical advantage in a causal setting. In this paper, we present Lightning Attention-2, the first linear attention implementation that enables linear attention to realize its theoretical computational benefits. To achieve this, we leverage the thought of tiling, separately handling the intra-block and inter-block components in linear attention calculation. Specifically, we utilize the conventional attention computation mechanism for the intra-blocks and apply linear attention kernel tricks for the inter-blocks. A tiling technique is adopted through both forward and backward procedures to take full advantage of the GPU hardware. We implement our algorithm in Triton to make it IO-aware and hardware-friendly. Various experiments are conducted on different model sizes and sequence lengths. Lightning Attention-2 retains consistent training and inference speed regardless of input sequence length and is significantly faster than other attention mechanisms. The source code is available at https://github.com/OpenNLPLab/lightning-attention.

The ''pretraining-and-finetuning'' paradigm has become a norm for training domain-specific models in natural language processing and computer vision. In this work, we aim to examine this paradigm for symbolic music generation through leveraging the largest ever symbolic music dataset sourced from the MuseScore forum. We first pretrain a large unconditional transformer model using 1.5 million songs. We then propose a simple technique to equip this pretrained unconditional music transformer model with instrument and genre controls by finetuning the model with additional control tokens. Our proposed representation offers improved high-level controllability and expressiveness against two existing representations. The experimental results show that the proposed model can successfully generate music with user-specified instruments and genre. In a subjective listening test, the proposed model outperforms the pretrained baseline model in terms of coherence, harmony, arrangement and overall quality.

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.

In this paper, we demonstrate that an inherent waveform pattern in the attention allocation of large language models (LLMs) significantly affects their performance in tasks demanding a high degree of context awareness, such as utilizing LLMs for tool-use. Specifically, the crucial information in the context will be potentially overlooked by model when it is positioned in the trough zone of the attention waveform, leading to decreased performance. To address this issue, we propose a novel inference method named Attention Buckets. It allows LLMs to process their input through multiple parallel processes. Each process utilizes a distinct base angle for the rotary position embedding, thereby creating a unique attention waveform. By compensating an attention trough of a particular process with an attention peak of another process, our approach enhances LLM's awareness to various contextual positions, thus mitigating the risk of overlooking crucial information. In the largest tool-use benchmark, our method elevates a 7B model to achieve state-of-the-art performance, comparable to that of GPT-4. On other benchmarks and some RAG tasks, which also demand a thorough understanding of contextual content, Attention Buckets also exhibited notable enhancements in performance.

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/.

Representing wild sounds as images is an important but challenging task due to the lack of paired datasets between sound and images and the significant differences in the characteristics of these two modalities. Previous studies have focused on generating images from sound in limited categories or music. In this paper, we propose a novel approach to generate images from in-the-wild sounds. First, we convert sound into text using audio captioning. Second, we propose audio attention and sentence attention to represent the rich characteristics of sound and visualize the sound. Lastly, we propose a direct sound optimization with CLIPscore and AudioCLIP and generate images with a diffusion-based model. In experiments, it shows that our model is able to generate high quality images from wild sounds and outperforms baselines in both quantitative and qualitative evaluations on wild audio datasets.

Extending the context length of Language Models (LMs) by improving Rotary Position Embedding (RoPE) has become a trend. While existing works mainly address RoPE's limitations within attention mechanism, this paper provides an analysis across nearly all parts of LMs, uncovering their adverse effects on length generalization for RoPE-based attention. Using Discrete Signal Processing theory, we show that RoPE enables periodic attention by implicitly achieving Non-Uniform Discrete Fourier Transform. However, this periodicity is undermined by the spectral damage caused by: 1) linear layers and activation functions outside of attention; 2) insufficiently trained frequency components brought by time-domain truncation. Building on our observations, we propose Fourier Position Embedding (FoPE), which enhances attention's frequency-domain properties to improve both its periodic extension and length generalization. FoPE constructs Fourier Series and zero-outs the destructive frequency components, increasing model robustness against the spectrum damage. Experiments across various model scales show that, within varying context windows, FoPE can maintain a more stable perplexity and a more consistent accuracy in a needle-in-haystack task compared to RoPE and ALiBi. Several analyses and ablations bring further support to our method and theoretical modeling.

While Attention has come to be an important mechanism in deep learning, there remains limited intuition for why it works so well. Here, we show that Transformer Attention can be closely related under certain data conditions to Kanerva's Sparse Distributed Memory (SDM), a biologically plausible associative memory model. We confirm that these conditions are satisfied in pre-trained GPT2 Transformer models. We discuss the implications of the Attention-SDM map and provide new computational and biological interpretations of Attention.

Automatic song writing aims to compose a song (lyric and/or melody) by machine, which is an interesting topic in both academia and industry. In automatic song writing, lyric-to-melody generation and melody-to-lyric generation are two important tasks, both of which usually suffer from the following challenges: 1) the paired lyric and melody data are limited, which affects the generation quality of the two tasks, considering a lot of paired training data are needed due to the weak correlation between lyric and melody; 2) Strict alignments are required between lyric and melody, which relies on specific alignment modeling. In this paper, we propose SongMASS to address the above challenges, which leverages masked sequence to sequence (MASS) pre-training and attention based alignment modeling for lyric-to-melody and melody-to-lyric generation. Specifically, 1) we extend the original sentence-level MASS pre-training to song level to better capture long contextual information in music, and use a separate encoder and decoder for each modality (lyric or melody); 2) we leverage sentence-level attention mask and token-level attention constraint during training to enhance the alignment between lyric and melody. During inference, we use a dynamic programming strategy to obtain the alignment between each word/syllable in lyric and note in melody. We pre-train SongMASS on unpaired lyric and melody datasets, and both objective and subjective evaluations demonstrate that SongMASS generates lyric and melody with significantly better quality than the baseline method without pre-training or alignment constraint.

Full-length song generation must preserve coherence and musicality, render detailed vocal and accompaniment acoustics, and follow lyrics and prompts. Existing language model-based systems face a structural trade-off: mixed-token modeling preserves vocal-instrument coordination but obscures track-specific details, whereas dual-track prediction improves acoustics but requires longer sequences and weakens global planning. We present LeVo 2, a hybrid LLM-Diffusion framework for controllable full-length song generation. LeVo 2 formulates this trade-off as hierarchical modeling: LeLM first predicts mixed tokens for semantic planning, then predicts vocal and accompaniment tokens in parallel for track-specific refinement, while a diffusion-based Music Codec reconstructs full-length waveforms. A central contribution of this extended version is an aesthetics-guided training schedule for alignment. During pre-training, an automated music aesthetic evaluation framework assigns musicality-tier conditions to large-scale data, providing musicality priors before preference alignment. Progressive post-training applies SFT, large-scale offline DPO, and closed-loop semi-online DPO to separately improve generation quality, controllability, and musicality. Modular extension then trains the Track-Specific LM for acoustic refinement while preserving the aligned semantic planner. This schedule separates musicality learning, controllability alignment, and acoustic refinement, mitigating optimization conflict and the limitations of static offline preference pairs. Expert listening tests and objective evaluations show that LeVo 2 outperforms open-source baselines across six subjective dimensions, and approaches leading commercial systems on several listening metrics. Ablations validate the effects of the training strategy, aesthetics guidance, scaling, and hierarchical architecture.

Generating accurate sounds for complex audio-visual scenes is challenging, especially in the presence of multiple objects and sound sources. In this paper, we propose an {\em interactive object-aware audio generation} model that grounds sound generation in user-selected visual objects within images. Our method integrates object-centric learning into a conditional latent diffusion model, which learns to associate image regions with their corresponding sounds through multi-modal attention. At test time, our model employs image segmentation to allow users to interactively generate sounds at the {\em object} level. We theoretically validate that our attention mechanism functionally approximates test-time segmentation masks, ensuring the generated audio aligns with selected objects. Quantitative and qualitative evaluations show that our model outperforms baselines, achieving better alignment between objects and their associated sounds. Project page: https://tinglok.netlify.app/files/avobject/

Recent advances in generative AI for music have achieved remarkable fidelity and stylistic diversity, yet these systems often fail to align with nuanced human preferences due to the specific loss functions they use. This paper advocates for the systematic application of preference alignment techniques to music generation, addressing the fundamental gap between computational optimization and human musical appreciation. Drawing on recent breakthroughs including MusicRL's large-scale preference learning, multi-preference alignment frameworks like diffusion-based preference optimization in DiffRhythm+, and inference-time optimization techniques like Text2midi-InferAlign, we discuss how these techniques can address music's unique challenges: temporal coherence, harmonic consistency, and subjective quality assessment. We identify key research challenges including scalability to long-form compositions, reliability amongst others in preference modelling. Looking forward, we envision preference-aligned music generation enabling transformative applications in interactive composition tools and personalized music services. This work calls for sustained interdisciplinary research combining advances in machine learning, music-theory to create music AI systems that truly serve human creative and experiential needs.

Music understanding is a complex task that often requires reasoning over both structural and semantic elements of audio. We introduce BASS, designed to evaluate music understanding and reasoning in audio language models across four broad categories: structural segmentation, lyric transcription, musicological analysis, and artist collaboration. BASS comprises 2658 questions spanning 12 tasks, 1993 unique songs and covering over 138 hours of music from a wide range of genres and tracks, crafted to assess musicological knowledge and reasoning in real-world scenarios. We evaluate 14 open-source and frontier multimodal LMs, finding that even state-of-the-art models struggle on higher-level reasoning tasks such as structural segmentation and artist collaboration, while performing best on lyric transcription. Our analysis reveals that current models leverage linguistic priors effectively but remain limited in reasoning over musical structure, vocal, and musicological attributes. BASS provides an evaluation framework with widespread applications in music recommendation and search and has the potential to guide the development of audio LMs.

Music induced painting is a unique artistic practice, where visual artworks are created under the influence of music. Evaluating whether a painting faithfully reflects the music that inspired it poses a challenging perceptual assessment task. Existing methods primarily rely on emotion recognition models to assess the similarity between music and painting, but such models introduce considerable noise and overlook broader perceptual cues beyond emotion. To address these limitations, we propose a novel framework for music induced painting assessment that directly models perceptual coherence between music and visual art. We introduce MPD, the first large scale dataset of music painting pairs annotated by domain experts based on perceptual coherence. To better handle ambiguous cases, we further collect pairwise preference annotations. Building on this dataset, we present MPJudge, a model that integrates music features into a visual encoder via a modulation based fusion mechanism. To effectively learn from ambiguous cases, we adopt Direct Preference Optimization for training. Extensive experiments demonstrate that our method outperforms existing approaches. Qualitative results further show that our model more accurately identifies music relevant regions in paintings.

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.

Remote photoplethysmography (rPPG) is a non-contact method for detecting physiological signals based on facial videos, holding high potential in various applications. Due to the periodicity nature of rPPG signals, the long-range dependency capturing capacity of the transformer was assumed to be advantageous for such signals. However, existing methods have not conclusively demonstrated the superior performance of transformers over traditional convolutional neural networks. This may be attributed to the quadratic scaling exhibited by transformer with sequence length, resulting in coarse-grained feature extraction, which in turn affects robustness and generalization. To address that, this paper proposes a periodic sparse attention mechanism based on temporal attention sparsity induced by periodicity. A pre-attention stage is introduced before the conventional attention mechanism. This stage learns periodic patterns to filter out a large number of irrelevant attention computations, thus enabling fine-grained feature extraction. Moreover, to address the issue of fine-grained features being more susceptible to noise interference, a fusion stem is proposed to effectively guide self-attention towards rPPG features. It can be easily integrated into existing methods to enhance their performance. Extensive experiments show that the proposed method achieves state-of-the-art performance in both intra-dataset and cross-dataset evaluations. The codes are available at https://github.com/zizheng-guo/RhythmFormer.

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.

Speech-driven 3D facial animation is challenging due to the complex geometry of human faces and the limited availability of 3D audio-visual data. Prior works typically focus on learning phoneme-level features of short audio windows with limited context, occasionally resulting in inaccurate lip movements. To tackle this limitation, we propose a Transformer-based autoregressive model, FaceFormer, which encodes the long-term audio context and autoregressively predicts a sequence of animated 3D face meshes. To cope with the data scarcity issue, we integrate the self-supervised pre-trained speech representations. Also, we devise two biased attention mechanisms well suited to this specific task, including the biased cross-modal multi-head (MH) attention and the biased causal MH self-attention with a periodic positional encoding strategy. The former effectively aligns the audio-motion modalities, whereas the latter offers abilities to generalize to longer audio sequences. Extensive experiments and a perceptual user study show that our approach outperforms the existing state-of-the-arts. The code will be made available.

Multitrack music transcription aims to transcribe a music audio input into the musical notes of multiple instruments simultaneously. It is a very challenging task that typically requires a more complex model to achieve satisfactory result. In addition, prior works mostly focus on transcriptions of regular instruments, however, neglecting vocals, which are usually the most important signal source if present in a piece of music. In this paper, we propose a novel deep neural network architecture, Perceiver TF, to model the time-frequency representation of audio input for multitrack transcription. Perceiver TF augments the Perceiver architecture by introducing a hierarchical expansion with an additional Transformer layer to model temporal coherence. Accordingly, our model inherits the benefits of Perceiver that posses better scalability, allowing it to well handle transcriptions of many instruments in a single model. In experiments, we train a Perceiver TF to model 12 instrument classes as well as vocal in a multi-task learning manner. Our result demonstrates that the proposed system outperforms the state-of-the-art counterparts (e.g., MT3 and SpecTNT) on various public datasets.

Vision Transformers (ViTs) have recently taken computer vision by storm. However, the softmax attention underlying ViTs comes with a quadratic complexity in time and memory, hindering the application of ViTs to high-resolution images. We revisit the attention design and propose a linear attention method to address the limitation, which doesn't sacrifice ViT's core advantage of capturing global representation like existing methods (e.g. local window attention of Swin). We further investigate the key difference between linear attention and softmax attention. Our empirical results suggest that linear attention lacks a fundamental property of concentrating the distribution of the attention matrix. Inspired by this observation, we introduce a local concentration module to enhance linear attention. By incorporating enhanced linear global attention and local window attention, we propose a new ViT architecture, dubbed L^2ViT. Notably, L^2ViT can effectively capture both global interactions and local representations while enjoying linear computational complexity. Extensive experiments demonstrate the strong performance of L^2ViT. On image classification, L^2ViT achieves 84.4% Top-1 accuracy on ImageNet-1K without any extra training data or label. By further pre-training on ImageNet-22k, it attains 87.0% when fine-tuned with resolution 384^2. For downstream tasks, L^2ViT delivers favorable performance as a backbone on object detection as well as semantic segmentation.

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.

The Transformer architecture has proven to be highly effective for Automatic Speech Recognition (ASR) tasks, becoming a foundational component for a plethora of research in the domain. Historically, many approaches have leaned on fixed-length attention windows, which becomes problematic for varied speech samples in duration and complexity, leading to data over-smoothing and neglect of essential long-term connectivity. Addressing this limitation, we introduce Echo-MSA, a nimble module equipped with a variable-length attention mechanism that accommodates a range of speech sample complexities and durations. This module offers the flexibility to extract speech features across various granularities, spanning from frames and phonemes to words and discourse. The proposed design captures the variable length feature of speech and addresses the limitations of fixed-length attention. Our evaluation leverages a parallel attention architecture complemented by a dynamic gating mechanism that amalgamates traditional attention with the Echo-MSA module output. Empirical evidence from our study reveals that integrating Echo-MSA into the primary model's training regime significantly enhances the word error rate (WER) performance, all while preserving the intrinsic stability of the original model.

We present a family of open-source Music Foundation Models designed to advance large-scale music understanding and generation across diverse tasks and modalities. Our framework consists of four major components: (1) HeartCLAP, an audio-text alignment model; (2) HeartTranscriptor, a robust lyric recognition model optimized for real-world music scenarios; and (3) HeartCodec, a low-frame-rate (12.5 Hz) yet high-fidelity music codec tokenizer that captures long-range musical structure while preserving fine-grained acoustic details and enabling efficient autoregressive modeling; (4) HeartMuLa, an LLM-based song generation model capable of synthesizing high-fidelity music under rich, user-controllable conditions (e.g., textual style descriptions, lyrics, and reference audio). In addition, it provides two specialized modes: (i) fine-grained musical attribute control, which allows users to specify the style of different song sections (e.g., intro, verse, chorus) using natural language prompts; and (ii) short, engaging music generation, which is suitable as background music for short videos. Lastly, HeartMuLa improves significantly when scaled to 7B parameters. For the first time, we show that a Suno-level, commercial-grade system can be reproduced using academic-scale data and GPU resources. We expect these foundation models to serve as strong baselines for future research and to facilitate practical applications in multimodal content production.

Most models of visual attention aim at predicting either top-down or bottom-up control, as studied using different visual search and free-viewing tasks. In this paper we propose the Human Attention Transformer (HAT), a single model that predicts both forms of attention control. HAT uses a novel transformer-based architecture and a simplified foveated retina that collectively create a spatio-temporal awareness akin to the dynamic visual working memory of humans. HAT not only establishes a new state-of-the-art in predicting the scanpath of fixations made during target-present and target-absent visual search and ``taskless'' free viewing, but also makes human gaze behavior interpretable. Unlike previous methods that rely on a coarse grid of fixation cells and experience information loss due to fixation discretization, HAT features a sequential dense prediction architecture and outputs a dense heatmap for each fixation, thus avoiding discretizing fixations. HAT sets a new standard in computational attention, which emphasizes effectiveness, generality, and interpretability. HAT's demonstrated scope and applicability will likely inspire the development of new attention models that can better predict human behavior in various attention-demanding scenarios. Code is available at https://github.com/cvlab-stonybrook/HAT.

We explore frame-level audio feature learning for chord recognition using artificial neural networks. We present the argument that chroma vectors potentially hold enough information to model harmonic content of audio for chord recognition, but that standard chroma extractors compute too noisy features. This leads us to propose a learned chroma feature extractor based on artificial neural networks. It is trained to compute chroma features that encode harmonic information important for chord recognition, while being robust to irrelevant interferences. We achieve this by feeding the network an audio spectrum with context instead of a single frame as input. This way, the network can learn to selectively compensate noise and resolve harmonic ambiguities. We compare the resulting features to hand-crafted ones by using a simple linear frame-wise classifier for chord recognition on various data sets. The results show that the learned feature extractor produces superior chroma vectors for chord recognition.

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.

In tandem with the recent advancements in foundation model research, there has been a surge of generative music AI applications within the past few years. As the idea of AI-generated or AI-augmented music becomes more mainstream, many researchers in the music AI community may be wondering what avenues of research are left. With regards to music generative models, we outline the current areas of research with significant room for exploration. Firstly, we pose the question of foundational representation of these generative models and investigate approaches towards explainability. Next, we discuss the current state of music datasets and their limitations. We then overview different generative models, forms of evaluating these models, and their computational constraints/limitations. Subsequently, we highlight applications of these generative models towards extensions to multiple modalities and integration with artists' workflow as well as music education systems. Finally, we survey the potential copyright implications of generative music and discuss strategies for protecting the rights of musicians. While it is not meant to be exhaustive, our survey calls to attention a variety of research directions enabled by music foundation models.

Learning to localize the sound source in videos without explicit annotations is a novel area of audio-visual research. Existing work in this area focuses on creating attention maps to capture the correlation between the two modalities to localize the source of the sound. In a video, oftentimes, the objects exhibiting movement are the ones generating the sound. In this work, we capture this characteristic by modeling the optical flow in a video as a prior to better aid in localizing the sound source. We further demonstrate that the addition of flow-based attention substantially improves visual sound source localization. Finally, we benchmark our method on standard sound source localization datasets and achieve state-of-the-art performance on the Soundnet Flickr and VGG Sound Source datasets. Code: https://github.com/denfed/heartheflow.

In this work we introduce Steerable Transformers, an extension of the Vision Transformer mechanism that maintains equivariance to the special Euclidean group SE(d). We propose an equivariant attention mechanism that operates on features extracted by steerable convolutions. Operating in Fourier space, our network utilizes Fourier space non-linearities. Our experiments in both two and three dimensions show that adding a steerable transformer encoder layer to a steerable convolution network enhances performance.

Text-to-image generative models have recently attracted considerable interest, enabling the synthesis of high-quality images from textual prompts. However, these models often lack the capability to generate specific subjects from given reference images or to synthesize novel renditions under varying conditions. Methods like DreamBooth and Subject-driven Text-to-Image (SuTI) have made significant progress in this area. Yet, both approaches primarily focus on enhancing similarity to reference images and require expensive setups, often overlooking the need for efficient training and avoiding overfitting to the reference images. In this work, we present the lambda-Harmonic reward function, which provides a reliable reward signal and enables early stopping for faster training and effective regularization. By combining the Bradley-Terry preference model, the lambda-Harmonic reward function also provides preference labels for subject-driven generation tasks. We propose Reward Preference Optimization (RPO), which offers a simpler setup (requiring only 3% of the negative samples used by DreamBooth) and fewer gradient steps for fine-tuning. Unlike most existing methods, our approach does not require training a text encoder or optimizing text embeddings and achieves text-image alignment by fine-tuning only the U-Net component. Empirically, lambda-Harmonic proves to be a reliable approach for model selection in subject-driven generation tasks. Based on preference labels and early stopping validation from the lambda-Harmonic reward function, our algorithm achieves a state-of-the-art CLIP-I score of 0.833 and a CLIP-T score of 0.314 on DreamBench.

Composing music for video is essential yet challenging, leading to a growing interest in automating music generation for video applications. Existing approaches often struggle to achieve robust music-video correspondence and generative diversity, primarily due to inadequate feature alignment methods and insufficient datasets. In this study, we present General Video-to-Music Generation model (GVMGen), designed for generating high-related music to the video input. Our model employs hierarchical attentions to extract and align video features with music in both spatial and temporal dimensions, ensuring the preservation of pertinent features while minimizing redundancy. Remarkably, our method is versatile, capable of generating multi-style music from different video inputs, even in zero-shot scenarios. We also propose an evaluation model along with two novel objective metrics for assessing video-music alignment. Additionally, we have compiled a large-scale dataset comprising diverse types of video-music pairs. Experimental results demonstrate that GVMGen surpasses previous models in terms of music-video correspondence, generative diversity, and application universality.

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/.

Melody harmonization has long been closely associated with chorales composed by Johann Sebastian Bach. Previous works rarely emphasised chorale generation conditioned on chord progressions, and there has been a lack of focus on assistive compositional tools. In this paper, we first designed a music representation that encoded chord symbols for chord conditioning, and then proposed DeepChoir, a melody harmonization system that can generate a four-part chorale for a given melody conditioned on a chord progression. With controllable harmonicity, users can control the extent of harmonicity for generated chorales. Experimental results reveal the effectiveness of the music representation and the controllability of DeepChoir.

We propose a new graph convolutional block, called MusGConv, specifically designed for the efficient processing of musical score data and motivated by general perceptual principles. It focuses on two fundamental dimensions of music, pitch and rhythm, and considers both relative and absolute representations of these components. We evaluate our approach on four different musical understanding problems: monophonic voice separation, harmonic analysis, cadence detection, and composer identification which, in abstract terms, translate to different graph learning problems, namely, node classification, link prediction, and graph classification. Our experiments demonstrate that MusGConv improves the performance on three of the aforementioned tasks while being conceptually very simple and efficient. We interpret this as evidence that it is beneficial to include perception-informed processing of fundamental musical concepts when developing graph network applications on musical score data.

Hindustani music is a performance-driven oral tradition that exhibits the rendition of rich melodic patterns. In this paper, we focus on generative modeling of singers' vocal melodies extracted from audio recordings, as the voice is musically prominent within the tradition. Prior generative work in Hindustani music models melodies as coarse discrete symbols which fails to capture the rich expressive melodic intricacies of singing. Thus, we propose to use a finely quantized pitch contour, as an intermediate representation for hierarchical audio modeling. We propose GaMaDHaNi, a modular two-level hierarchy, consisting of a generative model on pitch contours, and a pitch contour to audio synthesis model. We compare our approach to non-hierarchical audio models and hierarchical models that use a self-supervised intermediate representation, through a listening test and qualitative analysis. We also evaluate audio model's ability to faithfully represent the pitch contour input using Pearson correlation coefficient. By using pitch contours as an intermediate representation, we show that our model may be better equipped to listen and respond to musicians in a human-AI collaborative setting by highlighting two potential interaction use cases (1) primed generation, and (2) coarse pitch conditioning.

We introduce MusicLM, a model generating high-fidelity music from text descriptions such as "a calming violin melody backed by a distorted guitar riff". MusicLM casts the process of conditional music generation as a hierarchical sequence-to-sequence modeling task, and it generates music at 24 kHz that remains consistent over several minutes. Our experiments show that MusicLM outperforms previous systems both in audio quality and adherence to the text description. Moreover, we demonstrate that MusicLM can be conditioned on both text and a melody in that it can transform whistled and hummed melodies according to the style described in a text caption. To support future research, we publicly release MusicCaps, a dataset composed of 5.5k music-text pairs, with rich text descriptions provided by human experts.

Loops--short audio segments designed for seamless repetition--are central to many music genres, particularly those rooted in dance and electronic styles. However, current generative music models struggle to produce truly loopable audio, as generating a short waveform alone does not guarantee a smooth transition from its endpoint back to its start, often resulting in audible discontinuities. We address this gap by modifying a non-autoregressive model (MAGNeT) to generate tokens in a circular pattern, letting the model attend to the beginning of the audio when creating its ending. This inference-only approach results in generations that are aware of future context and loop naturally, without the need for any additional training or data. We evaluate the consistency of loop transitions by computing token perplexity around the seam of the loop, observing a 55% improvement. Blind listening tests further confirm significant perceptual gains over baseline methods, improving mean ratings by 70%. Taken together, these results highlight the effectiveness of inference-only approaches in improving generative models and underscore the advantages of non-autoregressive methods for context-aware music generation.

Recently, symbolic music generation has become a focus of numerous deep learning research. Structure as an important part of music, contributes to improving the quality of music, and an increasing number of works start to study the hierarchical structure. In this study, we delve into the multi-level structures within music from macro-level and micro-level hierarchies. At the macro-level hierarchy, we conduct phrase segmentation algorithm to explore how phrases influence the overall development of music, and at the micro-level hierarchy, we design skeleton notes extraction strategy to explore how skeleton notes within each phrase guide the melody generation. Furthermore, we propose a novel Phrase-level Cross-Attention mechanism to capture the intrinsic relationship between macro-level hierarchy and micro-level hierarchy. Moreover, in response to the current lack of research on Chinese-style music, we construct our Small Tunes Dataset: a substantial collection of MIDI files comprising 10088 Small Tunes, a category of traditional Chinese Folk Songs. This dataset serves as the focus of our study. We generate Small Tunes songs utilizing the extracted skeleton notes as conditions, and experiment results indicate that our proposed model, Small Tunes Transformer, outperforms other state-of-the-art models. Besides, we design three novel objective evaluation metrics to evaluate music from both rhythm and melody dimensions.

Harmony is a compact symbolic layer where mathematical pitch relations, acoustic consonance, and musical convention meet. This report treats chord-symbol sequences not as a complete representation of music, but as an interpretable, controllable time series for genre-local harmonic modeling. Starting from a frozen pop-jazz Music Transformer checkpoint, I evaluate how far small adaptation interfaces can extend the model to eleven target genres: blues, bossa nova, Bach chorales, country, electronic, folk, funk, gospel, hip-hop, R&B/soul, and rock. The main evaluation compares LoRA, IA3, BitFit, prefix tuning, and full fine-tuning over 11 genres and 3 seeds, a complete 165-cell grid. All five methods improve over the frozen base on held-out chord prediction, with macro gains from +2.89 to +3.61 points; LoRA and IA3 score highest, but Wilcoxon tests with Holm and Benjamini-Hochberg correction do not support a decisive winner. A matched-data-size control sharpens this: when genres are sub-sampled to a common corpus size, IA3 stays on top but LoRA's full-data edge disappears and it falls to last, indicating the small gaps are partly data-driven. A control-token baseline is also strong, and wrong-genre adapters often beat the frozen base, suggesting much of the effect comes from lightweight conditioning over a reusable harmonic base rather than one particular adapter family. Additional diagnostics (rank sweeps, wrong-genre rotation, a base-checkpoint ablation, chord-only genre classification, generated-output statistics, real-song evaluation, and duplicate analysis) support a bounded conclusion: chord-symbol adaptation reliably improves genre-local harmonic prediction, but chord symbols alone do not carry complete genre identity. The report therefore avoids claims about perceived genre authenticity or full musical quality, which require controlled listener or musician evaluation.

Audio and visual signals typically occur simultaneously, and humans possess an innate ability to correlate and synchronize information from these two modalities. Recently, a challenging problem known as Audio-Visual Segmentation (AVS) has emerged, intending to produce segmentation maps for sounding objects within a scene. However, the methods proposed so far have not sufficiently integrated audio and visual information, and the computational costs have been extremely high. Additionally, the outputs of different stages have not been fully utilized. To facilitate this research, we introduce a novel Progressive Confident Masking Attention Network (PMCANet). It leverages attention mechanisms to uncover the intrinsic correlations between audio signals and visual frames. Furthermore, we design an efficient and effective cross-attention module to enhance semantic perception by selecting query tokens. This selection is determined through confidence-driven units based on the network's multi-stage predictive outputs. Experiments demonstrate that our network outperforms other AVS methods while requiring less computational resources. The code is available at: https://github.com/PrettyPlate/PCMANet.

Vision transformer (ViT) expands the success of transformer models from sequential data to images. The model decomposes an image into many smaller patches and arranges them into a sequence. Multi-head self-attentions are then applied to the sequence to learn the attention between patches. Despite many successful interpretations of transformers on sequential data, little effort has been devoted to the interpretation of ViTs, and many questions remain unanswered. For example, among the numerous attention heads, which one is more important? How strong are individual patches attending to their spatial neighbors in different heads? What attention patterns have individual heads learned? In this work, we answer these questions through a visual analytics approach. Specifically, we first identify what heads are more important in ViTs by introducing multiple pruning-based metrics. Then, we profile the spatial distribution of attention strengths between patches inside individual heads, as well as the trend of attention strengths across attention layers. Third, using an autoencoder-based learning solution, we summarize all possible attention patterns that individual heads could learn. Examining the attention strengths and patterns of the important heads, we answer why they are important. Through concrete case studies with experienced deep learning experts on multiple ViTs, we validate the effectiveness of our solution that deepens the understanding of ViTs from head importance, head attention strength, and head attention pattern.

We propose an effective field-theoretic framework for analyzing Transformer attention through a thermodynamic lens. By constructing a Lagrangian on the information manifold equipped with the Fisher metric, we show that, within the Shannon--Boltzmann entropy framework, the Softmax function arises as a stationary solution minimizing a Helmholtz free energy functional. This establishes a formal correspondence between scaled dot-product attention and canonical ensemble statistics. Extending this mapping to macroscopic observables, we define an effective specific heat associated with fluctuations of the attention energy landscape. In controlled experiments on the modular addition task (p = 19--113), we observe a robust peak in this fluctuation measure that consistently precedes the onset of generalization. While no asymptotic power-law divergence is detected in this finite-depth regime, the reproducible enhancement of energy variance suggests a critical-like crossover accompanying representational reorganization. Our framework provides a unified statistical-mechanical perspective on attention scaling, training dynamics, and positional encoding, interpreting the phenomena as emergent properties of an effective thermodynamic system rather than isolated heuristics. Although the present results indicate finite-size crossover behavior rather than a strict phase transition, they motivate further investigation into scaling limits of deep architectures through fluctuation-based observables.

Personalized Head-Related Transfer Functions (HRTFs) are starting to be introduced in many commercial immersive audio applications and are crucial for realistic spatial audio rendering. However, one of the main hesitations regarding their introduction is that creating personalized HRTFs is impractical at scale due to the complexities of the HRTF measurement process. To mitigate this drawback, HRTF spatial upsampling has been proposed with the aim of reducing measurements required. While prior work has seen success with different machine learning (ML) approaches, these models often struggle with long-range spatial consistency and generalization at high upsampling factors. In this paper, we propose a novel transformer-based architecture for HRTF upsampling, leveraging the attention mechanism to better capture spatial correlations across the HRTF sphere. Working in the spherical harmonic (SH) domain, our model learns to reconstruct high-resolution HRTFs from sparse input measurements with significantly improved accuracy. To enhance spatial coherence, we introduce a neighbor dissimilarity loss that promotes magnitude smoothness, yielding more realistic upsampling. We evaluate our method using both perceptual localization models and objective spectral distortion metrics. Experiments show that our model surpasses leading methods by a substantial margin in generating realistic, high-fidelity HRTFs.

Audio tagging is an important task of mapping audio samples to their corresponding categories. Recently endeavours that exploit transformer models in this field have achieved great success. However, the quadratic self-attention cost limits the scaling of audio transformer models and further constrains the development of more universal audio models. In this paper, we attempt to solve this problem by proposing Audio Mamba, a self-attention-free approach that captures long audio spectrogram dependency with state space models. Our experimental results on two audio-tagging datasets demonstrate the parameter efficiency of Audio Mamba, it achieves comparable results to SOTA audio spectrogram transformers with one third parameters.

Collaborative music agents need internal representations rich enough to support both understanding and generation, yet flexible enough for a workflow where the human retains agency. We present a hierarchical self-supervised ``world model'' for symbolic music: a 2.55M-parameter Swin V2 encoder trained on MIDI piano-roll images with JEPA-style objectives (pitch- and time-shift equivariance, masked embedding prediction, and a distributional regularizer), using no labels and no music-theory vocabulary. Probing the frozen embeddings shows that the level at which a musical property becomes decodable tracks its musical time scale: phrase boundaries are read off the coarsest levels, note density and harmonic detail off the finest. Temporal and phrase structure emerge from the self-supervised objectives alone, while harmonic content must be asked for; a small chord-supervision head raises joint chord recovery from .18 to .54, and key detection, which is never supervised, from .16 to .70. Following the Representation AutoEncoder paradigm, a conditional flow-matching model stands in for a trained decoder, flowing in pixel space from PCA-reduced conditioning: it reproduces a target window at pixel F1 0.996, and the same per-level conditioning dropout that controls how far variations stray also enables graphical prompting for masked inpainting with no inpainting-specific sampler. The pipeline runs on CPU producing a suggestion in 2.8 s, or 0.6 s on Apple MPS, which we demonstrate in a live interactive demo. In concert with an LLM-based brain, these capabilities supply the core of a collaborative music creation agent in service of, rather than in place of, human agency.

Cover songs constitute a vital aspect of musical culture, preserving the core melody of an original composition while reinterpreting it to infuse novel emotional depth and thematic emphasis. Although prior research has explored the reinterpretation of instrumental music through melody-conditioned text-to-music models, the task of cover song generation remains largely unaddressed. In this work, we reformulate our cover song generation as a conditional generation, which simultaneously generates new vocals and accompaniment conditioned on the original vocal melody and text prompts. To this end, we present SongEcho, which leverages Instance-Adaptive Element-wise Linear Modulation (IA-EiLM), a framework that incorporates controllable generation by improving both conditioning injection mechanism and conditional representation. To enhance the conditioning injection mechanism, we extend Feature-wise Linear Modulation (FiLM) to an Element-wise Linear Modulation (EiLM), to facilitate precise temporal alignment in melody control. For conditional representations, we propose Instance-Adaptive Condition Refinement (IACR), which refines conditioning features by interacting with the hidden states of the generative model, yielding instance-adaptive conditioning. Additionally, to address the scarcity of large-scale, open-source full-song datasets, we construct Suno70k, a high-quality AI song dataset enriched with comprehensive annotations. Experimental results across multiple datasets demonstrate that our approach generates superior cover songs compared to existing methods, while requiring fewer than 30% of the trainable parameters. The code, dataset, and demos are available at https://github.com/lsfhuihuiff/SongEcho_ICLR2026.

Recent audio-visual generation models can synthesize synchronized video and sound in a unified diffusion process, but their inference cost remains high because long video token sequences require repeated attention computation across denoising steps. A variety of acceleration techniques have been developed for video generation models, including low-bit quantization, attention sparsification, and feature caching. However, since these methods are originally designed for video generation, directly applying them to audio-visual models overlooks the interactions between the audio and video branches and may therefore disrupt audio-video synchronization. We present a synchronization-aware acceleration framework for efficient audio-visual generation. Our key observation is that bidirectional audio-video cross-attention reveals structured interactions between the two branches, with high responses often concentrated on a few sound-related visual and temporal regions. Guided by this interaction pattern, we introduce a protected sparse attention strategy that preserves high-fidelity computation for synchronization-critical tokens while sparsifying redundant attention interactions. By explicitly accounting for cross-modal dependence during acceleration, our method improves inference efficiency while keeping video quality, audio quality, and audio-video synchronization.