Daily Papers

Co-speech gesture generation is a critical area of research aimed at synthesizing speech-synchronized human-like gestures. Existing methods often suffer from issues such as rhythmic inconsistency, motion jitter, foot sliding and limited multi-sampling diversity. In this paper, we present SmoothSync, a novel framework that leverages quantized audio tokens in a novel dual-stream Diffusion Transformer (DiT) architecture to synthesis holistic gestures and enhance sampling variation. Specifically, we (1) fuse audio-motion features via complementary transformer streams to achieve superior synchronization, (2) introduce a jitter-suppression loss to improve temporal smoothness, (3) implement probabilistic audio quantization to generate distinct gesture sequences from identical inputs. To reliably evaluate beat synchronization under jitter, we introduce Smooth-BC, a robust variant of the beat consistency metric less sensitive to motion noise. Comprehensive experiments on the BEAT2 and SHOW datasets demonstrate SmoothSync's superiority, outperforming state-of-the-art methods by -30.6% FGD, 10.3% Smooth-BC, and 8.4% Diversity on BEAT2, while reducing jitter and foot sliding by -62.9% and -17.1% respectively. The code will be released to facilitate future research.

Generating the motion of orchestral conductors from a given piece of symphony music is a challenging task since it requires a model to learn semantic music features and capture the underlying distribution of real conducting motion. Prior works have applied Generative Adversarial Networks (GAN) to this task, but the promising diffusion model, which recently showed its advantages in terms of both training stability and output quality, has not been exploited in this context. This paper presents Diffusion-Conductor, a novel DDIM-based approach for music-driven conducting motion generation, which integrates the diffusion model to a two-stage learning framework. We further propose a random masking strategy to improve the feature robustness, and use a pair of geometric loss functions to impose additional regularizations and increase motion diversity. We also design several novel metrics, including Frechet Gesture Distance (FGD) and Beat Consistency Score (BC) for a more comprehensive evaluation of the generated motion. Experimental results demonstrate the advantages of our model.

This paper presents a novel framework for enhancing reasoning capabilities in large language models (LLMs) by leveraging iterative reasoning and feedback-driven methodologies. Building on the limitations identified in the SimpleBench benchmark, a dataset designed to evaluate logical coherence and real-world reasoning, we propose a multi-step prompting strategy coupled with global consistency checks to improve model accuracy and robustness. Through comparative analysis of state-of-the-art models, including Claude 3 Opus, Claude 3.5, GPT- 4o, and o1-preview, we demonstrate that iterative reasoning significantly enhances model performance, with improvements observed in both standard accuracy metrics (AVG@5) and a newly introduced metric, Extreme Averaging (EAG@5). Our results reveal model-specific strengths: Claude excels in maintaining logical consistency, while GPT-4o exhibits exploratory creativity but struggles with ambiguous prompts. By analyzing case studies and identifying gaps in spatial and temporal reasoning, we highlight areas for further refinement. The findings underscore the potential of structured reasoning frameworks to address inherent model limitations, irrespective of pretraining methodologies. This study lays the groundwork for integrating dynamic feedback mechanisms, adaptive restart strategies, and diverse evaluation metrics to advance LLM reasoning capabilities across complex and multi-domain problem spaces.

Recent co-speech gesture generation methods often overlook cultural differences, limiting their effectiveness in human-agent interaction. Moreover, culture-conditioned models are rarely evaluated under speaker-disjoint splits, so apparent "cultural" behavior may be confounded with speaker-specific gesturing style. We introduce SICAGE, a modular framework for culture-aware co-speech gesture generation that conditions motion synthesis models on speaker-independent cultural representations. SICAGE learns these representations from audio and text by treating each speaker as a separate domain while imposing invariance across speakers. This encourages representations to remain culture-discriminative while reducing dependence on speaker identity. The resulting cultural embeddings condition a multimodal generator to produce culturally appropriate gestures. We instantiate this idea with two domain generalization approaches: adversarial learning and Fishr regularization. We further introduce ALaDiT, a real-time diffusion-based gesture generator designed to efficiently incorporate the learned cultural embeddings. To validate our method, we built TED4C-L, a 106-hour multimodal dataset of 764 TED speakers from four cultural groups. Experiments show that SICAGE improves motion realism, diversity, beat synchronization, semantic relevance, and cultural consistency.

Flow matching (FM) is a general framework for defining probability paths via Ordinary Differential Equations (ODEs) to transform between noise and data samples. Recent approaches attempt to straighten these flow trajectories to generate high-quality samples with fewer function evaluations, typically through iterative rectification methods or optimal transport solutions. In this paper, we introduce Consistency Flow Matching (Consistency-FM), a novel FM method that explicitly enforces self-consistency in the velocity field. Consistency-FM directly defines straight flows starting from different times to the same endpoint, imposing constraints on their velocity values. Additionally, we propose a multi-segment training approach for Consistency-FM to enhance expressiveness, achieving a better trade-off between sampling quality and speed. Preliminary experiments demonstrate that our Consistency-FM significantly improves training efficiency by converging 4.4x faster than consistency models and 1.7x faster than rectified flow models while achieving better generation quality. Our code is available at: https://github.com/YangLing0818/consistency_flow_matching

Time-series forecasting is crucial for numerous real-world applications including weather prediction and financial market modeling. While temporal-domain methods remain prevalent, frequency-domain approaches can effectively capture multi-scale periodic patterns, reduce sequence dependencies, and naturally denoise signals. However, existing approaches typically train model components for all frequencies under a unified training objective, often leading to mismatched learning speeds: high-frequency components converge faster and risk overfitting, while low-frequency components underfit due to insufficient training time. To deal with this challenge, we propose BEAT (Balanced frEquency Adaptive Tuning), a novel framework that dynamically monitors the training status for each frequency and adaptively adjusts their gradient updates. By recognizing convergence, overfitting, or underfitting for each frequency, BEAT dynamically reallocates learning priorities, moderating gradients for rapid learners and increasing those for slower ones, alleviating the tension between competing objectives across frequencies and synchronizing the overall learning process. Extensive experiments on seven real-world datasets demonstrate that BEAT consistently outperforms state-of-the-art approaches.

Consistency models have exhibited remarkable capabilities in facilitating efficient image/video generation, enabling synthesis with minimal sampling steps. It has proven to be advantageous in mitigating the computational burdens associated with diffusion models. Nevertheless, the application of consistency models in music generation remains largely unexplored. To address this gap, we present Music Consistency Models (MusicCM), which leverages the concept of consistency models to efficiently synthesize mel-spectrogram for music clips, maintaining high quality while minimizing the number of sampling steps. Building upon existing text-to-music diffusion models, the MusicCM model incorporates consistency distillation and adversarial discriminator training. Moreover, we find it beneficial to generate extended coherent music by incorporating multiple diffusion processes with shared constraints. Experimental results reveal the effectiveness of our model in terms of computational efficiency, fidelity, and naturalness. Notable, MusicCM achieves seamless music synthesis with a mere four sampling steps, e.g., only one second per minute of the music clip, showcasing the potential for real-time application.

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

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.

We propose a system for tracking beats and downbeats with two objectives: generality across a diverse music range, and high accuracy. We achieve generality by training on multiple datasets -- including solo instrument recordings, pieces with time signature changes, and classical music with high tempo variations -- and by removing the commonly used Dynamic Bayesian Network (DBN) postprocessing, which introduces constraints on the meter and tempo. For high accuracy, among other improvements, we develop a loss function tolerant to small time shifts of annotations, and an architecture alternating convolutions with transformers either over frequency or time. Our system surpasses the current state of the art in F1 score despite using no DBN. However, it can still fail, especially for difficult and underrepresented genres, and performs worse on continuity metrics, so we publish our model, code, and preprocessed datasets, and invite others to beat this.

As LLM-based agents are deployed in production systems, understanding their behavioral consistency (whether they produce similar action sequences when given identical tasks) becomes critical for reliability. We study consistency in the context of SWE-bench, a challenging software engineering benchmark requiring complex, multi-step reasoning. Comparing Claude~4.5~Sonnet, GPT-5, and Llama-3.1-70B across 50 runs each (10 tasks times 5 runs), we find that across models, higher consistency aligns with higher accuracy: Claude achieves the lowest variance (CV: 15.2\%) and highest accuracy (58\%), GPT-5 is intermediate (CV: 32.2\%, accuracy: 32\%), and Llama shows the highest variance (CV: 47.0\%) with lowest accuracy (4\%). However, within a model, consistency can amplify both correct and incorrect interpretations. Our analysis reveals a critical nuance: consistency amplifies outcomes rather than guaranteeing correctness. 71\% of Claude's failures stem from "consistent wrong interpretation": making the same incorrect assumption across all runs. Interestingly, GPT-5 achieves similar early strategic agreement as Claude (diverging at step 3.4 vs.\ 3.2) but exhibits 2.1times higher variance, suggesting that divergence timing alone does not determine consistency. These findings suggest that for production deployment, interpretation accuracy matters more than execution consistency, with implications for agent evaluation and training.

Interactive music and live performance relies on real-time human expression, but modern generative music AI remains largely absent from this domain due to its prohibitive inference latency and offline rendering paradigm. To provide pioneer musicians with a novel medium for interactive composition, we should fundamentally change these static models into dynamic, playable instruments. In this paper, we propose a framework that bridges this gap. To achieve the low latency required for live interaction without sacrificing structural coherence, we formulate distillation within a streaming autoregressive latent space. Our approach gets rid of the need for expensive paired audio-latent datasets by utilizing prompt-only inputs to synthesize teacher-guided, chunk-wise trajectories on the fly. Because live instruments require high acoustic fidelity, we introduce music-aware consistency objectives, which combine latent, spectral, and temporal-difference losses, to preserve crucial qualities like timbre, transients, and rhythmic stability during accelerated single-step streaming generation. Implemented via parameter-efficient adaptation, our distillation reduces generation steps to achieve a low real-time factor. Crucially, by operating as a continuous autoregressive stream, the system can seamlessly assimilate dynamic human inputs on the fly, allowing users to instantly steer the musical trajectory without interrupting the audio flow. Ultimately, this work recontextualizes generative text-to-music models not as passive prompt-and-wait systems, but as responsive instruments, opening new frontiers for live human-AI musical co-creation.

Diffusion models achieve superior generation quality but suffer from slow generation speed due to the iterative nature of denoising. In contrast, consistency models, a new generative family, achieve competitive performance with significantly faster sampling. These models are trained either through consistency distillation, which leverages pretrained diffusion models, or consistency training/tuning directly from raw data. In this work, we propose a novel framework for understanding consistency models by modeling the denoising process of the diffusion model as a Markov Decision Process (MDP) and framing consistency model training as the value estimation through Temporal Difference~(TD) Learning. More importantly, this framework allows us to analyze the limitations of current consistency training/tuning strategies. Built upon Easy Consistency Tuning (ECT), we propose Stable Consistency Tuning (SCT), which incorporates variance-reduced learning using the score identity. SCT leads to significant performance improvements on benchmarks such as CIFAR-10 and ImageNet-64. On ImageNet-64, SCT achieves 1-step FID 2.42 and 2-step FID 1.55, a new SoTA for consistency models.

Generative systems of musical accompaniments are rapidly growing, yet there are no standardized metrics to evaluate how well generations align with the conditional audio prompt. We introduce a distribution-based measure called "Accompaniment Prompt Adherence" (APA), and validate it through objective experiments on synthetic data perturbations, and human listening tests. Results show that APA aligns well with human judgments of adherence and is discriminative to transformations that degrade adherence. We release a Python implementation of the metric using the widely adopted pre-trained CLAP embedding model, offering a valuable tool for evaluating and comparing accompaniment generation systems.

The ACM Recommender Systems Challenge 2018 focused on the task of automatic music playlist continuation, which is a form of the more general task of sequential recommendation. Given a playlist of arbitrary length with some additional meta-data, the task was to recommend up to 500 tracks that fit the target characteristics of the original playlist. For the RecSys Challenge, Spotify released a dataset of one million user-generated playlists. Participants could compete in two tracks, i.e., main and creative tracks. Participants in the main track were only allowed to use the provided training set, however, in the creative track, the use of external public sources was permitted. In total, 113 teams submitted 1,228 runs to the main track; 33 teams submitted 239 runs to the creative track. The highest performing team in the main track achieved an R-precision of 0.2241, an NDCG of 0.3946, and an average number of recommended songs clicks of 1.784. In the creative track, an R-precision of 0.2233, an NDCG of 0.3939, and a click rate of 1.785 was obtained by the best team. This article provides an overview of the challenge, including motivation, task definition, dataset description, and evaluation. We further report and analyze the results obtained by the top performing teams in each track and explore the approaches taken by the winners. We finally summarize our key findings, discuss generalizability of approaches and results to domains other than music, and list the open avenues and possible future directions in the area of automatic playlist continuation.

We present Text2midi-InferAlign, a novel technique for improving symbolic music generation at inference time. Our method leverages text-to-audio alignment and music structural alignment rewards during inference to encourage the generated music to be consistent with the input caption. Specifically, we introduce two objectives scores: a text-audio consistency score that measures rhythmic alignment between the generated music and the original text caption, and a harmonic consistency score that penalizes generated music containing notes inconsistent with the key. By optimizing these alignment-based objectives during the generation process, our model produces symbolic music that is more closely tied to the input captions, thereby improving the overall quality and coherence of the generated compositions. Our approach can extend any existing autoregressive model without requiring further training or fine-tuning. We evaluate our work on top of Text2midi - an existing text-to-midi generation model, demonstrating significant improvements in both objective and subjective evaluation metrics.

Diffusion models have shown promising results in cross-modal generation tasks, including text-to-image and text-to-audio generation. However, generating music, as a special type of audio, presents unique challenges due to limited availability of music data and sensitive issues related to copyright and plagiarism. In this paper, to tackle these challenges, we first construct a state-of-the-art text-to-music model, MusicLDM, that adapts Stable Diffusion and AudioLDM architectures to the music domain. We achieve this by retraining the contrastive language-audio pretraining model (CLAP) and the Hifi-GAN vocoder, as components of MusicLDM, on a collection of music data samples. Then, to address the limitations of training data and to avoid plagiarism, we leverage a beat tracking model and propose two different mixup strategies for data augmentation: beat-synchronous audio mixup and beat-synchronous latent mixup, which recombine training audio directly or via a latent embeddings space, respectively. Such mixup strategies encourage the model to interpolate between musical training samples and generate new music within the convex hull of the training data, making the generated music more diverse while still staying faithful to the corresponding style. In addition to popular evaluation metrics, we design several new evaluation metrics based on CLAP score to demonstrate that our proposed MusicLDM and beat-synchronous mixup strategies improve both the quality and novelty of generated music, as well as the correspondence between input text and generated music.

A DJ mix is a sequence of music tracks concatenated seamlessly, typically rendered for audiences in a live setting by a DJ on stage. As a DJ mix is produced in a studio or the live version is recorded for music streaming services, computational methods to analyze DJ mixes, for example, extracting track information or understanding DJ techniques, have drawn research interests. Many of previous works are, however, limited to identifying individual tracks in a mix or segmenting it, and the sizes of the datasets are usually small. In this paper, we provide an in-depth analysis of DJ music by aligning a mix to its original music tracks. We set up the subsequence alignment such that the audio features are less sensitive to the tempo or key change of the original track in a mix. This approach provides temporally tight mix-to-track matching from which we can obtain cue-points, transition length, mix segmentation, and musical changes in DJ performance. Using 1,557 mixes from 1001Tracklists including 13,728 tracks and 20,765 transitions, we conduct the proposed analysis and show a wide range of statistics, which may elucidate the creative process of DJ music making.

Consistency models are a nascent family of generative models that can sample high quality data in one step without the need for adversarial training. Current consistency models achieve optimal sample quality by distilling from pre-trained diffusion models and employing learned metrics such as LPIPS. However, distillation limits the quality of consistency models to that of the pre-trained diffusion model, and LPIPS causes undesirable bias in evaluation. To tackle these challenges, we present improved techniques for consistency training, where consistency models learn directly from data without distillation. We delve into the theory behind consistency training and identify a previously overlooked flaw, which we address by eliminating Exponential Moving Average from the teacher consistency model. To replace learned metrics like LPIPS, we adopt Pseudo-Huber losses from robust statistics. Additionally, we introduce a lognormal noise schedule for the consistency training objective, and propose to double total discretization steps every set number of training iterations. Combined with better hyperparameter tuning, these modifications enable consistency models to achieve FID scores of 2.51 and 3.25 on CIFAR-10 and ImageNet 64times 64 respectively in a single sampling step. These scores mark a 3.5times and 4times improvement compared to prior consistency training approaches. Through two-step sampling, we further reduce FID scores to 2.24 and 2.77 on these two datasets, surpassing those obtained via distillation in both one-step and two-step settings, while narrowing the gap between consistency models and other state-of-the-art generative models.

We propose a transformer-based rhythm quantization model that incorporates beat and downbeat information to quantize MIDI performances into metrically-aligned, human-readable scores. We propose a beat-based preprocessing method that transfers score and performance data into a unified token representation. We optimize our model architecture and data representation and train on piano and guitar performances. Our model exceeds state-of-the-art performance based on the MUSTER metric.

Diffusion models have shown promising results in cross-modal generation tasks involving audio and music, such as text-to-sound and text-to-music generation. These text-controlled music generation models typically focus on generating music by capturing global musical attributes like genre and mood. However, music composition is a complex, multilayered task that often involves musical arrangement as an integral part of the process. This process involves composing each instrument to align with existing ones in terms of beat, dynamics, harmony, and melody, requiring greater precision and control over tracks than text prompts usually provide. In this work, we address these challenges by extending the MusicLDM, a latent diffusion model for music, into a multi-track generative model. By learning the joint probability of tracks sharing a context, our model is capable of generating music across several tracks that correspond well to each other, either conditionally or unconditionally. Additionally, our model is capable of arrangement generation, where the model can generate any subset of tracks given the others (e.g., generating a piano track complementing given bass and drum tracks). We compared our model with an existing multi-track generative model and demonstrated that our model achieves considerable improvements across objective metrics for both total and arrangement generation tasks.

Diffusion and flow-matching models have revolutionized automatic text-to-audio generation in recent times. These models are increasingly capable of generating high quality and faithful audio outputs capturing to speech and acoustic events. However, there is still much room for improvement in creative audio generation that primarily involves music and songs. Recent open lyrics-to-song models, such as, DiffRhythm, ACE-Step, and LeVo, have set an acceptable standard in automatic song generation for recreational use. However, these models lack fine-grained word-level controllability often desired by musicians in their workflows. To the best of our knowledge, our flow-matching-based JAM is the first effort toward endowing word-level timing and duration control in song generation, allowing fine-grained vocal control. To enhance the quality of generated songs to better align with human preferences, we implement aesthetic alignment through Direct Preference Optimization, which iteratively refines the model using a synthetic dataset, eliminating the need or manual data annotations. Furthermore, we aim to standardize the evaluation of such lyrics-to-song models through our public evaluation dataset JAME. We show that JAM outperforms the existing models in terms of the music-specific attributes.

Dance is an important human art form, but creating new dances can be difficult and time-consuming. In this work, we introduce Editable Dance GEneration (EDGE), a state-of-the-art method for editable dance generation that is capable of creating realistic, physically-plausible dances while remaining faithful to the input music. EDGE uses a transformer-based diffusion model paired with Jukebox, a strong music feature extractor, and confers powerful editing capabilities well-suited to dance, including joint-wise conditioning, and in-betweening. We introduce a new metric for physical plausibility, and evaluate dance quality generated by our method extensively through (1) multiple quantitative metrics on physical plausibility, beat alignment, and diversity benchmarks, and more importantly, (2) a large-scale user study, demonstrating a significant improvement over previous state-of-the-art methods. Qualitative samples from our model can be found at our website.

Standard practice within Reinforcement Learning from Human Feedback (RLHF) involves optimizing against a Reward Model (RM), which itself is trained to reflect human preferences for desirable generations. A notable subject that is understudied is the (in-)consistency of RMs -- whether they can recognize the semantic changes to different prompts and appropriately adapt their reward assignments -- and their impact on the downstream RLHF model. In this paper, we visit a series of research questions relevant to RM inconsistency: (1) How can we measure the consistency of reward models? (2) How consistent are the existing RMs and how can we improve them? (3) In what ways does reward inconsistency influence the chatbots resulting from the RLHF model training? We propose Contrast Instructions -- a benchmarking strategy for the consistency of RM. Each example in Contrast Instructions features a pair of lexically similar instructions with different ground truth responses. A consistent RM is expected to rank the corresponding instruction and response higher than other combinations. We observe that current RMs trained with the standard ranking objective fail miserably on Contrast Instructions compared to average humans. To show that RM consistency can be improved efficiently without using extra training budget, we propose two techniques ConvexDA and RewardFusion, which enhance reward consistency through extrapolation during the RM training and inference stage, respectively. We show that RLHF models trained with a more consistent RM yield more useful responses, suggesting that reward inconsistency exhibits a trickle-down effect on the downstream RLHF process.

Large Language Models often improve accuracy on reasoning tasks by sampling multiple Chain-of-Thought (CoT) traces and aggregating them with majority voting (MV), a test-time technique called self-consistency. When we truncate a CoT partway through and regenerate the remainder, we observe that traces with correct answers reproduce their original answer more often than traces with wrong answers. We use this difference as a reliability signal, prefix consistency, that weights each candidate answer by how often it reappears under regeneration. It requires no access to token log-probabilities or self-rating prompts. Across five reasoning models and four math and science benchmarks, prefix consistency is the best correctness predictor in most settings, and reweighting votes by it reaches Standard MV plateau accuracy at up to 21x fewer tokens (median 4.6x). Our code is available at https://github.com/naoto-iwase/prefix-consistency.

Diffusion models are relatively easy to train but require many steps to generate samples. Consistency models are far more difficult to train, but generate samples in a single step. In this paper we propose Multistep Consistency Models: A unification between Consistency Models (Song et al., 2023) and TRACT (Berthelot et al., 2023) that can interpolate between a consistency model and a diffusion model: a trade-off between sampling speed and sampling quality. Specifically, a 1-step consistency model is a conventional consistency model whereas we show that a infty-step consistency model is a diffusion model. Multistep Consistency Models work really well in practice. By increasing the sample budget from a single step to 2-8 steps, we can train models more easily that generate higher quality samples, while retaining much of the sampling speed benefits. Notable results are 1.4 FID on Imagenet 64 in 8 step and 2.1 FID on Imagenet128 in 8 steps with consistency distillation. We also show that our method scales to a text-to-image diffusion model, generating samples that are very close to the quality of the original model.

Consistency Training (CT) has recently emerged as a promising alternative to diffusion models, achieving competitive performance in image generation tasks. However, non-distillation consistency training often suffers from high variance and instability, and analyzing and improving its training dynamics is an active area of research. In this work, we propose a novel CT training approach based on the Flow Matching framework. Our main contribution is a trained noise-coupling scheme inspired by the architecture of Variational Autoencoders (VAE). By training a data-dependent noise emission model implemented as an encoder architecture, our method can indirectly learn the geometry of the noise-to-data mapping, which is instead fixed by the choice of the forward process in classical CT. Empirical results across diverse image datasets show significant generative improvements, with our model outperforming baselines and achieving the state-of-the-art (SoTA) non-distillation CT FID on CIFAR-10, and attaining FID on par with SoTA on ImageNet at 64 times 64 resolution in 2-step generation. Our code is available at https://github.com/sony/vct .

As of September 2023, ChatGPT correctly answers "what is 7+8" with 15, but when asked "7+8=15, True or False" it responds with "False". This inconsistency between generating and validating an answer is prevalent in language models (LMs) and erodes trust. In this paper, we propose a framework for measuring the consistency between generation and validation (which we call generator-validator consistency, or GV-consistency), finding that even GPT-4, a state-of-the-art LM, is GV-consistent only 76% of the time. To improve the consistency of LMs, we propose to finetune on the filtered generator and validator responses that are GV-consistent, and call this approach consistency fine-tuning. We find that this approach improves GV-consistency of Alpaca-30B from 60% to 93%, and the improvement extrapolates to unseen tasks and domains (e.g., GV-consistency for positive style transfers extrapolates to unseen styles like humor). In addition to improving consistency, consistency fine-tuning improves both generator quality and validator accuracy without using any labeled data. Evaluated across 6 tasks, including math questions, knowledge-intensive QA, and instruction following, our method improves the generator quality by 16% and the validator accuracy by 6.3% across all tasks.

Real-time score following from sheet images remains chal- lenging because the model must process streaming au- dio while resolving highly repetitive visual patterns un- der strict latency constraints. Recent image-based meth- ods have attempted to use multi-resolution prediction by simultaneously predicting the positions of the active sys- tem, bar, and note. However, their predictions across these different levels of notation are independent, which makes the predictions unstable and introduces unnecessary ex- tra search space for bar- and note-level predictions. Most existing methods also lack mechanisms to recover from score discontinuities, such as repeats, da capo (D.C.), or coda jumps. This paper proposes CODA, to the best of our knowledge, the first real-time score following system that addresses both gaps. CODA explicitly exploits the cascaded structure of music scores: it first selects the ac- tive system, then the active bar within it, and finally the active note within the selected bar. This enforces pre- diction consistency across resolutions. A silence-driven break mode enables recovery from arbitrary score discon- tinuities without requiring knowledge of the repeat struc- ture. Evaluated on the Multimodal Sheet Music Dataset (MSMD) piano benchmarks, CODA achieves state-of-the- art tracking accuracy and discontinuity-recovery perfor- mance under real-time throughput. Code is available at https://github.com/ValleyC/CODA.

We present Dance2Music-GAN (D2M-GAN), a novel adversarial multi-modal framework that generates complex musical samples conditioned on dance videos. Our proposed framework takes dance video frames and human body motions as input, and learns to generate music samples that plausibly accompany the corresponding input. Unlike most existing conditional music generation works that generate specific types of mono-instrumental sounds using symbolic audio representations (e.g., MIDI), and that usually rely on pre-defined musical synthesizers, in this work we generate dance music in complex styles (e.g., pop, breaking, etc.) by employing a Vector Quantized (VQ) audio representation, and leverage both its generality and high abstraction capacity of its symbolic and continuous counterparts. By performing an extensive set of experiments on multiple datasets, and following a comprehensive evaluation protocol, we assess the generative qualities of our proposal against alternatives. The attained quantitative results, which measure the music consistency, beats correspondence, and music diversity, demonstrate the effectiveness of our proposed method. Last but not least, we curate a challenging dance-music dataset of in-the-wild TikTok videos, which we use to further demonstrate the efficacy of our approach in real-world applications -- and which we hope to serve as a starting point for relevant future research.

Driving 3D characters to dance following a piece of music is highly challenging due to the spatial constraints applied to poses by choreography norms. In addition, the generated dance sequence also needs to maintain temporal coherency with different music genres. To tackle these challenges, we propose a novel music-to-dance framework, Bailando, with two powerful components: 1) a choreographic memory that learns to summarize meaningful dancing units from 3D pose sequence to a quantized codebook, 2) an actor-critic Generative Pre-trained Transformer (GPT) that composes these units to a fluent dance coherent to the music. With the learned choreographic memory, dance generation is realized on the quantized units that meet high choreography standards, such that the generated dancing sequences are confined within the spatial constraints. To achieve synchronized alignment between diverse motion tempos and music beats, we introduce an actor-critic-based reinforcement learning scheme to the GPT with a newly-designed beat-align reward function. Extensive experiments on the standard benchmark demonstrate that our proposed framework achieves state-of-the-art performance both qualitatively and quantitatively. Notably, the learned choreographic memory is shown to discover human-interpretable dancing-style poses in an unsupervised manner.

Sound content is an indispensable element for multimedia works such as video games, music, and films. Recent high-quality diffusion-based sound generation models can serve as valuable tools for the creators. However, despite producing high-quality sounds, these models often suffer from slow inference speeds. This drawback burdens creators, who typically refine their sounds through trial and error to align them with their artistic intentions. To address this issue, we introduce Sound Consistency Trajectory Models (SoundCTM). Our model enables flexible transitioning between high-quality 1-step sound generation and superior sound quality through multi-step generation. This allows creators to initially control sounds with 1-step samples before refining them through multi-step generation. While CTM fundamentally achieves flexible 1-step and multi-step generation, its impressive performance heavily depends on an additional pretrained feature extractor and an adversarial loss, which are expensive to train and not always available in other domains. Thus, we reframe CTM's training framework and introduce a novel feature distance by utilizing the teacher's network for a distillation loss. Additionally, while distilling classifier-free guided trajectories, we train conditional and unconditional student models simultaneously and interpolate between these models during inference. We also propose training-free controllable frameworks for SoundCTM, leveraging its flexible sampling capability. SoundCTM achieves both promising 1-step and multi-step real-time sound generation without using any extra off-the-shelf networks. Furthermore, we demonstrate SoundCTM's capability of controllable sound generation in a training-free manner.

In this paper, we propose and investigate the use of neural audio codec language models for the automatic generation of sample-based musical instruments based on text or reference audio prompts. Our approach extends a generative audio framework to condition on pitch across an 88-key spectrum, velocity, and a combined text/audio embedding. We identify maintaining timbral consistency within the generated instruments as a major challenge. To tackle this issue, we introduce three distinct conditioning schemes. We analyze our methods through objective metrics and human listening tests, demonstrating that our approach can produce compelling musical instruments. Specifically, we introduce a new objective metric to evaluate the timbral consistency of the generated instruments and adapt the average Contrastive Language-Audio Pretraining (CLAP) score for the text-to-instrument case, noting that its naive application is unsuitable for assessing this task. Our findings reveal a complex interplay between timbral consistency, the quality of generated samples, and their correspondence to the input prompt.

We present a framework for learning to generate background music from video inputs. Unlike existing works that rely on symbolic musical annotations, which are limited in quantity and diversity, our method leverages large-scale web videos accompanied by background music. This enables our model to learn to generate realistic and diverse music. To accomplish this goal, we develop a generative video-music Transformer with a novel semantic video-music alignment scheme. Our model uses a joint autoregressive and contrastive learning objective, which encourages the generation of music aligned with high-level video content. We also introduce a novel video-beat alignment scheme to match the generated music beats with the low-level motions in the video. Lastly, to capture fine-grained visual cues in a video needed for realistic background music generation, we introduce a new temporal video encoder architecture, allowing us to efficiently process videos consisting of many densely sampled frames. We train our framework on our newly curated DISCO-MV dataset, consisting of 2.2M video-music samples, which is orders of magnitude larger than any prior datasets used for video music generation. Our method outperforms existing approaches on the DISCO-MV and MusicCaps datasets according to various music generation evaluation metrics, including human evaluation. Results are available at https://genjib.github.io/project_page/VMAs/index.html

Modern artistic productions increasingly demand automated choreography generation that adapts to diverse musical styles and individual dancer characteristics. Existing approaches often fail to produce high-quality dance videos that harmonize with both musical rhythm and user-defined choreography styles, limiting their applicability in real-world creative contexts. To address this gap, we introduce ChoreoMuse, a diffusion-based framework that uses SMPL format parameters and their variation version as intermediaries between music and video generation, thereby overcoming the usual constraints imposed by video resolution. Critically, ChoreoMuse supports style-controllable, high-fidelity dance video generation across diverse musical genres and individual dancer characteristics, including the flexibility to handle any reference individual at any resolution. Our method employs a novel music encoder MotionTune to capture motion cues from audio, ensuring that the generated choreography closely follows the beat and expressive qualities of the input music. To quantitatively evaluate how well the generated dances match both musical and choreographic styles, we introduce two new metrics that measure alignment with the intended stylistic cues. Extensive experiments confirm that ChoreoMuse achieves state-of-the-art performance across multiple dimensions, including video quality, beat alignment, dance diversity, and style adherence, demonstrating its potential as a robust solution for a wide range of creative applications. Video results can be found on our project page: https://choreomuse.github.io.

Presented is a method of generating a full drum kit part for a provided kick-drum sequence. A sequence to sequence neural network model used in natural language translation was adopted to encode multiple musical styles and an online survey was developed to test different techniques for sampling the output of the softmax function. The strongest results were found using a sampling technique that drew from the three most probable outputs at each subdivision of the drum pattern but the consistency of output was found to be heavily dependent on style.

Recent advancements in song generation have shown promising results in generating songs from lyrics and/or global text prompts. However, most existing systems lack the ability to model the temporally varying attributes of songs, limiting fine-grained control over musical structure and dynamics. In this paper, we propose SegTune, a non-autoregressive framework for structured and controllable song generation. SegTune enables segment-level control by allowing users or large language models to specify local musical descriptions aligned to song sections.The segmental prompts are injected into the model by temporally broadcasting them to corresponding time windows, while global prompts influence the whole song to ensure stylistic coherence. To obtain accurate segment durations and enable precise lyric-to-music alignment, we introduce an LLM-based duration predictor that autoregressively generates sentence-level timestamped lyrics in LRC format. We further construct a large-scale data pipeline for collecting high-quality songs with aligned lyrics and prompts, and propose new evaluation metrics to assess segment-level alignment and vocal attribute consistency. Experimental results show that SegTune achieves superior controllability and musical coherence compared to existing baselines. See https://cai525.github.io/SegTune_demo for demos of our work.

Imperceptible text-based speech editing modifies spoken content through transcript manipulation while preserving acoustic continuity. Prior acoustic-space approaches suffer from content-style entanglement, causing unstable generation and boundary artifacts. We introduce a framework guided by the principle of "Edit Content, Preserve Acoustics". Editing is conducted in a stable semantic space, while acoustic realization is handled by a Flow Matching decoder. To ensure perceptual consistency, we propose Self-Consistency Rewards Group Relative Policy Optimization, which leverages a pre-trained Text-to-Speech model as an implicit critic, together with intelligibility and duration constraints. Experiments demonstrate consistent improvements over state-of-the-art autoregressive and non-autoregressive baselines in intelligibility, robustness, and perceptual quality.

Music mixing involves combining individual tracks into a cohesive mixture, a task characterized by subjectivity where multiple valid solutions exist for the same input. Existing automatic mixing systems treat this task as a deterministic regression problem, thus ignoring this multiplicity of solutions. Here we introduce MEGAMI (Multitrack Embedding Generative Auto MIxing), a generative framework that models the conditional distribution of professional mixes given unprocessed tracks. MEGAMI uses a track-agnostic effects processor conditioned on per-track generated embeddings, handles arbitrary unlabeled tracks through a permutation-equivariant architecture, and enables training on both dry and wet recordings via domain adaptation. Our objective evaluation using distributional metrics shows consistent improvements over existing methods, while listening tests indicate performances approaching human-level quality across diverse musical genres.

We introduce ACE-Step, a novel open-source foundation model for music generation that overcomes key limitations of existing approaches and achieves state-of-the-art performance through a holistic architectural design. Current methods face inherent trade-offs between generation speed, musical coherence, and controllability. For example, LLM-based models (e.g. Yue, SongGen) excel at lyric alignment but suffer from slow inference and structural artifacts. Diffusion models (e.g. DiffRhythm), on the other hand, enable faster synthesis but often lack long-range structural coherence. ACE-Step bridges this gap by integrating diffusion-based generation with Sana's Deep Compression AutoEncoder (DCAE) and a lightweight linear transformer. It also leverages MERT and m-hubert to align semantic representations (REPA) during training, allowing rapid convergence. As a result, our model synthesizes up to 4 minutes of music in just 20 seconds on an A100 GPU-15x faster than LLM-based baselines-while achieving superior musical coherence and lyric alignment across melody, harmony, and rhythm metrics. Moreover, ACE-Step preserves fine-grained acoustic details, enabling advanced control mechanisms such as voice cloning, lyric editing, remixing, and track generation (e.g. lyric2vocal, singing2accompaniment). Rather than building yet another end-to-end text-to-music pipeline, our vision is to establish a foundation model for music AI: a fast, general-purpose, efficient yet flexible architecture that makes it easy to train subtasks on top of it. This paves the way for the development of powerful tools that seamlessly integrate into the creative workflows of music artists, producers, and content creators. In short, our goal is to build a stable diffusion moment for music. The code, the model weights and the demo are available at: https://ace-step.github.io/.

We present and release MIDI-GPT, a generative system based on the Transformer architecture that is designed for computer-assisted music composition workflows. MIDI-GPT supports the infilling of musical material at the track and bar level, and can condition generation on attributes including: instrument type, musical style, note density, polyphony level, and note duration. In order to integrate these features, we employ an alternative representation for musical material, creating a time-ordered sequence of musical events for each track and concatenating several tracks into a single sequence, rather than using a single time-ordered sequence where the musical events corresponding to different tracks are interleaved. We also propose a variation of our representation allowing for expressiveness. We present experimental results that demonstrate that MIDI-GPT is able to consistently avoid duplicating the musical material it was trained on, generate music that is stylistically similar to the training dataset, and that attribute controls allow enforcing various constraints on the generated material. We also outline several real-world applications of MIDI-GPT, including collaborations with industry partners that explore the integration and evaluation of MIDI-GPT into commercial products, as well as several artistic works produced using it.

Generating full-length, high-quality songs is challenging, as it requires maintaining long-term coherence both across text and music modalities and within the music modality itself. Existing non-autoregressive (NAR) frameworks, while capable of producing high-quality songs, often struggle with the alignment between lyrics and vocal. Concurrently, catering to diverse musical preferences necessitates reinforcement learning from human feedback (RLHF). However, existing methods often rely on merging multiple models during multi-preference optimization, which results in significant performance degradation. To address these challenges, we introduce DiffRhythm 2, an end-to-end framework designed for high-fidelity, controllable song generation. To tackle the lyric alignment problem, DiffRhythm 2 employs a semi-autoregressive architecture based on block flow matching. This design enables faithful alignment of lyrics to singing vocals without relying on external labels and constraints, all while preserving the high generation quality and efficiency of NAR models. To make this framework computationally tractable for long sequences, we implement a music variational autoencoder (VAE) that achieves a low frame rate of 5 Hz while still enabling high-fidelity audio reconstruction. In addition, to overcome the limitations of multi-preference optimization in RLHF, we propose cross-pair preference optimization. This method effectively mitigates the performance drop typically associated with model merging, allowing for more robust optimization across diverse human preferences. We further enhance musicality and structural coherence by introducing stochastic block representation alignment loss.

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

Recent advances in text-to-music generation models have opened new avenues in musical creativity. However, music generation usually involves iterative refinements, and how to edit the generated music remains a significant challenge. This paper introduces a novel approach to the editing of music generated by such models, enabling the modification of specific attributes, such as genre, mood and instrument, while maintaining other aspects unchanged. Our method transforms text editing to latent space manipulation while adding an extra constraint to enforce consistency. It seamlessly integrates with existing pretrained text-to-music diffusion models without requiring additional training. Experimental results demonstrate superior performance over both zero-shot and certain supervised baselines in style and timbre transfer evaluations. Additionally, we showcase the practical applicability of our approach in real-world music editing scenarios.

Rhythm transcription is a key subtask of notation-level Automatic Music Transcription (AMT). While deep learning models have been extensively used for detecting the metrical grid in audio and MIDI performances, beat-based rhythm quantization remains largely unexplored. In this work, we introduce a novel deep learning approach for quantizing MIDI performances using a priori beat information. Our method leverages the transformer architecture to effectively process synchronized score and performance data for training a quantization model. Key components of our approach include dataset preparation, a beat-based pre-quantization method to align performance and score times within a unified framework, and a MIDI tokenizer tailored for this task. We adapt a transformer model based on the T5 architecture to meet the specific requirements of rhythm quantization. The model is evaluated using a set of score-level metrics designed for objective assessment of quantization performance. Through systematic evaluation, we optimize both data representation and model architecture. Additionally, we apply performance and score augmentations, such as transposition, note deletion, and performance-side time jitter, to enhance the model's robustness. Finally, a qualitative analysis compares our model's quantization performance against state-of-the-art probabilistic and deep-learning models on various example pieces. Our model achieves an onset F1-score of 97.3% and a note value accuracy of 83.3% on the ASAP dataset. It generalizes well across time signatures, including those not seen during training, and produces readable score output. Fine-tuning on instrument-specific datasets further improves performance by capturing characteristic rhythmic and melodic patterns. This work contributes a robust and flexible framework for beat-based MIDI quantization using transformer models.

Consistency models are a new family of generative models capable of producing high-quality samples in either a single step or multiple steps. Recently, consistency models have demonstrated impressive performance, achieving results on par with diffusion models in the pixel space. However, the success of scaling consistency training to large-scale datasets, particularly for text-to-image and video generation tasks, is determined by performance in the latent space. In this work, we analyze the statistical differences between pixel and latent spaces, discovering that latent data often contains highly impulsive outliers, which significantly degrade the performance of iCT in the latent space. To address this, we replace Pseudo-Huber losses with Cauchy losses, effectively mitigating the impact of outliers. Additionally, we introduce a diffusion loss at early timesteps and employ optimal transport (OT) coupling to further enhance performance. Lastly, we introduce the adaptive scaling-c scheduler to manage the robust training process and adopt Non-scaling LayerNorm in the architecture to better capture the statistics of the features and reduce outlier impact. With these strategies, we successfully train latent consistency models capable of high-quality sampling with one or two steps, significantly narrowing the performance gap between latent consistency and diffusion models. The implementation is released here: https://github.com/quandao10/sLCT/

Diffusion models power a vast majority of text-to-audio (TTA) generation methods. Unfortunately, these models suffer from slow inference speed due to iterative queries to the underlying denoising network, thus unsuitable for scenarios with inference time or computational constraints. This work modifies the recently proposed consistency distillation framework to train TTA models that require only a single neural network query. In addition to incorporating classifier-free guidance into the distillation process, we leverage the availability of generated audio during distillation training to fine-tune the consistency TTA model with novel loss functions in the audio space, such as the CLAP score. Our objective and subjective evaluation results on the AudioCaps dataset show that consistency models retain diffusion models' high generation quality and diversity while reducing the number of queries by a factor of 400.

Diffusion models have shown strong performance in speech enhancement, but their real-time applicability has been limited by multi-step iterative sampling. Consistency distillation has recently emerged as a promising alternative by distilling a one-step consistency model from a multi-step diffusion-based teacher model. However, distilled consistency models are inherently biased towards the sampling trajectory of the teacher model, making them less robust to noise and prone to inheriting inaccuracies from the teacher model. To address this limitation, we propose ROSE-CD: Robust One-step Speech Enhancement via Consistency Distillation, a novel approach for distilling a one-step consistency model. Specifically, we introduce a randomized learning trajectory to improve the model's robustness to noise. Furthermore, we jointly optimize the one-step model with two time-domain auxiliary losses, enabling it to recover from teacher-induced errors and surpass the teacher model in overall performance. This is the first pure one-step consistency distillation model for diffusion-based speech enhancement, achieving 54 times faster inference speed and superior performance compared to its 30-step teacher model. Experiments on the VoiceBank-DEMAND dataset demonstrate that the proposed model achieves state-of-the-art performance in terms of speech quality. Moreover, its generalization ability is validated on both an out-of-domain dataset and real-world noisy recordings.

The online estimation of rhythmic information, such as beat positions, downbeat positions, and meter, is critical for many real-time music applications. Musical rhythm comprises complex hierarchical relationships across time, rendering its analysis intrinsically challenging and at times subjective. Furthermore, systems which attempt to estimate rhythmic information in real-time must be causal and must produce estimates quickly and efficiently. In this work, we introduce an online system for joint beat, downbeat, and meter tracking, which utilizes causal convolutional and recurrent layers, followed by a pair of sequential Monte Carlo particle filters applied during inference. The proposed system does not need to be primed with a time signature in order to perform downbeat tracking, and is instead able to estimate meter and adjust the predictions over time. Additionally, we propose an information gate strategy to significantly decrease the computational cost of particle filtering during the inference step, making the system much faster than previous sampling-based methods. Experiments on the GTZAN dataset, which is unseen during training, show that the system outperforms various online beat and downbeat tracking systems and achieves comparable performance to a baseline offline joint method.

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.

Dance-to-music generation is a promising task for applications such as choreography support and automatic accompaniment, where temporal coordination between body movement and sound is essential. In particular, using human joint positions as the motion representation is attractive because they explicitly capture body dynamics while being lightweight, privacy-preserving, and easy to integrate with motion capture and pose-estimation pipelines. A central challenge in this setting, however, is the scarcity of high-quality paired dance-music data, since collecting accurately synchronized pairs is costly and often constrained by copyright and performance rights. This makes it difficult to train end-to-end models solely from paired data. To address this issue, we propose a dance-conditioned music generation framework that efficiently exploits both unpaired and paired data. Our method combines pretrained unimodal encoders for motion and music, beat-guided contrastive pretraining to align their feature spaces, and a ControlNet-style conditioning module on top of a pretrained text-to-audio diffusion model. Experiments on AIST++ demonstrate that the proposed techniques improve both dance-music alignment and audio quality, as confirmed by quantitative and qualitative evaluations. Compared to a state-of-the-art method, our approach achieves superior dance alignment performance and competitive audio quality. Code is available at https://github.com/kmraven/AudioLDM-ControlNet .

Recent song generation systems can synthesize realistic audio, yet generating complete songs remains challenging for two reasons. First, explicit song-level arrangement planning remains limited in existing methods, so models often need to organize overall arrangement development while generating low-level audio details. This often leads to incoherence in arrangements, such as weak section transitions and limited dynamic progression. Second, coarse modeling of different musical parts obscures their distinct roles and interactions, limiting arrangement richness of generated songs. In this paper, we present SketchSong, a hierarchical song generation framework that addresses these issues through song-level sketch planning and fine-grained multi-track modeling. Along the temporal dimension, SketchSong first predicts a compact sequence of high-level sketch tokens derived from compressed audio representations, and then generates audio tokens conditioned on these sketches. This coarse-to-fine process gives the model an explicit arrangement plan before detailed audio generation. Along the track dimension, SketchSong explicitly models four tracks, i.e., vocals, bass, drums and other instruments. This enables the model to capture the roles and interactions of different musical parts more precisely. Experiments on song generation benchmarks show that SketchSong consistently outperforms our baseline on both objective metrics and human listening tests. Despite not employing additional post-training for preference optimization such as lyrics and text-prompt alignments, SketchSong achieves competitive results against strong, post-trained open-source systems, demonstrating the effectiveness of our overall design.

Recently, artificial intelligence techniques for education have been received increasing attentions, while it still remains an open problem to design the effective music instrument instructing systems. Although key presses can be directly derived from sheet music, the transitional movements among key presses require more extensive guidance in piano performance. In this work, we construct a piano-hand motion generation benchmark to guide hand movements and fingerings for piano playing. To this end, we collect an annotated dataset, PianoMotion10M, consisting of 116 hours of piano playing videos from a bird's-eye view with 10 million annotated hand poses. We also introduce a powerful baseline model that generates hand motions from piano audios through a position predictor and a position-guided gesture generator. Furthermore, a series of evaluation metrics are designed to assess the performance of the baseline model, including motion similarity, smoothness, positional accuracy of left and right hands, and overall fidelity of movement distribution. Despite that piano key presses with respect to music scores or audios are already accessible, PianoMotion10M aims to provide guidance on piano fingering for instruction purposes. The source code and dataset can be accessed at https://github.com/agnJason/PianoMotion10M.

Controllable music generation remains a significant challenge, with existing methods often requiring model retraining or introducing audible artifacts. We introduce MusicRFM, a framework that adapts Recursive Feature Machines (RFMs) to enable fine-grained, interpretable control over frozen, pre-trained music models by directly steering their internal activations. RFMs analyze a model's internal gradients to produce interpretable "concept directions", or specific axes in the activation space that correspond to musical attributes like notes or chords. We first train lightweight RFM probes to discover these directions within MusicGen's hidden states; then, during inference, we inject them back into the model to guide the generation process in real-time without per-step optimization. We present advanced mechanisms for this control, including dynamic, time-varying schedules and methods for the simultaneous enforcement of multiple musical properties. Our method successfully navigates the trade-off between control and generation quality: we can increase the accuracy of generating a target musical note from 0.23 to 0.82, while text prompt adherence remains within approximately 0.02 of the unsteered baseline, demonstrating effective control with minimal impact on prompt fidelity. We release code to encourage further exploration on RFMs in the music domain.

Consistency models have been proposed for fast generative modeling, achieving results competitive with diffusion and flow models. However, these methods exhibit inherent instability and limited reproducibility when training from scratch, motivating subsequent work to explain and stabilize these issues. While these efforts have provided valuable insights, the explanations remain fragmented, and the theoretical relationships remain unclear. In this work, we provide a theoretical examination of consistency models by analyzing them from a flow map-based perspective. This joint analysis clarifies how training stability and convergence behavior can give rise to degenerate solutions. Building on these insights, we revisit self-distillation as a practical remedy for certain forms of suboptimal convergence and reformulate it to avoid excessive gradient norms for stable optimization. We further demonstrate that our strategy extends beyond image generation to diffusion-based policy learning, without reliance on a pretrained diffusion model for initialization, thereby illustrating its broader applicability.

Consistency Models (CM) (Song et al., 2023) accelerate score-based diffusion model sampling at the cost of sample quality but lack a natural way to trade-off quality for speed. To address this limitation, we propose Consistency Trajectory Model (CTM), a generalization encompassing CM and score-based models as special cases. CTM trains a single neural network that can -- in a single forward pass -- output scores (i.e., gradients of log-density) and enables unrestricted traversal between any initial and final time along the Probability Flow Ordinary Differential Equation (ODE) in a diffusion process. CTM enables the efficient combination of adversarial training and denoising score matching loss to enhance performance and achieves new state-of-the-art FIDs for single-step diffusion model sampling on CIFAR-10 (FID 1.73) and ImageNet at 64x64 resolution (FID 1.92). CTM also enables a new family of sampling schemes, both deterministic and stochastic, involving long jumps along the ODE solution trajectories. It consistently improves sample quality as computational budgets increase, avoiding the degradation seen in CM. Furthermore, unlike CM, CTM's access to the score function can streamline the adoption of established controllable/conditional generation methods from the diffusion community. This access also enables the computation of likelihood. The code is available at https://github.com/sony/ctm.

In this work, we propose an approach to music source separation that uses a generative diffusion model as a last-stage refinement on top of a deterministic separator, progressively enhancing the separated sources through iterative denoising. While the diffusion refinement yields measurable quality gains, it requires iterative steps at inference, increasing computational cost. To speed up the inference process, we apply consistency distillation, reducing inference to a single step while maintaining quality; with two or more steps, the distilled model even surpasses the diffusion-based approach. Crucially, our method is architecture-agnostic: we demonstrate state-of-the-art results when applied to both a custom U-Net-based separator on Slakh2100 and the state-of-the-art BS-RoFormer model on MUSDB18, showing that the refinement generalizes across backbone architectures. Sound examples are available at: https://consistency-separation.github.io/.

We introduce TuneJury, an open, instance-level pairwise reward model for text-to-music that predicts a music preference score from a text prompt and an audio clip. The released checkpoint is trained on publicly available human-preference labels covering arena-style (A vs. B) votes, metric-alignment preference pairs, crowdsourced pairwise comparisons, and expert aesthetic ratings. The predicted score margin between two clips is well calibrated on our held-out test split, supporting data filtering via a simple score threshold. TuneJury generalizes to both held-out test pairs and out-of-distribution benchmarks, remaining competitive with prior baselines on the latter. For generators released after training, we introduce anchor calibration, a post-hoc, per-system Bradley-Terry calibration that recovers agreement at substantially better data efficiency than from-scratch retraining. The same frozen reward drives consistent reward-axis gains across three downstream applications: inference-time best-of-N selection, DITTO-style latent optimization, and expert-iteration post-training. TuneJury is available at https://github.com/yonghyunk1m/TuneJury.

Efficient audio representations in a compressed continuous latent space are critical for generative audio modeling and Music Information Retrieval (MIR) tasks. However, some existing audio autoencoders have limitations, such as multi-stage training procedures, slow iterative sampling, or low reconstruction quality. We introduce Music2Latent, an audio autoencoder that overcomes these limitations by leveraging consistency models. Music2Latent encodes samples into a compressed continuous latent space in a single end-to-end training process while enabling high-fidelity single-step reconstruction. Key innovations include conditioning the consistency model on upsampled encoder outputs at all levels through cross connections, using frequency-wise self-attention to capture long-range frequency dependencies, and employing frequency-wise learned scaling to handle varying value distributions across frequencies at different noise levels. We demonstrate that Music2Latent outperforms existing continuous audio autoencoders in sound quality and reconstruction accuracy while achieving competitive performance on downstream MIR tasks using its latent representations. To our knowledge, this represents the first successful attempt at training an end-to-end consistency autoencoder model.

Denoising diffusion probabilistic models (DDPMs) have shown promising performance for speech synthesis. However, a large number of iterative steps are required to achieve high sample quality, which restricts the inference speed. Maintaining sample quality while increasing sampling speed has become a challenging task. In this paper, we propose a "Co"nsistency "Mo"del-based "Speech" synthesis method, CoMoSpeech, which achieve speech synthesis through a single diffusion sampling step while achieving high audio quality. The consistency constraint is applied to distill a consistency model from a well-designed diffusion-based teacher model, which ultimately yields superior performances in the distilled CoMoSpeech. Our experiments show that by generating audio recordings by a single sampling step, the CoMoSpeech achieves an inference speed more than 150 times faster than real-time on a single NVIDIA A100 GPU, which is comparable to FastSpeech2, making diffusion-sampling based speech synthesis truly practical. Meanwhile, objective and subjective evaluations on text-to-speech and singing voice synthesis show that the proposed teacher models yield the best audio quality, and the one-step sampling based CoMoSpeech achieves the best inference speed with better or comparable audio quality to other conventional multi-step diffusion model baselines. Audio samples are available at https://comospeech.github.io/.

Diffusion models have revolutionized generative modeling in continuous domains like image, audio, and video synthesis. However, their iterative sampling process leads to slow generation and inefficient training, challenges that are further exacerbated when incorporating Reinforcement Learning from Human Feedback (RLHF) due to sparse rewards and long time horizons. Consistency models address these issues by enabling single-step or efficient multi-step generation, significantly reducing computational costs. In this work, we propose a direct reward optimization framework for applying RLHF to consistency models, incorporating distributional regularization to enhance training stability and prevent reward hacking. We investigate various f-divergences as regularization strategies, striking a balance between reward maximization and model consistency. Unlike policy gradient methods, our approach leverages first-order gradients, making it more efficient and less sensitive to hyperparameter tuning. Empirical results show that our method achieves competitive or superior performance compared to policy gradient based RLHF methods, across various automatic metrics and human evaluation. Additionally, our analysis demonstrates the impact of different regularization techniques in improving model generalization and preventing overfitting.

We present MulTTiPop, a dataset of pop music segments and their associated multitrack MIDI recordings for the evaluation of automatic music transcription models. MulTTiPop contains 572 segments of popular music totaling 3.5 hours of audio, and contains songs from diverse genres and decades from the 1930s to 2000s. To collect this dataset, we perform metadata-based matching on song segments from the Lakh MIDI and TheoryTab datasets, manually identify an anchor beat between the audio and MIDI, then use beat tracking on the audio and warp the MIDI to match its tempo and timing. We evaluate state-of-the-art automatic music transcription models on MulTTiPop and find substantial room for improvement, with the best model achieving 38% Onset F1. More details and sound examples of MulTTiPop are available at https://gclef-cmu.org/multtipop.

While recent generative models can produce engaging music, their utility is limited. The variation in the music is often left to chance, resulting in compositions that lack structure. Pieces extending beyond a minute can become incoherent or repetitive. This paper introduces an approach for generating structured, arbitrarily long musical pieces. Central to this approach is the creation of musical segments using a conditional generative model, with transitions between these segments. The generation of prompts that determine the high-level composition is distinct from the creation of finer, lower-level details. A large language model is then used to suggest the musical form.

Chord progression generation is practically important but understudied. Most large-scale symbolic music systems target melody, multi-track arrangement, or audio synthesis, and chord-only models tend to be relegated to conditioning components inside larger pipelines. This paper treats chord generation as a standalone task and addresses a question that arises whenever such a model is adapted across genres: how much old-domain data must be retained during fine-tuning to acquire a new domain without forgetting the old? I study jazz fine-tuning starting from a pop-pretrained 25M-parameter Music Transformer (84.24% top-1 chord accuracy on a held-out pop test set). The available jazz corpus is an order of magnitude smaller than the pop corpus, so every fine-tune run uses all 1,513 jazz training sequences. The swept variable is the volume of pop "rehearsal" data mixed alongside, taking values in {0, 1K, 2.5K, 5K, 10K}. Every fine-tuned model gains 7 to 9 points of jazz top-1. Pop accuracy collapses by 2.14 points under jazz-only fine-tuning, recovers to baseline at approximately 2.5K rehearsal samples (1.65x the jazz volume), and saturates beyond that point. A complementary observation: the metric-best run (F3, 2.5K mix) is not always the perceptually preferred one. The pop-leaning (10K) and jazz-leaning (1K) endpoints carry more committed stylistic identities that the author more often selects as finished output in informal listening. I discuss what this suggests for music co-creation tools but make no perceptual claim, since no formal listening study has been conducted. All six checkpoints are released on the HuggingFace Hub at https://huggingface.co/PearlLeeStudio.

We present LiveBand, a real-time system that generates high-fidelity music accompaniments to live audio input, respecting strict causal constraints. Our method trains a causal transformer generator in the continuous latent space of a pre-trained causal audio autoencoder, using adversarial sequence-level supervision from a discriminator. At each timestep, the generator receives only the causally available mix context and Gaussian noise, and predicts accompaniment latents without access to future mix frames or ground-truth target latents. Training is performed in a single parallel forward pass under causal masking, while streaming inference proceeds autoregressively with a rolling attention state. The model's training and inference computations are matched by design, eliminating teacher forcing and the associated exposure bias. On a multi-instrument music accompaniment benchmark, LiveBand improves over prior work on objective measures of audio quality, beat alignment, and mix adherence, while enabling real-time streaming generation without lookahead into the future on consumer hardware.

Beat tracking in musical performance MIDI is a challenging and important task for notation-level music transcription and rhythmical analysis, yet existing methods primarily focus on audio-based approaches. This paper proposes an end-to-end transformer-based model for beat and downbeat tracking in performance MIDI, leveraging an encoder-decoder architecture for sequence-to-sequence translation of MIDI input to beat annotations. Our approach introduces novel data preprocessing techniques, including dynamic augmentation and optimized tokenization strategies, to improve accuracy and generalizability across different datasets. We conduct extensive experiments using the A-MAPS, ASAP, GuitarSet, and Leduc datasets, comparing our model against state-of-the-art hidden Markov models (HMMs) and deep learning-based beat tracking methods. The results demonstrate that our model outperforms existing symbolic music beat tracking approaches, achieving competitive F1-scores across various musical styles and instruments. Our findings highlight the potential of transformer architectures for symbolic beat tracking and suggest future integration with automatic music transcription systems for enhanced music analysis and score generation.

In this paper, we explore the application of Large Language Models (LLMs) to the pre-training of music. While the prevalent use of MIDI in music modeling is well-established, our findings suggest that LLMs are inherently more compatible with ABC Notation, which aligns more closely with their design and strengths, thereby enhancing the model's performance in musical composition. To address the challenges associated with misaligned measures from different tracks during generation, we propose the development of a Synchronized Multi-Track ABC Notation (SMT-ABC Notation), which aims to preserve coherence across multiple musical tracks. Our contributions include a series of models capable of handling up to 8192 tokens, covering 90\% of the symbolic music data in our training set. Furthermore, we explore the implications of the Symbolic Music Scaling Law (SMS Law) on model performance. The results indicate a promising direction for future research in music generation, offering extensive resources for community-led research through our open-source contributions.

Long-horizon LLM agents can fail quietly: they settle on one reading of the evidence early, then spend the rest of the run defending it. We call this premature commitment. Final-answer scoring misses the failure mode because it sees only the answer, not whether the process has already collapsed to a stable path. We define representational commitment as cross-run hidden-state convergence at a fixed reasoning step, and use it as an early diagnostic of trajectory consistency. On Llama-3.1-70B running ReAct on HotpotQA, step-4 hidden-state similarity predicts downstream behavioral consistency (r = -0.35, partial r = -0.45), with a localized temporal and layer-wise signature. The signal replicates across Qwen-2.5-72B and Phi-3-14B, and on StrategyQA (r = -0.83). It does not track correctness: committed-wrong and committed-correct questions are not separable in activation similarity. That boundary is central to the claim. Commitment tells us whether an agent has settled, not whether it is right. A runtime monitor detects inconsistent trajectories from hidden states at AUROC up to 0.97 (0.85--0.88 under a stricter split), and a prompting intervention cuts behavioral variance by 28% against a token-matched control while leaving accuracy statistically unchanged. We also test whether the signal can route self-consistency compute; on a harder benchmark it helps only modestly and is matched by a simpler output-based baseline. The result is a diagnostic for a hidden process failure, with clear limits rather than a general accuracy lever.

How do multi-turn reasoning systems fail? The expected answer is logical contradiction, in which the system's maintained state becomes unsatisfiable. We show that the dominant mode is instead satisfiable drift, where the internal state stays consistent while the returned answer silently violates prior commitments. We build DRIFT-Bench (Decomposing Reasoning Into Failure Types), a solver-instrumented benchmark of 816 test problems across three constraint domains, and evaluate four methods on it across four open-weight models (8B-120B parameters). MUS-Repair, which feeds minimal unsatisfiable subsets back to the generator, is strongest in every setting (+1.8 to +15.0 pp over the best non-MUS baseline). But the central finding is what repair leaves behind. After structured feedback, models rarely contradict themselves. They forget. Residual errors are 98-100% satisfiable drift across all settings, while contradiction drops to near zero. Reliable multi-turn systems must separately validate that the returned answer respects the maintained state. Code is available at https://github.com/kaons-research/drift-bench.

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

Many of the music generation systems based on neural networks are fully autonomous and do not offer control over the generation process. In this research, we present a controllable music generation system in terms of tonal tension. We incorporate two tonal tension measures based on the Spiral Array Tension theory into a variational autoencoder model. This allows us to control the direction of the tonal tension throughout the generated piece, as well as the overall level of tonal tension. Given a seed musical fragment, stemming from either the user input or from directly sampling from the latent space, the model can generate variations of this original seed fragment with altered tonal tension. This altered music still resembles the seed music rhythmically, but the pitch of the notes are changed to match the desired tonal tension as conditioned by the user.

Text-to-music generation models are now capable of generating high-quality music audio in broad styles. However, text control is primarily suitable for the manipulation of global musical attributes like genre, mood, and tempo, and is less suitable for precise control over time-varying attributes such as the positions of beats in time or the changing dynamics of the music. We propose Music ControlNet, a diffusion-based music generation model that offers multiple precise, time-varying controls over generated audio. To imbue text-to-music models with time-varying control, we propose an approach analogous to pixel-wise control of the image-domain ControlNet method. Specifically, we extract controls from training audio yielding paired data, and fine-tune a diffusion-based conditional generative model over audio spectrograms given melody, dynamics, and rhythm controls. While the image-domain Uni-ControlNet method already allows generation with any subset of controls, we devise a new strategy to allow creators to input controls that are only partially specified in time. We evaluate both on controls extracted from audio and controls we expect creators to provide, demonstrating that we can generate realistic music that corresponds to control inputs in both settings. While few comparable music generation models exist, we benchmark against MusicGen, a recent model that accepts text and melody input, and show that our model generates music that is 49% more faithful to input melodies despite having 35x fewer parameters, training on 11x less data, and enabling two additional forms of time-varying control. Sound examples can be found at https://MusicControlNet.github.io/web/.

Dance serves as a powerful medium for expressing human emotions, but the lifelike generation of dance is still a considerable challenge. Recently, diffusion models have showcased remarkable generative abilities across various domains. They hold promise for human motion generation due to their adaptable many-to-many nature. Nonetheless, current diffusion-based motion generation models often create entire motion sequences directly and unidirectionally, lacking focus on the motion with local and bidirectional enhancement. When choreographing high-quality dance movements, people need to take into account not only the musical context but also the nearby music-aligned dance motions. To authentically capture human behavior, we propose a Bidirectional Autoregressive Diffusion Model (BADM) for music-to-dance generation, where a bidirectional encoder is built to enforce that the generated dance is harmonious in both the forward and backward directions. To make the generated dance motion smoother, a local information decoder is built for local motion enhancement. The proposed framework is able to generate new motions based on the input conditions and nearby motions, which foresees individual motion slices iteratively and consolidates all predictions. To further refine the synchronicity between the generated dance and the beat, the beat information is incorporated as an input to generate better music-aligned dance movements. Experimental results demonstrate that the proposed model achieves state-of-the-art performance compared to existing unidirectional approaches on the prominent benchmark for music-to-dance generation.

Consistency models (CMs) offer faster sampling than traditional diffusion models, but their training is resource-intensive. For example, as of 2024, training a state-of-the-art CM on CIFAR-10 takes one week on 8 GPUs. In this work, we propose an effective scheme for training CMs that largely improves the efficiency of building such models. Specifically, by expressing CM trajectories via a particular differential equation, we argue that diffusion models can be viewed as a special case of CMs. We can thus fine-tune a consistency model starting from a pretrained diffusion model and progressively approximate the full consistency condition to stronger degrees over the training process. Our resulting method, which we term Easy Consistency Tuning (ECT), achieves vastly reduced training times while improving upon the quality of previous methods: for example, ECT achieves a 2-step FID of 2.73 on CIFAR10 within 1 hour on a single A100 GPU, matching Consistency Distillation trained for hundreds of GPU hours. Owing to this computational efficiency, we investigate the scaling laws of CMs under ECT, showing that they obey the classic power law scaling, hinting at their ability to improve efficiency and performance at larger scales. Our code (https://github.com/locuslab/ect) is publicly available, making CMs more accessible to the broader community.

We introduce the Agent GPA (Goal-Plan-Action) framework: an evaluation paradigm based on an agent's operational loop of setting goals, devising plans, and executing actions. The framework includes five evaluation metrics: Goal Fulfillment, Logical Consistency, Execution Efficiency, Plan Quality, and Plan Adherence. Logical Consistency checks that an agent's actions are consistent with its prior actions. Execution Efficiency checks whether the agent executes in the most efficient way to achieve its goal. Plan Quality checks whether an agent's plans are aligned with its goals; Plan Adherence checks if an agent's actions are aligned with its plan; and Goal Fulfillment checks that agent's final outcomes match the stated goals. Our experimental results on two benchmark datasets - the public TRAIL/GAIA dataset and an internal dataset for a production-grade data agent - show that this framework (a) provides a systematic way to cover a broad range of agent failures, including all agent errors on the TRAIL/GAIA benchmark dataset; (b) supports LLM-judges that exhibit strong agreement with human annotation, covering 80% to over 95% errors; and (c) localizes errors with 86% agreement to enable targeted improvement of agent performance.

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.

Continuous-time Consistency Models (CMs) promise efficient few-step generation but face significant challenges with training instability. We argue this instability stems from a fundamental conflict: by training a network to learn only a shortcut across a probability flow, the model loses its grasp on the instantaneous velocity field that defines the flow. Our solution is to explicitly anchor the model in the underlying flow during training. We introduce the Flow-Anchored Consistency Model (FACM), a simple but effective training strategy that uses a Flow Matching (FM) task as an anchor for the primary CM shortcut objective. This Flow-Anchoring approach requires no architectural modifications and is broadly compatible with standard model architectures. By distilling a pre-trained LightningDiT model, our method achieves a state-of-the-art FID of 1.32 with two steps (NFE=2) and 1.76 with just one step (NFE=1) on ImageNet 256x256, significantly outperforming previous methods. This provides a general and effective recipe for building high-performance, few-step generative models. Our code and pretrained models: https://github.com/ali-vilab/FACM.

Flow map models such as Consistency Models (CM) and Mean Flow (MF) enable few-step generation by learning the long jump of the ODE solution of diffusion models, yet training remains unstable, sensitive to hyperparameters, and costly. Initializing from a pre-trained diffusion model helps, but still requires converting infinitesimal steps into a long-jump map, leaving instability unresolved. We introduce mid-training, the first concept and practical method that inserts a lightweight intermediate stage between the (diffusion) pre-training and the final flow map training (i.e., post-training) for vision generation. Concretely, Consistency Mid-Training (CMT) is a compact and principled stage that trains a model to map points along a solver trajectory from a pre-trained model, starting from a prior sample, directly to the solver-generated clean sample. It yields a trajectory-consistent and stable initialization. This initializer outperforms random and diffusion-based baselines and enables fast, robust convergence without heuristics. Initializing post-training with CMT weights further simplifies flow map learning. Empirically, CMT achieves state of the art two step FIDs: 1.97 on CIFAR-10, 1.32 on ImageNet 64x64, and 1.84 on ImageNet 512x512, while using up to 98% less training data and GPU time, compared to CMs. On ImageNet 256x256, CMT reaches 1-step FID 3.34 while cutting total training time by about 50% compared to MF from scratch (FID 3.43). This establishes CMT as a principled, efficient, and general framework for training flow map models.

In this paper, we address the challenge of generating temporally consistent videos with motion guidance. While many existing methods depend on additional control modules or inference-time fine-tuning, recent studies suggest that effective motion guidance is achievable without altering the model architecture or requiring extra training. Such approaches offer promising compatibility with various video generation foundation models. However, existing training-free methods often struggle to maintain consistent temporal coherence across frames or to follow guided motion accurately. In this work, we propose a simple yet effective solution that combines an initial-noise-based approach with a novel motion consistency loss, the latter being our key innovation. Specifically, we capture the inter-frame feature correlation patterns of intermediate features from a video diffusion model to represent the motion pattern of the reference video. We then design a motion consistency loss to maintain similar feature correlation patterns in the generated video, using the gradient of this loss in the latent space to guide the generation process for precise motion control. This approach improves temporal consistency across various motion control tasks while preserving the benefits of a training-free setup. Extensive experiments show that our method sets a new standard for efficient, temporally coherent video generation.

Any-to-any generative models aim to enable seamless interpretation and generation across multiple modalities within a unified framework, yet their ability to preserve relationships across modalities remains uncertain. Do unified models truly achieve cross-modal coherence, or is this coherence merely perceived? To explore this, we introduce ACON, a dataset of 1,000 images (500 newly contributed) paired with captions, editing instructions, and Q&A pairs to evaluate cross-modal transfers rigorously. Using three consistency criteria-cyclic consistency, forward equivariance, and conjugated equivariance-our experiments reveal that any-to-any models do not consistently demonstrate greater cross-modal consistency than specialized models in pointwise evaluations such as cyclic consistency. However, equivariance evaluations uncover weak but observable consistency through structured analyses of the intermediate latent space enabled by multiple editing operations. We release our code and data at https://github.com/JiwanChung/ACON.

Advances in generative models and sequence learning have greatly promoted research in dance motion generation, yet current methods still suffer from coarse semantic control and poor coherence in long sequences. In this work, we present Listen to Rhythm, Choose Movements (LRCM), a multimodal-guided diffusion framework supporting both diverse input modalities and autoregressive dance motion generation. We explore a feature decoupling paradigm for dance datasets and generalize it to the Motorica Dance dataset, separating motion capture data, audio rhythm, and professionally annotated global and local text descriptions. Our diffusion architecture integrates an audio-latent Conformer and a text-latent Cross-Conformer, and incorporates a Motion Temporal Mamba Module (MTMM) to enable smooth, long-duration autoregressive synthesis. Experimental results indicate that LRCM delivers strong performance in both functional capability and quantitative metrics, demonstrating notable potential in multimodal input scenarios and extended sequence generation. The project page is available at https://oranduanstudy.github.io/LRCM/.

Large language models (LLMs) appear to bias their survey answers toward certain values. Nonetheless, some argue that LLMs are too inconsistent to simulate particular values. Are they? To answer, we first define value consistency as the similarity of answers across (1) paraphrases of one question, (2) related questions under one topic, (3) multiple-choice and open-ended use-cases of one question, and (4) multilingual translations of a question to English, Chinese, German, and Japanese. We apply these measures to a few large (>=34b), open LLMs including llama-3, as well as gpt-4o, using eight thousand questions spanning more than 300 topics. Unlike prior work, we find that models are relatively consistent across paraphrases, use-cases, translations, and within a topic. Still, some inconsistencies remain. Models are more consistent on uncontroversial topics (e.g., in the U.S., "Thanksgiving") than on controversial ones ("euthanasia"). Base models are both more consistent compared to fine-tuned models and are uniform in their consistency across topics, while fine-tuned models are more inconsistent about some topics ("euthanasia") than others ("women's rights") like our human subjects (n=165).

Run the same LLM agent on the same task twice: do you get the same behavior? We find the answer is often no. In a study of 3,000 agent runs across three models (Llama 3.1 70B, GPT-4o, and Claude Sonnet 4.5) on HotpotQA, we observe that ReAct-style agents produce 2.0--4.2 distinct action sequences per 10 runs on average, even with identical inputs. More importantly, this variance predicts failure: tasks with consistent behavior (leq2 unique paths) achieve 80--92% accuracy, while highly inconsistent tasks (geq6 unique paths) achieve only 25--60%, a 32--55 percentage point gap depending on model. We trace variance to early decisions: 69% of divergence occurs at step 2, the first search query. Our results suggest that monitoring behavioral consistency during execution could enable early error detection and improve agent reliability.

Record companies invest billions of dollars in new talent around the globe each year. Gaining insight into what actually makes a hit song would provide tremendous benefits for the music industry. In this research we tackle this question by focussing on the dance hit song classification problem. A database of dance hit songs from 1985 until 2013 is built, including basic musical features, as well as more advanced features that capture a temporal aspect. A number of different classifiers are used to build and test dance hit prediction models. The resulting best model has a good performance when predicting whether a song is a "top 10" dance hit versus a lower listed position.

Consistency models (CMs) are a powerful class of diffusion-based generative models optimized for fast sampling. Most existing CMs are trained using discretized timesteps, which introduce additional hyperparameters and are prone to discretization errors. While continuous-time formulations can mitigate these issues, their success has been limited by training instability. To address this, we propose a simplified theoretical framework that unifies previous parameterizations of diffusion models and CMs, identifying the root causes of instability. Based on this analysis, we introduce key improvements in diffusion process parameterization, network architecture, and training objectives. These changes enable us to train continuous-time CMs at an unprecedented scale, reaching 1.5B parameters on ImageNet 512x512. Our proposed training algorithm, using only two sampling steps, achieves FID scores of 2.06 on CIFAR-10, 1.48 on ImageNet 64x64, and 1.88 on ImageNet 512x512, narrowing the gap in FID scores with the best existing diffusion models to within 10%.

A popular approach for improving the correctness of output from large language models (LLMs) is Self-Consistency - poll the LLM multiple times and output the most frequent solution. Existing Self-Consistency techniques always draw a constant number of samples per question, where a better approach will be to non-uniformly distribute the available budget based on the amount of agreement in the samples drawn so far. In response, we introduce Adaptive-Consistency, a cost-efficient, model-agnostic technique that dynamically adjusts the number of samples per question using a lightweight stopping criterion. Our experiments over 13 datasets and two LLMs demonstrate that Adaptive-Consistency reduces sample budget by up to 6.0 times with an average accuracy drop of less than 0.1%.

Symbolic music generation aims to create musical notes, which can help users compose music, such as generating target instrumental tracks from scratch, or based on user-provided source tracks. Considering the diverse and flexible combination between source and target tracks, a unified model capable of generating any arbitrary tracks is of crucial necessity. Previous works fail to address this need due to inherent constraints in music representations and model architectures. To address this need, we propose a unified representation and diffusion framework named GETMusic (`GET' stands for GEnerate music Tracks), which includes a novel music representation named GETScore, and a diffusion model named GETDiff. GETScore represents notes as tokens and organizes them in a 2D structure, with tracks stacked vertically and progressing horizontally over time. During training, tracks are randomly selected as either the target or source. In the forward process, target tracks are corrupted by masking their tokens, while source tracks remain as ground truth. In the denoising process, GETDiff learns to predict the masked target tokens, conditioning on the source tracks. With separate tracks in GETScore and the non-autoregressive behavior of the model, GETMusic can explicitly control the generation of any target tracks from scratch or conditioning on source tracks. We conduct experiments on music generation involving six instrumental tracks, resulting in a total of 665 combinations. GETMusic provides high-quality results across diverse combinations and surpasses prior works proposed for some specific combinations.

Recent advancements have brought generated music closer to human-created compositions, yet evaluating these models remains challenging. While human preference is the gold standard for assessing quality, translating these subjective judgments into objective metrics, particularly for text-audio alignment and music quality, has proven difficult. In this work, we generate 6k songs using 12 state-of-the-art models and conduct a survey of 15k pairwise audio comparisons with 2.5k human participants to evaluate the correlation between human preferences and widely used metrics. To the best of our knowledge, this work is the first to rank current state-of-the-art music generation models and metrics based on human preference. To further the field of subjective metric evaluation, we provide open access to our dataset of generated music and human evaluations.

Continuous evaluation of LLM products relies on a strong LLM judge treated as ground truth: a cheap monitor scores every interaction and a team is paged when the score drifts down. But the judge is itself a model behind an API, and a silent version bump or scoring-prompt update changes how it scores -- so every drift alarm is ambiguous between a worse product and a changed judge. We resolve the ambiguity with a fixed, human-labeled anchor set that the current judge re-scores at a steady interleave, a second betting e-process on the judge-versus-human gap, and a guard-window rule returning a verdict in {none, system, judge}. We prove anytime-validity, one-way identification (only the judge can move the anchors), an attribution race whose design law is that the anchors must out-run the main process they guard, and process orthogonality. On two real judge changes, a silent version bump is detected as judge drift in 60/60 runs with zero judge-to-system misattribution, and a contaminating strict-prompt change is correctly attributed on 110 of 120 runs at guard width 300 -- while the industry-default rolling z-test false-alarms on 75% of drift-free streams. Every experiment replicates on a second domain (TL;DR summarization) with nothing re-tuned, and where the domains differ the differences are the ones the race predicts: the strict-prompt change shifts scores harder there, so the anchors fire faster and attribution becomes perfect (240/240). The monitor runs at approximately 0.64 of the cost of strong-judging every item, or 0.21 in a cheaper-but-deafer regime.

We present ACE-Step v1.5, a highly efficient open-source music foundation model that brings commercial-grade generation to consumer hardware. On commonly used evaluation metrics, ACE-Step v1.5 achieves quality beyond most commercial music models while remaining extremely fast -- under 2 seconds per full song on an A100 and under 10 seconds on an RTX 3090. The model runs locally with less than 4GB of VRAM, and supports lightweight personalization: users can train a LoRA from just a few songs to capture their own style. At its core lies a novel hybrid architecture where the Language Model (LM) functions as an omni-capable planner: it transforms simple user queries into comprehensive song blueprints -- scaling from short loops to 10-minute compositions -- while synthesizing metadata, lyrics, and captions via Chain-of-Thought to guide the Diffusion Transformer (DiT). Uniquely, this alignment is achieved through intrinsic reinforcement learning relying solely on the model's internal mechanisms, thereby eliminating the biases inherent in external reward models or human preferences. Beyond standard synthesis, ACE-Step v1.5 unifies precise stylistic control with versatile editing capabilities -- such as cover generation, repainting, and vocal-to-BGM conversion -- while maintaining strict adherence to prompts across 50+ languages. This paves the way for powerful tools that seamlessly integrate into the creative workflows of music artists, producers, and content creators. The code, the model weights and the demo are available at: https://ace-step.github.io/ace-step-v1.5.github.io/

Estimating piano dynamic from audio recordings is a fundamental challenge in computational music analysis. In this paper, we propose an efficient multi-task network that jointly predicts dynamic levels, change points, beats, and downbeats from a shared latent representation. These four targets form the metrical structure of dynamics in the music score. Inspired by recent vocal dynamic research, we use a multi-scale network as the backbone, which takes Bark-scale specific loudness as the input feature. Compared to log-Mel as input, this reduces model size from 14.7 M to 0.5 M, enabling long sequential input. We use a 60-second audio length in audio segmentation, which doubled the length of beat tracking commonly used. Evaluated on the public MazurkaBL dataset, our model achieves state-of-the-art results across all tasks. This work sets a new benchmark for piano dynamic estimation and delivers a powerful and compact tool, paving the way for large-scale, resource-efficient analysis of musical expression.

The consistency model (CM) has recently made significant progress in accelerating the generation of diffusion models. However, its application to high-resolution, text-conditioned image generation in the latent space (a.k.a., LCM) remains unsatisfactory. In this paper, we identify three key flaws in the current design of LCM. We investigate the reasons behind these limitations and propose the Phased Consistency Model (PCM), which generalizes the design space and addresses all identified limitations. Our evaluations demonstrate that PCM significantly outperforms LCM across 1--16 step generation settings. While PCM is specifically designed for multi-step refinement, it achieves even superior or comparable 1-step generation results to previously state-of-the-art specifically designed 1-step methods. Furthermore, we show that PCM's methodology is versatile and applicable to video generation, enabling us to train the state-of-the-art few-step text-to-video generator. More details are available at https://g-u-n.github.io/projects/pcm/.

Generating high-quality full-body dance sequences from music is a challenging task as it requires strict adherence to genre-specific choreography. Moreover, the generated sequences must be both physically realistic and precisely synchronized with the beats and rhythm of the music. To overcome these challenges, we propose GCDance, a classifier-free diffusion framework for generating genre-specific dance motions conditioned on both music and textual prompts. Specifically, our approach extracts music features by combining high-level pre-trained music foundation model features with hand-crafted features for multi-granularity feature fusion. To achieve genre controllability, we leverage CLIP to efficiently embed genre-based textual prompt representations at each time step within our dance generation pipeline. Our GCDance framework can generate diverse dance styles from the same piece of music while ensuring coherence with the rhythm and melody of the music. Extensive experimental results obtained on the FineDance dataset demonstrate that GCDance significantly outperforms the existing state-of-the-art approaches, which also achieve competitive results on the AIST++ dataset. Our ablation and inference time analysis demonstrate that GCDance provides an effective solution for high-quality music-driven dance generation.

Despite deep learning's remarkable advances in style transfer across various domains, generating controllable performance-level musical style transfer for complete symbolically represented musical works remains a challenging area of research. Much of this is owed to limited datasets, especially for genres such as jazz, and the lack of unified models that can handle multiple music generation tasks. This paper presents ImprovNet, a transformer-based architecture that generates expressive and controllable musical improvisations through a self-supervised corruption-refinement training strategy. The improvisational style transfer is aimed at making meaningful modifications to one or more musical elements - melody, harmony or rhythm of the original composition with respect to the target genre. ImprovNet unifies multiple capabilities within a single model: it can perform cross-genre and intra-genre improvisations, harmonize melodies with genre-specific styles, and execute short prompt continuation and infilling tasks. The model's iterative generation framework allows users to control the degree of style transfer and structural similarity to the original composition. Objective and subjective evaluations demonstrate ImprovNet's effectiveness in generating musically coherent improvisations while maintaining structural relationships with the original pieces. The model outperforms Anticipatory Music Transformer in short continuation and infilling tasks and successfully achieves recognizable genre conversion, with 79\% of participants correctly identifying jazz-style improvisations of classical pieces. Our code and demo page can be found at https://github.com/keshavbhandari/improvnet.

Timestep distillation is an effective approach for improving the generation efficiency of diffusion models. The Consistency Model (CM), as a trajectory-based framework, demonstrates significant potential due to its strong theoretical foundation and high-quality few-step generation. Nevertheless, current continuous-time consistency distillation methods still rely heavily on training data and computational resources, hindering their deployment in resource-constrained scenarios and limiting their scalability to diverse domains. To address this issue, we propose Trajectory-Backward Consistency Model (TBCM), which eliminates the dependence on external training data by extracting latent representations directly from the teacher model's generation trajectory. Unlike conventional methods that require VAE encoding and large-scale datasets, our self-contained distillation paradigm significantly improves both efficiency and simplicity. Moreover, the trajectory-extracted samples naturally bridge the distribution gap between training and inference, thereby enabling more effective knowledge transfer. Empirically, TBCM achieves 6.52 FID and 28.08 CLIP scores on MJHQ-30k under one-step generation, while reducing training time by approximately 40% compared to Sana-Sprint and saving a substantial amount of GPU memory, demonstrating superior efficiency without sacrificing quality. We further reveal the diffusion-generation space discrepancy in continuous-time consistency distillation and analyze how sampling strategies affect distillation performance, offering insights for future distillation research. GitHub Link: https://github.com/hustvl/TBCM.

We present Subtractive Training, a simple and novel method for synthesizing individual musical instrument stems given other instruments as context. This method pairs a dataset of complete music mixes with 1) a variant of the dataset lacking a specific stem, and 2) LLM-generated instructions describing how the missing stem should be reintroduced. We then fine-tune a pretrained text-to-audio diffusion model to generate the missing instrument stem, guided by both the existing stems and the text instruction. Our results demonstrate Subtractive Training's efficacy in creating authentic drum stems that seamlessly blend with the existing tracks. We also show that we can use the text instruction to control the generation of the inserted stem in terms of rhythm, dynamics, and genre, allowing us to modify the style of a single instrument in a full song while keeping the remaining instruments the same. Lastly, we extend this technique to MIDI formats, successfully generating compatible bass, drum, and guitar parts for incomplete arrangements.

Current automatic lyrics transcription (ALT) benchmarks focus exclusively on word content and ignore the finer nuances of written lyrics including formatting and punctuation, which leads to a potential misalignment with the creative products of musicians and songwriters as well as listeners' experiences. For example, line breaks are important in conveying information about rhythm, emotional emphasis, rhyme, and high-level structure. To address this issue, we introduce Jam-ALT, a new lyrics transcription benchmark based on the JamendoLyrics dataset. Our contribution is twofold. Firstly, a complete revision of the transcripts, geared specifically towards ALT evaluation by following a newly created annotation guide that unifies the music industry's guidelines, covering aspects such as punctuation, line breaks, spelling, background vocals, and non-word sounds. Secondly, a suite of evaluation metrics designed, unlike the traditional word error rate, to capture such phenomena. We hope that the proposed benchmark contributes to the ALT task, enabling more precise and reliable assessments of transcription systems and enhancing the user experience in lyrics applications such as subtitle renderings for live captioning or karaoke.

Diffusion models have made significant breakthroughs in image, audio, and video generation, but they depend on an iterative generation process that causes slow sampling speed and caps their potential for real-time applications. To overcome this limitation, we propose consistency models, a new family of generative models that achieve high sample quality without adversarial training. They support fast one-step generation by design, while still allowing for few-step sampling to trade compute for sample quality. They also support zero-shot data editing, like image inpainting, colorization, and super-resolution, without requiring explicit training on these tasks. Consistency models can be trained either as a way to distill pre-trained diffusion models, or as standalone generative models. Through extensive experiments, we demonstrate that they outperform existing distillation techniques for diffusion models in one- and few-step generation. For example, we achieve the new state-of-the-art FID of 3.55 on CIFAR-10 and 6.20 on ImageNet 64x64 for one-step generation. When trained as standalone generative models, consistency models also outperform single-step, non-adversarial generative models on standard benchmarks like CIFAR-10, ImageNet 64x64 and LSUN 256x256.

With diffusion and flow matching models achieving state-of-the-art generating performance, the interest of the community now turned to reducing the inference time without sacrificing sample quality. Consistency Models (CMs), which are trained to be consistent on diffusion or probability flow ordinary differential equation (PF-ODE) trajectories, enable one or two-step flow or diffusion sampling. However, CMs typically require prolonged training with large batch sizes to obtain competitive sample quality. In this paper, we examine the training dynamics of CMs near convergence and discover that CM tangents -- CM output update directions -- are quite oscillatory, in the sense that they move parallel to the data manifold, not towards the manifold. To mitigate oscillatory tangents, we propose a new loss function, called the manifold feature distance (MFD), which provides manifold-aligned tangents that point toward the data manifold. Consequently, our method -- dubbed Align Your Tangent (AYT) -- can accelerate CM training by orders of magnitude and even out-perform the learned perceptual image patch similarity metric (LPIPS). Furthermore, we find that our loss enables training with extremely small batch sizes without compromising sample quality. Code: https://github.com/1202kbs/AYT

With rapid advances in generative artificial intelligence, the text-to-music synthesis task has emerged as a promising direction for music generation from scratch. However, finer-grained control over multi-track generation remains an open challenge. Existing models exhibit strong raw generation capability but lack the flexibility to compose separate tracks and combine them in a controllable manner, differing from typical workflows of human composers. To address this issue, we propose JEN-1 Composer, a unified framework to efficiently model marginal, conditional, and joint distributions over multi-track music via a single model. JEN-1 Composer framework exhibits the capacity to seamlessly incorporate any diffusion-based music generation system, e.g. Jen-1, enhancing its capacity for versatile multi-track music generation. We introduce a curriculum training strategy aimed at incrementally instructing the model in the transition from single-track generation to the flexible generation of multi-track combinations. During the inference, users have the ability to iteratively produce and choose music tracks that meet their preferences, subsequently creating an entire musical composition incrementally following the proposed Human-AI co-composition workflow. Quantitative and qualitative assessments demonstrate state-of-the-art performance in controllable and high-fidelity multi-track music synthesis. The proposed JEN-1 Composer represents a significant advance toward interactive AI-facilitated music creation and composition. Demos will be available at https://jenmusic.ai/audio-demos.

Generated video scenes for action-centric sequence descriptions, such as recipe instructions and do-it-yourself projects, often include non-linear patterns, where the next video may need to be visually consistent not with the immediately preceding video but with earlier ones. Current multi-scene video synthesis approaches fail to meet these consistency requirements. To address this, we propose a contrastive sequential video diffusion method that selects the most suitable previously generated scene to guide and condition the denoising process of the next scene. The result is a multi-scene video that is grounded in the scene descriptions and coherent w.r.t. the scenes that require visual consistency. Experiments with action-centered data from the real world demonstrate the practicality and improved consistency of our model compared to previous work.

We introduce Jukebox, a model that generates music with singing in the raw audio domain. We tackle the long context of raw audio using a multi-scale VQ-VAE to compress it to discrete codes, and modeling those using autoregressive Transformers. We show that the combined model at scale can generate high-fidelity and diverse songs with coherence up to multiple minutes. We can condition on artist and genre to steer the musical and vocal style, and on unaligned lyrics to make the singing more controllable. We are releasing thousands of non cherry-picked samples at https://jukebox.openai.com, along with model weights and code at https://github.com/openai/jukebox

Generating music has a few notable differences from generating images and videos. First, music is an art of time, necessitating a temporal model. Second, music is usually composed of multiple instruments/tracks with their own temporal dynamics, but collectively they unfold over time interdependently. Lastly, musical notes are often grouped into chords, arpeggios or melodies in polyphonic music, and thereby introducing a chronological ordering of notes is not naturally suitable. In this paper, we propose three models for symbolic multi-track music generation under the framework of generative adversarial networks (GANs). The three models, which differ in the underlying assumptions and accordingly the network architectures, are referred to as the jamming model, the composer model and the hybrid model. We trained the proposed models on a dataset of over one hundred thousand bars of rock music and applied them to generate piano-rolls of five tracks: bass, drums, guitar, piano and strings. A few intra-track and inter-track objective metrics are also proposed to evaluate the generative results, in addition to a subjective user study. We show that our models can generate coherent music of four bars right from scratch (i.e. without human inputs). We also extend our models to human-AI cooperative music generation: given a specific track composed by human, we can generate four additional tracks to accompany it. All code, the dataset and the rendered audio samples are available at https://salu133445.github.io/musegan/ .

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

Discovering and exploring the underlying structure of multi-instrumental music using learning-based approaches remains an open problem. We extend the recent MusicVAE model to represent multitrack polyphonic measures as vectors in a latent space. Our approach enables several useful operations such as generating plausible measures from scratch, interpolating between measures in a musically meaningful way, and manipulating specific musical attributes. We also introduce chord conditioning, which allows all of these operations to be performed while keeping harmony fixed, and allows chords to be changed while maintaining musical "style". By generating a sequence of measures over a predefined chord progression, our model can produce music with convincing long-term structure. We demonstrate that our latent space model makes it possible to intuitively control and generate musical sequences with rich instrumentation (see https://goo.gl/s2N7dV for generated audio).

Image-to-video (I2V) generation aims to use the initial frame (alongside a text prompt) to create a video sequence. A grand challenge in I2V generation is to maintain visual consistency throughout the video: existing methods often struggle to preserve the integrity of the subject, background, and style from the first frame, as well as ensure a fluid and logical progression within the video narrative. To mitigate these issues, we propose ConsistI2V, a diffusion-based method to enhance visual consistency for I2V generation. Specifically, we introduce (1) spatiotemporal attention over the first frame to maintain spatial and motion consistency, (2) noise initialization from the low-frequency band of the first frame to enhance layout consistency. These two approaches enable ConsistI2V to generate highly consistent videos. We also extend the proposed approaches to show their potential to improve consistency in auto-regressive long video generation and camera motion control. To verify the effectiveness of our method, we propose I2V-Bench, a comprehensive evaluation benchmark for I2V generation. Our automatic and human evaluation results demonstrate the superiority of ConsistI2V over existing methods.

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.

Controllable music generation methods are critical for human-centered AI-based music creation, but are currently limited by speed, quality, and control design trade-offs. Diffusion Inference-Time T-optimization (DITTO), in particular, offers state-of-the-art results, but is over 10x slower than real-time, limiting practical use. We propose Distilled Diffusion Inference-Time T -Optimization (or DITTO-2), a new method to speed up inference-time optimization-based control and unlock faster-than-real-time generation for a wide-variety of applications such as music inpainting, outpainting, intensity, melody, and musical structure control. Our method works by (1) distilling a pre-trained diffusion model for fast sampling via an efficient, modified consistency or consistency trajectory distillation process (2) performing inference-time optimization using our distilled model with one-step sampling as an efficient surrogate optimization task and (3) running a final multi-step sampling generation (decoding) using our estimated noise latents for best-quality, fast, controllable generation. Through thorough evaluation, we find our method not only speeds up generation over 10-20x, but simultaneously improves control adherence and generation quality all at once. Furthermore, we apply our approach to a new application of maximizing text adherence (CLAP score) and show we can convert an unconditional diffusion model without text inputs into a model that yields state-of-the-art text control. Sound examples can be found at https://ditto-music.github.io/ditto2/.

Time-aligned lyrics can enrich the music listening experience by enabling karaoke, text-based song retrieval and intra-song navigation, and other applications. Compared to text-to-speech alignment, lyrics alignment remains highly challenging, despite many attempts to combine numerous sub-modules including vocal separation and detection in an effort to break down the problem. Furthermore, training required fine-grained annotations to be available in some form. Here, we present a novel system based on a modified Wave-U-Net architecture, which predicts character probabilities directly from raw audio using learnt multi-scale representations of the various signal components. There are no sub-modules whose interdependencies need to be optimized. Our training procedure is designed to work with weak, line-level annotations available in the real world. With a mean alignment error of 0.35s on a standard dataset our system outperforms the state-of-the-art by an order of magnitude.

Inferring music time structures has a broad range of applications in music production, processing and analysis. Scholars have proposed various methods to analyze different aspects of time structures, such as beat, downbeat, tempo and meter. Many state-of-the-art (SOFA) methods, however, are computationally expensive. This makes them inapplicable in real-world industrial settings where the scale of the music collections can be millions. This paper proposes a new state space and a semi-Markov model for music time structure analysis. The proposed approach turns the commonly used 2D state spaces into a 1D model through a jump-back reward strategy. It reduces the state spaces size drastically. We then utilize the proposed method for causal, joint beat, downbeat, tempo, and meter tracking, and compare it against several previous methods. The proposed method delivers similar performance with the SOFA joint causal models with a much smaller state space and a more than 30 times speedup.

Large language models (LLMs) often generate convincing, fluent explanations. However, different from humans, they often generate inconsistent explanations on different inputs. For example, an LLM may generate the explanation "all birds can fly" when answering the question "Can sparrows fly?" but meanwhile answer "no" to the related question "Can penguins fly?". Explanations should be consistent across related examples so that they allow a human to simulate the LLM's decision process on multiple examples. We propose explanation-consistency finetuning (EC-finetuning), a method that adapts LLMs to generate more consistent natural-language explanations on related examples. EC-finetuning involves finetuning LLMs on synthetic data that is carefully constructed to contain consistent explanations. Across a variety of question-answering datasets in various domains, EC-finetuning yields a 10.0% relative explanation consistency improvement on four finetuning datasets, and generalizes to seven out-of-distribution datasets not seen during finetuning (+4.5% relative). Code is available at https://github.com/yandachen/explanation-consistency-finetuning .

Despite progress in controllable symbolic music generation, data scarcity remains a challenge for certain control modalities. Composer-style music generation is a prime example, as only a few pieces per composer are available, limiting the modeling of both styles and fundamental music elements (e.g., melody, chord, rhythm). In this paper, we investigate how general music knowledge learned from a broad corpus can enhance the mastery of specific composer styles, with a focus on piano piece generation. Our approach follows a two-stage training paradigm. First, we pre-train a REMI-based music generation model on a large corpus of pop, folk, and classical music. Then, we fine-tune it on a small, human-verified dataset from four renowned composers, namely Bach, Mozart, Beethoven, and Chopin, using a lightweight adapter module to condition the model on style indicators. To evaluate the effectiveness of our approach, we conduct both objective and subjective evaluations on style accuracy and musicality. Experimental results demonstrate that our method outperforms ablations and baselines, achieving more precise composer-style modeling and better musical aesthetics. Additionally, we provide observations on how the model builds music concepts from the generality pre-training and refines its stylistic understanding through the mastery fine-tuning.

Diffusion models have recently shown strong potential in both music generation and music source separation tasks. Although in early stages, a trend is emerging towards integrating these tasks into a single framework, as both involve generating musically aligned parts and can be seen as facets of the same generative process. In this work, we introduce a latent diffusion-based multi-track generation model capable of both source separation and multi-track music synthesis by learning the joint probability distribution of tracks sharing a musical context. Our model also enables arrangement generation by creating any subset of tracks given the others. We trained our model on the Slakh2100 dataset, compared it with an existing simultaneous generation and separation model, and observed significant improvements across objective metrics for source separation, music, and arrangement generation tasks. Sound examples are available at https://msg-ld.github.io/.

Diffusion models have become a popular choice for human motion synthesis due to their powerful generative capabilities. However, their high computational complexity and large sampling steps pose challenges for real-time applications. Fortunately, the Consistency Model (CM) provides a solution to greatly reduce the number of sampling steps from hundreds to a few, typically fewer than four, significantly accelerating the synthesis of diffusion models. However, applying CM to text-conditioned human motion synthesis in latent space yields unsatisfactory generation results. In this paper, we introduce MotionPCM, a phased consistency model-based approach designed to improve the quality and efficiency for real-time motion synthesis in latent space. Experimental results on the HumanML3D dataset show that our model achieves real-time inference at over 30 frames per second in a single sampling step while outperforming the previous state-of-the-art with a 38.9\% improvement in FID. The code will be available for reproduction.

Generative Reward Models (GenRMs) and LLM-as-a-Judge exhibit deceptive alignment by producing correct judgments for incorrect reasons, as they are trained and evaluated to prioritize Outcome Accuracy, which undermines their ability to generalize during RLHF. We introduce Rationale Consistency, a fine-grained metric that quantifies the alignment between the model's reasoning process and human judgment. Our evaluation of frontier models reveals that rationale consistency effectively discriminates among state-of-the-art models and detects deceptive alignment, while outcome accuracy falls short in both respects. To mitigate this gap, we introduce a hybrid signal that combines rationale consistency with outcome accuracy for GenRM training. Our training method achieves state-of-the-art performance on RM-Bench (87.1%) and JudgeBench (82%), surpassing outcome-only baselines by an average of 5%. Using RM during RLHF, our method effectively improves performance as demonstrated on Arena Hard v2, notably yielding a 7% improvement in creative writing tasks. Further analysis confirms that our method escapes the deceptive alignment trap, effectively reversing the decline in rationale consistency observed in outcome-only training.

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.

Recent advancements in music generation have garnered significant attention, yet existing approaches face critical limitations. Some current generative models can only synthesize either the vocal track or the accompaniment track. While some models can generate combined vocal and accompaniment, they typically rely on meticulously designed multi-stage cascading architectures and intricate data pipelines, hindering scalability. Additionally, most systems are restricted to generating short musical segments rather than full-length songs. Furthermore, widely used language model-based methods suffer from slow inference speeds. To address these challenges, we propose DiffRhythm, the first latent diffusion-based song generation model capable of synthesizing complete songs with both vocal and accompaniment for durations of up to 4m45s in only ten seconds, maintaining high musicality and intelligibility. Despite its remarkable capabilities, DiffRhythm is designed to be simple and elegant: it eliminates the need for complex data preparation, employs a straightforward model structure, and requires only lyrics and a style prompt during inference. Additionally, its non-autoregressive structure ensures fast inference speeds. This simplicity guarantees the scalability of DiffRhythm. Moreover, we release the complete training code along with the pre-trained model on large-scale data to promote reproducibility and further research.

Regenerating singing voices with altered lyrics while preserving melody consistency remains challenging, as existing methods either offer limited controllability or require laborious manual alignment. We propose YingMusic-Singer, a fully diffusion-based model enabling melody-controllable singing voice synthesis with flexible lyric manipulation. The model takes three inputs: an optional timbre reference, a melody-providing singing clip, and modified lyrics, without manual alignment. Trained with curriculum learning and Group Relative Policy Optimization, YingMusic-Singer achieves stronger melody preservation and lyric adherence than Vevo2, the most comparable baseline supporting melody control without manual alignment. We also introduce LyricEditBench, the first benchmark for melody-preserving lyric modification evaluation. The code, weights, benchmark, and demos are publicly available at https://github.com/ASLP-lab/YingMusic-Singer.

We introduce a novel task within the field of 3D dance generation, termed dance accompaniment, which necessitates the generation of responsive movements from a dance partner, the "follower", synchronized with the lead dancer's movements and the underlying musical rhythm. Unlike existing solo or group dance generation tasks, a duet dance scenario entails a heightened degree of interaction between the two participants, requiring delicate coordination in both pose and position. To support this task, we first build a large-scale and diverse duet interactive dance dataset, DD100, by recording about 117 minutes of professional dancers' performances. To address the challenges inherent in this task, we propose a GPT-based model, Duolando, which autoregressively predicts the subsequent tokenized motion conditioned on the coordinated information of the music, the leader's and the follower's movements. To further enhance the GPT's capabilities of generating stable results on unseen conditions (music and leader motions), we devise an off-policy reinforcement learning strategy that allows the model to explore viable trajectories from out-of-distribution samplings, guided by human-defined rewards. Based on the collected dataset and proposed method, we establish a benchmark with several carefully designed metrics.

Song generation focuses on producing controllable high-quality songs based on various prompts. However, existing methods struggle to generate vocals and accompaniments with prompt-based control and proper alignment. Additionally, they fall short in supporting various tasks. To address these challenges, we introduce VersBand, a multi-task song generation framework for synthesizing high-quality, aligned songs with prompt-based control. VersBand comprises these primary models: 1) VocalBand, a decoupled model, leverages the flow-matching method for generating singing styles, pitches, and mel-spectrograms, allowing fast, high-quality vocal generation with style control. 2) AccompBand, a flow-based transformer model, incorporates the Band-MOE, selecting suitable experts for enhanced quality, alignment, and control. This model allows for generating controllable, high-quality accompaniments aligned with vocals. 3) Two generation models, LyricBand for lyrics and MelodyBand for melodies, contribute to the comprehensive multi-task song generation system, allowing for extensive control based on multiple prompts. Experimental results demonstrate that VersBand performs better over baseline models across multiple song generation tasks using objective and subjective metrics. Audio samples are available at https://VersBand.github.io.