Daily Papers

Pathology Foundation Models (FMs) hold great promise for healthcare. Before they can be used in clinical practice, it is essential to ensure they are robust to variations between medical centers. We measure whether pathology FMs focus on biological features like tissue and cancer type, or on the well known confounding medical center signatures introduced by staining procedure and other differences. We introduce the Robustness Index. This novel robustness metric reflects to what degree biological features dominate confounding features. Ten current publicly available pathology FMs are evaluated. We find that all current pathology foundation models evaluated represent the medical center to a strong degree. Significant differences in the robustness index are observed. Only one model so far has a robustness index greater than one, meaning biological features dominate confounding features, but only slightly. A quantitative approach to measure the influence of medical center differences on FM-based prediction performance is described. We analyze the impact of unrobustness on classification performance of downstream models, and find that cancer-type classification errors are not random, but specifically attributable to same-center confounders: images of other classes from the same medical center. We visualize FM embedding spaces, and find these are more strongly organized by medical centers than by biological factors. As a consequence, the medical center of origin is predicted more accurately than the tissue source and cancer type. The robustness index introduced here is provided with the aim of advancing progress towards clinical adoption of robust and reliable pathology FMs.

Joint embedding spaces have significantly advanced music understanding and generation by linking text and audio through multimodal contrastive learning. However, these approaches face large memory requirement limitations due to relying on large batch sizes to effectively utilize negative samples. Further, multimodal joint embedding spaces suffer from a modality gap wherein embeddings from different modalities lie in different manifolds of the embedding space. To address these challenges, we propose Siamese Language-Audio Pretraining (SLAP), a novel multimodal pretraining framework that allows learning powerful representations without negative samples. SLAP adapts the Bootstrap Your Own Latent (BYOL) paradigm for multimodal audio-text training, promoting scalability in training multimodal embedding spaces. We illustrate the ability of our model to learn meaningful relationships between music and text -- specifically, we show that SLAP outperforms CLAP on tasks such as text-music retrieval and zero-shot classification. We also observe competitive downstream performance on several MIR tasks, including with larger or supervised models (genre and instrument classification, auto-tagging). Additionally, our approach has attractive properties, such as a quantifiably reduced modality gap and improved robustness to batch size variations on retrieval performance. Finally, its novel formulation unlocks large-scale training on a single GPU through gradient accumulation.

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

Many applications of cross-modal music retrieval are related to connecting sheet music images to audio recordings. A typical and recent approach to this is to learn, via deep neural networks, a joint embedding space that correlates short fixed-size snippets of audio and sheet music by means of an appropriate similarity structure. However, two challenges that arise out of this strategy are the requirement of strongly aligned data to train the networks, and the inherent discrepancies of musical content between audio and sheet music snippets caused by local and global tempo differences. In this paper, we address these two shortcomings by designing a cross-modal recurrent network that learns joint embeddings that can summarize longer passages of corresponding audio and sheet music. The benefits of our method are that it only requires weakly aligned audio-sheet music pairs, as well as that the recurrent network handles the non-linearities caused by tempo variations between audio and sheet music. We conduct a number of experiments on synthetic and real piano data and scores, showing that our proposed recurrent method leads to more accurate retrieval in all possible configurations.

Music two-tower multimodal systems integrate audio and text modalities into a joint audio-text space, enabling direct comparison between songs and their corresponding labels. These systems enable new approaches for classification and retrieval, leveraging both modalities. Despite the promising results they have shown for zero-shot classification and retrieval tasks, closer inspection of the embeddings is needed. This paper evaluates the inherent zero-shot properties of joint audio-text spaces for the case-study of instrument recognition. We present an evaluation and analysis of two-tower systems for zero-shot instrument recognition and a detailed analysis of the properties of the pre-joint and joint embeddings spaces. Our findings suggest that audio encoders alone demonstrate good quality, while challenges remain within the text encoder or joint space projection. Specifically, two-tower systems exhibit sensitivity towards specific words, favoring generic prompts over musically informed ones. Despite the large size of textual encoders, they do not yet leverage additional textual context or infer instruments accurately from their descriptions. Lastly, a novel approach for quantifying the semantic meaningfulness of the textual space leveraging an instrument ontology is proposed. This method reveals deficiencies in the systems' understanding of instruments and provides evidence of the need for fine-tuning text encoders on musical data.

Music tagging is a task to predict the tags of music recordings. However, previous music tagging research primarily focuses on close-set music tagging tasks which can not be generalized to new tags. In this work, we propose a zero-shot music tagging system modeled by a joint music and language attention (JMLA) model to address the open-set music tagging problem. The JMLA model consists of an audio encoder modeled by a pretrained masked autoencoder and a decoder modeled by a Falcon7B. We introduce preceiver resampler to convert arbitrary length audio into fixed length embeddings. We introduce dense attention connections between encoder and decoder layers to improve the information flow between the encoder and decoder layers. We collect a large-scale music and description dataset from the internet. We propose to use ChatGPT to convert the raw descriptions into formalized and diverse descriptions to train the JMLA models. Our proposed JMLA system achieves a zero-shot audio tagging accuracy of 64.82% on the GTZAN dataset, outperforming previous zero-shot systems and achieves comparable results to previous systems on the FMA and the MagnaTagATune datasets.

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

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

Word embedding has become an essential means for text-based information retrieval. Typically, word embeddings are learned from large quantities of general and unstructured text data. However, in the domain of music, the word embedding may have difficulty understanding musical contexts or recognizing music-related entities like artists and tracks. To address this issue, we propose a new approach called Musical Word Embedding (MWE), which involves learning from various types of texts, including both everyday and music-related vocabulary. We integrate MWE into an audio-word joint representation framework for tagging and retrieving music, using words like tag, artist, and track that have different levels of musical specificity. Our experiments show that using a more specific musical word like track results in better retrieval performance, while using a less specific term like tag leads to better tagging performance. To balance this compromise, we suggest multi-prototype training that uses words with different levels of musical specificity jointly. We evaluate both word embedding and audio-word joint embedding on four tasks (tag rank prediction, music tagging, query-by-tag, and query-by-track) across two datasets (Million Song Dataset and MTG-Jamendo). Our findings show that the suggested MWE is more efficient and robust than the conventional word embedding.

In this work, we present a novel method for music emotion recognition that leverages Large Language Model (LLM) embeddings for label alignment across multiple datasets and zero-shot prediction on novel categories. First, we compute LLM embeddings for emotion labels and apply non-parametric clustering to group similar labels, across multiple datasets containing disjoint labels. We use these cluster centers to map music features (MERT) to the LLM embedding space. To further enhance the model, we introduce an alignment regularization that enables dissociation of MERT embeddings from different clusters. This further enhances the model's ability to better adaptation to unseen datasets. We demonstrate the effectiveness of our approach by performing zero-shot inference on a new dataset, showcasing its ability to generalize to unseen labels without additional training.

Hyperbolic embeddings offer excellent quality with few dimensions when embedding hierarchical data structures like synonym or type hierarchies. Given a tree, we give a combinatorial construction that embeds the tree in hyperbolic space with arbitrarily low distortion without using optimization. On WordNet, our combinatorial embedding obtains a mean-average-precision of 0.989 with only two dimensions, while Nickel et al.'s recent construction obtains 0.87 using 200 dimensions. We provide upper and lower bounds that allow us to characterize the precision-dimensionality tradeoff inherent in any hyperbolic embedding. To embed general metric spaces, we propose a hyperbolic generalization of multidimensional scaling (h-MDS). We show how to perform exact recovery of hyperbolic points from distances, provide a perturbation analysis, and give a recovery result that allows us to reduce dimensionality. The h-MDS approach offers consistently low distortion even with few dimensions across several datasets. Finally, we extract lessons from the algorithms and theory above to design a PyTorch-based implementation that can handle incomplete information and is scalable.

Word embedding pioneered by Mikolov et al. is a staple technique for word representations in natural language processing (NLP) research which has also found popularity in music information retrieval tasks. Depending on the type of text data for word embedding, however, vocabulary size and the degree of musical pertinence can significantly vary. In this work, we (1) train the distributed representation of words using combinations of both general text data and music-specific data and (2) evaluate the system in terms of how they associate listening contexts with musical compositions.

A range of applications of multi-modal music information retrieval is centred around the problem of connecting large collections of sheet music (images) to corresponding audio recordings, that is, identifying pairs of audio and score excerpts that refer to the same musical content. One of the typical and most recent approaches to this task employs cross-modal deep learning architectures to learn joint embedding spaces that link the two distinct modalities - audio and sheet music images. While there has been steady improvement on this front over the past years, a number of open problems still prevent large-scale employment of this methodology. In this article we attempt to provide an insightful examination of the current developments on audio-sheet music retrieval via deep learning methods. We first identify a set of main challenges on the road towards robust and large-scale cross-modal music retrieval in real scenarios. We then highlight the steps we have taken so far to address some of these challenges, documenting step-by-step improvement along several dimensions. We conclude by analysing the remaining challenges and present ideas for solving these, in order to pave the way to a unified and robust methodology for cross-modal music retrieval.

The process of reconstructing experiences from human brain activity offers a unique lens into how the brain interprets and represents the world. In this paper, we introduce a method for reconstructing music from brain activity, captured using functional magnetic resonance imaging (fMRI). Our approach uses either music retrieval or the MusicLM music generation model conditioned on embeddings derived from fMRI data. The generated music resembles the musical stimuli that human subjects experienced, with respect to semantic properties like genre, instrumentation, and mood. We investigate the relationship between different components of MusicLM and brain activity through a voxel-wise encoding modeling analysis. Furthermore, we discuss which brain regions represent information derived from purely textual descriptions of music stimuli. We provide supplementary material including examples of the reconstructed music at https://google-research.github.io/seanet/brain2music

Linking sheet music images to audio recordings remains a key problem for the development of efficient cross-modal music retrieval systems. One of the fundamental approaches toward this task is to learn a cross-modal embedding space via deep neural networks that is able to connect short snippets of audio and sheet music. However, the scarcity of annotated data from real musical content affects the capability of such methods to generalize to real retrieval scenarios. In this work, we investigate whether we can mitigate this limitation with self-supervised contrastive learning, by exposing a network to a large amount of real music data as a pre-training step, by contrasting randomly augmented views of snippets of both modalities, namely audio and sheet images. Through a number of experiments on synthetic and real piano data, we show that pre-trained models are able to retrieve snippets with better precision in all scenarios and pre-training configurations. Encouraged by these results, we employ the snippet embeddings in the higher-level task of cross-modal piece identification and conduct more experiments on several retrieval configurations. In this task, we observe that the retrieval quality improves from 30% up to 100% when real music data is present. We then conclude by arguing for the potential of self-supervised contrastive learning for alleviating the annotated data scarcity in multi-modal music retrieval models.

When used with deep learning, the symbolic music modality is often coupled with language model architectures. To do so, the music needs to be tokenized, i.e. converted into a sequence of discrete tokens. This can be achieved by different approaches, as music can be composed of simultaneous tracks, of simultaneous notes with several attributes. Until now, the proposed tokenizations rely on small vocabularies of tokens describing the note attributes and time events, resulting in fairly long token sequences, and a sub-optimal use of the embedding space of language models. Recent research has put efforts on reducing the overall sequence length by merging embeddings or combining tokens. In this paper, we show that Byte Pair Encoding, a compression technique widely used for natural language, significantly decreases the sequence length while increasing the vocabulary size. By doing so, we leverage the embedding capabilities of such models with more expressive tokens, resulting in both better results and faster inference in generation and classification tasks. The source code is shared on Github, along with a companion website. Finally, BPE is directly implemented in MidiTok, allowing the reader to easily benefit from this method.

Efficiently compressing high-dimensional audio signals into a compact and informative latent space is crucial for various tasks, including generative modeling and music information retrieval (MIR). Existing audio autoencoders, however, often struggle to achieve high compression ratios while preserving audio fidelity and facilitating efficient downstream applications. We introduce Music2Latent2, a novel audio autoencoder that addresses these limitations by leveraging consistency models and a novel approach to representation learning based on unordered latent embeddings, which we call summary embeddings. Unlike conventional methods that encode local audio features into ordered sequences, Music2Latent2 compresses audio signals into sets of summary embeddings, where each embedding can capture distinct global features of the input sample. This enables to achieve higher reconstruction quality at the same compression ratio. To handle arbitrary audio lengths, Music2Latent2 employs an autoregressive consistency model trained on two consecutive audio chunks with causal masking, ensuring coherent reconstruction across segment boundaries. Additionally, we propose a novel two-step decoding procedure that leverages the denoising capabilities of consistency models to further refine the generated audio at no additional cost. Our experiments demonstrate that Music2Latent2 outperforms existing continuous audio autoencoders regarding audio quality and performance on downstream tasks. Music2Latent2 paves the way for new possibilities in audio compression.

Several recent publications have proposed methods for mapping images into continuous semantic embedding spaces. In some cases the embedding space is trained jointly with the image transformation. In other cases the semantic embedding space is established by an independent natural language processing task, and then the image transformation into that space is learned in a second stage. Proponents of these image embedding systems have stressed their advantages over the traditional classification framing of image understanding, particularly in terms of the promise for zero-shot learning -- the ability to correctly annotate images of previously unseen object categories. In this paper, we propose a simple method for constructing an image embedding system from any existing image classifier and a semantic word embedding model, which contains the n class labels in its vocabulary. Our method maps images into the semantic embedding space via convex combination of the class label embedding vectors, and requires no additional training. We show that this simple and direct method confers many of the advantages associated with more complex image embedding schemes, and indeed outperforms state of the art methods on the ImageNet zero-shot learning task.

This paper explores the automated process of determining stem compatibility by identifying audio recordings of single instruments that blend well with a given musical context. To tackle this challenge, we present Stem-JEPA, a novel Joint-Embedding Predictive Architecture (JEPA) trained on a multi-track dataset using a self-supervised learning approach. Our model comprises two networks: an encoder and a predictor, which are jointly trained to predict the embeddings of compatible stems from the embeddings of a given context, typically a mix of several instruments. Training a model in this manner allows its use in estimating stem compatibility - retrieving, aligning, or generating a stem to match a given mix - or for downstream tasks such as genre or key estimation, as the training paradigm requires the model to learn information related to timbre, harmony, and rhythm. We evaluate our model's performance on a retrieval task on the MUSDB18 dataset, testing its ability to find the missing stem from a mix and through a subjective user study. We also show that the learned embeddings capture temporal alignment information and, finally, evaluate the representations learned by our model on several downstream tasks, highlighting that they effectively capture meaningful musical features.

We present the Melody Guided Music Generation (MMGen) model, the first novel approach using melody to guide the music generation that, despite a pretty simple method and extremely limited resources, achieves excellent performance. Specifically, we first align the melody with audio waveforms and their associated descriptions using the multimodal alignment module. Subsequently, we condition the diffusion module on the learned melody representations. This allows MMGen to generate music that matches the style of the provided audio while also producing music that reflects the content of the given text description. To address the scarcity of high-quality data, we construct a multi-modal dataset, MusicSet, which includes melody, text, and audio, and will be made publicly available. We conduct extensive experiments which demonstrate the superiority of the proposed model both in terms of experimental metrics and actual performance quality.

Building artificial intelligence (AI) systems on top of a set of foundation models (FMs) is becoming a new paradigm in AI research. Their representative and generative abilities learnt from vast amounts of data can be easily adapted and transferred to a wide range of downstream tasks without extra training from scratch. However, leveraging FMs in cross-modal generation remains under-researched when audio modality is involved. On the other hand, automatically generating semantically-relevant sound from visual input is an important problem in cross-modal generation studies. To solve this vision-to-audio (V2A) generation problem, existing methods tend to design and build complex systems from scratch using modestly sized datasets. In this paper, we propose a lightweight solution to this problem by leveraging foundation models, specifically CLIP, CLAP, and AudioLDM. We first investigate the domain gap between the latent space of the visual CLIP and the auditory CLAP models. Then we propose a simple yet effective mapper mechanism (V2A-Mapper) to bridge the domain gap by translating the visual input between CLIP and CLAP spaces. Conditioned on the translated CLAP embedding, pretrained audio generative FM AudioLDM is adopted to produce high-fidelity and visually-aligned sound. Compared to previous approaches, our method only requires a quick training of the V2A-Mapper. We further analyze and conduct extensive experiments on the choice of the V2A-Mapper and show that a generative mapper is better at fidelity and variability (FD) while a regression mapper is slightly better at relevance (CS). Both objective and subjective evaluation on two V2A datasets demonstrate the superiority of our proposed method compared to current state-of-the-art approaches - trained with 86% fewer parameters but achieving 53% and 19% improvement in FD and CS, respectively.

Multimodal music generation aims to produce music from diverse input modalities, including text, videos, and images. Existing methods use a common embedding space for multimodal fusion. Despite their effectiveness in other modalities, their application in multimodal music generation faces challenges of data scarcity, weak cross-modal alignment, and limited controllability. This paper addresses these issues by using explicit bridges of text and music for multimodal alignment. We introduce a novel method named Visuals Music Bridge (VMB). Specifically, a Multimodal Music Description Model converts visual inputs into detailed textual descriptions to provide the text bridge; a Dual-track Music Retrieval module that combines broad and targeted retrieval strategies to provide the music bridge and enable user control. Finally, we design an Explicitly Conditioned Music Generation framework to generate music based on the two bridges. We conduct experiments on video-to-music, image-to-music, text-to-music, and controllable music generation tasks, along with experiments on controllability. The results demonstrate that VMB significantly enhances music quality, modality, and customization alignment compared to previous methods. VMB sets a new standard for interpretable and expressive multimodal music generation with applications in various multimedia fields. Demos and code are available at https://github.com/wbs2788/VMB.

In this paper, we learn disentangled representations of timbre and pitch for musical instrument sounds. We adapt a framework based on variational autoencoders with Gaussian mixture latent distributions. Specifically, we use two separate encoders to learn distinct latent spaces for timbre and pitch, which form Gaussian mixture components representing instrument identity and pitch, respectively. For reconstruction, latent variables of timbre and pitch are sampled from corresponding mixture components, and are concatenated as the input to a decoder. We show the model efficacy by latent space visualization, and a quantitative analysis indicates the discriminability of these spaces, even with a limited number of instrument labels for training. The model allows for controllable synthesis of selected instrument sounds by sampling from the latent spaces. To evaluate this, we trained instrument and pitch classifiers using original labeled data. These classifiers achieve high accuracy when tested on our synthesized sounds, which verifies the model performance of controllable realistic timbre and pitch synthesis. Our model also enables timbre transfer between multiple instruments, with a single autoencoder architecture, which is evaluated by measuring the shift in posterior of instrument classification. Our in depth evaluation confirms the model ability to successfully disentangle timbre and pitch.

Graphs can be leveraged to model polyphonic multitrack symbolic music, where notes, chords and entire sections may be linked at different levels of the musical hierarchy by tonal and rhythmic relationships. Nonetheless, there is a lack of works that consider graph representations in the context of deep learning systems for music generation. This paper bridges this gap by introducing a novel graph representation for music and a deep Variational Autoencoder that generates the structure and the content of musical graphs separately, one after the other, with a hierarchical architecture that matches the structural priors of music. By separating the structure and content of musical graphs, it is possible to condition generation by specifying which instruments are played at certain times. This opens the door to a new form of human-computer interaction in the context of music co-creation. After training the model on existing MIDI datasets, the experiments show that the model is able to generate appealing short and long musical sequences and to realistically interpolate between them, producing music that is tonally and rhythmically consistent. Finally, the visualization of the embeddings shows that the model is able to organize its latent space in accordance with known musical concepts.

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

Music tagging and content-based retrieval systems have traditionally been constructed using pre-defined ontologies covering a rigid set of music attributes or text queries. This paper presents MuLan: a first attempt at a new generation of acoustic models that link music audio directly to unconstrained natural language music descriptions. MuLan takes the form of a two-tower, joint audio-text embedding model trained using 44 million music recordings (370K hours) and weakly-associated, free-form text annotations. Through its compatibility with a wide range of music genres and text styles (including conventional music tags), the resulting audio-text representation subsumes existing ontologies while graduating to true zero-shot functionalities. We demonstrate the versatility of the MuLan embeddings with a range of experiments including transfer learning, zero-shot music tagging, language understanding in the music domain, and cross-modal retrieval applications.

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.

We propose Wav2CLIP, a robust audio representation learning method by distilling from Contrastive Language-Image Pre-training (CLIP). We systematically evaluate Wav2CLIP on a variety of audio tasks including classification, retrieval, and generation, and show that Wav2CLIP can outperform several publicly available pre-trained audio representation algorithms. Wav2CLIP projects audio into a shared embedding space with images and text, which enables multimodal applications such as zero-shot classification, and cross-modal retrieval. Furthermore, Wav2CLIP needs just ~10% of the data to achieve competitive performance on downstream tasks compared with fully supervised models, and is more efficient to pre-train than competing methods as it does not require learning a visual model in concert with an auditory model. Finally, we demonstrate image generation from Wav2CLIP as qualitative assessment of the shared embedding space. Our code and model weights are open sourced and made available for further applications.

Instance embeddings are an efficient and versatile image representation that facilitates applications like recognition, verification, retrieval, and clustering. Many metric learning methods represent the input as a single point in the embedding space. Often the distance between points is used as a proxy for match confidence. However, this can fail to represent uncertainty arising when the input is ambiguous, e.g., due to occlusion or blurriness. This work addresses this issue and explicitly models the uncertainty by hedging the location of each input in the embedding space. We introduce the hedged instance embedding (HIB) in which embeddings are modeled as random variables and the model is trained under the variational information bottleneck principle. Empirical results on our new N-digit MNIST dataset show that our method leads to the desired behavior of hedging its bets across the embedding space upon encountering ambiguous inputs. This results in improved performance for image matching and classification tasks, more structure in the learned embedding space, and an ability to compute a per-exemplar uncertainty measure that is correlated with downstream performance.

We investigate compositional structures in data embeddings from pre-trained vision-language models (VLMs). Traditionally, compositionality has been associated with algebraic operations on embeddings of words from a pre-existing vocabulary. In contrast, we seek to approximate representations from an encoder as combinations of a smaller set of vectors in the embedding space. These vectors can be seen as "ideal words" for generating concepts directly within the embedding space of the model. We first present a framework for understanding compositional structures from a geometric perspective. We then explain what these compositional structures entail probabilistically in the case of VLM embeddings, providing intuitions for why they arise in practice. Finally, we empirically explore these structures in CLIP's embeddings and we evaluate their usefulness for solving different vision-language tasks such as classification, debiasing, and retrieval. Our results show that simple linear algebraic operations on embedding vectors can be used as compositional and interpretable methods for regulating the behavior of VLMs.

Embedding models have been crucial in enabling various downstream tasks such as semantic similarity, information retrieval, and clustering. Recently, there has been a surge of interest in developing universal text embedding models that can generalize across tasks (e.g., MTEB). However, progress in learning universal multimodal embedding models has been relatively slow despite their importance. In this work, we aim to explore the potential for building universal embeddings capable of handling a wide range of downstream tasks. Our contributions are twofold: (1) MMEB (Massive Multimodal Embedding Benchmark), which covers 4 meta-tasks (i.e. classification, visual question answering, multimodal retrieval, and visual grounding) and 36 datasets, including 20 training and 16 evaluation datasets, and (2) VLM2Vec (Vision-Language Model -> Vector), a contrastive training framework that converts any state-of-the-art vision-language model into an embedding model via training on MMEB. Unlike previous models such as CLIP and BLIP, VLM2Vec can process any combination of images and text to generate a fixed-dimensional vector based on task instructions. We build a series of VLM2Vec models on Phi-3.5-V and evaluate them on MMEB's evaluation split. Our results show that \model achieves an absolute average improvement of 10% to 20% over existing multimodal embedding models on both in-distribution and out-of-distribution datasets in MMEB.

Zero-shot learning (ZSL) models rely on learning a joint embedding space where both textual/semantic description of object classes and visual representation of object images can be projected to for nearest neighbour search. Despite the success of deep neural networks that learn an end-to-end model between text and images in other vision problems such as image captioning, very few deep ZSL model exists and they show little advantage over ZSL models that utilise deep feature representations but do not learn an end-to-end embedding. In this paper we argue that the key to make deep ZSL models succeed is to choose the right embedding space. Instead of embedding into a semantic space or an intermediate space, we propose to use the visual space as the embedding space. This is because that in this space, the subsequent nearest neighbour search would suffer much less from the hubness problem and thus become more effective. This model design also provides a natural mechanism for multiple semantic modalities (e.g., attributes and sentence descriptions) to be fused and optimised jointly in an end-to-end manner. Extensive experiments on four benchmarks show that our model significantly outperforms the existing models. Code is available at https://github.com/lzrobots/DeepEmbeddingModel_ZSL

This paper considers the problem of undersampled MRI reconstruction. We propose a novel Transformer-based framework for directly processing signal in k-space, going beyond the limitation of regular grids as ConvNets do. We adopt an implicit representation of k-space spectrogram, treating spatial coordinates as inputs, and dynamically query the sparsely sampled points to reconstruct the spectrogram, i.e. learning the inductive bias in k-space. To strike a balance between computational cost and reconstruction quality, we build the decoder with hierarchical structure to generate low-resolution and high-resolution outputs respectively. To validate the effectiveness of our proposed method, we have conducted extensive experiments on two public datasets, and demonstrate superior or comparable performance to state-of-the-art approaches.

How does audio describe the world around us? In this work, we propose a method for generating images of visual scenes from diverse in-the-wild sounds. This cross-modal generation task is challenging due to the significant information gap between auditory and visual signals. We address this challenge by designing a model that aligns audio-visual modalities by enriching audio features with visual information and translating them into the visual latent space. These features are then fed into the pre-trained image generator to produce images. To enhance image quality, we use sound source localization to select audio-visual pairs with strong cross-modal correlations. Our method achieves substantially better results on the VEGAS and VGGSound datasets compared to previous work and demonstrates control over the generation process through simple manipulations to the input waveform or latent space. Furthermore, we analyze the geometric properties of the learned embedding space and demonstrate that our learning approach effectively aligns audio-visual signals for cross-modal generation. Based on this analysis, we show that our method is agnostic to specific design choices, showing its generalizability by integrating various model architectures and different types of audio-visual data.

Playlists have become a significant part of our listening experience because of the digital cloud-based services such as Spotify, Pandora, Apple Music. Owing to the meteoric rise in the usage of playlists, recommending playlists is crucial to music services today. Although there has been a lot of work done in playlist prediction, the area of playlist representation hasn't received that level of attention. Over the last few years, sequence-to-sequence models, especially in the field of natural language processing, have shown the effectiveness of learned embeddings in capturing the semantic characteristics of sequences. We can apply similar concepts to music to learn fixed length representations for playlists and use those representations for downstream tasks such as playlist discovery, browsing, and recommendation. In this work, we formulate the problem of learning a fixed-length playlist representation in an unsupervised manner, using Sequence-to-sequence (Seq2seq) models, interpreting playlists as sentences and songs as words. We compare our model with two other encoding architectures for baseline comparison. We evaluate our work using the suite of tasks commonly used for assessing sentence embeddings, along with a few additional tasks pertaining to music, and a recommendation task to study the traits captured by the playlist embeddings and their effectiveness for the purpose of music recommendation.

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

Vector space embedding models like word2vec, GloVe, fastText, and ELMo are extremely popular representations in natural language processing (NLP) applications. We present Magnitude, a fast, lightweight tool for utilizing and processing embeddings. Magnitude is an open source Python package with a compact vector storage file format that allows for efficient manipulation of huge numbers of embeddings. Magnitude performs common operations up to 60 to 6,000 times faster than Gensim. Magnitude introduces several novel features for improved robustness like out-of-vocabulary lookups.

We introduce the Free Music Archive (FMA), an open and easily accessible dataset suitable for evaluating several tasks in MIR, a field concerned with browsing, searching, and organizing large music collections. The community's growing interest in feature and end-to-end learning is however restrained by the limited availability of large audio datasets. The FMA aims to overcome this hurdle by providing 917 GiB and 343 days of Creative Commons-licensed audio from 106,574 tracks from 16,341 artists and 14,854 albums, arranged in a hierarchical taxonomy of 161 genres. It provides full-length and high-quality audio, pre-computed features, together with track- and user-level metadata, tags, and free-form text such as biographies. We here describe the dataset and how it was created, propose a train/validation/test split and three subsets, discuss some suitable MIR tasks, and evaluate some baselines for genre recognition. Code, data, and usage examples are available at https://github.com/mdeff/fma

Text-to-Music Retrieval, finding music based on a given natural language query, plays a pivotal role in content discovery within extensive music databases. To address this challenge, prior research has predominantly focused on a joint embedding of music audio and text, utilizing it to retrieve music tracks that exactly match descriptive queries related to musical attributes (i.e. genre, instrument) and contextual elements (i.e. mood, theme). However, users also articulate a need to explore music that shares similarities with their favorite tracks or artists, such as I need a similar track to Superstition by Stevie Wonder. To address these concerns, this paper proposes an improved Text-to-Music Retrieval model, denoted as TTMR++, which utilizes rich text descriptions generated with a finetuned large language model and metadata. To accomplish this, we obtained various types of seed text from several existing music tag and caption datasets and a knowledge graph dataset of artists and tracks. The experimental results show the effectiveness of TTMR++ in comparison to state-of-the-art music-text joint embedding models through a comprehensive evaluation involving various musical text queries.

We demonstrate that language models pre-trained on codified (discretely-encoded) music audio learn representations that are useful for downstream MIR tasks. Specifically, we explore representations from Jukebox (Dhariwal et al. 2020): a music generation system containing a language model trained on codified audio from 1M songs. To determine if Jukebox's representations contain useful information for MIR, we use them as input features to train shallow models on several MIR tasks. Relative to representations from conventional MIR models which are pre-trained on tagging, we find that using representations from Jukebox as input features yields 30% stronger performance on average across four MIR tasks: tagging, genre classification, emotion recognition, and key detection. For key detection, we observe that representations from Jukebox are considerably stronger than those from models pre-trained on tagging, suggesting that pre-training via codified audio language modeling may address blind spots in conventional approaches. We interpret the strength of Jukebox's representations as evidence that modeling audio instead of tags provides richer representations for MIR.

Similarity between training examples is used to curate pretraining datasets for language models by many methods -- for diversification and to select examples similar to high-quality data. However, similarity is typically measured with off-the-shelf embedding models that are generic or trained for tasks such as retrieval. This paper introduces a framework to analyze the suitability of embedding models specifically for data curation in the language model pretraining setting. We quantify the correlation between similarity in the embedding space to similarity in pretraining loss between different training examples, and how diversifying in the embedding space affects pretraining quality. We analyze a variety of embedding models in our framework, with experiments using the Pile dataset for pretraining a 1.7B parameter decoder-only language model. We find that the embedding models we consider are all useful for pretraining data curation. Moreover, a simple approach of averaging per-token embeddings proves to be surprisingly competitive with more sophisticated embedding models -- likely because the latter are not designed specifically for pretraining data curation. Indeed, we believe our analysis and evaluation framework can serve as a foundation for the design of embedding models that specifically reason about similarity in pretraining datasets.

Due to the increased demand for music streaming/recommender services and the recent developments of music information retrieval frameworks, Music Genre Classification (MGC) has attracted the community's attention. However, convolutional-based approaches are known to lack the ability to efficiently encode and localize temporal features. In this paper, we study the broadcast-based neural networks aiming to improve the localization and generalizability under a small set of parameters (about 180k) and investigate twelve variants of broadcast networks discussing the effect of block configuration, pooling method, activation function, normalization mechanism, label smoothing, channel interdependency, LSTM block inclusion, and variants of inception schemes. Our computational experiments using relevant datasets such as GTZAN, Extended Ballroom, HOMBURG, and Free Music Archive (FMA) show state-of-the-art classification accuracies in Music Genre Classification. Our approach offers insights and the potential to enable compact and generalizable broadcast networks for music and audio classification.

In recent years supervised representation learning has provided state of the art or close to the state of the art results in semantic analysis tasks including ranking and information retrieval. The core idea is to learn how to embed items into a latent space such that they optimize a supervised objective in that latent space. The dimensions of the latent space have no clear semantics, and this reduces the interpretability of the system. For example, in personalization models, it is hard to explain why a particular item is ranked high for a given user profile. We propose a novel model of representation learning called Supervised Explicit Semantic Analysis (SESA) that is trained in a supervised fashion to embed items to a set of dimensions with explicit semantics. The model learns to compare two objects by representing them in this explicit space, where each dimension corresponds to a concept from a knowledge base. This work extends Explicit Semantic Analysis (ESA) with a supervised model for ranking problems. We apply this model to the task of Job-Profile relevance in LinkedIn in which a set of skills defines our explicit dimensions of the space. Every profile and job are encoded to this set of skills their similarity is calculated in this space. We use RNNs to embed text input into this space. In addition to interpretability, our model makes use of the web-scale collaborative skills data that is provided by users for each LinkedIn profile. Our model provides state of the art result while it remains interpretable.

We introduce Noise2Music, where a series of diffusion models is trained to generate high-quality 30-second music clips from text prompts. Two types of diffusion models, a generator model, which generates an intermediate representation conditioned on text, and a cascader model, which generates high-fidelity audio conditioned on the intermediate representation and possibly the text, are trained and utilized in succession to generate high-fidelity music. We explore two options for the intermediate representation, one using a spectrogram and the other using audio with lower fidelity. We find that the generated audio is not only able to faithfully reflect key elements of the text prompt such as genre, tempo, instruments, mood, and era, but goes beyond to ground fine-grained semantics of the prompt. Pretrained large language models play a key role in this story -- they are used to generate paired text for the audio of the training set and to extract embeddings of the text prompts ingested by the diffusion models. Generated examples: https://google-research.github.io/noise2music

This paper presents a novel approach to neural instrument sound synthesis using a two-stage semi-supervised learning framework capable of generating pitch-accurate, high-quality music samples from an expressive timbre latent space. Existing approaches that achieve sufficient quality for music production often rely on high-dimensional latent representations that are difficult to navigate and provide unintuitive user experiences. We address this limitation through a two-stage training paradigm: first, we train a pitch-timbre disentangled 2D representation of audio samples using a Variational Autoencoder; second, we use this representation as conditioning input for a Transformer-based generative model. The learned 2D latent space serves as an intuitive interface for navigating and exploring the sound landscape. We demonstrate that the proposed method effectively learns a disentangled timbre space, enabling expressive and controllable audio generation with reliable pitch conditioning. Experimental results show the model's ability to capture subtle variations in timbre while maintaining a high degree of pitch accuracy. The usability of our method is demonstrated in an interactive web application, highlighting its potential as a step towards future music production environments that are both intuitive and creatively empowering: https://pgesam.faresschulz.com

The word embedding space in neural models is skewed, and correcting this can improve task performance. We point out that most approaches for modeling, correcting, and measuring the symmetry of an embedding space implicitly assume that the word frequencies are uniform; in reality, word frequencies follow a highly non-uniform distribution, known as Zipf's law. Surprisingly, simply performing PCA whitening weighted by the empirical word frequency that follows Zipf's law significantly improves task performance, surpassing established baselines. From a theoretical perspective, both our approach and existing methods can be clearly categorized: word representations are distributed according to an exponential family with either uniform or Zipfian base measures. By adopting the latter approach, we can naturally emphasize informative low-frequency words in terms of their vector norm, which becomes evident from the information-geometric perspective, and in terms of the loss functions for imbalanced classification. Additionally, our theory corroborates that popular natural language processing methods, such as skip-gram negative sampling, WhiteningBERT, and headless language models, work well just because their word embeddings encode the empirical word frequency into the underlying probabilistic model.

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

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.

Despite Multi-modal Large Language Models (MM-LLMs) have made exciting strides recently, they are still struggling to efficiently model the interactions among multi-modal inputs and the generation in non-textual modalities. In this work, we propose TEAL (Tokenize and Embed ALl)}, an approach to treat the input from any modality as a token sequence and learn a joint embedding space for all modalities. Specifically, for the input from any modality, TEAL first discretizes it into a token sequence with the off-the-shelf tokenizer and embeds the token sequence into a joint embedding space with a learnable embedding matrix. MM-LLMs just need to predict the multi-modal tokens autoregressively as the textual LLMs do. Finally, the corresponding de-tokenizer is applied to generate the output in each modality based on the predicted token sequence. With the joint embedding space, TEAL enables the frozen LLMs to perform both understanding and generation tasks involving non-textual modalities, such as image and audio. Thus, the textual LLM can just work as an interface and maintain its high performance in textual understanding and generation. Experiments show that TEAL achieves substantial improvements in multi-modal understanding, and implements a simple scheme for multi-modal generations.

Recently, there has been a growing interest in leveraging pre-trained large language models (LLMs) for various time series applications. However, the semantic space of LLMs, established through the pre-training, is still underexplored and may help yield more distinctive and informative representations to facilitate time series forecasting. To this end, we propose Semantic Space Informed Prompt learning with LLM (S^2IP-LLM) to align the pre-trained semantic space with time series embeddings space and perform time series forecasting based on learned prompts from the joint space. We first design a tokenization module tailored for cross-modality alignment, which explicitly concatenates patches of decomposed time series components to create embeddings that effectively encode the temporal dynamics. Next, we leverage the pre-trained word token embeddings to derive semantic anchors and align selected anchors with time series embeddings by maximizing the cosine similarity in the joint space. This way, S^2IP-LLM can retrieve relevant semantic anchors as prompts to provide strong indicators (context) for time series that exhibit different temporal dynamics. With thorough empirical studies on multiple benchmark datasets, we demonstrate that the proposed S^2IP-LLM can achieve superior forecasting performance over state-of-the-art baselines. Furthermore, our ablation studies and visualizations verify the necessity of prompt learning informed by semantic space.

Learnable embedding vector is one of the most important applications in machine learning, and is widely used in various database-related domains. However, the high dimensionality of sparse data in recommendation tasks and the huge volume of corpus in retrieval-related tasks lead to a large memory consumption of the embedding table, which poses a great challenge to the training and deployment of models. Recent research has proposed various methods to compress the embeddings at the cost of a slight decrease in model quality or the introduction of other overheads. Nevertheless, the relative performance of these methods remains unclear. Existing experimental comparisons only cover a subset of these methods and focus on limited metrics. In this paper, we perform a comprehensive comparative analysis and experimental evaluation of embedding compression. We introduce a new taxonomy that categorizes these techniques based on their characteristics and methodologies, and further develop a modular benchmarking framework that integrates 14 representative methods. Under a uniform test environment, our benchmark fairly evaluates each approach, presents their strengths and weaknesses under different memory budgets, and recommends the best method based on the use case. In addition to providing useful guidelines, our study also uncovers the limitations of current methods and suggests potential directions for future research.

Representation learning has become an invaluable approach for learning from symbolic data such as text and graphs. However, while complex symbolic datasets often exhibit a latent hierarchical structure, state-of-the-art methods typically learn embeddings in Euclidean vector spaces, which do not account for this property. For this purpose, we introduce a new approach for learning hierarchical representations of symbolic data by embedding them into hyperbolic space -- or more precisely into an n-dimensional Poincar\'e ball. Due to the underlying hyperbolic geometry, this allows us to learn parsimonious representations of symbolic data by simultaneously capturing hierarchy and similarity. We introduce an efficient algorithm to learn the embeddings based on Riemannian optimization and show experimentally that Poincar\'e embeddings outperform Euclidean embeddings significantly on data with latent hierarchies, both in terms of representation capacity and in terms of generalization ability.

Machine learning models -- including prominent zero-shot models -- are often trained on datasets whose labels are only a small proportion of a larger label space. Such spaces are commonly equipped with a metric that relates the labels via distances between them. We propose a simple approach to exploit this information to adapt the trained model to reliably predict new classes -- or, in the case of zero-shot prediction, to improve its performance -- without any additional training. Our technique is a drop-in replacement of the standard prediction rule, swapping argmax with the Fr\'echet mean. We provide a comprehensive theoretical analysis for this approach, studying (i) learning-theoretic results trading off label space diameter, sample complexity, and model dimension, (ii) characterizations of the full range of scenarios in which it is possible to predict any unobserved class, and (iii) an optimal active learning-like next class selection procedure to obtain optimal training classes for when it is not possible to predict the entire range of unobserved classes. Empirically, using easily-available external metrics, our proposed approach, Loki, gains up to 29.7% relative improvement over SimCLR on ImageNet and scales to hundreds of thousands of classes. When no such metric is available, Loki can use self-derived metrics from class embeddings and obtains a 10.5% improvement on pretrained zero-shot models such as CLIP.

Learning feature representations of geographical space is vital for any machine learning model that integrates geolocated data, spanning application domains such as remote sensing, ecology, or epidemiology. Recent work mostly embeds coordinates using sine and cosine projections based on Double Fourier Sphere (DFS) features -- these embeddings assume a rectangular data domain even on global data, which can lead to artifacts, especially at the poles. At the same time, relatively little attention has been paid to the exact design of the neural network architectures these functional embeddings are combined with. This work proposes a novel location encoder for globally distributed geographic data that combines spherical harmonic basis functions, natively defined on spherical surfaces, with sinusoidal representation networks (SirenNets) that can be interpreted as learned Double Fourier Sphere embedding. We systematically evaluate the cross-product of positional embeddings and neural network architectures across various classification and regression benchmarks and synthetic evaluation datasets. In contrast to previous approaches that require the combination of both positional encoding and neural networks to learn meaningful representations, we show that both spherical harmonics and sinusoidal representation networks are competitive on their own but set state-of-the-art performances across tasks when combined. We provide source code at www.github.com/marccoru/locationencoder

One of the main methods for computational interpretation of a text is mapping it into a vector in some embedding space. Such vectors can then be used for a variety of textual processing tasks. Recently, most embedding spaces are a product of training large language models (LLMs). One major drawback of this type of representation is their incomprehensibility to humans. Understanding the embedding space is crucial for several important needs, including the need to debug the embedding method and compare it to alternatives, and the need to detect biases hidden in the model. In this paper, we present a novel method of understanding embeddings by transforming a latent embedding space into a comprehensible conceptual space. We present an algorithm for deriving a conceptual space with dynamic on-demand granularity. We devise a new evaluation method, using either human rater or LLM-based raters, to show that the conceptualized vectors indeed represent the semantics of the original latent ones. We show the use of our method for various tasks, including comparing the semantics of alternative models and tracing the layers of the LLM. The code is available online https://github.com/adiSimhi/Interpreting-Embedding-Spaces-by-Conceptualization.

A crucial component of many deep learning applications (such as FAQ and RAG) is dense retrieval, in which embedding models are used to convert raw text to numerical vectors and then get the most similar text by MIPS (Maximum Inner Product Search). Some text embedding benchmarks (e.g. MTEB, BEIR, and AIR-Bench) have been established to evaluate embedding models accurately. Thanks to these benchmarks, we can use SOTA models; however, the deployment and application of these models in industry were hampered by their large vector dimensions and numerous parameters. To alleviate this problem, 1) we present a distillation technique that can enable a smaller student model to achieve good performance. 2) Inspired by MRL we present a training approach of reducing the vector dimensions based on its own vectors or its teacher vectors. 3) We do simple yet effective alignment training between images and text to make our model a multimodal encoder. We trained Stella and Jasper models using the technologies above and achieved high scores on the MTEB leaderboard. We release the model and data at Hugging Face Hub (https://huggingface.co/infgrad/jasper_en_vision_language_v1) and the training logs are at https://api.wandb.ai/links/dunnzhang0/z8jqoqpb.

Pre-trained foundation models have demonstrated remarkable success in vision and language, yet their potential for general machine signal modeling-covering acoustic, vibration, and other industrial sensor data-remains under-explored. Existing approach using sub-band-based encoders has achieved competitive results but are limited by fixed input lengths, and the absence of explicit frequency positional encoding. In this work, we propose a novel foundation model that integrates an advanced band-split architecture with relative frequency positional embeddings, enabling precise spectral localization across arbitrary sampling configurations. The model supports inputs of arbitrary length without padding or segmentation, producing a concise embedding that retains both temporal and spectral fidelity. We evaluate our method on SIREN (https://github.com/yucongzh/SIREN), a newly introduced large-scale benchmark for machine signal encoding that unifies multiple datasets, including all DCASE task 2 challenges (2020-2025) and widely-used industrial signal corpora. Experimental results demonstrate consistent state-of-the-art performance in anomaly detection and fault identification, confirming the effectiveness and generalization capability of the proposed model. We open-sourced ECHO on https://github.com/yucongzh/ECHO.

Large Language Models (LLMs) have shown immense potential in multimodal applications, yet the convergence of textual and musical domains remains relatively unexplored. To address this gap, we present MusiLingo, a novel system for music caption generation and music-related query responses. MusiLingo employs a single projection layer to align music representations from the pre-trained frozen music audio model MERT with the frozen LLaMA language model, bridging the gap between music audio and textual contexts. We train it on an extensive music caption dataset and fine-tune it with instructional data. Due to the scarcity of high-quality music Q&A datasets, we created the MusicInstruct (MI) dataset from MusicCaps, tailored for open-ended music inquiries. Empirical evaluations demonstrate its competitive performance in generating music captions and composing music-related Q&A pairs. Our introduced dataset enables notable advancements beyond previous ones.

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.

Recent music generation methods based on transformers have a context window of up to a minute. The music generated by these methods is largely unstructured beyond the context window. With a longer context window, learning long-scale structures from musical data is a prohibitively challenging problem. This paper proposes integrating a text-to-music model with a large language model to generate music with form. The papers discusses the solutions to the challenges of such integration. The experimental results show that the proposed method can generate 2.5-minute-long music that is highly structured, strongly organized, and cohesive.

Multimodal Large Language Models (MLLMs) have achieved remarkable visual reasoning abilities in natural images, text-rich documents, and graphic designs. However, their ability to interpret music sheets remains underexplored. To bridge this gap, we introduce MusiXQA, the first comprehensive dataset for evaluating and advancing MLLMs in music sheet understanding. MusiXQA features high-quality synthetic music sheets generated via MusiXTeX, with structured annotations covering note pitch and duration, chords, clefs, key/time signatures, and text, enabling diverse visual QA tasks. Through extensive evaluations, we reveal significant limitations of current state-of-the-art MLLMs in this domain. Beyond benchmarking, we developed Phi-3-MusiX, an MLLM fine-tuned on our dataset, achieving significant performance gains over GPT-based methods. The proposed dataset and model establish a foundation for future advances in MLLMs for music sheet understanding. Code, data, and model will be released upon acceptance.

The widespread adoption of scalable mobile sensing has led to large amounts of time series data for real-world applications. A fundamental application is multivariate time series forecasting (MTSF), which aims to predict future time series values based on historical observations. Existing MTSF methods suffer from limited parameterization and small-scale training data. Recently, Large language models (LLMs) have been introduced in time series, which achieve promising forecasting performance but incur heavy computational costs. To solve these challenges, we propose TimeCMA, an LLM-empowered framework for time series forecasting with cross-modality alignment. We design a dual-modality encoding module with two branches, where the time series encoding branch extracts relatively low-quality yet pure embeddings of time series through an inverted Transformer. In addition, the LLM-empowered encoding branch wraps the same time series as prompts to obtain high-quality yet entangled prompt embeddings via a Pre-trained LLM. Then, we design a cross-modality alignment module to retrieve high-quality and pure time series embeddings from the prompt embeddings. Moreover, we develop a time series forecasting module to decode the aligned embeddings while capturing dependencies among multiple variables for forecasting. Notably, we tailor the prompt to encode sufficient temporal information into a last token and design the last token embedding storage to reduce computational costs. Extensive experiments on real data offer insight into the accuracy and efficiency of the proposed framework.

We study the capabilities of generative autoregressive transformer models trained on large amounts of symbolic solo-piano transcriptions. After first pretraining on approximately 60,000 hours of music, we use a comparatively smaller, high-quality subset, to finetune models to produce musical continuations, perform symbolic classification tasks, and produce general-purpose contrastive MIDI embeddings by adapting the SimCLR framework to symbolic music. When evaluating piano continuation coherence, our generative model outperforms leading symbolic generation techniques and remains competitive with proprietary audio generation models. On MIR classification benchmarks, frozen representations from our contrastive model achieve state-of-the-art results in linear probe experiments, while direct finetuning demonstrates the generalizability of pretrained representations, often requiring only a few hundred labeled examples to specialize to downstream tasks.

Large-scale vision-language models (VLMs) like CLIP successfully find correspondences between images and text. Through the standard deterministic mapping process, an image or a text sample is mapped to a single vector in the embedding space. This is problematic: as multiple samples (images or text) can abstract the same concept in the physical world, deterministic embeddings do not reflect the inherent ambiguity in the embedding space. We propose ProbVLM, a probabilistic adapter that estimates probability distributions for the embeddings of pre-trained VLMs via inter/intra-modal alignment in a post-hoc manner without needing large-scale datasets or computing. On four challenging datasets, i.e., COCO, Flickr, CUB, and Oxford-flowers, we estimate the multi-modal embedding uncertainties for two VLMs, i.e., CLIP and BLIP, quantify the calibration of embedding uncertainties in retrieval tasks and show that ProbVLM outperforms other methods. Furthermore, we propose active learning and model selection as two real-world downstream tasks for VLMs and show that the estimated uncertainty aids both tasks. Lastly, we present a novel technique for visualizing the embedding distributions using a large-scale pre-trained latent diffusion model.

Unified multi-model representation spaces are the foundation of multimodal understanding and generation. However, the billions of model parameters and catastrophic forgetting problems make it challenging to further enhance pre-trained unified spaces. In this work, we propose FreeBind, an idea that treats multimodal representation spaces as basic units, and freely augments pre-trained unified space by integrating knowledge from extra expert spaces via "space bonds". Specifically, we introduce two kinds of basic space bonds: 1) Space Displacement Bond and 2) Space Combination Bond. Based on these basic bonds, we design Complex Sequential & Parallel Bonds to effectively integrate multiple spaces simultaneously. Benefiting from the modularization concept, we further propose a coarse-to-fine customized inference strategy to flexibly adjust the enhanced unified space for different purposes. Experimentally, we bind ImageBind with extra image-text and audio-text expert spaces, resulting in three main variants: ImageBind++, InternVL_IB, and InternVL_IB++. These resulting spaces outperform ImageBind on 5 audio-image-text downstream tasks across 9 datasets. Moreover, via customized inference, it even surpasses the advanced audio-text and image-text expert spaces.

Multimodal self-supervised learning is getting more and more attention as it allows not only to train large networks without human supervision but also to search and retrieve data across various modalities. In this context, this paper proposes a self-supervised training framework that learns a common multimodal embedding space that, in addition to sharing representations across different modalities, enforces a grouping of semantically similar instances. To this end, we extend the concept of instance-level contrastive learning with a multimodal clustering step in the training pipeline to capture semantic similarities across modalities. The resulting embedding space enables retrieval of samples across all modalities, even from unseen datasets and different domains. To evaluate our approach, we train our model on the HowTo100M dataset and evaluate its zero-shot retrieval capabilities in two challenging domains, namely text-to-video retrieval, and temporal action localization, showing state-of-the-art results on four different datasets.

While deep learning has enabled great advances in many areas of music, labeled music datasets remain especially hard, expensive, and time-consuming to create. In this work, we introduce SimCLR to the music domain and contribute a large chain of audio data augmentations to form a simple framework for self-supervised, contrastive learning of musical representations: CLMR. This approach works on raw time-domain music data and requires no labels to learn useful representations. We evaluate CLMR in the downstream task of music classification on the MagnaTagATune and Million Song datasets and present an ablation study to test which of our music-related innovations over SimCLR are most effective. A linear classifier trained on the proposed representations achieves a higher average precision than supervised models on the MagnaTagATune dataset, and performs comparably on the Million Song dataset. Moreover, we show that CLMR's representations are transferable using out-of-domain datasets, indicating that our method has strong generalisability in music classification. Lastly, we show that the proposed method allows data-efficient learning on smaller labeled datasets: we achieve an average precision of 33.1% despite using only 259 labeled songs in the MagnaTagATune dataset (1% of the full dataset) during linear evaluation. To foster reproducibility and future research on self-supervised learning in music, we publicly release the pre-trained models and the source code of all experiments of this paper.

We introduce AudioLM, a framework for high-quality audio generation with long-term consistency. AudioLM maps the input audio to a sequence of discrete tokens and casts audio generation as a language modeling task in this representation space. We show how existing audio tokenizers provide different trade-offs between reconstruction quality and long-term structure, and we propose a hybrid tokenization scheme to achieve both objectives. Namely, we leverage the discretized activations of a masked language model pre-trained on audio to capture long-term structure and the discrete codes produced by a neural audio codec to achieve high-quality synthesis. By training on large corpora of raw audio waveforms, AudioLM learns to generate natural and coherent continuations given short prompts. When trained on speech, and without any transcript or annotation, AudioLM generates syntactically and semantically plausible speech continuations while also maintaining speaker identity and prosody for unseen speakers. Furthermore, we demonstrate how our approach extends beyond speech by generating coherent piano music continuations, despite being trained without any symbolic representation of music.

We demonstrate the efficacy of using intermediate representations from a single foundation model to enhance various music downstream tasks. We introduce SoniDo , a music foundation model (MFM) designed to extract hierarchical features from target music samples. By leveraging hierarchical intermediate features, SoniDo constrains the information granularity, leading to improved performance across various downstream tasks including both understanding and generative tasks. We specifically evaluated this approach on representative tasks such as music tagging, music transcription, music source separation, and music mixing. Our results reveal that the features extracted from foundation models provide valuable enhancements in training downstream task models. This highlights the capability of using features extracted from music foundation models as a booster for downstream tasks. Our approach not only benefits existing task-specific models but also supports music downstream tasks constrained by data scarcity. This paves the way for more effective and accessible music processing solutions.

Large Language Models (LLMs) have ushered in a new wave of artificial intelligence advancements impacting every scientific field and discipline. They are trained on a simple objective: to predict the next token given the previous context. We live in a world where most of the data around us, e.g., text, audio, and music, has a multi-scale structure associated with it. This paper infuses LLMs with traditional signal processing ideas, namely wavelets, during pre-training to take advantage of the structure. Without adding any extra parameters to a GPT-style LLM architecture, we achieve the same pre-training performance almost twice as fast in text, raw audio, and symbolic music. This is achieved by imposing a structure on intermediate embeddings. When trained for the same number of training steps, we achieve significant gains in performance, which is comparable to pre-training a larger neural architecture. Our architecture allows every next token prediction access to intermediate embeddings at different temporal resolutions in every Transformer decoder block. This work will hopefully pave the way for incorporating multi-rate signal processing ideas into traditional LLM pre-training. Further, we showcase pushing model performance by improving internal structure instead of just going after scale.

We investigate the construction of latent spaces through self-supervised learning to support semantically meaningful operations. Analogous to operational amplifiers, these "operational latent spaces" (OpLaS) not only demonstrate semantic structure such as clustering but also support common transformational operations with inherent semantic meaning. Some operational latent spaces are found to have arisen "unintentionally" in the progress toward some (other) self-supervised learning objective, in which unintended but still useful properties are discovered among the relationships of points in the space. Other spaces may be constructed "intentionally" by developers stipulating certain kinds of clustering or transformations intended to produce the desired structure. We focus on the intentional creation of operational latent spaces via self-supervised learning, including the introduction of rotation operators via a novel "FiLMR" layer, which can be used to enable ring-like symmetries found in some musical constructions.

Despite recent advancements in language and vision modeling, integrating rich multimodal knowledge into recommender systems continues to pose significant challenges. This is primarily due to the need for efficient recommendation, which requires adaptive and interactive responses. In this study, we focus on sequential recommendation and introduce a lightweight framework called full-scale Matryoshka representation learning for multimodal recommendation (fMRLRec). Our fMRLRec captures item features at different granularities, learning informative representations for efficient recommendation across multiple dimensions. To integrate item features from diverse modalities, fMRLRec employs a simple mapping to project multimodal item features into an aligned feature space. Additionally, we design an efficient linear transformation that embeds smaller features into larger ones, substantially reducing memory requirements for large-scale training on recommendation data. Combined with improved state space modeling techniques, fMRLRec scales to different dimensions and only requires one-time training to produce multiple models tailored to various granularities. We demonstrate the effectiveness and efficiency of fMRLRec on multiple benchmark datasets, which consistently achieves superior performance over state-of-the-art baseline methods. We make our code and data publicly available at https://github.com/yueqirex/fMRLRec.

Large-scale pre-trained image-text models demonstrate remarkable versatility across diverse tasks, benefiting from their robust representational capabilities and effective multimodal alignment. We extend the application of these models, specifically CLIP, to the domain of sound source localization. Unlike conventional approaches, we employ the pre-trained CLIP model without explicit text input, relying solely on the audio-visual correspondence. To this end, we introduce a framework that translates audio signals into tokens compatible with CLIP's text encoder, yielding audio-driven embeddings. By directly using these embeddings, our method generates audio-grounded masks for the provided audio, extracts audio-grounded image features from the highlighted regions, and aligns them with the audio-driven embeddings using the audio-visual correspondence objective. Our findings suggest that utilizing pre-trained image-text models enable our model to generate more complete and compact localization maps for the sounding objects. Extensive experiments show that our method outperforms state-of-the-art approaches by a significant margin.

In recent years, graphs have gained prominence across various domains, especially in recommendation systems. Within the realm of music recommendation, graphs play a crucial role in enhancing genre-based recommendations by integrating Mel-Frequency Cepstral Coefficients (MFCC) with advanced graph embeddings. This study explores the efficacy of Graph Convolutional Networks (GCN), GraphSAGE, and Graph Transformer (GT) models in learning embeddings that effectively capture intricate relationships between music items and genres represented within graph structures. Through comprehensive empirical evaluations on diverse real-world music datasets, our findings consistently demonstrate that these graph-based approaches outperform traditional methods that rely solely on MFCC features or collaborative filtering techniques. Specifically, the graph-enhanced models achieve notably higher accuracy in predicting genre-specific preferences and offering relevant music suggestions to users. These results underscore the effectiveness of utilizing graph embeddings to enrich feature representations and exploit latent associations within music data, thereby illustrating their potential to advance the capabilities of personalized and context-aware music recommendation systems. Keywords: graphs, recommendation systems, neural networks, MFCC

Pre-trained language models (PLMs) are widely used to derive semantic representations from item metadata in recommendation and search. In sequential recommendation, PLMs enhance ID-based embeddings through textual metadata, while in product search, they align item characteristics with user intent. Recent studies suggest task and domain-specific fine-tuning are needed to improve representational power. This paper challenges this assumption, showing that Generalist Text Embedding Models (GTEs), pre-trained on large-scale corpora, can guarantee strong zero-shot performance without specialized adaptation. Our experiments demonstrate that GTEs outperform traditional and fine-tuned models in both sequential recommendation and product search. We attribute this to a superior representational power, as they distribute features more evenly across the embedding space. Finally, we show that compressing embedding dimensions by focusing on the most informative directions (e.g., via PCA) effectively reduces noise and improves the performance of specialized models. To ensure reproducibility, we provide our repository at https://split.to/gte4ps.

Vector embeddings have been tasked with an ever-increasing set of retrieval tasks over the years, with a nascent rise in using them for reasoning, instruction-following, coding, and more. These new benchmarks push embeddings to work for any query and any notion of relevance that could be given. While prior works have pointed out theoretical limitations of vector embeddings, there is a common assumption that these difficulties are exclusively due to unrealistic queries, and those that are not can be overcome with better training data and larger models. In this work, we demonstrate that we may encounter these theoretical limitations in realistic settings with extremely simple queries. We connect known results in learning theory, showing that the number of top-k subsets of documents capable of being returned as the result of some query is limited by the dimension of the embedding. We empirically show that this holds true even if we restrict to k=2, and directly optimize on the test set with free parameterized embeddings. We then create a realistic dataset called LIMIT that stress tests models based on these theoretical results, and observe that even state-of-the-art models fail on this dataset despite the simple nature of the task. Our work shows the limits of embedding models under the existing single vector paradigm and calls for future research to develop methods that can resolve this fundamental limitation.

With recent advancements in text-to-audio and text-to-music based on latent diffusion models, the quality of generated content has been reaching new heights. The controllability of musical aspects, however, has not been explicitly explored in text-to-music systems yet. In this paper, we present Mustango, a music-domain-knowledge-inspired text-to-music system based on diffusion, that expands the Tango text-to-audio model. Mustango aims to control the generated music, not only with general text captions, but from more rich captions that could include specific instructions related to chords, beats, tempo, and key. As part of Mustango, we propose MuNet, a Music-Domain-Knowledge-Informed UNet sub-module to integrate these music-specific features, which we predict from the text prompt, as well as the general text embedding, into the diffusion denoising process. To overcome the limited availability of open datasets of music with text captions, we propose a novel data augmentation method that includes altering the harmonic, rhythmic, and dynamic aspects of music audio and using state-of-the-art Music Information Retrieval methods to extract the music features which will then be appended to the existing descriptions in text format. We release the resulting MusicBench dataset which contains over 52K instances and includes music-theory-based descriptions in the caption text. Through extensive experiments, we show that the quality of the music generated by Mustango is state-of-the-art, and the controllability through music-specific text prompts greatly outperforms other models in terms of desired chords, beat, key, and tempo, on multiple datasets.

The current landscape of research leveraging large language models (LLMs) is experiencing a surge. Many works harness the powerful reasoning capabilities of these models to comprehend various modalities, such as text, speech, images, videos, etc. They also utilize LLMs to understand human intention and generate desired outputs like images, videos, and music. However, research that combines both understanding and generation using LLMs is still limited and in its nascent stage. To address this gap, we introduce a Multi-modal Music Understanding and Generation (M^{2}UGen) framework that integrates LLM's abilities to comprehend and generate music for different modalities. The M^{2}UGen framework is purpose-built to unlock creative potential from diverse sources of inspiration, encompassing music, image, and video through the use of pretrained MERT, ViT, and ViViT models, respectively. To enable music generation, we explore the use of AudioLDM 2 and MusicGen. Bridging multi-modal understanding and music generation is accomplished through the integration of the LLaMA 2 model. Furthermore, we make use of the MU-LLaMA model to generate extensive datasets that support text/image/video-to-music generation, facilitating the training of our M^{2}UGen framework. We conduct a thorough evaluation of our proposed framework. The experimental results demonstrate that our model achieves or surpasses the performance of the current state-of-the-art models.

Large Lanugage Models (LLMs) are gaining increasing popularity in a variety of use cases, from language understanding and writing to assistance in application development. One of the most important aspects for optimal funcionality of LLMs is embedding layers. Word embeddings are distributed representations of words in a continuous vector space. In the context of LLMs, words or tokens from the input text are transformed into high-dimensional vectors using unique algorithms specific to the model. Our research examines the embedding algorithms from leading companies in the industry, such as OpenAI, Google's PaLM, and BERT. Using medical data, we have analyzed similarity scores of each embedding layer, observing differences in performance among each algorithm. To enhance each model and provide an additional encoding layer, we also implemented Siamese Neural Networks. After observing changes in performance with the addition of the model, we measured the carbon footage per epoch of training. The carbon footprint associated with large language models (LLMs) is a significant concern, and should be taken into consideration when selecting algorithms for a variety of use cases. Overall, our research compared the accuracy different, leading embedding algorithms and their carbon footage, allowing for a holistic review of each embedding algorithm.

Recent progress in text-to-music generation has enabled models to synthesize high-quality musical segments, full compositions, and even respond to fine-grained control signals, e.g. chord progressions. State-of-the-art (SOTA) systems differ significantly across many dimensions, such as training datasets, modeling paradigms, and architectural choices. This diversity complicates efforts to evaluate models fairly and pinpoint which design choices most influence performance. While factors like data and architecture are important, in this study we focus exclusively on the modeling paradigm. We conduct a systematic empirical analysis to isolate its effects, offering insights into associated trade-offs and emergent behaviors that can guide future text-to-music generation systems. Specifically, we compare the two arguably most common modeling paradigms: Auto-Regressive decoding and Conditional Flow-Matching. We conduct a controlled comparison by training all models from scratch using identical datasets, training configurations, and similar backbone architectures. Performance is evaluated across multiple axes, including generation quality, robustness to inference configurations, scalability, adherence to both textual and temporally aligned conditioning, and editing capabilities in the form of audio inpainting. This comparative study sheds light on distinct strengths and limitations of each paradigm, providing actionable insights that can inform future architectural and training decisions in the evolving landscape of text-to-music generation. Audio sampled examples are available at: https://huggingface.co/spaces/ortal1602/ARvsFM

A fundamental issue in machine learning is the robustness of the model with respect to changes in the input. In natural language processing, models typically contain a first embedding layer, transforming a sequence of tokens into vector representations. While the robustness with respect to changes of continuous inputs is well-understood, the situation is less clear when considering discrete changes, for instance replacing a word by another in an input sentence. Our work formally proves that popular embedding schemes, such as concatenation, TF-IDF, and Paragraph Vector (a.k.a. doc2vec), exhibit robustness in the H\"older or Lipschitz sense with respect to the Hamming distance. We provide quantitative bounds for these schemes and demonstrate how the constants involved are affected by the length of the document. These findings are exemplified through a series of numerical examples.

We introduce the text-to-instrument task, which aims at generating sample-based musical instruments based on textual prompts. Accordingly, we propose InstrumentGen, a model that extends a text-prompted generative audio framework to condition on instrument family, source type, pitch (across an 88-key spectrum), velocity, and a joint text/audio embedding. Furthermore, we present a differentiable loss function to evaluate the intra-instrument timbral consistency of sample-based instruments. Our results establish a foundational text-to-instrument baseline, extending research in the domain of automatic sample-based instrument generation.

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.

Recent advances in audio-text large language models (LLMs) have opened new possibilities for music understanding and generation. However, existing benchmarks are limited in scope, often relying on simplified tasks or multi-choice evaluations that fail to reflect the complexity of real-world music analysis. We reinterpret a broad range of traditional MIR annotations as instruction-following formats and introduce CMI-Bench, a comprehensive music instruction following benchmark designed to evaluate audio-text LLMs on a diverse set of music information retrieval (MIR) tasks. These include genre classification, emotion regression, emotion tagging, instrument classification, pitch estimation, key detection, lyrics transcription, melody extraction, vocal technique recognition, instrument performance technique detection, music tagging, music captioning, and (down)beat tracking: reflecting core challenges in MIR research. Unlike previous benchmarks, CMI-Bench adopts standardized evaluation metrics consistent with previous state-of-the-art MIR models, ensuring direct comparability with supervised approaches. We provide an evaluation toolkit supporting all open-source audio-textual LLMs, including LTU, Qwen-audio, SALMONN, MusiLingo, etc. Experiment results reveal significant performance gaps between LLMs and supervised models, along with their culture, chronological and gender bias, highlighting the potential and limitations of current models in addressing MIR tasks. CMI-Bench establishes a unified foundation for evaluating music instruction following, driving progress in music-aware LLMs.

Recent advancements in music large language models (LLMs) have significantly improved music understanding tasks, which involve the model's ability to analyze and interpret various musical elements. These improvements primarily focused on integrating both music and text inputs. However, the potential of incorporating additional modalities such as images, videos and textual music features to enhance music understanding remains unexplored. To bridge this gap, we propose DeepResonance, a multimodal music understanding LLM fine-tuned via multi-way instruction tuning with multi-way aligned music, text, image, and video data. To this end, we construct Music4way-MI2T, Music4way-MV2T, and Music4way-Any2T, three 4-way training and evaluation datasets designed to enable DeepResonance to integrate both visual and textual music feature content. We also introduce multi-sampled ImageBind embeddings and a pre-LLM fusion Transformer to enhance modality fusion prior to input into text LLMs, tailoring DeepResonance for multi-way instruction tuning. Our model achieves state-of-the-art performances across six music understanding tasks, highlighting the benefits of the auxiliary modalities and the structural superiority of DeepResonance. We plan to open-source the models and the newly constructed datasets.

Existing music captioning methods are limited to generating concise global descriptions of short music clips, which fail to capture fine-grained musical characteristics and time-aware musical changes. To address these limitations, we propose FUTGA, a model equipped with fined-grained music understanding capabilities through learning from generative augmentation with temporal compositions. We leverage existing music caption datasets and large language models (LLMs) to synthesize fine-grained music captions with structural descriptions and time boundaries for full-length songs. Augmented by the proposed synthetic dataset, FUTGA is enabled to identify the music's temporal changes at key transition points and their musical functions, as well as generate detailed descriptions for each music segment. We further introduce a full-length music caption dataset generated by FUTGA, as the augmentation of the MusicCaps and the Song Describer datasets. We evaluate the automatically generated captions on several downstream tasks, including music generation and retrieval. The experiments demonstrate the quality of the generated captions and the better performance in various downstream tasks achieved by the proposed music captioning approach. Our code and datasets can be found in https://huggingface.co/JoshuaW1997/FUTGA{blue{https://huggingface.co/JoshuaW1997/FUTGA}}.

While most music generation models use textual or parametric conditioning (e.g. tempo, harmony, musical genre), we propose to condition a language model based music generation system with audio input. Our exploration involves two distinct strategies. The first strategy, termed textual inversion, leverages a pre-trained text-to-music model to map audio input to corresponding "pseudowords" in the textual embedding space. For the second model we train a music language model from scratch jointly with a text conditioner and a quantized audio feature extractor. At inference time, we can mix textual and audio conditioning and balance them thanks to a novel double classifier free guidance method. We conduct automatic and human studies that validates our approach. We will release the code and we provide music samples on https://musicgenstyle.github.io in order to show the quality of our model.

Semantic word embeddings represent the meaning of a word via a vector, and are created by diverse methods. Many use nonlinear operations on co-occurrence statistics, and have hand-tuned hyperparameters and reweighting methods. This paper proposes a new generative model, a dynamic version of the log-linear topic model of~mnih2007three. The methodological novelty is to use the prior to compute closed form expressions for word statistics. This provides a theoretical justification for nonlinear models like PMI, word2vec, and GloVe, as well as some hyperparameter choices. It also helps explain why low-dimensional semantic embeddings contain linear algebraic structure that allows solution of word analogies, as shown by~mikolov2013efficient and many subsequent papers. Experimental support is provided for the generative model assumptions, the most important of which is that latent word vectors are fairly uniformly dispersed in space.

Universal multimodal embedding models have achieved great success in capturing semantic relevance between queries and candidates. However, current methods either condense queries and candidates into a single vector, potentially limiting the expressiveness for fine-grained information, or produce too many vectors that are prohibitively expensive for multi-vector retrieval. In this work, we introduce MetaEmbed, a new framework for multimodal retrieval that rethinks how multimodal embeddings are constructed and interacted with at scale. During training, a fixed number of learnable Meta Tokens are appended to the input sequence. At test-time, their last-layer contextualized representations serve as compact yet expressive multi-vector embeddings. Through the proposed Matryoshka Multi-Vector Retrieval training, MetaEmbed learns to organize information by granularity across multiple vectors. As a result, we enable test-time scaling in multimodal retrieval, where users can balance retrieval quality against efficiency demands by selecting the number of tokens used for indexing and retrieval interactions. Extensive evaluations on the Massive Multimodal Embedding Benchmark (MMEB) and the Visual Document Retrieval Benchmark (ViDoRe) confirm that MetaEmbed achieves state-of-the-art retrieval performance while scaling robustly to models with 32B parameters.

Effective approaches that can scale embedding model depth (i.e. layers) and embedding size allow for the creation of models that are highly scalable across different computational resources and task requirements. While the recently proposed 2D Matryoshka training approach can efficiently produce a single embedding model such that its sub-layers and sub-dimensions can measure text similarity, its effectiveness is significantly worse than if smaller models were trained separately. To address this issue, we propose Starbucks, a new training strategy for Matryoshka-like embedding models, which encompasses both the fine-tuning and pre-training phases. For the fine-tuning phase, we discover that, rather than sampling a random sub-layer and sub-dimensions for each training steps, providing a fixed list of layer-dimension pairs, from small size to large sizes, and computing the loss across all pairs significantly improves the effectiveness of 2D Matryoshka embedding models, bringing them on par with their separately trained counterparts. To further enhance performance, we introduce a new pre-training strategy, which applies masked autoencoder language modelling to sub-layers and sub-dimensions during pre-training, resulting in a stronger backbone for subsequent fine-tuning of the embedding model. Experimental results on both semantic text similarity and retrieval benchmarks demonstrate that the proposed pre-training and fine-tuning strategies significantly improved the effectiveness over 2D Matryoshka models, enabling Starbucks models to perform more efficiently and effectively than separately trained models.

While embeddings from multimodal large language models (LLMs) excel as general-purpose representations, their application to dynamic modalities like audio and video remains underexplored. We introduce WAVE (unified \& versatile audio-visual embeddings), the first LLM-based embedding that creates a unified representation space for text, audio, and video modalities. WAVE employs a novel hierarchical feature fusion strategy and a joint multi-modal, multi-task training approach to enable two key capabilities: any-to-any cross-modal retrieval and the generation of prompt-aware embeddings tailored to user instructions. Experimentally, WAVE sets a new state-of-the-art on the MMEB-v2 video benchmark and achieves superior results in audio and video-to-audio retrieval. Its prompt-aware nature also yields remarkable performance in multimodal question answering, significantly outperforming existing embedding models. Ablation studies validate our joint training strategy, demonstrating improved performance across all modalities. With a newly introduced benchmark for versatile audio-visual learning, WAVE opens up broad possibilities for cross-modal, any-to-any applications. Our code, checkpoints, and data will be released.

Embedding representations power machine intelligence in many applications, including recommendation systems, but they are space intensive -- potentially occupying hundreds of gigabytes in large-scale settings. To help manage this outsized memory consumption, we explore mixed dimension embeddings, an embedding layer architecture in which a particular embedding vector's dimension scales with its query frequency. Through theoretical analysis and systematic experiments, we demonstrate that using mixed dimensions can drastically reduce the memory usage, while maintaining and even improving the ML performance. Empirically, we show that the proposed mixed dimension layers improve accuracy by 0.1% using half as many parameters or maintain it using 16X fewer parameters for click-through rate prediction task on the Criteo Kaggle dataset.

We introduce CLaMP: Contrastive Language-Music Pre-training, which learns cross-modal representations between natural language and symbolic music using a music encoder and a text encoder trained jointly with a contrastive loss. To pre-train CLaMP, we collected a large dataset of 1.4 million music-text pairs. It employed text dropout as a data augmentation technique and bar patching to efficiently represent music data which reduces sequence length to less than 10%. In addition, we developed a masked music model pre-training objective to enhance the music encoder's comprehension of musical context and structure. CLaMP integrates textual information to enable semantic search and zero-shot classification for symbolic music, surpassing the capabilities of previous models. To support the evaluation of semantic search and music classification, we publicly release WikiMusicText (WikiMT), a dataset of 1010 lead sheets in ABC notation, each accompanied by a title, artist, genre, and description. In comparison to state-of-the-art models that require fine-tuning, zero-shot CLaMP demonstrated comparable or superior performance on score-oriented datasets.

We propose a novel symbolic music representation and Generative Adversarial Network (GAN) framework specially designed for symbolic multitrack music generation. The main theme of symbolic music generation primarily encompasses the preprocessing of music data and the implementation of a deep learning framework. Current techniques dedicated to symbolic music generation generally encounter two significant challenges: training data's lack of information about chords and scales and the requirement of specially designed model architecture adapted to the unique format of symbolic music representation. In this paper, we solve the above problems by introducing new symbolic music representation with MusicLang chord analysis model. We propose our MMT-BERT architecture adapting to the representation. To build a robust multitrack music generator, we fine-tune a pre-trained MusicBERT model to serve as the discriminator, and incorporate relativistic standard loss. This approach, supported by the in-depth understanding of symbolic music encoded within MusicBERT, fortifies the consonance and humanity of music generated by our method. Experimental results demonstrate the effectiveness of our approach which strictly follows the state-of-the-art methods.

We propose a method to recommend music for an input video while allowing a user to guide music selection with free-form natural language. A key challenge of this problem setting is that existing music video datasets provide the needed (video, music) training pairs, but lack text descriptions of the music. This work addresses this challenge with the following three contributions. First, we propose a text-synthesis approach that relies on an analogy-based prompting procedure to generate natural language music descriptions from a large-scale language model (BLOOM-176B) given pre-trained music tagger outputs and a small number of human text descriptions. Second, we use these synthesized music descriptions to train a new trimodal model, which fuses text and video input representations to query music samples. For training, we introduce a text dropout regularization mechanism which we show is critical to model performance. Our model design allows for the retrieved music audio to agree with the two input modalities by matching visual style depicted in the video and musical genre, mood, or instrumentation described in the natural language query. Third, to evaluate our approach, we collect a testing dataset for our problem by annotating a subset of 4k clips from the YT8M-MusicVideo dataset with natural language music descriptions which we make publicly available. We show that our approach can match or exceed the performance of prior methods on video-to-music retrieval while significantly improving retrieval accuracy when using text guidance.

We propose WHISPER-GPT: A generative large language model (LLM) for speech and music that allows us to work with continuous audio representations and discrete tokens simultaneously as part of a single architecture. There has been a huge surge in generative audio, speech, and music models that utilize discrete audio tokens derived from neural compression algorithms, e.g. ENCODEC. However, one of the major drawbacks of this approach is handling the context length. It blows up for high-fidelity generative architecture if one has to account for all the audio contents at various frequencies for the next token prediction. By combining continuous audio representation like the spectrogram and discrete acoustic tokens, we retain the best of both worlds: Have all the information needed from the audio at a specific time instance in a single token, yet allow LLM to predict the future token to allow for sampling and other benefits discrete space provides. We show how our architecture improves the perplexity and negative log-likelihood scores for the next token prediction compared to a token-based LLM for speech and music.

A common approach for sequence tagging tasks based on contextual word representations is to train a machine learning classifier directly on these embedding vectors. This approach has two shortcomings. First, such methods consider single input sequences in isolation and are unable to put an individual embedding vector in relation to vectors outside the current local context of use. Second, the high performance of these models relies on fine-tuning the embedding model in conjunction with the classifier, which may not always be feasible due to the size or inaccessibility of the underlying feature-generation model. It is thus desirable, given a collection of embedding vectors of a corpus, i.e., a datastore, to find features of each vector that describe its relation to other, similar vectors in the datastore. With this in mind, we introduce complexity measures of the local topology of the latent space of a contextual language model with respect to a given datastore. The effectiveness of our features is demonstrated through their application to dialogue term extraction. Our work continues a line of research that explores the manifold hypothesis for word embeddings, demonstrating that local structure in the space carved out by word embeddings can be exploited to infer semantic properties.

Music datasets play a crucial role in advancing research in machine learning for music. However, existing music datasets suffer from limited size, accessibility, and lack of audio resources. To address these shortcomings, we present DISCO-10M, a novel and extensive music dataset that surpasses the largest previously available music dataset by an order of magnitude. To ensure high-quality data, we implement a multi-stage filtering process. This process incorporates similarities based on textual descriptions and audio embeddings. Moreover, we provide precomputed CLAP embeddings alongside DISCO-10M, facilitating direct application on various downstream tasks. These embeddings enable efficient exploration of machine learning applications on the provided data. With DISCO-10M, we aim to democratize and facilitate new research to help advance the development of novel machine learning models for music.

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

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

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

Traditional neural word embeddings are usually dependent on a richer diversity of vocabulary. However, the language models recline to cover major vocabularies via the word embedding parameters, in particular, for multilingual language models that generally cover a significant part of their overall learning parameters. In this work, we present a new compact embedding structure to reduce the memory footprint of the pre-trained language models with a sacrifice of up to 4% absolute accuracy. The embeddings vectors reconstruction follows a set of subspace embeddings and an assignment procedure via the contextual relationship among tokens from pre-trained language models. The subspace embedding structure calibrates to masked language models, to evaluate our compact embedding structure on similarity and textual entailment tasks, sentence and paraphrase tasks. Our experimental evaluation shows that the subspace embeddings achieve compression rates beyond 99.8% in comparison with the original embeddings for the language models on XNLI and GLUE benchmark suites.

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

The rapid progress of Multimodal Large Language Models(MLLMs) has transformed the AI landscape. These models combine pre-trained LLMs with various modality encoders. This integration requires a systematic understanding of how different modalities connect to the language backbone. Our survey presents an LLM-centric analysis of current approaches. We examine methods for transforming and aligning diverse modal inputs into the language embedding space. This addresses a significant gap in existing literature. We propose a classification framework for MLLMs based on three key dimensions. First, we examine architectural strategies for modality integration. This includes both the specific integration mechanisms and the fusion level. Second, we categorize representation learning techniques as either joint or coordinate representations. Third, we analyze training paradigms, including training strategies and objective functions. By examining 125 MLLMs developed between 2021 and 2025, we identify emerging patterns in the field. Our taxonomy provides researchers with a structured overview of current integration techniques. These insights aim to guide the development of more robust multimodal integration strategies for future models built on pre-trained foundations.

Multimodal embedding models have been crucial in enabling various downstream tasks such as semantic similarity, information retrieval, and clustering over different modalities. However, existing multimodal embeddings like VLM2Vec, E5-V, GME are predominantly focused on natural images, with limited support for other visual forms such as videos and visual documents. This restricts their applicability in real-world scenarios, including AI agents, multi-modal search and recommendation, and retrieval-augmented generation (RAG). To close this gap, we propose VLM2Vec-V2, a unified framework for learning embeddings across diverse visual forms. First, we introduce MMEB-V2, a comprehensive benchmark that extends MMEB with five new task types: visual document retrieval, video retrieval, temporal grounding, video classification and video question answering - spanning text, image, video, and visual document inputs. Next, we train VLM2Vec-V2, a general-purpose embedding model that supports text, image, video, and visual document inputs. Extensive experiments show that VLM2Vec-V2 achieves strong performance not only on the newly introduced video and document retrieval tasks, but also improves over prior baselines on the original image benchmarks. Through extensive evaluation, our study offers insights into the generalizability of various multimodal embedding models and highlights effective strategies for unified embedding learning, laying the groundwork for more scalable and adaptable representation learning in both research and real-world settings.

This paper presents that the masked-modeling principle driving the success of large foundational vision models can be effectively applied to audio by making predictions in a latent space. We introduce Audio-based Joint-Embedding Predictive Architecture (A-JEPA), a simple extension method for self-supervised learning from the audio spectrum. Following the design of I-JEPA, our A-JEPA encodes visible audio spectrogram patches with a curriculum masking strategy via context encoder, and predicts the representations of regions sampled at well-designed locations. The target representations of those regions are extracted by the exponential moving average of context encoder, i.e., target encoder, on the whole spectrogram. We find it beneficial to transfer random block masking into time-frequency aware masking in a curriculum manner, considering the complexity of highly correlated in local time and frequency in audio spectrograms. To enhance contextual semantic understanding and robustness, we fine-tune the encoder with a regularized masking on target datasets, instead of input dropping or zero. Empirically, when built with Vision Transformers structure, we find A-JEPA to be highly scalable and sets new state-of-the-art performance on multiple audio and speech classification tasks, outperforming other recent models that use externally supervised pre-training.

The rapid advancement of Multimodal Large Language Models (MLLMs) has extended CLIP-based frameworks to produce powerful, universal embeddings for retrieval tasks. However, existing methods primarily focus on natural images, offering limited support for other crucial visual modalities such as videos and visual documents. To bridge this gap, we introduce RzenEmbed, a unified framework to learn embeddings across a diverse set of modalities, including text, images, videos, and visual documents. We employ a novel two-stage training strategy to learn discriminative representations. The first stage focuses on foundational text and multimodal retrieval. In the second stage, we introduce an improved InfoNCE loss, incorporating two key enhancements. Firstly, a hardness-weighted mechanism guides the model to prioritize challenging samples by assigning them higher weights within each batch. Secondly, we implement an approach to mitigate the impact of false negatives and alleviate data noise. This strategy not only enhances the model's discriminative power but also improves its instruction-following capabilities. We further boost performance with learnable temperature parameter and model souping. RzenEmbed sets a new state-of-the-art on the MMEB benchmark. It not only achieves the best overall score but also outperforms all prior work on the challenging video and visual document retrieval tasks. Our models are available in https://huggingface.co/qihoo360/RzenEmbed.

Universal Multimodal Retrieval (UMR) aims to enable search across various modalities using a unified model, where queries and candidates can consist of pure text, images, or a combination of both. Previous work has attempted to adopt multimodal large language models (MLLMs) to realize UMR using only text data. However, our preliminary experiments demonstrate that more diverse multimodal training data can further unlock the potential of MLLMs. Despite its effectiveness, the existing multimodal training data is highly imbalanced in terms of modality, which motivates us to develop a training data synthesis pipeline and construct a large-scale, high-quality fused-modal training dataset. Based on the synthetic training data, we develop the General Multimodal Embedder (GME), an MLLM-based dense retriever designed for UMR. Furthermore, we construct a comprehensive UMR Benchmark (UMRB) to evaluate the effectiveness of our approach. Experimental results show that our method achieves state-of-the-art performance among existing UMR methods. Last, we provide in-depth analyses of model scaling, training strategies, and perform ablation studies on both the model and synthetic data.

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.

Advances in embedding models for text, image, audio, and video drive progress across multiple domains, including retrieval-augmented generation, recommendation systems, vehicle/person reidentification, and face recognition. Many applications in these domains require an efficient method to retrieve items that are close to a given query in the embedding space while satisfying a filter condition based on the item's attributes, a problem known as Filtered Approximate Nearest Neighbor Search (FANNS). In this work, we present a comprehensive survey and taxonomy of FANNS methods and analyze how they are benchmarked in the literature. By doing so, we identify a key challenge in the current FANNS landscape: the lack of diverse and realistic datasets, particularly ones derived from the latest transformer-based text embedding models. To address this, we introduce a novel dataset consisting of embedding vectors for the abstracts of over 2.7 million research articles from the arXiv repository, accompanied by 11 real-world attributes such as authors and categories. We benchmark a wide range of FANNS methods on our novel dataset and find that each method has distinct strengths and limitations; no single approach performs best across all scenarios. ACORN, for example, supports various filter types and performs reliably across dataset scales but is often outperformed by more specialized methods. SeRF shows excellent performance for range filtering on ordered attributes but cannot handle categorical attributes. Filtered-DiskANN and UNG excel on the medium-scale dataset but fail on the large-scale dataset, highlighting the challenge posed by transformer-based embeddings, which are often more than an order of magnitude larger than earlier embeddings. We conclude that no universally best method exists.

In this report, we introduce Piccolo2, an embedding model that surpasses other models in the comprehensive evaluation over 6 tasks on CMTEB benchmark, setting a new state-of-the-art. Piccolo2 primarily leverages an efficient multi-task hybrid loss training approach, effectively harnessing textual data and labels from diverse downstream tasks. In addition, Piccolo2 scales up the embedding dimension and uses MRL training to support more flexible vector dimensions. The latest information of piccolo models can be accessed via: https://huggingface.co/sensenova/

Conventional task-specific electrocardiogram (ECG) analysis models require large annotated datasets to train. Foundation models mitigate this burden by leveraging self-supervised pretraining; however, the scarcity of open-weight ECG foundation models hinders adoption and cross-study comparability. We present ECG-FM, an open foundation model for ECG analysis, and conduct a study using a dataset of 1.5 million ECGs. ECG-FM is a transformer-based model pretrained using a hybrid contrastive and generative self-supervised learning approach. Our downstream tasks include predicting reduced left ventricular ejection fraction (LVEF) and ECG interpretation labels, where we release a benchmark task on the MIMIC-IV-ECG dataset. We affirm that ECG-FM is robust, label-efficient, and functionally discriminative by showcasing data scaling experiments, performing a latent space analysis, and generating saliency maps. ECG-FM markedly outperforms task-specific models in the small-to-medium-scale data regime and demonstrates cross-dataset generalizability, achieving high AUROC on many clinically salient labels such as atrial fibrillation (0.996) and LVEF<=40% (0.929). We release our code, model weights, and benchmark task at https://github.com/bowang-lab/ECG-FM/.

Recent approaches to improving the extraction of text embeddings from autoregressive large language models (LLMs) have largely focused on improvements to data, backbone pretrained language models, or improving task-differentiation via instructions. In this work, we address an architectural limitation of autoregressive models: token embeddings cannot contain information from tokens that appear later in the input. To address this limitation, we propose a simple approach, "echo embeddings," in which we repeat the input twice in context and extract embeddings from the second occurrence. We show that echo embeddings of early tokens can encode information about later tokens, allowing us to maximally leverage high-quality LLMs for embeddings. On the MTEB leaderboard, echo embeddings improve over classical embeddings by over 9% zero-shot and by around 0.7% when fine-tuned. Echo embeddings with a Mistral-7B model achieve state-of-the-art compared to prior open source models that do not leverage synthetic fine-tuning data.

Research on large language models has advanced significantly across text, speech, images, and videos. However, multi-modal music understanding and generation remain underexplored due to the lack of well-annotated datasets. To address this, we introduce a dataset with 167.69 hours of multi-modal data, including text, images, videos, and music annotations. Based on this dataset, we propose MuMu-LLaMA, a model that leverages pre-trained encoders for music, images, and videos. For music generation, we integrate AudioLDM 2 and MusicGen. Our evaluation across four tasks--music understanding, text-to-music generation, prompt-based music editing, and multi-modal music generation--demonstrates that MuMu-LLaMA outperforms state-of-the-art models, showing its potential for multi-modal music applications.

Machines that can represent and describe environmental soundscapes have practical potential, e.g., for audio tagging and captioning systems. Prevailing learning paradigms have been relying on parallel audio-text data, which is, however, scarcely available on the web. We propose VIP-ANT that induces Audio-Text alignment without using any parallel audio-text data. Our key idea is to share the image modality between bi-modal image-text representations and bi-modal image-audio representations; the image modality functions as a pivot and connects audio and text in a tri-modal embedding space implicitly. In a difficult zero-shot setting with no paired audio-text data, our model demonstrates state-of-the-art zero-shot performance on the ESC50 and US8K audio classification tasks, and even surpasses the supervised state of the art for Clotho caption retrieval (with audio queries) by 2.2\% R@1. We further investigate cases of minimal audio-text supervision, finding that, e.g., just a few hundred supervised audio-text pairs increase the zero-shot audio classification accuracy by 8\% on US8K. However, to match human parity on some zero-shot tasks, our empirical scaling experiments suggest that we would need about 2^{21} approx 2M supervised audio-caption pairs. Our work opens up new avenues for learning audio-text connections with little to no parallel audio-text data.

Text embeddings are essential for many tasks, such as document retrieval, clustering, and semantic similarity assessment. In this paper, we study how to contrastively train text embedding models in a compute-optimal fashion, given a suite of pre-trained decoder-only language models. Our innovation is an algorithm that produces optimal configurations of model sizes, data quantities, and fine-tuning methods for text-embedding models at different computational budget levels. The resulting recipe, which we obtain through extensive experiments, can be used by practitioners to make informed design choices for their embedding models. Specifically, our findings suggest that full fine-tuning and low-rank adaptation fine-tuning produce optimal models at lower and higher computational budgets respectively.

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

We adapt previous research on category theory and topological unsupervised learning to develop a functorial perspective on manifold learning, also known as nonlinear dimensionality reduction. We first characterize manifold learning algorithms as functors that map pseudometric spaces to optimization objectives and that factor through hierarchical clustering functors. We then use this characterization to prove refinement bounds on manifold learning loss functions and construct a hierarchy of manifold learning algorithms based on their equivariants. We express several popular manifold learning algorithms as functors at different levels of this hierarchy, including Metric Multidimensional Scaling, IsoMap, and UMAP. Next, we use interleaving distance to study the stability of a broad class of manifold learning algorithms. We present bounds on how closely the embeddings these algorithms produce from noisy data approximate the embeddings they would learn from noiseless data. Finally, we use our framework to derive a set of novel manifold learning algorithms, which we experimentally demonstrate are competitive with the state of the art.

We introduce the first method for translating text embeddings from one vector space to another without any paired data, encoders, or predefined sets of matches. Our unsupervised approach translates any embedding to and from a universal latent representation (i.e., a universal semantic structure conjectured by the Platonic Representation Hypothesis). Our translations achieve high cosine similarity across model pairs with different architectures, parameter counts, and training datasets. The ability to translate unknown embeddings into a different space while preserving their geometry has serious implications for the security of vector databases. An adversary with access only to embedding vectors can extract sensitive information about the underlying documents, sufficient for classification and attribute inference.

A recent study showed that large language models (LLMs) can reconstruct surprisingly long texts - up to thousands of tokens - via autoregressive generation from just one specially trained input embedding. In this work, we explore whether such reconstruction is possible without autoregression. We show that frozen LLMs can generate hundreds of accurate tokens in just one forward pass, when provided with only two learned embeddings. This reveals a surprising and underexplored capability of LLMs - multi-token generation without iterative decoding. We investigate the behaviour of these embeddings and provide insight into the type of information they encode. We also empirically show that although these representations are not unique for a given text, they form connected and local regions in embedding space - a property that suggests the potential of learning a dedicated encoder into that space.

Understanding the internal mechanisms of large language models (LLMs) remains a challenging and complex endeavor. Even fundamental questions, such as how fine-tuning affects model behavior, often require extensive empirical evaluation. In this paper, we introduce a novel perspective based on the geometric properties of contextual latent embeddings to study the effects of training and fine-tuning. To that end, we measure the local dimensions of a contextual language model's latent space and analyze their shifts during training and fine-tuning. We show that the local dimensions provide insights into the model's training dynamics and generalization ability. Specifically, the mean of the local dimensions predicts when the model's training capabilities are exhausted, as exemplified in a dialogue state tracking task, overfitting, as demonstrated in an emotion recognition task, and grokking, as illustrated with an arithmetic task. Furthermore, our experiments suggest a practical heuristic: reductions in the mean local dimension tend to accompany and predict subsequent performance gains. Through this exploration, we aim to provide practitioners with a deeper understanding of the implications of fine-tuning on embedding spaces, facilitating informed decisions when configuring models for specific applications. The results of this work contribute to the ongoing discourse on the interpretability, adaptability, and generalizability of LLMs by bridging the gap between intrinsic model mechanisms and geometric properties in the respective embeddings.

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

Zero-shot learning has gained popularity due to its potential to scale recognition models without requiring additional training data. This is usually achieved by associating categories with their semantic information like attributes. However, we believe that the potential offered by this paradigm is not yet fully exploited. In this work, we propose to utilize the structure of the space spanned by the attributes using a set of relations. We devise objective functions to preserve these relations in the embedding space, thereby inducing semanticity to the embedding space. Through extensive experimental evaluation on five benchmark datasets, we demonstrate that inducing semanticity to the embedding space is beneficial for zero-shot learning. The proposed approach outperforms the state-of-the-art on the standard zero-shot setting as well as the more realistic generalized zero-shot setting. We also demonstrate how the proposed approach can be useful for making approximate semantic inferences about an image belonging to a category for which attribute information is not available.

Effectively steering hearable devices requires understanding the acoustic environment around the user. In the computational analysis of sound scenes, foundation models have emerged as the state of the art to produce high-performance, robust, multi-purpose audio representations. We introduce and release Deep Evaluation of Audio Representations (DEAR), the first dataset and benchmark to evaluate the efficacy of foundation models in capturing essential acoustic properties for hearables. The dataset includes 1,158 audio tracks, each 30 seconds long, created by spatially mixing proprietary monologues with commercial, high-quality recordings of everyday acoustic scenes. Our benchmark encompasses eight tasks that assess the general context, speech sources, and technical acoustic properties of the audio scenes. Through our evaluation of four general-purpose audio representation models, we demonstrate that the BEATs model significantly surpasses its counterparts. This superiority underscores the advantage of models trained on diverse audio collections, confirming their applicability to a wide array of auditory tasks, including encoding the environment properties necessary for hearable steering. The DEAR dataset and associated code are available at https://dear-dataset.github.io.

Building cross-modal applications is challenging due to limited paired multi-modal data. Recent works have shown that leveraging a pre-trained multi-modal contrastive representation space enables cross-modal tasks to be learned from uni-modal data. This is based on the assumption that contrastive optimization makes embeddings from different modalities interchangeable. However, this assumption is under-explored due to the poorly understood geometry of the multi-modal contrastive space, where a modality gap exists. In our study, we provide a theoretical explanation of this space's geometry and introduce a three-step method, C^3 (Connect, Collapse, Corrupt), to bridge the modality gap, enhancing the interchangeability of embeddings. Our C^3 method significantly improves cross-modal learning from uni-modal data, achieving state-of-the-art results on zero-shot image / audio / video captioning and text-to-image generation.

Multimodal embedding models have gained significant attention for their ability to map data from different modalities, such as text and images, into a unified representation space. However, the limited labeled multimodal data often hinders embedding performance. Recent approaches have leveraged data synthesis to address this problem, yet the quality of synthetic data remains a critical bottleneck. In this work, we identify three criteria for high-quality synthetic multimodal data. First, broad scope ensures that the generated data covers diverse tasks and modalities, making it applicable to various downstream scenarios. Second, robust cross-modal alignment makes different modalities semantically consistent. Third, high fidelity ensures that the synthetic data maintains realistic details to enhance its reliability. Guided by these principles, we synthesize datasets that: (1) cover a wide range of tasks, modality combinations, and languages, (2) are generated via a deep thinking process within a single pass of a multimodal large language model, and (3) incorporate real-world images with accurate and relevant texts, ensuring fidelity through self-evaluation and refinement. Leveraging these high-quality synthetic and labeled datasets, we train a multimodal multilingual E5 model mmE5. Extensive experiments demonstrate that mmE5 achieves state-of-the-art performance on the MMEB Benchmark and superior multilingual performance on the XTD benchmark. Our codes, datasets and models are released in https://github.com/haon-chen/mmE5.

Aligned representations across languages is a desired property in multilingual large language models (mLLMs), as alignment can improve performance in cross-lingual tasks. Typically alignment requires fine-tuning a model, which is computationally expensive, and sizable language data, which often may not be available. A data-efficient alternative to fine-tuning is model interventions -- a method for manipulating model activations to steer generation into the desired direction. We analyze the effect of a popular intervention (finding experts) on the alignment of cross-lingual representations in mLLMs. We identify the neurons to manipulate for a given language and introspect the embedding space of mLLMs pre- and post-manipulation. We show that modifying the mLLM's activations changes its embedding space such that cross-lingual alignment is enhanced. Further, we show that the changes to the embedding space translate into improved downstream performance on retrieval tasks, with up to 2x improvements in top-1 accuracy on cross-lingual retrieval.

Word embeddings that map words into a fixed-dimensional vector space are the backbone of modern NLP. Most word embedding methods encode semantic information. However, phonetic information, which is important for some tasks, is often overlooked. In this work, we develop several novel methods which leverage articulatory features to build phonetically informed word embeddings, and present a set of phonetic word embeddings to encourage their community development, evaluation and use. While several methods for learning phonetic word embeddings already exist, there is a lack of consistency in evaluating their effectiveness. Thus, we also proposes several ways to evaluate both intrinsic aspects of phonetic word embeddings, such as word retrieval and correlation with sound similarity, and extrinsic performances, such as rhyme and cognate detection and sound analogies. We hope that our suite of tasks will promote reproducibility and provide direction for future research on phonetic word embeddings.

Domain-specific embedding models have shown promise for applications that require specialized semantic understanding, such as coding agents and financial retrieval systems, often achieving higher performance gains than general models. However, state-of-the-art embedding models are typically based on LLMs, which contain billions of parameters, making deployment challenging in resource-constrained environments. Model compression through pruning offers a promising solution, but existing pruning methods treat all parameters uniformly, failing to distinguish between general semantic representations and domain-specific patterns, leading to suboptimal pruning decisions. Thus, we propose GAPrune, a pruning framework that addresses this challenge by considering both domain importance and preserving general linguistic foundation. Our method uses Fisher Information to measure importance and general-domain gradient alignment to assess parameter behavior, then combines these signals using our Domain Alignment Importance (DAI) scoring. Lower DAI scores indicate that the parameter is either less important for the domain task or creates conflicts between domain and general objectives. Experiments on two domain benchmarks, FinMTEB and ChemTEB, show that GAPrune maintains performance within 2.5% of dense models in one-shot pruning at 50% sparsity, while outperforming all baselines. With retraining in 100 steps, GAPrune achieves +4.51% improvement on FinMTEB and +1.73% on ChemTEB, demonstrating that our pruning strategy not only preserves but enhances domain-specific capabilities. Our findings demonstrate that principled pruning strategies can achieve model compression and enhanced domain specialization, providing the research community with a new approach for development.

This paper presents the Large Wireless Model (LWM) -- the world's first foundation model for wireless channels. Designed as a task-agnostic model, LWM generates universal, rich, contextualized channel embeddings (features) that potentially enhance performance across a wide range of downstream tasks in wireless communication and sensing systems. Towards this objective, LWM, which has a transformer-based architecture, was pre-trained in a self-supervised manner on large-scale wireless channel datasets. Our results show consistent improvements in classification and regression tasks when using the LWM embeddings compared to raw channel representations, especially in scenarios with high-complexity machine learning tasks and limited training datasets. This LWM's ability to learn from large-scale wireless data opens a promising direction for intelligent systems that can efficiently adapt to diverse tasks with limited data, paving the way for addressing key challenges in wireless communication and sensing systems.

Modeling temporal characteristics plays a significant role in the representation learning of audio waveform. We propose Contrastive Long-form Language-Audio Pretraining (CoLLAP) to significantly extend the perception window for both the input audio (up to 5 minutes) and the language descriptions (exceeding 250 words), while enabling contrastive learning across modalities and temporal dynamics. Leveraging recent Music-LLMs to generate long-form music captions for full-length songs, augmented with musical temporal structures, we collect 51.3K audio-text pairs derived from the large-scale AudioSet training dataset, where the average audio length reaches 288 seconds. We propose a novel contrastive learning architecture that fuses language representations with structured audio representations by segmenting each song into clips and extracting their embeddings. With an attention mechanism, we capture multimodal temporal correlations, allowing the model to automatically weigh and enhance the final fusion score for improved contrastive alignment. Finally, we develop two variants of the CoLLAP model with different types of backbone language models. Through comprehensive experiments on multiple long-form music-text retrieval datasets, we demonstrate consistent performance improvement in retrieval accuracy compared with baselines. We also show the pretrained CoLLAP models can be transferred to various music information retrieval tasks, with heterogeneous long-form multimodal contexts.

Multi-modal deep learning techniques for matching free-form text with music have shown promising results in the field of Music Information Retrieval (MIR). Prior work is often based on large proprietary data while publicly available datasets are few and small in size. In this study, we present WikiMuTe, a new and open dataset containing rich semantic descriptions of music. The data is sourced from Wikipedia's rich catalogue of articles covering musical works. Using a dedicated text-mining pipeline, we extract both long and short-form descriptions covering a wide range of topics related to music content such as genre, style, mood, instrumentation, and tempo. To show the use of this data, we train a model that jointly learns text and audio representations and performs cross-modal retrieval. The model is evaluated on two tasks: tag-based music retrieval and music auto-tagging. The results show that while our approach has state-of-the-art performance on multiple tasks, but still observe a difference in performance depending on the data used for training.

The lack of data tends to limit the outcomes of deep learning research, particularly when dealing with end-to-end learning stacks processing raw data such as waveforms. In this study, 1.2M tracks annotated with musical labels are available to train our end-to-end models. This large amount of data allows us to unrestrictedly explore two different design paradigms for music auto-tagging: assumption-free models - using waveforms as input with very small convolutional filters; and models that rely on domain knowledge - log-mel spectrograms with a convolutional neural network designed to learn timbral and temporal features. Our work focuses on studying how these two types of deep architectures perform when datasets of variable size are available for training: the MagnaTagATune (25k songs), the Million Song Dataset (240k songs), and a private dataset of 1.2M songs. Our experiments suggest that music domain assumptions are relevant when not enough training data are available, thus showing how waveform-based models outperform spectrogram-based ones in large-scale data scenarios.

Continuous Bag of Words (CBOW) is a powerful text embedding method. Due to its strong capabilities to encode word content, CBOW embeddings perform well on a wide range of downstream tasks while being efficient to compute. However, CBOW is not capable of capturing the word order. The reason is that the computation of CBOW's word embeddings is commutative, i.e., embeddings of XYZ and ZYX are the same. In order to address this shortcoming, we propose a learning algorithm for the Continuous Matrix Space Model, which we call Continual Multiplication of Words (CMOW). Our algorithm is an adaptation of word2vec, so that it can be trained on large quantities of unlabeled text. We empirically show that CMOW better captures linguistic properties, but it is inferior to CBOW in memorizing word content. Motivated by these findings, we propose a hybrid model that combines the strengths of CBOW and CMOW. Our results show that the hybrid CBOW-CMOW-model retains CBOW's strong ability to memorize word content while at the same time substantially improving its ability to encode other linguistic information by 8%. As a result, the hybrid also performs better on 8 out of 11 supervised downstream tasks with an average improvement of 1.2%.

Deep generative models applied to audio have improved by a large margin the state-of-the-art in many speech and music related tasks. However, as raw waveform modelling remains an inherently difficult task, audio generative models are either computationally intensive, rely on low sampling rates, are complicated to control or restrict the nature of possible signals. Among those models, Variational AutoEncoders (VAE) give control over the generation by exposing latent variables, although they usually suffer from low synthesis quality. In this paper, we introduce a Realtime Audio Variational autoEncoder (RAVE) allowing both fast and high-quality audio waveform synthesis. We introduce a novel two-stage training procedure, namely representation learning and adversarial fine-tuning. We show that using a post-training analysis of the latent space allows a direct control between the reconstruction fidelity and the representation compactness. By leveraging a multi-band decomposition of the raw waveform, we show that our model is the first able to generate 48kHz audio signals, while simultaneously running 20 times faster than real-time on a standard laptop CPU. We evaluate synthesis quality using both quantitative and qualitative subjective experiments and show the superiority of our approach compared to existing models. Finally, we present applications of our model for timbre transfer and signal compression. All of our source code and audio examples are publicly available.

This survey delves into the realm of Parameter-Efficient Fine-Tuning (PEFT) within the context of Foundation Models (FMs). PEFT, a cost-effective fine-tuning technique, minimizes parameters and computational complexity while striving for optimal downstream task performance. FMs, like ChatGPT, DALL-E, and LLaVA specialize in language understanding, generative tasks, and multimodal tasks, trained on diverse datasets spanning text, images, and videos. The diversity of FMs guides various adaptation strategies for PEFT. Therefore, this survey aims to provide a comprehensive overview of PEFT techniques applied to diverse FMs and address critical gaps in understanding the techniques, trends, and applications. We start by providing a detailed development of FMs and PEFT. Subsequently, we systematically review the key categories and core mechanisms of PEFT across diverse FMs to offer a comprehensive understanding of trends. We also explore the most recent applications across various FMs to demonstrate the versatility of PEFT, shedding light on the integration of systematic PEFT methods with a range of FMs. Furthermore, we identify potential research and development directions for improving PEFTs in the future. This survey provides a valuable resource for both newcomers and experts seeking to understand and use the power of PEFT across FMs. All reviewed papers are listed at https://github.com/THUDM/Awesome-Parameter-Efficient-Fine-Tuning-for-Foundation-Models.

Universal multimodal retrieval (UMR), which aims to address complex retrieval tasks where both queries and candidates span diverse modalities, has been significantly advanced by the emergence of MLLMs. While state-of-the-art MLLM-based methods in the literature predominantly adopt contrastive learning principles, they often differ in their specific training recipes. Despite their success, the mechanisms underlying their retrieval capabilities remain largely unexplored, potentially resulting in suboptimal performance and limited generalization ability. To address these issues, we present a comprehensive study aimed at uncovering the key factors that drive effective embedding learning for UMR using MLLMs. We begin by implementing a general MLLM-based embedding learning pipeline, and systematically analyze the primary contributors to high-performing universal retrieval systems. Based on this, we explore various aspects of the details in embedding generation and training strategies, including progressive transition, hard negative mining and re-ranker distillation. Notably, our findings reveal that often-overlooked factors can have a substantial impact on model performance. Building on these discoveries, we introduce a unified framework termed U-MARVEL (Universal MultimodAl RetrieVal via Embedding Learning), which outperforms state-of-the-art competitors on the M-BEIR benchmark by a large margin in supervised settings, and also exihibits strong zero-shot performance on several tasks such as composed image retrieval and text-to-video retrieval. These results underscore the generalization potential of our framework across various embedding-based retrieval tasks. Code is available at https://github.com/chaxjli/U-MARVEL

Generative models in vision have seen rapid progress due to algorithmic improvements and the availability of high-quality image datasets. In this paper, we offer contributions in both these areas to enable similar progress in audio modeling. First, we detail a powerful new WaveNet-style autoencoder model that conditions an autoregressive decoder on temporal codes learned from the raw audio waveform. Second, we introduce NSynth, a large-scale and high-quality dataset of musical notes that is an order of magnitude larger than comparable public datasets. Using NSynth, we demonstrate improved qualitative and quantitative performance of the WaveNet autoencoder over a well-tuned spectral autoencoder baseline. Finally, we show that the model learns a manifold of embeddings that allows for morphing between instruments, meaningfully interpolating in timbre to create new types of sounds that are realistic and expressive.

In this article, we adapted five recent SSL methods to the task of audio classification. The first two methods, namely Deep Co-Training (DCT) and Mean Teacher (MT), involve two collaborative neural networks. The three other algorithms, called MixMatch (MM), ReMixMatch (RMM), and FixMatch (FM), are single-model methods that rely primarily on data augmentation strategies. Using the Wide-ResNet-28-2 architecture in all our experiments, 10% of labeled data and the remaining 90% as unlabeled data for training, we first compare the error rates of the five methods on three standard benchmark audio datasets: Environmental Sound Classification (ESC-10), UrbanSound8K (UBS8K), and Google Speech Commands (GSC). In all but one cases, MM, RMM, and FM outperformed MT and DCT significantly, MM and RMM being the best methods in most experiments. On UBS8K and GSC, MM achieved 18.02% and 3.25% error rate (ER), respectively, outperforming models trained with 100% of the available labeled data, which reached 23.29% and 4.94%, respectively. RMM achieved the best results on ESC-10 (12.00% ER), followed by FM which reached 13.33%. Second, we explored adding the mixup augmentation, used in MM and RMM, to DCT, MT, and FM. In almost all cases, mixup brought consistent gains. For instance, on GSC, FM reached 4.44% and 3.31% ER without and with mixup. Our PyTorch code will be made available upon paper acceptance at https:// github. com/ Labbe ti/ SSLH.

To fully understand the behavior of a large language model (LLM) requires our understanding of its input space. If this input space differs from our assumption, our understanding of and conclusions about the LLM is likely flawed, regardless of its architecture. Here, we elucidate the structure of the token embeddings, the input domain for LLMs, both empirically and theoretically. We present a generalized and statistically testable model where the neighborhood of each token splits into well-defined signal and noise dimensions. This model is based on a generalization of a manifold called a fiber bundle, so we denote our hypothesis test as the ``fiber bundle null.'' Failing to reject the null is uninformative, but rejecting it at a specific token indicates that token has a statistically significant local structure, and so is of interest to us. By running our test over several open-source LLMs, each with unique token embeddings, we find that the null is frequently rejected, and so the token subspace is provably not a fiber bundle and hence also not a manifold. As a consequence of our findings, when an LLM is presented with two semantically equivalent prompts, and if one prompt contains a token implicated by our test, that prompt will likely exhibit more output variability proportional to the local signal dimension of the token.

Multi-instrument music transcription aims to convert polyphonic music recordings into musical scores assigned to each instrument. This task is challenging for modeling as it requires simultaneously identifying multiple instruments and transcribing their pitch and precise timing, and the lack of fully annotated data adds to the training difficulties. This paper introduces YourMT3+, a suite of models for enhanced multi-instrument music transcription based on the recent language token decoding approach of MT3. We enhance its encoder by adopting a hierarchical attention transformer in the time-frequency domain and integrating a mixture of experts. To address data limitations, we introduce a new multi-channel decoding method for training with incomplete annotations and propose intra- and cross-stem augmentation for dataset mixing. Our experiments demonstrate direct vocal transcription capabilities, eliminating the need for voice separation pre-processors. Benchmarks across ten public datasets show our models' competitiveness with, or superiority to, existing transcription models. Further testing on pop music recordings highlights the limitations of current models. Fully reproducible code and datasets are available with demos at https://github.com/mimbres/YourMT3.

We tackle the task of conditional music generation. We introduce MusicGen, a single Language Model (LM) that operates over several streams of compressed discrete music representation, i.e., tokens. Unlike prior work, MusicGen is comprised of a single-stage transformer LM together with efficient token interleaving patterns, which eliminates the need for cascading several models, e.g., hierarchically or upsampling. Following this approach, we demonstrate how MusicGen can generate high-quality samples, while being conditioned on textual description or melodic features, allowing better controls over the generated output. We conduct extensive empirical evaluation, considering both automatic and human studies, showing the proposed approach is superior to the evaluated baselines on a standard text-to-music benchmark. Through ablation studies, we shed light over the importance of each of the components comprising MusicGen. Music samples, code, and models are available at https://github.com/facebookresearch/audiocraft.

Challenges in managing linguistic diversity and integrating various musical modalities are faced by current music information retrieval systems. These limitations reduce their effectiveness in a global, multimodal music environment. To address these issues, we introduce CLaMP 2, a system compatible with 101 languages that supports both ABC notation (a text-based musical notation format) and MIDI (Musical Instrument Digital Interface) for music information retrieval. CLaMP 2, pre-trained on 1.5 million ABC-MIDI-text triplets, includes a multilingual text encoder and a multimodal music encoder aligned via contrastive learning. By leveraging large language models, we obtain refined and consistent multilingual descriptions at scale, significantly reducing textual noise and balancing language distribution. Our experiments show that CLaMP 2 achieves state-of-the-art results in both multilingual semantic search and music classification across modalities, thus establishing a new standard for inclusive and global music information retrieval.

Flow Matching (FM) is a recent framework for generative modeling that has achieved state-of-the-art performance across various domains, including image, video, audio, speech, and biological structures. This guide offers a comprehensive and self-contained review of FM, covering its mathematical foundations, design choices, and extensions. By also providing a PyTorch package featuring relevant examples (e.g., image and text generation), this work aims to serve as a resource for both novice and experienced researchers interested in understanding, applying and further developing FM.

The recent success of distributed word representations has led to an increased interest in analyzing the properties of their spatial distribution. Several studies have suggested that contextualized word embedding models do not isotropically project tokens into vector space. However, current methods designed to measure isotropy, such as average random cosine similarity and the partition score, have not been thoroughly analyzed and are not appropriate for measuring isotropy. We propose IsoScore: a novel tool that quantifies the degree to which a point cloud uniformly utilizes the ambient vector space. Using rigorously designed tests, we demonstrate that IsoScore is the only tool available in the literature that accurately measures how uniformly distributed variance is across dimensions in vector space. Additionally, we use IsoScore to challenge a number of recent conclusions in the NLP literature that have been derived using brittle metrics of isotropy. We caution future studies from using existing tools to measure isotropy in contextualized embedding space as resulting conclusions will be misleading or altogether inaccurate.

In a range of recent works, object-centric architectures have been shown to be suitable for unsupervised scene decomposition in the vision domain. Inspired by these methods we present AudioSlots, a slot-centric generative model for blind source separation in the audio domain. AudioSlots is built using permutation-equivariant encoder and decoder networks. The encoder network based on the Transformer architecture learns to map a mixed audio spectrogram to an unordered set of independent source embeddings. The spatial broadcast decoder network learns to generate the source spectrograms from the source embeddings. We train the model in an end-to-end manner using a permutation invariant loss function. Our results on Libri2Mix speech separation constitute a proof of concept that this approach shows promise. We discuss the results and limitations of our approach in detail, and further outline potential ways to overcome the limitations and directions for future work.

Semantic representations of text, i.e. representations of natural language which capture meaning by geometry, are essential for areas such as information retrieval and document grouping. High-dimensional trained dense vectors have received much attention in recent years as such representations. We investigate the structure of semantic spaces that arise from embeddings made with Sentence-BERT and find that the representations suffer from a well-known problem in high dimensions called hubness. Hubness results in asymmetric neighborhood relations, such that some texts (the hubs) are neighbours of many other texts while most texts (so-called anti-hubs), are neighbours of few or no other texts. We quantify the semantic quality of the embeddings using hubness scores and error rate of a neighbourhood based classifier. We find that when hubness is high, we can reduce error rate and hubness using hubness reduction methods. We identify a combination of two methods as resulting in the best reduction. For example, on one of the tested pretrained models, this combined method can reduce hubness by about 75% and error rate by about 9%. Thus, we argue that mitigating hubness in the embedding space provides better semantic representations of text.

As an important part of Music Information Retrieval (MIR), Symbolic Music Understanding (SMU) has gained substantial attention, as it can assist musicians and amateurs in learning and creating music. Recently, pre-trained language models have been widely adopted in SMU because the symbolic music shares a huge similarity with natural language, and the pre-trained manner also helps make full use of limited music data. However, the issue of bias, such as sexism, ageism, and racism, has been observed in pre-trained language models, which is attributed to the imbalanced distribution of training data. It also has a significant influence on the performance of downstream tasks, which also happens in SMU. To address this challenge, we propose Adversarial-MidiBERT, a symbolic music understanding model based on Bidirectional Encoder Representations from Transformers (BERT). We introduce an unbiased pre-training method based on adversarial learning to minimize the participation of tokens that lead to biases during training. Furthermore, we propose a mask fine-tuning method to narrow the data gap between pre-training and fine-tuning, which can help the model converge faster and perform better. We evaluate our method on four music understanding tasks, and our approach demonstrates excellent performance in all of them. The code for our model is publicly available at https://github.com/RS2002/Adversarial-MidiBERT.

Recent research on time-series self-supervised models shows great promise in learning semantic representations. However, it has been limited to small-scale datasets, e.g., thousands of temporal sequences. In this work, we make key technical contributions that are tailored to the numerical properties of time-series data and allow the model to scale to large datasets, e.g., millions of temporal sequences. We adopt the Transformer architecture by first partitioning the input into non-overlapping windows. Each window is then characterized by its normalized shape and two scalar values denoting the mean and standard deviation within each window. To embed scalar values that may possess arbitrary numerical scales to high-dimensional vectors, we propose a numerically multi-scaled embedding module enumerating all possible scales for the scalar values. The model undergoes pretraining using the proposed numerically multi-scaled embedding with a simple contrastive objective on a large-scale dataset containing over a million sequences. We study its transfer performance on a number of univariate and multivariate classification benchmarks. Our method exhibits remarkable improvement against previous representation learning approaches and establishes the new state of the art, even compared with domain-specific non-learning-based methods.

Multimodal models that jointly process audio and language hold great promise in audio understanding and are increasingly being adopted in the music domain. By allowing users to query via text and obtain information about a given audio input, these models have the potential to enable a variety of music understanding tasks via language-based interfaces. However, their evaluation poses considerable challenges, and it remains unclear how to effectively assess their ability to correctly interpret music-related inputs with current methods. Motivated by this, we introduce MuChoMusic, a benchmark for evaluating music understanding in multimodal language models focused on audio. MuChoMusic comprises 1,187 multiple-choice questions, all validated by human annotators, on 644 music tracks sourced from two publicly available music datasets, and covering a wide variety of genres. Questions in the benchmark are crafted to assess knowledge and reasoning abilities across several dimensions that cover fundamental musical concepts and their relation to cultural and functional contexts. Through the holistic analysis afforded by the benchmark, we evaluate five open-source models and identify several pitfalls, including an over-reliance on the language modality, pointing to a need for better multimodal integration. Data and code are open-sourced.

Retrieval-augmented generation (RAG) over long documents typically involves splitting the text into smaller chunks, which serve as the basic units for retrieval. However, due to dependencies across the original document, contextual information is often essential for accurately interpreting each chunk. To address this, prior work has explored encoding longer context windows to produce embeddings for longer chunks. Despite these efforts, gains in retrieval and downstream tasks remain limited. This is because (1) longer chunks strain the capacity of embedding models due to the increased amount of information they must encode, and (2) many real-world applications still require returning localized evidence due to constraints on model or human bandwidth. We propose an alternative approach to this challenge by representing short chunks in a way that is conditioned on a broader context window to enhance retrieval performance -- i.e., situating a chunk's meaning within its context. We further show that existing embedding models are not well-equipped to encode such situated context effectively, and thus introduce a new training paradigm and develop the situated embedding models (SitEmb). To evaluate our method, we curate a book-plot retrieval dataset specifically designed to assess situated retrieval capabilities. On this benchmark, our SitEmb-v1 model based on BGE-M3 substantially outperforms state-of-the-art embedding models, including several with up to 7-8B parameters, with only 1B parameters. Our 8B SitEmb-v1.5 model further improves performance by over 10% and shows strong results across different languages and several downstream applications.

This work explores whether language models encode meaningfully grounded representations of sounds of objects. We learn a linear probe that retrieves the correct text representation of an object given a snippet of audio related to that object, where the sound representation is given by a pretrained audio model. This probe is trained via a contrastive loss that pushes the language representations and sound representations of an object to be close to one another. After training, the probe is tested on its ability to generalize to objects that were not seen during training. Across different language models and audio models, we find that the probe generalization is above chance in many cases, indicating that despite being trained only on raw text, language models encode grounded knowledge of sounds for some objects.

Multimodal Large Language Models (MLLMs) have emerged as a promising solution for universal embedding tasks, yet adapting their generative nature for discriminative representation learning remains a significant challenge. The dominant paradigm of large-scale contrastive pre-training suffers from critical inefficiencies, including prohibitive computational costs and a failure to leverage the intrinsic, instruction-following capabilities of MLLMs. To overcome these limitations, we propose an efficient framework for universal multimodal embeddings, which bridges this gap by centering on two synergistic components. First, our hierarchical embedding prompt template employs a two-level instruction architecture that forces the model to produce discriminative representations. Building on this strong foundation, our second component, self-aware hard negative sampling, redefines the fine-tuning process by leveraging the model's own understanding to efficiently mine challenging negatives while actively filtering out potential false negatives. Our comprehensive experiments show that our hierarchical prompt achieves zero-shot performance competitive with contrastively trained baselines and enhances the fine-tuning process by lifting a simple in-batch negative baseline by 4.8 points on the MMEB benchmark. We further boost the performance via our self-aware hard negative sampling, achieving the state-of-the-art performance without the contrative pre-training. Our work presents an effective and efficient pathway to adapt MLLMs for universal embedding tasks, significantly reducing training time.

Word embeddings and language models have transformed natural language processing (NLP) by facilitating the representation of linguistic elements in continuous vector spaces. This review visits foundational concepts such as the distributional hypothesis and contextual similarity, tracing the evolution from sparse representations like one-hot encoding to dense embeddings including Word2Vec, GloVe, and fastText. We examine both static and contextualized embeddings, underscoring advancements in models such as ELMo, BERT, and GPT and their adaptations for cross-lingual and personalized applications. The discussion extends to sentence and document embeddings, covering aggregation methods and generative topic models, along with the application of embeddings in multimodal domains, including vision, robotics, and cognitive science. Advanced topics such as model compression, interpretability, numerical encoding, and bias mitigation are analyzed, addressing both technical challenges and ethical implications. Additionally, we identify future research directions, emphasizing the need for scalable training techniques, enhanced interpretability, and robust grounding in non-textual modalities. By synthesizing current methodologies and emerging trends, this survey offers researchers and practitioners an in-depth resource to push the boundaries of embedding-based language models.

Recent multimodal embedding approaches leveraging multimodal large language models (MLLMs) fine-tuned with contrastive learning (CL) have shown promising results, yet the underlying reasons behind their superiority remain underexplored. This work argues that a crucial advantage of MLLM-based approaches stems from implicit cross-modal alignment achieved during generative pretraining, where the language decoder learns to exploit multimodal signals within a shared representation space for generating unimodal outputs. Through analysis of anisotropy and kernel similarity structure, we empirically confirm that latent alignment emerges within MLLM representations, allowing CL to serve as a lightweight refinement stage. Leveraging this insight, we propose a Language-Centric Omnimodal Embedding framework, termed LCO-Emb. Extensive experiments across diverse backbones and benchmarks demonstrate its effectiveness, achieving state-of-the-art performance across modalities. Furthermore, we identify a Generation-Representation Scaling Law (GRSL), showing that the representational capabilities gained through contrastive refinement scales positively with the MLLM's generative capabilities. This suggests that improving generative abilities evolves as an effective paradigm for enhancing representation quality. We provide a theoretical explanation of GRSL, which formally links the MLLM's generative quality to the upper bound on its representation performance, and validate it on a challenging, low-resource visual-document retrieval task, showing that continual generative pretraining before CL can further enhance the potential of a model's embedding capabilities. Codes, models, and resources are available at https://github.com/LCO-Embedding/LCO-Embedding.

In this article, we explore the potential of using latent diffusion models, a family of powerful generative models, for the task of reconstructing naturalistic music from electroencephalogram (EEG) recordings. Unlike simpler music with limited timbres, such as MIDI-generated tunes or monophonic pieces, the focus here is on intricate music featuring a diverse array of instruments, voices, and effects, rich in harmonics and timbre. This study represents an initial foray into achieving general music reconstruction of high-quality using non-invasive EEG data, employing an end-to-end training approach directly on raw data without the need for manual pre-processing and channel selection. We train our models on the public NMED-T dataset and perform quantitative evaluation proposing neural embedding-based metrics. We additionally perform song classification based on the generated tracks. Our work contributes to the ongoing research in neural decoding and brain-computer interfaces, offering insights into the feasibility of using EEG data for complex auditory information reconstruction.

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.

Word embeddings have been shown to be useful across state-of-the-art systems in many natural language processing tasks, ranging from question answering systems to dependency parsing. (Herbelot and Vecchi, 2015) explored word embeddings and their utility for modeling language semantics. In particular, they presented an approach to automatically map a standard distributional semantic space onto a set-theoretic model using partial least squares regression. We show in this paper that a simple baseline achieves a +51% relative improvement compared to their model on one of the two datasets they used, and yields competitive results on the second dataset.

Text-attributed graphs are widely used across domains, offering rich opportunities for zero-shot learning via graph-text alignment. However, existing methods struggle with tasks requiring fine-grained pattern recognition, particularly on heterophilic graphs. Through empirical and theoretical analysis, we identify an over-abstraction problem: current approaches operate at excessively large hyperbolic radii, compressing multi-scale structural information into uniform high-level abstractions. This abstraction-induced information loss obscures critical local patterns essential for accurate predictions. By analyzing embeddings in hyperbolic space, we demonstrate that optimal graph learning requires faithful preservation of fine-grained structural details, better retained by representations positioned closer to the origin. To address this, we propose H4G, a framework that systematically reduces embedding radii using learnable block-diagonal scaling matrices and M\"obius matrix multiplication. This approach restores access to fine-grained patterns while maintaining global receptive ability with minimal computational overhead. Experiments show H4G achieves state-of-the-art zero-shot performance with 12.8\% improvement on heterophilic graphs and 8.4\% on homophilic graphs, confirming that radius reduction enables faithful multi-scale representation for advancing zero-shot graph learning.

Neural embedding models have become a fundamental component of modern information retrieval (IR) pipelines. These models produce a single embedding x in R^d per data-point, allowing for fast retrieval via highly optimized maximum inner product search (MIPS) algorithms. Recently, beginning with the landmark ColBERT paper, multi-vector models, which produce a set of embedding per data point, have achieved markedly superior performance for IR tasks. Unfortunately, using these models for IR is computationally expensive due to the increased complexity of multi-vector retrieval and scoring. In this paper, we introduce MUVERA (MUlti-VEctor Retrieval Algorithm), a retrieval mechanism which reduces multi-vector similarity search to single-vector similarity search. This enables the usage of off-the-shelf MIPS solvers for multi-vector retrieval. MUVERA asymmetrically generates Fixed Dimensional Encodings (FDEs) of queries and documents, which are vectors whose inner product approximates multi-vector similarity. We prove that FDEs give high-quality epsilon-approximations, thus providing the first single-vector proxy for multi-vector similarity with theoretical guarantees. Empirically, we find that FDEs achieve the same recall as prior state-of-the-art heuristics while retrieving 2-5times fewer candidates. Compared to prior state of the art implementations, MUVERA achieves consistently good end-to-end recall and latency across a diverse set of the BEIR retrieval datasets, achieving an average of 10% improved recall with 90% lower latency.

This paper explores a simple extension of diffusion-based rectified flow Transformers for text-to-music generation, termed as FluxMusic. Generally, along with design in advanced Fluxhttps://github.com/black-forest-labs/flux model, we transfers it into a latent VAE space of mel-spectrum. It involves first applying a sequence of independent attention to the double text-music stream, followed by a stacked single music stream for denoised patch prediction. We employ multiple pre-trained text encoders to sufficiently capture caption semantic information as well as inference flexibility. In between, coarse textual information, in conjunction with time step embeddings, is utilized in a modulation mechanism, while fine-grained textual details are concatenated with the music patch sequence as inputs. Through an in-depth study, we demonstrate that rectified flow training with an optimized architecture significantly outperforms established diffusion methods for the text-to-music task, as evidenced by various automatic metrics and human preference evaluations. Our experimental data, code, and model weights are made publicly available at: https://github.com/feizc/FluxMusic.

This paper introduces effective design choices for text-to-music retrieval systems. An ideal text-based retrieval system would support various input queries such as pre-defined tags, unseen tags, and sentence-level descriptions. In reality, most previous works mainly focused on a single query type (tag or sentence) which may not generalize to another input type. Hence, we review recent text-based music retrieval systems using our proposed benchmark in two main aspects: input text representation and training objectives. Our findings enable a universal text-to-music retrieval system that achieves comparable retrieval performances in both tag- and sentence-level inputs. Furthermore, the proposed multimodal representation generalizes to 9 different downstream music classification tasks. We present the code and demo online.

Music generation has attracted growing interest with the advancement of deep generative models. However, generating music conditioned on textual descriptions, known as text-to-music, remains challenging due to the complexity of musical structures and high sampling rate requirements. Despite the task's significance, prevailing generative models exhibit limitations in music quality, computational efficiency, and generalization. This paper introduces JEN-1, a universal high-fidelity model for text-to-music generation. JEN-1 is a diffusion model incorporating both autoregressive and non-autoregressive training. Through in-context learning, JEN-1 performs various generation tasks including text-guided music generation, music inpainting, and continuation. Evaluations demonstrate JEN-1's superior performance over state-of-the-art methods in text-music alignment and music quality while maintaining computational efficiency. Our demos are available at http://futureverse.com/research/jen/demos/jen1

The field of Music Information Retrieval (MIR) is fragmented, with specialized models excelling at isolated tasks. In this work, we challenge this paradigm by introducing a unified foundation model named MuFun for holistic music understanding. Our model features a novel architecture that jointly processes instrumental and lyrical content, and is trained on a large-scale dataset covering diverse tasks such as genre classification, music tagging, and question answering. To facilitate robust evaluation, we also propose a new benchmark for multi-faceted music understanding called MuCUE (Music Comprehensive Understanding Evaluation). Experiments show our model significantly outperforms existing audio large language models across the MuCUE tasks, demonstrating its state-of-the-art effectiveness and generalization ability.

Pitch estimation (PE) in monophonic audio is crucial for MIDI transcription and singing voice conversion (SVC), but existing methods suffer significant performance degradation under noise. In this paper, we propose FCPE, a fast context-based pitch estimation model that employs a Lynx-Net architecture with depth-wise separable convolutions to effectively capture mel spectrogram features while maintaining low computational cost and robust noise tolerance. Experiments show that our method achieves 96.79\% Raw Pitch Accuracy (RPA) on the MIR-1K dataset, on par with the state-of-the-art methods. The Real-Time Factor (RTF) is 0.0062 on a single RTX 4090 GPU, which significantly outperforms existing algorithms in efficiency. Code is available at https://github.com/CNChTu/FCPE.

We present SongComposer, an innovative LLM designed for song composition. It could understand and generate melodies and lyrics in symbolic song representations, by leveraging the capability of LLM. Existing music-related LLM treated the music as quantized audio signals, while such implicit encoding leads to inefficient encoding and poor flexibility. In contrast, we resort to symbolic song representation, the mature and efficient way humans designed for music, and enable LLM to explicitly compose songs like humans. In practice, we design a novel tuple design to format lyric and three note attributes (pitch, duration, and rest duration) in the melody, which guarantees the correct LLM understanding of musical symbols and realizes precise alignment between lyrics and melody. To impart basic music understanding to LLM, we carefully collected SongCompose-PT, a large-scale song pretraining dataset that includes lyrics, melodies, and paired lyrics-melodies in either Chinese or English. After adequate pre-training, 10K carefully crafted QA pairs are used to empower the LLM with the instruction-following capability and solve diverse tasks. With extensive experiments, SongComposer demonstrates superior performance in lyric-to-melody generation, melody-to-lyric generation, song continuation, and text-to-song creation, outperforming advanced LLMs like GPT-4.

Cross-modal retrieval (CMR) has been extensively applied in various domains, such as multimedia search engines and recommendation systems. Most existing CMR methods focus on image-to-text retrieval, whereas audio-to-text retrieval, a less explored domain, has posed a great challenge due to the difficulty to uncover discriminative features from audio clips and texts. Existing studies are restricted in the following two ways: 1) Most researchers utilize contrastive learning to construct a common subspace where similarities among data can be measured. However, they considers only cross-modal transformation, neglecting the intra-modal separability. Besides, the temperature parameter is not adaptively adjusted along with semantic guidance, which degrades the performance. 2) These methods do not take latent representation reconstruction into account, which is essential for semantic alignment. This paper introduces a novel audio-text oriented CMR approach, termed Contrastive Latent Space Reconstruction Learning (CLSR). CLSR improves contrastive representation learning by taking intra-modal separability into account and adopting an adaptive temperature control strategy. Moreover, the latent representation reconstruction modules are embedded into the CMR framework, which improves modal interaction. Experiments in comparison with some state-of-the-art methods on two audio-text datasets have validated the superiority of CLSR.

Recently, multi-band spectrogram-based approaches such as Band-Split RNN (BSRNN) have demonstrated promising results for music source separation. In our recent work, we introduce the BS-RoFormer model which inherits the idea of band-split scheme in BSRNN at the front-end, and then uses the hierarchical Transformer with Rotary Position Embedding (RoPE) to model the inner-band and inter-band sequences for multi-band mask estimation. This model has achieved state-of-the-art performance, but the band-split scheme is defined empirically, without analytic supports from the literature. In this paper, we propose Mel-RoFormer, which adopts the Mel-band scheme that maps the frequency bins into overlapped subbands according to the mel scale. In contract, the band-split mapping in BSRNN and BS-RoFormer is non-overlapping and designed based on heuristics. Using the MUSDB18HQ dataset for experiments, we demonstrate that Mel-RoFormer outperforms BS-RoFormer in the separation tasks of vocals, drums, and other stems.

Visual and linguistic concepts naturally organize themselves in a hierarchy, where a textual concept ``dog'' entails all images that contain dogs. Despite being intuitive, current large-scale vision and language models such as CLIP do not explicitly capture such hierarchy. We propose MERU, a contrastive model that yields hyperbolic representations of images and text. Hyperbolic spaces have suitable geometric properties to embed tree-like data, so MERU can better capture the underlying hierarchy in image-text data. Our results show that MERU learns a highly interpretable representation space while being competitive with CLIP's performance on multi-modal tasks like image classification and image-text retrieval.