Daily Papers

We study the problem of symbolic music generation (e.g., generating piano rolls), with a technical focus on non-differentiable rule guidance. Musical rules are often expressed in symbolic form on note characteristics, such as note density or chord progression, many of which are non-differentiable which pose a challenge when using them for guided diffusion. We propose Stochastic Control Guidance (SCG), a novel guidance method that only requires forward evaluation of rule functions that can work with pre-trained diffusion models in a plug-and-play way, thus achieving training-free guidance for non-differentiable rules for the first time. Additionally, we introduce a latent diffusion architecture for symbolic music generation with high time resolution, which can be composed with SCG in a plug-and-play fashion. Compared to standard strong baselines in symbolic music generation, this framework demonstrates marked advancements in music quality and rule-based controllability, outperforming current state-of-the-art generators in a variety of settings. For detailed demonstrations, code and model checkpoints, please visit our project website: https://scg-rule-guided-music.github.io/.

Numerous studies in the field of music generation have demonstrated impressive performance, yet virtually no models are able to directly generate music to match accompanying videos. In this work, we develop a generative music AI framework, Video2Music, that can match a provided video. We first curated a unique collection of music videos. Then, we analysed the music videos to obtain semantic, scene offset, motion, and emotion features. These distinct features are then employed as guiding input to our music generation model. We transcribe the audio files into MIDI and chords, and extract features such as note density and loudness. This results in a rich multimodal dataset, called MuVi-Sync, on which we train a novel Affective Multimodal Transformer (AMT) model to generate music given a video. This model includes a novel mechanism to enforce affective similarity between video and music. Finally, post-processing is performed based on a biGRU-based regression model to estimate note density and loudness based on the video features. This ensures a dynamic rendering of the generated chords with varying rhythm and volume. In a thorough experiment, we show that our proposed framework can generate music that matches the video content in terms of emotion. The musical quality, along with the quality of music-video matching is confirmed in a user study. The proposed AMT model, along with the new MuVi-Sync dataset, presents a promising step for the new task of music generation for videos.

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

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

Recent years have witnessed significant progress in generative models for music, featuring diverse architectures that balance output quality, diversity, speed, and user control. This study explores a user-friendly graphical interface enabling the drawing of masked regions for inpainting by an Hourglass Diffusion Transformer (HDiT) model trained on MIDI piano roll images. To enhance note generation in specified areas, masked regions can be "repainted" with extra noise. The non-latent HDiTs linear scaling with pixel count allows efficient generation in pixel space, providing intuitive and interpretable controls such as masking throughout the network and removing the need to operate in compressed latent spaces such as those provided by pretrained autoencoders. We demonstrate that, in addition to inpainting of melodies, accompaniment, and continuations, the use of repainting can help increase note density yielding musical structures closely matching user specifications such as rising, falling, or diverging melody and/or accompaniment, even when these lie outside the typical training data distribution. We achieve performance on par with prior results while operating at longer context windows, with no autoencoder, and can enable complex geometries for inpainting masks, increasing the options for machine-assisted composers to control the generated music.

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

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

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

The study conducted by Shumailov et al. (2024) demonstrates that repeatedly training a generative model on synthetic data leads to model collapse. This finding has generated considerable interest and debate, particularly given that current models have nearly exhausted the available data. In this work, we investigate the effects of fitting a distribution (through Kernel Density Estimation, or KDE) or a model to the data, followed by repeated sampling from it. Our objective is to develop a theoretical understanding of the phenomenon observed by Shumailov et al. (2024). Our results indicate that the outcomes reported are a statistical phenomenon and may be unavoidable.

We present a neural flow wavefunction, Gauge-Fermion FlowNet, and use it to simulate 2+1D lattice compact quantum electrodynamics with finite density dynamical fermions. The gauge field is represented by a neural network which parameterizes a discretized flow-based transformation of the amplitude while the fermionic sign structure is represented by a neural net backflow. This approach directly represents the U(1) degree of freedom without any truncation, obeys Guass's law by construction, samples autoregressively avoiding any equilibration time, and variationally simulates Gauge-Fermion systems with sign problems accurately. In this model, we investigate confinement and string breaking phenomena in different fermion density and hopping regimes. We study the phase transition from the charge crystal phase to the vacuum phase at zero density, and observe the phase seperation and the net charge penetration blocking effect under magnetic interaction at finite density. In addition, we investigate a magnetic phase transition due to the competition effect between the kinetic energy of fermions and the magnetic energy of the gauge field. With our method, we further note potential differences on the order of the phase transitions between a continuous U(1) system and one with finite truncation. Our state-of-the-art neural network approach opens up new possibilities to study different gauge theories coupled to dynamical matter in higher dimensions.

Community Notes, the crowd-sourced misinformation governance system on X (formerly Twitter), allows users to flag misleading posts, attach contextual notes, and rate the notes' helpfulness. However, our empirical analysis of 30.8K health-related notes reveals substantial latency, with a median delay of 17.6 hours before notes receive a helpfulness status. To improve responsiveness during real-world misinformation surges, we propose CrowdNotes+, a unified LLM-based framework that augments Community Notes for faster and more reliable health misinformation governance. CrowdNotes+ integrates two modes: (1) evidence-grounded note augmentation and (2) utility-guided note automation, supported by a hierarchical three-stage evaluation of relevance, correctness, and helpfulness. We instantiate the framework with HealthNotes, a benchmark of 1.2K health notes annotated for helpfulness, and a fine-tuned helpfulness judge. Our analysis first uncovers a key loophole in current crowd-sourced governance: voters frequently conflate stylistic fluency with factual accuracy. Addressing this via our hierarchical evaluation, experiments across 15 representative LLMs demonstrate that CrowdNotes+ significantly outperforms human contributors in note correctness, helpfulness, and evidence utility.

Video has become a popular media form for information sharing and consumption. However, taking notes while watching a video requires significant time and effort. To address this, we propose a novel interactive system, NoTeeline, for taking real-time, personalized notes. NoTeeline lets users quickly jot down keypoints (micronotes), which are automatically expanded into full-fledged notes that capture the content of the user's micronotes and are consistent with the user's writing style. In a within-subjects study (N=12), we found that NoTeeline helps users create high-quality notes that capture the essence of their micronotes with a higher factual correctness (93.2%) while accurately reflecting their writing style. While using NoTeeline, participants experienced significantly reduced mental effort, captured satisfactory notes while writing 47% less text, and completed notetaking with 43.9% less time compared to a manual notetaking baseline.

Modern music producers commonly use MIDI (Musical Instrument Digital Interface) to store their musical compositions. However, MIDI files created with digital software may lack the expressive characteristics of human performances, essentially leaving the velocity parameter - a control for note loudness - undefined, which defaults to a flat value. The task of filling MIDI velocity is termed MIDI velocity prediction, which uses regression models to enhance music expressiveness by adjusting only this parameter. In this paper, we introduce the U-Net, a widely adopted architecture in image colorization, to this task. By conceptualizing MIDI data as images, we adopt window attention and develop a custom loss function to address the sparsity of MIDI-converted images. Current dataset availability restricts our experiments to piano data. Evaluated on the MAESTRO v3 and SMD datasets, our proposed method for filling MIDI velocity outperforms previous approaches in both quantitative metrics and qualitative listening tests.

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 Musical Instrument Digital Interface (MIDI), introduced in 1983, revolutionized music production by allowing computers and instruments to communicate efficiently. MIDI files encode musical instructions compactly, facilitating convenient music sharing. They benefit Music Information Retrieval (MIR), aiding in research on music understanding, computational musicology, and generative music. The GigaMIDI dataset contains over 1.4 million unique MIDI files, encompassing 1.8 billion MIDI note events and over 5.3 million MIDI tracks. GigaMIDI is currently the largest collection of symbolic music in MIDI format available for research purposes under fair dealing. Distinguishing between non-expressive and expressive MIDI tracks is challenging, as MIDI files do not inherently make this distinction. To address this issue, we introduce a set of innovative heuristics for detecting expressive music performance. These include the Distinctive Note Velocity Ratio (DNVR) heuristic, which analyzes MIDI note velocity; the Distinctive Note Onset Deviation Ratio (DNODR) heuristic, which examines deviations in note onset times; and the Note Onset Median Metric Level (NOMML) heuristic, which evaluates onset positions relative to metric levels. Our evaluation demonstrates these heuristics effectively differentiate between non-expressive and expressive MIDI tracks. Furthermore, after evaluation, we create the most substantial expressive MIDI dataset, employing our heuristic, NOMML. This curated iteration of GigaMIDI encompasses expressively-performed instrument tracks detected by NOMML, containing all General MIDI instruments, constituting 31% of the GigaMIDI dataset, totalling 1,655,649 tracks.

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

To compliment the existing set of datasets, we present a small dataset entitled vocadito, consisting of 40 short excerpts of monophonic singing, sung in 7 different languages by singers with varying of levels of training, and recorded on a variety of devices. We provide several types of annotations, including f_0, lyrics, and two different note annotations. All annotations were created by musicians. We provide an analysis of the differences between the two note annotations, and see that the agreement level is low, which has implications for evaluating vocal note estimation algorithms. We also analyze the relation between the f_0 and note annotations, and show that quantizing f_0 values in frequency does not provide a reasonable note estimate, reinforcing the difficulty of the note estimation task for singing voice. Finally, we provide baseline results from recent algorithms on vocadito for note and f_0 transcription. Vocadito is made freely available for public use.

This technical report presents a new paradigm for full-song symbolic music generation. Existing symbolic models operate on note-attribute tokens and suffer from extremely long sequences, limited context length, and weak support for long-range structure. We address these issues by introducing PhraseVAE and PhraseLDM, the first latent diffusion framework designed for full-song multitrack symbolic music. PhraseVAE compresses an arbitrary variable-length polyphonic note sequence into a single compact 64-dimensional phrase-level latent representation with high reconstruction fidelity, allowing a well-structured latent space and efficient generative modeling. Built on this latent space, PhraseLDM generates an entire multi-track song in a single pass without any autoregressive components. The system eliminates bar-wise sequential modeling, supports up to 128 bars of music (8 minutes at 64 bpm), and produces complete songs with coherent local texture, idiomatic instrument patterns, and clear global structure. With only 45M parameters, our framework generates a full song within seconds while maintaining competitive musical quality and generation diversity. Together, these results show that phrase-level latent diffusion provides an effective and scalable solution to long-sequence modeling in symbolic music generation. We hope this work encourages future symbolic music research to move beyond note-attribute tokens and to consider phrase-level units as a more effective and musically meaningful modeling target.

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

In this research. we analyze the potential of Feature Density (HD) as a way to comparatively estimate machine learning (ML) classifier performance prior to training. The goal of the study is to aid in solving the problem of resource-intensive training of ML models which is becoming a serious issue due to continuously increasing dataset sizes and the ever rising popularity of Deep Neural Networks (DNN). The issue of constantly increasing demands for more powerful computational resources is also affecting the environment, as training large-scale ML models are causing alarmingly-growing amounts of CO2, emissions. Our approach 1s to optimize the resource-intensive training of ML models for Natural Language Processing to reduce the number of required experiments iterations. We expand on previous attempts on improving classifier training efficiency with FD while also providing an insight to the effectiveness of various linguistically-backed feature preprocessing methods for dialog classification, specifically cyberbullying detection.

Chord progressions encapsulate important information about music, pertaining to its structure and conveyed emotions. They serve as the backbone of musical composition, and in many cases, they are the sole information required for a musician to play along and follow the music. Despite their importance, chord progressions as a data domain remain underexplored. There is a lack of large-scale datasets suitable for deep learning applications, and limited research exploring chord progressions as an input modality. In this work, we present Chordonomicon, a dataset of over 666,000 songs and their chord progressions, annotated with structural parts, genre, and release date - created by scraping various sources of user-generated progressions and associated metadata. We demonstrate the practical utility of the Chordonomicon dataset for classification and generation tasks, and discuss its potential to provide valuable insights to the research community. Chord progressions are unique in their ability to be represented in multiple formats (e.g. text, graph) and the wealth of information chords convey in given contexts, such as their harmonic function . These characteristics make the Chordonomicon an ideal testbed for exploring advanced machine learning techniques, including transformers, graph machine learning, and hybrid systems that combine knowledge representation and machine learning.

Developing generative models to create or conditionally create symbolic music presents unique challenges due to the combination of limited data availability and the need for high precision in note pitch. To address these challenges, we introduce an efficient Fine-Grained Guidance (FGG) approach within diffusion models. FGG guides the diffusion models to generate music that aligns more closely with the control and intent of expert composers, which is critical to improve the accuracy, listenability, and quality of generated music. This approach empowers diffusion models to excel in advanced applications such as improvisation, and interactive music creation. We derive theoretical characterizations for both the challenges in symbolic music generation and the effects of the FGG approach. We provide numerical experiments and subjective evaluation to demonstrate the effectiveness of our approach. We have published a demo page to showcase performances, as one of the first in the symbolic music literature's demo pages that enables real-time interactive generation.

Note-taking is a critical practice for capturing, organizing, and reflecting on information in both academic and professional settings. The recent success of large language models has accelerated the development of AI-assisted tools, yet existing solutions often struggle with efficiency. We present NoteBar, an AI-assisted note-taking tool that leverages persona information and efficient language models to automatically organize notes into multiple categories and better support user workflows. To support research and evaluation in this space, we further introduce a novel persona-conditioned dataset of 3,173 notes and 8,494 annotated concepts across 16 MBTI personas, offering both diversity and semantic richness for downstream tasks. Finally, we demonstrate that NoteBar can be deployed in a practical and cost-effective manner, enabling interactive use without reliance on heavy infrastructure. Together, NoteBar and its accompanying dataset provide a scalable and extensible foundation for advancing AI-assisted personal knowledge management.

Symbolic music datasets are important for music information retrieval and musical analysis. However, there is a lack of large-scale symbolic datasets for classical piano music. In this article, we create a GiantMIDI-Piano (GP) dataset containing 38,700,838 transcribed notes and 10,855 unique solo piano works composed by 2,786 composers. We extract the names of music works and the names of composers from the International Music Score Library Project (IMSLP). We search and download their corresponding audio recordings from the internet. We further create a curated subset containing 7,236 works composed by 1,787 composers by constraining the titles of downloaded audio recordings containing the surnames of composers. We apply a convolutional neural network to detect solo piano works. Then, we transcribe those solo piano recordings into Musical Instrument Digital Interface (MIDI) files using a high-resolution piano transcription system. Each transcribed MIDI file contains the onset, offset, pitch, and velocity attributes of piano notes and pedals. GiantMIDI-Piano includes 90% live performance MIDI files and 10\% sequence input MIDI files. We analyse the statistics of GiantMIDI-Piano and show pitch class, interval, trichord, and tetrachord frequencies of six composers from different eras to show that GiantMIDI-Piano can be used for musical analysis. We evaluate the quality of GiantMIDI-Piano in terms of solo piano detection F1 scores, metadata accuracy, and transcription error rates. We release the source code for acquiring the GiantMIDI-Piano dataset at https://github.com/bytedance/GiantMIDI-Piano

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

The discharge summary is a one of critical documents in the patient journey, encompassing all events experienced during hospitalization, including multiple visits, medications, tests, surgery/procedures, and admissions/discharge. Providing a summary of the patient's progress is crucial, as it significantly influences future care and planning. Consequently, clinicians face the laborious and resource-intensive task of manually collecting, organizing, and combining all the necessary data for a discharge summary. Therefore, we propose "NOTE", which stands for "Notable generation Of patient Text summaries through an Efficient approach based on direct preference optimization". NOTE is based on Medical Information Mart for Intensive Care- III dataset and summarizes a single hospitalization of a patient. Patient events are sequentially combined and used to generate a discharge summary for each hospitalization. In the present circumstances, large language models' application programming interfaces (LLMs' APIs) are widely available, but importing and exporting medical data presents significant challenges due to privacy protection policies in healthcare institutions. Moreover, to ensure optimal performance, it is essential to implement a lightweight model for internal server or program within the hospital. Therefore, we utilized DPO and parameter efficient fine tuning (PEFT) techniques to apply a fine-tuning method that guarantees superior performance. To demonstrate the practical application of the developed NOTE, we provide a webpage-based demonstration software. In the future, we will aim to deploy the software available for actual use by clinicians in hospital. NOTE can be utilized to generate various summaries not only discharge summaries but also throughout a patient's journey, thereby alleviating the labor-intensive workload of clinicians and aiming for increased efficiency.

Developing text-driven symbolic music generation models remains challenging due to the scarcity of aligned text-music datasets and the unreliability of automated captioning pipelines. While most efforts have focused on MIDI, sheet music representations are largely underexplored in text-driven generation. We present Text2Score, a two-stage framework comprising a planning stage and an execution stage for generating sheet music from natural language prompts. By deriving supervision signals directly from symbolic XML data, we propose an alternative training paradigm that bypasses noisy or scarce text-music pairs. In the planning stage, an LLM orchestrator translates a natural language prompt into a structured measure-wise plan defining musical attributes such as instruments, key, time signatures, harmony, etc. This plan is then consumed by a generative model in the execution stage to produce interleaved ABC notation conditioned on the plan's structural constraints. To assess output quality, we introduce an evaluation framework covering playability, readability, instrument utilization, structural complexity, and prompt adherence, validated by expert musicians. Text2Score consistently outperforms both a pure LLM-based agentic framework and three end-to-end baselines across objective and subjective dimensions. We open-source the dataset, code, evaluation set and LLM prompts used in this work; a demo is available on our project page (https://keshavbhandari.github.io/portfolio/text2score).

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

Automatic Music Transcription (AMT) converts audio recordings into symbolic musical representations. Training deep neural networks (DNNs) for AMT typically requires strongly aligned training pairs with precise frame-level annotations. Since creating such datasets is costly and impractical for many musical contexts, weakly aligned approaches using segment-level annotations have gained traction. However, existing methods often rely on Dynamic Time Warping (DTW) or soft alignment loss functions, both of which still require local semantic correspondences, making them error-prone and computationally expensive. In this article, we introduce CountEM, a novel AMT framework that eliminates the need for explicit local alignment by leveraging note event histograms as supervision, enabling lighter computations and greater flexibility. Using an Expectation-Maximization (EM) approach, CountEM iteratively refines predictions based solely on note occurrence counts, significantly reducing annotation efforts while maintaining high transcription accuracy. Experiments on piano, guitar, and multi-instrument datasets demonstrate that CountEM matches or surpasses existing weakly supervised methods, improving AMT's robustness, scalability, and efficiency. Our project page is available at https://yoni-yaffe.github.io/count-the-notes.

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.

We here summarize our experience running a challenge with open data for musical genre recognition. Those notes motivate the task and the challenge design, show some statistics about the submissions, and present the results.

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

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

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

In this paper, we address the challenge of Optical Music Recognition (OMR) for handwritten jazz lead sheets, a widely used musical score type that encodes melody and chords. The task is challenging due to the presence of chords, a score component not handled by existing OMR systems, and the high variability and quality issues associated with handwritten images. Our contribution is two-fold. We present a novel dataset consisting of 293 handwritten jazz lead sheets of 163 unique pieces, amounting to 2021 total staves aligned with Humdrum **kern and MusicXML ground truth scores. We also supply synthetic score images generated from the ground truth. The second contribution is the development of an OMR model for jazz lead sheets. We discuss specific tokenisation choices related to our kind of data, and the advantages of using synthetic scores and pretrained models. We publicly release all code, data, and models.

We prove a density theorem for the auxiliar function mathcal R(s) found by Siegel in Riemann papers. Let α be a real number with frac12< αle 1, and let N(α,T) be the number of zeros ρ=β+iγ of mathcal R(s) with 1ge βgeα and 0<γle T. Then we prove \[N(α,T)\ll T^{\frac32-α}(\log T)^3.\] Therefore, most of the zeros of mathcal R(s) are near the critical line or to the left of that line. The imaginary line for π^{-s/2}Γ(s/2)mathcal R(s) passing through a zero of mathcal R(s) near the critical line frequently will cut the critical line, producing two zeros of ζ(s) in the critical line.

Ambient AI scribes draft clinical notes under the reassurance that a clinician signs every note. We audited three commercial AI scribes on the same 142 consultations: 565 notes from recorded UK primary-care and US ambulatory encounters plus authored scenarios. Twelve discovery passes proposed 13,678 candidate errors; the 5,898 clearing an importance filter went to an adversarial panel of two models from different families, each told to refute what it could, and 618 survived. One note in three (31.3% [27.0, 35.6]) carries a verified failure, concentrated in allergy and medication information, invented patient identity, and history written up as examination on telephone consultations that can contain none. No product was given a patient record; setting aside the two classes a record would have prefilled, invented identity and dates, the rate is 24.8% [20.8, 29.0]. One failure mode did not fit our scheme, drawn from published scribe-error taxonomies: a treatment the clinician retracts, recorded as delivered care. Two clinicians adjudicated blind, disjoint samples: a physician author upheld 20 of 21 findings (95.2% [77.3, 99.2]) and an independent clinician, not an author, 12 of 12 ([75.8, 100]); both judged every sampled refusal genuine. A failure rate depends on the instrument as much as the scribes. With model, evidence and settings fixed, the review instruction alone moves the share of candidates verified from 9.3% to 79.0%, and the reviewing family moves it too: alone at that instruction the gentler flags 54.8% of notes against 27.8%. Between 28% and 97% of sampled notes carry a failure depending on the standard. Published audits disagree among themselves by a margin instrument differences alone can produce: omission is 54-86% of their errors against our 23.1%. We release all 618 findings with transcript-side evidence, every prompt and model version, and the re-runnable pipeline.

Large Language Models (LLMs) have emerged as a milestone in artificial intelligence, and their performance can improve as the model size increases. However, this scaling brings great challenges to training and inference efficiency, particularly for deploying LLMs in resource-constrained environments, and the scaling trend is becoming increasingly unsustainable. This paper introduces the concept of ``capacity density'' as a new metric to evaluate the quality of the LLMs across different scales and describes the trend of LLMs in terms of both effectiveness and efficiency. To calculate the capacity density of a given target LLM, we first introduce a set of reference models and develop a scaling law to predict the downstream performance of these reference models based on their parameter sizes. We then define the effective parameter size of the target LLM as the parameter size required by a reference model to achieve equivalent performance, and formalize the capacity density as the ratio of the effective parameter size to the actual parameter size of the target LLM. Capacity density provides a unified framework for assessing both model effectiveness and efficiency. Our further analysis of recent open-source base LLMs reveals an empirical law (the densing law)that the capacity density of LLMs grows exponentially over time. More specifically, using some widely used benchmarks for evaluation, the capacity density of LLMs doubles approximately every three months. The law provides new perspectives to guide future LLM development, emphasizing the importance of improving capacity density to achieve optimal results with minimal computational overhead.

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

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

In 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 present FiloBass: a novel corpus of music scores and annotations which focuses on the important but often overlooked role of the double bass in jazz accompaniment. Inspired by recent work that sheds light on the role of the soloist, we offer a collection of 48 manually verified transcriptions of professional jazz bassists, comprising over 50,000 note events, which are based on the backing tracks used in the FiloSax dataset. For each recording we provide audio stems, scores, performance-aligned MIDI and associated metadata for beats, downbeats, chord symbols and markers for musical form. We then use FiloBass to enrich our understanding of jazz bass lines, by conducting a corpus-based musical analysis with a contrastive study of existing instructional methods. Together with the original FiloSax dataset, our work represents a significant step toward a fully annotated performance dataset for a jazz quartet setting. By illuminating the critical role of the bass in jazz, this work contributes to a more nuanced and comprehensive understanding of the genre.

Automatic Music Transcription (AMT) has been recognized as a key enabling technology with a wide range of applications. Given the task's complexity, best results have typically been reported for systems focusing on specific settings, e.g. instrument-specific systems tend to yield improved results over instrument-agnostic methods. Similarly, higher accuracy can be obtained when only estimating frame-wise f_0 values and neglecting the harder note event detection. Despite their high accuracy, such specialized systems often cannot be deployed in the real-world. Storage and network constraints prohibit the use of multiple specialized models, while memory and run-time constraints limit their complexity. In this paper, we propose a lightweight neural network for musical instrument transcription, which supports polyphonic outputs and generalizes to a wide variety of instruments (including vocals). Our model is trained to jointly predict frame-wise onsets, multipitch and note activations, and we experimentally show that this multi-output structure improves the resulting frame-level note accuracy. Despite its simplicity, benchmark results show our system's note estimation to be substantially better than a comparable baseline, and its frame-level accuracy to be only marginally below those of specialized state-of-the-art AMT systems. With this work we hope to encourage the community to further investigate low-resource, instrument-agnostic AMT systems.

Automated piano performance evaluation traditionally relies on symbolic (MIDI) representations, which capture note-level information but miss the acoustic nuances that characterize expressive playing. I propose using pre-trained audio foundation models, specifically MuQ and MERT, to predict 19 perceptual dimensions of piano performance quality. Using synthesized audio from PercePiano MIDI files (rendered via Pianoteq), I compare audio and symbolic approaches under controlled conditions where both derive from identical source data. The best model, MuQ layers 9-12 with Pianoteq soundfont augmentation, achieves R^2 = 0.537 (95% CI: [0.465, 0.575]), representing a 55% improvement over the symbolic baseline (R^2 = 0.347). Statistical analysis confirms significance (p < 10^-25) with audio outperforming symbolic on all 19 dimensions. I validate the approach through cross-soundfont generalization (R^2 = 0.534 +/- 0.075), difficulty correlation with an external dataset (rho = 0.623), and multi-performer consistency analysis. Analysis of audio-symbolic fusion reveals high error correlation (r = 0.738), explaining why fusion provides minimal benefit: audio representations alone are sufficient. I release the complete training pipeline, pretrained models, and inference code.

The current wave of deep learning (the hyper-vitamined return of artificial neural networks) applies not only to traditional statistical machine learning tasks: prediction and classification (e.g., for weather prediction and pattern recognition), but has already conquered other areas, such as translation. A growing area of application is the generation of creative content, notably the case of music, the topic of this paper. The motivation is in using the capacity of modern deep learning techniques to automatically learn musical styles from arbitrary musical corpora and then to generate musical samples from the estimated distribution, with some degree of control over the generation. This paper provides a tutorial on music generation based on deep learning techniques. After a short introduction to the topic illustrated by a recent exemple, the paper analyzes some early works from the late 1980s using artificial neural networks for music generation and how their pioneering contributions have prefigured current techniques. Then, we introduce some conceptual framework to analyze the various concepts and dimensions involved. Various examples of recent systems are introduced and analyzed to illustrate the variety of concerns and of techniques.

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

We introduce materiomusic as a generative framework linking the hierarchical structures of matter with the compositional logic of music. Across proteins, spider webs and flame dynamics, vibrational and architectural principles recur as tonal hierarchies, harmonic progressions, and long-range musical form. Using reversible mappings, from molecular spectra to musical tones and from three-dimensional networks to playable instruments, we show how sound functions as a scientific probe, an epistemic inversion where listening becomes a mode of seeing and musical composition becomes a blueprint for matter. These mappings excavate deep time: patterns originating in femtosecond molecular vibrations or billion-year evolutionary histories become audible. We posit that novelty in science and art emerges when constraints cannot be satisfied within existing degrees of freedom, forcing expansion of the space of viable configurations. Selective imperfection provides the mechanism restoring balance between coherence and adaptability. Quantitative support comes from exhaustive enumeration of all 2^12 musical scales, revealing that culturally significant systems cluster in a mid-entropy, mid-defect corridor, directly paralleling the Hall-Petch optimum where intermediate defect densities maximize material strength. Iterating these mappings creates productive collisions between human creativity and physics, generating new information as musical structures encounter evolutionary constraints. We show how swarm-based AI models compose music exhibiting human-like structural signatures such as small-world connectivity, modular integration, long-range coherence, suggesting a route beyond interpolation toward invention. We show that science and art are generative acts of world-building under constraint, with vibration as a shared grammar organizing structure across scales.

Iterative RAG for multi-hop question answering faces challenges with lengthy contexts and the buildup of irrelevant information. This hinders a model's capacity to process and reason over retrieved content and limits performance. While recent methods focus on compressing retrieved information, they are either restricted to single-round RAG, require finetuning or lack scalability in iterative RAG. To address these challenges, we propose Notes Writing, a method that generates concise and relevant notes from retrieved documents at each step, thereby reducing noise and retaining only essential information. This indirectly increases the effective context length of Large Language Models (LLMs), enabling them to reason and plan more effectively while processing larger volumes of input text. Notes Writing is framework agnostic and can be integrated with different iterative RAG methods. We demonstrate its effectiveness with three iterative RAG methods, across two models and four evaluation datasets. Notes writing yields an average improvement of 15.6 percentage points overall, with minimal increase in output tokens.

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

Dense retrieval in most industries employs dual-tower architectures to retrieve query-relevant documents. Due to online deployment requirements, existing real-world dense retrieval systems mainly enhance performance by designing negative sampling strategies, overlooking the advantages of scaling up. Recently, Large Language Models (LLMs) have exhibited superior performance that can be leveraged for scaling up dense retrieval. However, scaling up retrieval models significantly increases online query latency. To address this challenge, we propose ScalingNote, a two-stage method to exploit the scaling potential of LLMs for retrieval while maintaining online query latency. The first stage is training dual towers, both initialized from the same LLM, to unlock the potential of LLMs for dense retrieval. Then, we distill only the query tower using mean squared error loss and cosine similarity to reduce online costs. Through theoretical analysis and comprehensive offline and online experiments, we show the effectiveness and efficiency of ScalingNote. Our two-stage scaling method outperforms end-to-end models and verifies the scaling law of dense retrieval with LLMs in industrial scenarios, enabling cost-effective scaling of dense retrieval systems. Our online method incorporating ScalingNote significantly enhances the relevance between retrieved documents and queries.

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

Generating musical audio directly with neural networks is notoriously difficult because it requires coherently modeling structure at many different timescales. Fortunately, most music is also highly structured and can be represented as discrete note events played on musical instruments. Herein, we show that by using notes as an intermediate representation, we can train a suite of models capable of transcribing, composing, and synthesizing audio waveforms with coherent musical structure on timescales spanning six orders of magnitude (~0.1 ms to ~100 s), a process we call Wave2Midi2Wave. This large advance in the state of the art is enabled by our release of the new MAESTRO (MIDI and Audio Edited for Synchronous TRacks and Organization) dataset, composed of over 172 hours of virtuosic piano performances captured with fine alignment (~3 ms) between note labels and audio waveforms. The networks and the dataset together present a promising approach toward creating new expressive and interpretable neural models of music.

Writing clinical notes and documenting medical exams is a critical task for healthcare professionals, serving as a vital component of patient care documentation. However, manually writing these notes is time-consuming and can impact the amount of time clinicians can spend on direct patient interaction and other tasks. Consequently, the development of automated clinical note generation systems has emerged as a clinically meaningful area of research within AI for health. In this paper, we present three key contributions to the field of clinical note generation using large language models (LLMs). First, we introduce CliniKnote, a comprehensive dataset consisting of 1,200 complex doctor-patient conversations paired with their full clinical notes. This dataset, created and curated by medical experts with the help of modern neural networks, provides a valuable resource for training and evaluating models in clinical note generation tasks. Second, we propose the K-SOAP (Keyword, Subjective, Objective, Assessment, and Plan) note format, which enhances traditional SOAP~podder2023soap (Subjective, Objective, Assessment, and Plan) notes by adding a keyword section at the top, allowing for quick identification of essential information. Third, we develop an automatic pipeline to generate K-SOAP notes from doctor-patient conversations and benchmark various modern LLMs using various metrics. Our results demonstrate significant improvements in efficiency and performance compared to standard LLM finetuning methods.

Large Language Models (LLMs) are becoming very popular and are used for many different purposes, including creative tasks in the arts. However, these models sometimes have trouble with specific reasoning tasks, especially those that involve logical thinking and counting. This paper looks at how well LLMs understand and reason when dealing with musical tasks like figuring out notes from intervals and identifying chords and scales. We tested GPT-3.5 and GPT-4o to see how they handle these tasks. Our results show that while LLMs do well with note intervals, they struggle with more complicated tasks like recognizing chords and scales. This points out clear limits in current LLM abilities and shows where we need to make them better, which could help improve how they think and work in both artistic and other complex areas. We also provide an automatically generated benchmark data set for the described tasks.

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

Conversational systems can collapse a visible sequence of web queries, result inspections, and source comparisons into a single synthesized answer. Existing retrieval metrics evaluate ranking, effort, or factual support, but they do not quantify the minimum conventional search work represented by a completed answer. We define answer-reconstruction search density (\ARSD): the minimum number of distinct query actions required, under a fixed and dated reconstruction policy, to support a target share of atomic retrievable answer units. A parallel page-density measure separates query compression from source compression.

Estimating the performance difficulty of a musical score is crucial in music education for adequately designing the learning curriculum of the students. Although the Music Information Retrieval community has recently shown interest in this task, existing approaches mainly use machine-readable scores, leaving the broader case of sheet music images unaddressed. Based on previous works involving sheet music images, we use a mid-level representation, bootleg score, describing notehead positions relative to staff lines coupled with a transformer model. This architecture is adapted to our task by introducing an encoding scheme that reduces the encoded sequence length to one-eighth of the original size. In terms of evaluation, we consider five datasets -- more than 7500 scores with up to 9 difficulty levels -- , two of them particularly compiled for this work. The results obtained when pretraining the scheme on the IMSLP corpus and fine-tuning it on the considered datasets prove the proposal's validity, achieving the best-performing model with a balanced accuracy of 40.34\% and a mean square error of 1.33. Finally, we provide access to our code, data, and models for transparency and reproducibility.

This paper approaches the problem of separating the notes from a quantized symbolic music piece (e.g., a MIDI file) into multiple voices and staves. This is a fundamental part of the larger task of music score engraving (or score typesetting), which aims to produce readable musical scores for human performers. We focus on piano music and support homophonic voices, i.e., voices that can contain chords, and cross-staff voices, which are notably difficult tasks that have often been overlooked in previous research. We propose an end-to-end system based on graph neural networks that clusters notes that belong to the same chord and connects them with edges if they are part of a voice. Our results show clear and consistent improvements over a previous approach on two datasets of different styles. To aid the qualitative analysis of our results, we support the export in symbolic music formats and provide a direct visualization of our outputs graph over the musical score. All code and pre-trained models are available at https://github.com/CPJKU/piano_svsep

Legal research is a time-consuming task that most lawyers face on a daily basis. A large part of legal research entails looking up relevant caselaw and bringing it in relation to the case at hand. Lawyers heavily rely on summaries (also called headnotes) to find the right cases quickly. However, not all decisions are annotated with headnotes and writing them is time-consuming. Automated headnote creation has the potential to make hundreds of thousands of decisions more accessible for legal research in Switzerland alone. To kickstart this, we introduce the Swiss Leading Decision Summarization ( SLDS) dataset, a novel cross-lingual resource featuring 18K court rulings from the Swiss Federal Supreme Court (SFSC), in German, French, and Italian, along with German headnotes. We fine-tune and evaluate three mT5 variants, along with proprietary models. Our analysis highlights that while proprietary models perform well in zero-shot and one-shot settings, fine-tuned smaller models still provide a strong competitive edge. We publicly release the dataset to facilitate further research in multilingual legal summarization and the development of assistive technologies for legal professionals

Recent advances in large language models have led to renewed interest in natural language processing in healthcare using the free text of clinical notes. One distinguishing characteristic of clinical notes is their long time span over multiple long documents. The unique structure of clinical notes creates a new design choice: when the context length for a language model predictor is limited, which part of clinical notes should we choose as the input? Existing studies either choose the inputs with domain knowledge or simply truncate them. We propose a framework to analyze the sections with high predictive power. Using MIMIC-III, we show that: 1) predictive power distribution is different between nursing notes and discharge notes and 2) combining different types of notes could improve performance when the context length is large. Our findings suggest that a carefully selected sampling function could enable more efficient information extraction from clinical notes.

Recent progress in music generation has been remarkably advanced by the state-of-the-art MusicLM, which comprises a hierarchy of three LMs, respectively, for semantic, coarse acoustic, and fine acoustic modelings. Yet, sampling with the MusicLM requires processing through these LMs one by one to obtain the fine-grained acoustic tokens, making it computationally expensive and prohibitive for a real-time generation. Efficient music generation with a quality on par with MusicLM remains a significant challenge. In this paper, we present MeLoDy (M for music; L for LM; D for diffusion), an LM-guided diffusion model that generates music audios of state-of-the-art quality meanwhile reducing 95.7% or 99.6% forward passes in MusicLM, respectively, for sampling 10s or 30s music. MeLoDy inherits the highest-level LM from MusicLM for semantic modeling, and applies a novel dual-path diffusion (DPD) model and an audio VAE-GAN to efficiently decode the conditioning semantic tokens into waveform. DPD is proposed to simultaneously model the coarse and fine acoustics by incorporating the semantic information into segments of latents effectively via cross-attention at each denoising step. Our experimental results suggest the superiority of MeLoDy, not only in its practical advantages on sampling speed and infinitely continuable generation, but also in its state-of-the-art musicality, audio quality, and text correlation. Our samples are available at https://Efficient-MeLoDy.github.io/.

Clinical notes contain personally identifiable information (PII), restricting reuse for research and medical AI, especially when data cannot leave an institution. We developed MedDeID, an on-premises framework combining in-house annotation and synthetic-note generation with model training, inference, pseudonymisation and evaluation. On an independently annotated, adjudicated 300-note Dutch hospital benchmark, a hospital-trained compact transformer detected 98.9% of identifying text while redacting 0.24% of text outside annotated identifiers; a synthetic-only counterpart detected 96.1%. On 100 primary-care notes, the synthetic-trained model achieved higher recall than the hospital-trained model (90.3% versus 87.0%) and greater robustness to identifier-format perturbations. An English instantiation trained without real text detected 99.7% and 98.9% of annotated identifier characters on two external synthetic benchmarks. These results demonstrate transfer of the workflow to another language, but not clinical English performance. MedDeID provides a route to locally governed de-identification using real or synthetic training data.

In this work, we introduce the Sheet Music Benchmark (SMB), a dataset of six hundred and eighty-five pages specifically designed to benchmark Optical Music Recognition (OMR) research. SMB encompasses a diverse array of musical textures, including monophony, pianoform, quartet, and others, all encoded in Common Western Modern Notation using the Humdrum **kern format. Alongside SMB, we introduce the OMR Normalized Edit Distance (OMR-NED), a new metric tailored explicitly for evaluating OMR performance. OMR-NED builds upon the widely-used Symbol Error Rate (SER), offering a fine-grained and detailed error analysis that covers individual musical elements such as note heads, beams, pitches, accidentals, and other critical notation features. The resulting numeric score provided by OMR-NED facilitates clear comparisons, enabling researchers and end-users alike to identify optimal OMR approaches. Our work thus addresses a long-standing gap in OMR evaluation, and we support our contributions with baseline experiments using standardized SMB dataset splits for training and assessing state-of-the-art methods.

Roman Numeral analysis is the important task of identifying chords and their functional context in pieces of tonal music. This paper presents a new approach to automatic Roman Numeral analysis in symbolic music. While existing techniques rely on an intermediate lossy representation of the score, we propose a new method based on Graph Neural Networks (GNNs) that enable the direct description and processing of each individual note in the score. The proposed architecture can leverage notewise features and interdependencies between notes but yield onset-wise representation by virtue of our novel edge contraction algorithm. Our results demonstrate that ChordGNN outperforms existing state-of-the-art models, achieving higher accuracy in Roman Numeral analysis on the reference datasets. In addition, we investigate variants of our model using proposed techniques such as NADE, and post-processing of the chord predictions. The full source code for this work is available at https://github.com/manoskary/chordgnn

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

Recent years have seen a boom in computational approaches to music analysis, yet each one is typically tailored to a specific analytical domain. In this work, we introduce AnalysisGNN, a novel graph neural network framework that leverages a data-shuffling strategy with a custom weighted multi-task loss and logit fusion between task-specific classifiers to integrate heterogeneously annotated symbolic datasets for comprehensive score analysis. We further integrate a Non-Chord-Tone prediction module, which identifies and excludes passing and non-functional notes from all tasks, thereby improving the consistency of label signals. Experimental evaluations demonstrate that AnalysisGNN achieves performance comparable to traditional static-dataset approaches, while showing increased resilience to domain shifts and annotation inconsistencies across multiple heterogeneous corpora.

Devising indicative evaluation metrics for the image generation task remains an open problem. The most widely used metric for measuring the similarity between real and generated images has been the Fr\'echet Inception Distance (FID) score. Because it does not differentiate the fidelity and diversity aspects of the generated images, recent papers have introduced variants of precision and recall metrics to diagnose those properties separately. In this paper, we show that even the latest version of the precision and recall metrics are not reliable yet. For example, they fail to detect the match between two identical distributions, they are not robust against outliers, and the evaluation hyperparameters are selected arbitrarily. We propose density and coverage metrics that solve the above issues. We analytically and experimentally show that density and coverage provide more interpretable and reliable signals for practitioners than the existing metrics. Code: https://github.com/clovaai/generative-evaluation-prdc.

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

We study timbre transfer as an inference-time editing problem for music audio. Starting from a strong pre-trained latent diffusion model, we introduce a lightweight procedure that requires no additional training: (i) a dimension-wise noise injection that targets latent channels most informative of instrument identity, and (ii) an early-step clamping mechanism that re-imposes the input's melodic and rhythmic structure during reverse diffusion. The method operates directly on audio latents and is compatible with text/audio conditioning (e.g., CLAP). We discuss design choices,analyze trade-offs between timbral change and structural preservation, and show that simple inference-time controls can meaningfully steer pre-trained models for style-transfer use cases.

In recent years, the burgeoning interest in diffusion models has led to significant advances in image and speech generation. Nevertheless, the direct synthesis of music waveforms from unrestricted textual prompts remains a relatively underexplored domain. In response to this lacuna, this paper introduces a pioneering contribution in the form of a text-to-waveform music generation model, underpinned by the utilization of diffusion models. Our methodology hinges on the innovative incorporation of free-form textual prompts as conditional factors to guide the waveform generation process within the diffusion model framework. Addressing the challenge of limited text-music parallel data, we undertake the creation of a dataset by harnessing web resources, a task facilitated by weak supervision techniques. Furthermore, a rigorous empirical inquiry is undertaken to contrast the efficacy of two distinct prompt formats for text conditioning, namely, music tags and unconstrained textual descriptions. The outcomes of this comparative analysis affirm the superior performance of our proposed model in terms of enhancing text-music relevance. Finally, our work culminates in a demonstrative exhibition of the excellent capabilities of our model in text-to-music generation. We further demonstrate that our generated music in the waveform domain outperforms previous works by a large margin in terms of diversity, quality, and text-music relevance.

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

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

A prominent family of methods for learning data distributions relies on density ratio estimation (DRE), where a model is trained to classify between data samples and samples from some reference distribution. DRE-based models can directly output the likelihood for any given input, a highly desired property that is lacking in most generative techniques. Nevertheless, to date, DRE methods have failed in accurately capturing the distributions of complex high-dimensional data, like images, and have thus been drawing reduced research attention in recent years. In this work we present classification diffusion models (CDMs), a DRE-based generative method that adopts the formalism of denoising diffusion models (DDMs) while making use of a classifier that predicts the level of noise added to a clean signal. Our method is based on an analytical connection that we derive between the MSE-optimal denoiser for removing white Gaussian noise and the cross-entropy-optimal classifier for predicting the noise level. Our method is the first DRE-based technique that can successfully generate images beyond the MNIST dataset. Furthermore, it can output the likelihood of any input in a single forward pass, achieving state-of-the-art negative log likelihood (NLL) among methods with this property. Code is available on the project's webpage in https://shaharYadin.github.io/CDM/ .

Symbolic music datasets with matched scores and performances are essential for many music information retrieval (MIR) tasks. Yet, existing resources often cover a narrow range of composers, lack performance variety, omit note-level alignments, or use inconsistent naming formats. This work presents PianoCoRe, a large-scale piano MIDI dataset that unifies and refines major open-source piano corpora. The dataset contains 250,046 performances of 5,625 pieces written by 483 composers, totaling 21,763 h of performed music. PianoCoRe is released in tiered subsets to support different applications: from large-scale analysis and pre-training (PianoCoRe-C and deduplicated PianoCoRe-B) to expressive performance modeling with note-level score alignment (PianoCoRe-A/A*). The note-aligned subset, PianoCoRe-A, provides the largest open-source collection of 157,207 performances aligned to 1,591 scores to date. In addition to the dataset, the contributions are: (1) a MIDI quality classifier for detecting corrupted and score-like transcriptions and (2) RAScoP, an alignment refinement pipeline that cleans temporal alignment errors and interpolates missing notes. The analysis shows that the refinement reduces temporal noise and eliminates tempo outliers. Moreover, an expressive performance rendering model trained on PianoCoRe demonstrates improved robustness to unseen pieces compared to models trained on raw or smaller datasets. PianoCoRe provides a ready-to-use foundation for the next generation of expressive piano performance research.

De-identification of clinical text is a prerequisite for the secondary use of electronic health records. Existing public benchmarks such as the i2b2 2006 and 2014 corpora are over a decade old and lack the semantic and demographic diversity of modern clinical narratives. Large Language Models (LLMs) reach state-of-the-art zero-shot extraction, but their use at enterprise scale is limited by computational cost and by hospital data governance that restricts sending Protected Health Information (PHI) to cloud APIs. We introduce SHIELD (Synthetic Human-annotated Identifier-replaced Entries for Learning and De-identification), a diverse clinical note dataset of 1,381 notes with 10,229 gold-standard PHI spans across 9 categories, built with set-cover diversity sampling across demographic and document-type strata and human-in-the-loop adjudication. We evaluate four LLMs (two proprietary, two open-weight) to establish a performance ceiling on SHIELD, then show that a teacher-student distillation framework transfers these capabilities into locally deployable Small Language Models. Our best distilled model reaches micro-averaged span-level precision of 0.89 and recall of 0.88 while running on standard workstation hardware. It trails its cloud teacher on per-category recall (0.90 vs. 0.81 macro-averaged) but remains competitive given its lower cost and on-premise deployability. Cross-dataset evaluation shows that diversity-trained models generalize well on universal structured PHI categories, while institution-specific entities remain hard to transfer in both directions, which suggests pairing broad-coverage models with specialized models for high-volume, semi-structured note types. We publicly release the SHIELD dataset and the distilled DeBERTa v3 model to provide an accurate, cost-effective de-identification pipeline deployable entirely behind institutional firewalls.

This paper presents the Jazz Transformer, a generative model that utilizes a neural sequence model called the Transformer-XL for modeling lead sheets of Jazz music. Moreover, the model endeavors to incorporate structural events present in the Weimar Jazz Database (WJazzD) for inducing structures in the generated music. While we are able to reduce the training loss to a low value, our listening test suggests however a clear gap between the average ratings of the generated and real compositions. We therefore go one step further and conduct a series of computational analysis of the generated compositions from different perspectives. This includes analyzing the statistics of the pitch class, grooving, and chord progression, assessing the structureness of the music with the help of the fitness scape plot, and evaluating the model's understanding of Jazz music through a MIREX-like continuation prediction task. Our work presents in an analytical manner why machine-generated music to date still falls short of the artwork of humanity, and sets some goals for future work on automatic composition to further pursue.

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.

Guitar tablatures enrich the structure of traditional music notation by assigning each note to a string and fret of a guitar in a particular tuning, indicating precisely where to play the note on the instrument. The problem of generating tablature from a symbolic music representation involves inferring this string and fret assignment per note across an entire composition or performance. On the guitar, multiple string-fret assignments are possible for most pitches, which leads to a large combinatorial space that prevents exhaustive search approaches. Most modern methods use constraint-based dynamic programming to minimize some cost function (e.g.\ hand position movement). In this work, we introduce a novel deep learning solution to symbolic guitar tablature estimation. We train an encoder-decoder Transformer model in a masked language modeling paradigm to assign notes to strings. The model is first pre-trained on DadaGP, a dataset of over 25K tablatures, and then fine-tuned on a curated set of professionally transcribed guitar performances. Given the subjective nature of assessing tablature quality, we conduct a user study amongst guitarists, wherein we ask participants to rate the playability of multiple versions of tablature for the same four-bar excerpt. The results indicate our system significantly outperforms competing algorithms.

Text generated by large language models (LLMs) has been shown to be stylometrically distinct from human-written text andreDetectingAIAuthorship2023, shahDetectingUnmaskingAIGenerated2023, oparaStyloAIDistinguishingAIGenerated2024, soto2024fewshot, liLinguisticDifferencesAI2025, selviogluFeatureExtractionAnalysis2025. But LLMs are increasingly used not only to generate text but also to edit human writing, and it is unclear whether the two leave the same trace. We show that AI generation leaves a consistent ``stylometric footprint'': a small subset of features, primarily entropy and lexical diversity, consistently separates AI-generated text from human writing across 8 LLMs and 5 domains, while the remaining features depend heavily on the domain and generator. AI editing, however, does not reproduce the same footprint. Relative to their human-written sources, AI-edited texts show only a small increase in lexical diversity and a decrease in entropy, rather than the joint increase that characterizes AI generation. Lexical density, which contributes little to generation, instead becomes the dominant editing-associated signal. Stylometric features therefore separate AI-edited text from AI-generated text but are substantially less effective at separating it from human-written text. Our results suggest that ``AI text'' is not a single phenomenon: generation and editing leave qualitatively different stylometric traces and should be studied separately.

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

Intrinsic dimension (ID) is an important tool in modern LLM analysis, informing studies of training dynamics, scaling behavior, and dataset structure, yet its textual determinants remain underexplored. We provide the first comprehensive study grounding ID in interpretable text properties through cross-encoder analysis, linguistic features, and sparse autoencoders (SAEs). In this work, we establish three key findings. First, ID is complementary to entropy-based metrics: after controlling for length, the two are uncorrelated, with ID capturing geometric complexity orthogonal to prediction quality. Second, ID exhibits robust genre stratification: scientific prose shows low ID (~8), encyclopedic content medium ID (~9), and creative/opinion writing high ID (~10.5) across all models tested. This reveals that contemporary LLMs find scientific text "representationally simple" while fiction requires additional degrees of freedom. Third, using SAEs, we identify causal features: scientific signals (formal tone, report templates, statistics) reduce ID; humanized signals (personalization, emotion, narrative) increase it. Steering experiments confirm these effects are causal. Thus, for contemporary models, scientific writing appears comparatively "easy", whereas fiction, opinion, and affect add representational degrees of freedom. Our multi-faceted analysis provides practical guidance for the proper use of ID and the sound interpretation of ID-based results.

Guitar tablature transcription consists in deducing the string and the fret number on which each note should be played to reproduce the actual musical part. This assignment should lead to playable string-fret combinations throughout the entire track and, in general, preserve parsimonious motion between successive combinations. Throughout the history of guitar playing, specific chord fingerings have been developed across different musical styles that facilitate common idiomatic voicing combinations and motion between them. This paper presents a method for assigning guitar tablature notation to a given MIDI-based musical part (possibly consisting of multiple polyphonic tracks), i.e. no information about guitar-idiomatic expressional characteristics is involved (e.g. bending etc.) The current strategy is based on machine learning and requires a basic assumption about how much fingers can stretch on a fretboard; only standard 6-string guitar tuning is examined. The proposed method also examines the transcription of music pieces that was not meant to be played or could not possibly be played by a guitar (e.g. potentially a symphonic orchestra part), employing a rudimentary method for augmenting musical information and training/testing the system with artificial data. The results present interesting aspects about what the system can achieve when trained on the initial and augmented dataset, showing that the training with augmented data improves the performance even in simple, e.g. monophonic, cases. Results also indicate weaknesses and lead to useful conclusions about possible improvements.

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.

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.

The development of large language models tailored for handling patients' clinical notes is often hindered by the limited accessibility and usability of these notes due to strict privacy regulations. To address these challenges, we first create synthetic large-scale clinical notes using publicly available case reports extracted from biomedical literature. We then use these synthetic notes to train our specialized clinical large language model, Asclepius. While Asclepius is trained on synthetic data, we assess its potential performance in real-world applications by evaluating it using real clinical notes. We benchmark Asclepius against several other large language models, including GPT-3.5-turbo and other open-source alternatives. To further validate our approach using synthetic notes, we also compare Asclepius with its variants trained on real clinical notes. Our findings convincingly demonstrate that synthetic clinical notes can serve as viable substitutes for real ones when constructing high-performing clinical language models. This conclusion is supported by detailed evaluations conducted by both GPT-4 and medical professionals. All resources including weights, codes, and data used in the development of Asclepius are made publicly accessible for future research.

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

We introduce NotaGen, a symbolic music generation model aiming to explore the potential of producing high-quality classical sheet music. Inspired by the success of Large Language Models (LLMs), NotaGen adopts pre-training, fine-tuning, and reinforcement learning paradigms (henceforth referred to as the LLM training paradigms). It is pre-trained on 1.6M pieces of music, and then fine-tuned on approximately 9K high-quality classical compositions conditioned on "period-composer-instrumentation" prompts. For reinforcement learning, we propose the CLaMP-DPO method, which further enhances generation quality and controllability without requiring human annotations or predefined rewards. Our experiments demonstrate the efficacy of CLaMP-DPO in symbolic music generation models with different architectures and encoding schemes. Furthermore, subjective A/B tests show that NotaGen outperforms baseline models against human compositions, greatly advancing musical aesthetics in symbolic music generation.The project homepage is https://electricalexis.github.io/notagen-demo.

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

Indian classical music relies on a sophisticated microtonal system of 22 shrutis (pitch intervals), which provides expressive nuance beyond the 12-tone equal temperament system. Existing symbolic music processing tools fail to account for these microtonal distinctions and culturally specific raga grammars that govern melodic movement. We present ShrutiSense, a comprehensive symbolic pitch processing system designed for Indian classical music, addressing two critical tasks: (1) correcting westernized or corrupted pitch sequences, and (2) completing melodic sequences with missing values. Our approach employs complementary models for different tasks: a Shruti-aware finite-state transducer (FST) that performs contextual corrections within the 22-shruti framework and a grammar-constrained Shruti hidden Markov model (GC-SHMM) that incorporates raga-specific transition rules for contextual completions. Comprehensive evaluation on simulated data across five ragas demonstrates that ShrutiSense (FST model) achieves 91.3% shruti classification accuracy for correction tasks, with example sequences showing 86.7-90.0% accuracy at corruption levels of 0.2 to 0.4. The system exhibits robust performance under pitch noise up to +/-50 cents, maintaining consistent accuracy across ragas (90.7-91.8%), thus preserving the cultural authenticity of Indian classical music expression.

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

Ambient AI scribes draft clinical notes, and published audits find their dominant error is omission: information the encounter established that the note fails to record. The standard check is an LLM judge: a second model reads the note against the transcript and flags problems. We ask whether judges detect omissions. Public corpora cannot supply the answer key: their clinician reference notes and transcripts are materially discrepant. Our benchmark has 500 single-error note pairs from audited fact sheets, 298 with a named fact certainly absent and 202 added-or-altered controls. Across eight judge designs, paired discrimination (the flawed note below its clean twin, 0.5 a coin flip) reads 0.79-0.94 on added or altered content and 0.50-0.63 on omissions. On single notes, no design flags omissions reliably more often than perfect notes. Wording changes, voting and GEPA prompt optimisation move the operating point without creating usable detection. Restructuring the task recovers it: list the facts the transcript establishes, then check the note for each. Two methods reach it independently and trade off: a per-fact pipeline, and a GEPA-evolved prompt doing the same in one call. The pipeline's flags name the missing fact and its severity at 2.7% false alarms. The single call detects more (36.9% against 24.6%, p=0.002) at 6.2% false alarms and a tenth of the cost per note. A physician author validated 70 items and, where the two routes disagree, sided with the pipeline on 10 of 10 (p=0.002). A second clinician, not an author, graded the severity rubric blind and agrees to within a grade. On real vendor notes from a companion census no benchmark threshold transfers, but the re-calibrated single call detects more than the best of the eight at half its false-alarm rate. Omissions whose fact is restated elsewhere defeat both routes. We release the benchmark, prompts and judgements.

Digital note-taking is gaining popularity, offering a durable, editable, and easily indexable way of storing notes in the vectorized form, known as digital ink. However, a substantial gap remains between this way of note-taking and traditional pen-and-paper note-taking, a practice still favored by a vast majority. Our work, InkSight, aims to bridge the gap by empowering physical note-takers to effortlessly convert their work (offline handwriting) to digital ink (online handwriting), a process we refer to as Derendering. Prior research on the topic has focused on the geometric properties of images, resulting in limited generalization beyond their training domains. Our approach combines reading and writing priors, allowing training a model in the absence of large amounts of paired samples, which are difficult to obtain. To our knowledge, this is the first work that effectively derenders handwritten text in arbitrary photos with diverse visual characteristics and backgrounds. Furthermore, it generalizes beyond its training domain into simple sketches. Our human evaluation reveals that 87% of the samples produced by our model on the challenging HierText dataset are considered as a valid tracing of the input image and 67% look like a pen trajectory traced by a human.

Music scores are written representations of music and contain rich information about musical components. The visual information on music scores includes notes, rests, staff lines, clefs, dynamics, and articulations. This visual information in music scores contains more semantic information than audio and symbolic representations of music. Previous music score datasets have limited sizes and are mainly designed for optical music recognition (OMR). There is a lack of research on creating a large-scale benchmark dataset for music modeling and generation. In this work, we propose MusicScore, a large-scale music score dataset collected and processed from the International Music Score Library Project (IMSLP). MusicScore consists of image-text pairs, where the image is a page of a music score and the text is the metadata of the music. The metadata of MusicScore is extracted from the general information section of the IMSLP pages. The metadata includes rich information about the composer, instrument, piece style, and genre of the music pieces. MusicScore is curated into small, medium, and large scales of 400, 14k, and 200k image-text pairs with varying diversity, respectively. We build a score generation system based on a UNet diffusion model to generate visually readable music scores conditioned on text descriptions to benchmark the MusicScore dataset for music score generation. MusicScore is released to the public at https://huggingface.co/datasets/ZheqiDAI/MusicScore.

Automatic drum transcription (ADT) is traditionally formulated as a discriminative task to predict drum events from audio spectrograms. In this work, we redefine ADT as a conditional generative task and introduce Noise-to-Notes (N2N), a framework leveraging diffusion modeling to transform audio-conditioned Gaussian noise into drum events with associated velocities. This generative diffusion approach offers distinct advantages, including a flexible speed-accuracy trade-off and strong inpainting capabilities. However, the generation of binary onset and continuous velocity values presents a challenge for diffusion models, and to overcome this, we introduce an Annealed Pseudo-Huber loss to facilitate effective joint optimization. Finally, to augment low-level spectrogram features, we propose incorporating features extracted from music foundation models (MFMs), which capture high-level semantic information and enhance robustness to out-of-domain drum audio. Experimental results demonstrate that including MFM features significantly improves robustness and N2N establishes a new state-of-the-art performance across multiple ADT benchmarks.

Understanding complete musical scores entails integrated reasoning over pitch, rhythm, harmony, and large-scale structure, yet the ability of Large Language Models and Vision--Language Models to interpret full musical notation remains insufficiently examined. We introduce Musical Score Understanding Benchmark (MSU-Bench), a human-curated benchmark for score-level musical understanding across textual (ABC notation) and visual (PDF) modalities. MSU-Bench contains 1,800 generative question-answer pairs from works by Bach, Beethoven, Chopin, Debussy, and others, organised into four levels of increasing difficulty, ranging from onset information to texture and form. Evaluations of more than fifteen state-of-the-art models, in both zero-shot and fine-tuned settings, reveal pronounced modality gaps, unstable level-wise performance, and challenges in maintaining multilevel correctness. Fine-tuning substantially improves results across modalities while preserving general knowledge, positioning MSU-Bench as a robust foundation for future research in multimodal reasoning. The benchmark and code are available at https://github.com/Congren-Dai/MSU-Bench.

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

Automatic Chord Recognition (ACR) is constrained by the scarcity of aligned chord labels, as well-aligned annotations are costly to acquire. At the same time, open-weight pre-trained models are currently more accessible than their proprietary training data. In this work, we present a two-stage training pipeline that leverages pre-trained models together with unlabeled audio. The proposed method decouples training into two stages. In the first stage, we use a pre-trained BTC model as a teacher to generate pseudo-labels for over 1,000 hours of diverse unlabeled audio and train a student model solely on these pseudo-labels. In the second stage, the student is continually trained on ground-truth labels as they become available. To prevent catastrophic forgetting of the representations learned in the first stage, we apply selective knowledge distillation (KD) from the teacher as a regularizer. In our experiments, two models (BTC, 2E1D) were used as students. In stage 1, using only pseudo-labels, the BTC student achieves over 99% of the teacher's performance, while the 2E1D model achieves about 97% across seven standard mir_eval metrics. After a single training run for both students in stage 2, the resulting BTC student model surpasses the traditional supervised learning baseline by 2.5% and the original pre-trained teacher model by 1.1-3.2% across all metrics. The resulting 2E1D student model improves over the traditional supervised learning baseline by 2.67% on average and achieves almost the same performance as the teacher. Both cases show large gains on rare chord qualities.

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.

Accurate diagnostic coding of medical notes is crucial for enhancing patient care, medical research, and error-free billing in healthcare organizations. Manual coding is a time-consuming task for providers, and diagnostic codes often exhibit low sensitivity and specificity, whereas the free text in medical notes can be a more precise description of a patients status. Thus, accurate automated diagnostic coding of medical notes has become critical for a learning healthcare system. Recent developments in long-document transformer architectures have enabled attention-based deep-learning models to adjudicate medical notes. In addition, contrastive loss functions have been used to jointly pre-train large language and image models with noisy labels. To further improve the automated adjudication of medical notes, we developed an approach based on i) models for ICD-10 diagnostic code sequences using a large real-world data set, ii) large language models for medical notes, and iii) contrastive pre-training to build an integrated model of both ICD-10 diagnostic codes and corresponding medical text. We demonstrate that a contrastive approach for pre-training improves performance over prior state-of-the-art models for the MIMIC-III-50, MIMIC-III-rare50, and MIMIC-III-full diagnostic coding tasks.

Word emphasis in textual content aims at conveying the desired intention by changing the size, color, typeface, style (bold, italic, etc.), and other typographical features. The emphasized words are extremely helpful in drawing the readers' attention to specific information that the authors wish to emphasize. However, performing such emphasis using a soft keyboard for social media interactions is time-consuming and has an associated learning curve. In this paper, we propose a novel approach to automate the emphasis word detection on short written texts. To the best of our knowledge, this work presents the first lightweight deep learning approach for smartphone deployment of emphasis selection. Experimental results show that our approach achieves comparable accuracy at a much lower model size than existing models. Our best lightweight model has a memory footprint of 2.82 MB with a matching score of 0.716 on SemEval-2020 public benchmark dataset.

Recent observations by the James Webb Space Telescope have revealed massive galaxies at very high redshift (zsimeq 7-15). The question of whether the existence of such galaxies is expected in the corresponding JWST surveys has received a lot of attention, though the answer straddles areas of cosmology and complex astrophysical details of high-redshift galaxy formation. The growth rate of density fluctuations determines the amplitude of overdensities that collapse to form galaxies. Late-time modifications of growth, combined with measurements at both zsim 1 from large-scale structure and zsim 1000 from the cosmic microwave background, affect the predictions for the abundance of first galaxies in the universe. In this paper, we point out that the late-time growth rate of structure affects the statistical significance of high-redshift, high-mass objects very weakly. Consequently, if the existence and abundance of these objects are confirmed to be unexpected, the variations in the late-time growth history are unlikely to explain these anomalies.

Piano fingering -- knowing which finger to use to play each note in a musical piece, is a hard and important skill to master when learning to play the piano. While some sheet music is available with expert-annotated fingering information, most pieces lack this information, and people often resort to learning the fingering from demonstrations in online videos. We consider the AI task of automating the extraction of fingering information from videos. This is a non-trivial task as fingers are often occluded by other fingers, and it is often not clear from the video which of the keys were pressed, requiring the synchronization of hand position information and knowledge about the notes that were played. We show how to perform this task with high-accuracy using a combination of deep-learning modules, including a GAN-based approach for fine-tuning on out-of-domain data. We extract the fingering information with an f1 score of 97\%. We run the resulting system on 90 videos, resulting in high-quality piano fingering information of 150K notes, the largest available dataset of piano-fingering to date.

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.

Context compression discards most of a document before a language model reads it, and is normally evaluated by downstream task accuracy - which makes another model the judge of what mattered. Naturalistic social highlighting offers a non-circular reference: many people independently marking passages on the same page. But the obvious metric, the fraction of crowd-marked sentences a compressor keeps, is confounded twice: crowd marks are front-loaded and crowd-marked sentences are longer, so any method favouring early or long sentences scores well regardless of readers. We remove both by matching each marked sentence against unmarked sentences of the same document at equal relative depth and equal within-document length rank, and we calibrate every estimator on synthetic nulls built from position and length alone - a step that matters, since depth-only stratification returns a false positive on 20-36% of nulls containing no effect. On 120 web documents (at least 12 independent readers each), a language-model importance ranking keeps 38.4% of crowd-marked sentences against 19.9% of their matched neighbours: an enrichment of +0.196 [+0.148, +0.239], at p = 0.0005 under an exact randomization test that assumes nothing about clustering, and replicated cross-vendor. Naive truncation, whose keep rule is position, correctly falls to +0.003. To give the number a scale: scored identically, on the same budget, against a crowd label recomputed to exclude them, a single human reader reaches +0.182 - indistinguishable from GPT-5.4 (+0.002 [-0.081, +0.088]) and below Claude Opus 5. Classical methods are not null - Luhn's 1958 heuristic reaches +0.088 - so reader selection is partly recoverable by counting words; conditioning additionally on lexical centrality removes only 0.010, so the agreement is not centrality. We also report that a claim in our own prior work does not reproduce on this corpus.

The growth rate of Av(1324) is the last unknown Stanley-Wilf limit of a length-four pattern. Since 2020 the best rigorous lower bound has been the 10.271012 of Bevan, Brignall, Elvey Price and Pantone; we raise it to 10.412263. Their construction lays 1324-avoiders along an infinite staircase of two-cell blocks alternating with single connecting cells, and forbids a 1324 by a local condition on how the points of a block interleave with the components of the cell beside it. Certain points of a block, its leaves, may be exempted from that condition. They exempt them on one axis only, and report that they could not count the possibilities when both are exempted. This paper exempts them on both axes and counts the result. The second relaxation is their own argument read in the other axis, and the Harris correlation inequality bounds the joint count below by the product of the two counts taken separately, at the cost of one factor of the component generating function.

The Guzheng is a kind of traditional Chinese instruments with diverse playing techniques. Instrument playing techniques (IPT) play an important role in musical performance. However, most of the existing works for IPT detection show low efficiency for variable-length audio and provide no assurance in the generalization as they rely on a single sound bank for training and testing. In this study, we propose an end-to-end Guzheng playing technique detection system using Fully Convolutional Networks that can be applied to variable-length audio. Because each Guzheng playing technique is applied to a note, a dedicated onset detector is trained to divide an audio into several notes and its predictions are fused with frame-wise IPT predictions. During fusion, we add the IPT predictions frame by frame inside each note and get the IPT with the highest probability within each note as the final output of that note. We create a new dataset named GZ_IsoTech from multiple sound banks and real-world recordings for Guzheng performance analysis. Our approach achieves 87.97% in frame-level accuracy and 80.76% in note-level F1-score, outperforming existing works by a large margin, which indicates the effectiveness of our proposed method in IPT detection.

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

Burrows' Delta was introduced in 2002 and has proven to be an effective tool for author attribution. Despite the fact that these are different languages, they mostly belong to the same grammatical type and use the same graphic principle to convey speech in writing: a phonemic alphabet with word separation using spaces. The question I want to address in this article is how well this attribution method works with texts in a language with a different grammatical structure and a script based on different principles. There are fewer studies analyzing the effectiveness of the Delta method on Chinese texts than on texts in European languages. I believe that such a low level of attention to Delta from sinologists is due to the structure of the scientific field dedicated to medieval Chinese poetry. Clustering based on intertextual distances worked flawlessly. Delta produced results where clustering showed that the samples of one author were most similar to each other, and Delta never confused different poets. Despite the fact that I used an unconventional approach and applied the Delta method to a language poorly suited for it, the method demonstrated its effectiveness. Tang dynasty poets are correctly identified using Delta, and the empirical pattern observed for authors writing in European standard languages has been confirmed once again.

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

We explore local vs. global evolution of knowledge systems through the framework of socio-epistemic networks (SEN), applying two complementary methods to a corpus of scientific texts. The framework comprises three interconnected layers-social, semiotic (material), and semantic-proposing a multilayered approach to understanding structural developments of knowledge. To analyse diachronic changes on the semantic layer, we first use information-theoretic measures based on relative entropy to detect semantic shifts, assess their significance, and identify key driving features. Second, variations in document embedding densities reveal changes in semantic neighbourhoods, tracking how concentration of similar documents increase, remain stable, or disperse. This enables us to trace document trajectories based on content (topics) or metadata (authorship, institution). Case studies of Joseph Silk and Hans-J\"urgen Treder illustrate how individual scholar's work aligns with broader disciplinary shifts in general relativity and gravitation research, demonstrating the applications, limitations, and further potential of this approach.

Natural language information needs over symbolic music scores rarely reduce to a single step lookup. Many queries require compositional Music Information Retrieval (MIR) that extracts multiple pieces of evidence from structured notation and aggregates them to answer the question. This setting remains challenging for Large Language Models due to the mismatch between natural language intents and symbolic representations, as well as the difficulty of reliably handling long structured contexts. Existing benchmarks only partially capture these retrieval demands, often emphasizing isolated theoretical knowledge or simplified settings. We introduce CSyMR-Bench, a benchmark for compositional MIR in symbolic music reasoning grounded in authentic user scenarios. It contains 126 multiple choice questions curated from community discussions and professional examinations, where each item requires chaining multiple atomic analyses over a score to derive implicit musical evidence. To support diagnosis, we provide a taxonomy with six query intent categories and six analytical dimension tags. We further propose a tool-augmented retrieval and reasoning framework that integrates a ReAct-style controller with deterministic symbolic analysis operators built with music21. Experiments across prompting baselines and agent variants show that tool-grounded compositional retrieval consistently outperforms Large Language Model-only approaches, yielding 5-7% absolute accuracy gains, with the largest improvements on analysis-heavy categories.

Clinical notes contain information about patients that goes beyond structured data like lab values and medications. However, clinical notes have been underused relative to structured data, because notes are high-dimensional and sparse. This work develops and evaluates representations of clinical notes using bidirectional transformers (ClinicalBERT). ClinicalBERT uncovers high-quality relationships between medical concepts as judged by humans. ClinicalBert outperforms baselines on 30-day hospital readmission prediction using both discharge summaries and the first few days of notes in the intensive care unit. Code and model parameters are available.

Authorship attribution models fine-tuned with the same pretrained encoder, data, and loss can differ four-fold in performance depending only on their scoring mechanism. We use mechanistic interpretability tools to explain this gap. Stylistic features such as word length, punctuation density, and function-word frequency are equally available at every layer in every model, including in an off-the-shelf control encoder, hence the gap not coming from representation quality. Instead, causal intervention shows that the scorer determines where the encoder consolidates authorship signal. Mean pooling forces consolidation by early to mid layers, while late interaction defers it to later layers. We further derive this difference from the gradient structure of each scorer, and training dynamics reveal distinct learning trajectories that follow from that difference.

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.

When many people highlight the same document, is the crowd a single consensus, or is it internally structured into reader sub-groups that mark different things -- and is that structure a stable property of a reader or of the document? Building on prior work showing an individual's within-document highlighting signal is a whisper while individuality lives in selection, we ask the group-level question on a co-readership platform using a margin-preserving curveball null. Experiment 1: within a document, readers form strong sub-groups -- pairs agree far beyond what shared salience, mark density, and sentence popularity predict (nearest-neighbour agreement z=+6.3, significant in 88% of documents). Under an eight-block region-preserving null, shared engagement with the same coarse regions of the document accounts for about 40% of this excess; the majority survives as finer reader-specific agreement (z=+3.6, 77% significant). So the within-document crowd is, in a descriptive sense, factional. Experiment 2: is that grouping a stable reader trait? Here we are honest about power. The cross-document split-half reproducibility of a pair's agreement is near zero pooled (+0.078 and 0.000 in two separately drawn samples), and a power calibration shows the test is informative only for pairs that co-read many documents. In the only informative high-overlap subset (k>=4), point estimates are positive but small-sample, imprecise across the separately drawn samples, never significant, and attenuate under the region-preserving null. We therefore leave cross-document stability unresolved: the data is consistent with anything from situational grouping to a weak-to-moderate stable reader trait. The crowd is factional within a document; whether its factions follow the reader across documents is, honestly, beyond our reach.

Objective: Patient notes in electronic health records (EHRs) may contain critical information for medical investigations. However, the vast majority of medical investigators can only access de-identified notes, in order to protect the confidentiality of patients. In the United States, the Health Insurance Portability and Accountability Act (HIPAA) defines 18 types of protected health information (PHI) that needs to be removed to de-identify patient notes. Manual de-identification is impractical given the size of EHR databases, the limited number of researchers with access to the non-de-identified notes, and the frequent mistakes of human annotators. A reliable automated de-identification system would consequently be of high value. Materials and Methods: We introduce the first de-identification system based on artificial neural networks (ANNs), which requires no handcrafted features or rules, unlike existing systems. We compare the performance of the system with state-of-the-art systems on two datasets: the i2b2 2014 de-identification challenge dataset, which is the largest publicly available de-identification dataset, and the MIMIC de-identification dataset, which we assembled and is twice as large as the i2b2 2014 dataset. Results: Our ANN model outperforms the state-of-the-art systems. It yields an F1-score of 97.85 on the i2b2 2014 dataset, with a recall 97.38 and a precision of 97.32, and an F1-score of 99.23 on the MIMIC de-identification dataset, with a recall 99.25 and a precision of 99.06. Conclusion: Our findings support the use of ANNs for de-identification of patient notes, as they show better performance than previously published systems while requiring no feature engineering.

In recent years, Large Language Models (LLMs) have enabled users to provide highly specific music recommendation requests using natural language prompts (e.g. "Can you recommend some old classics for slow dancing?"). In this setup, the recommended tracks are predicted by the LLM in an autoregressive way, i.e. the LLM generates the track titles one token at a time. While intuitive, this approach has several limitation. First, it is based on a general purpose tokenization that is optimized for words rather than for track titles. Second, it necessitates an additional entity resolution layer that matches the track title to the actual track identifier. Third, the number of decoding steps scales linearly with the length of the track title, slowing down inference. In this paper, we propose to address the task of prompt-based music recommendation as a generative retrieval task. Within this setting, we introduce novel, effective, and efficient representations of track identifiers that significantly outperform commonly used strategies. We introduce Text2Tracks, a generative retrieval model that learns a mapping from a user's music recommendation prompt to the relevant track IDs directly. Through an offline evaluation on a dataset of playlists with language inputs, we find that (1) the strategy to create IDs for music tracks is the most important factor for the effectiveness of Text2Tracks and semantic IDs significantly outperform commonly used strategies that rely on song titles as identifiers (2) provided with the right choice of track identifiers, Text2Tracks outperforms sparse and dense retrieval solutions trained to retrieve tracks from language prompts.

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

Verifying the provenance of content is crucial to the function of many organizations, e.g., educational institutions, social media platforms, firms, etc. This problem is becoming increasingly difficult as text generated by Large Language Models (LLMs) becomes almost indistinguishable from human-generated content. In addition, many institutions utilize in-house LLMs and want to ensure that external, non-sanctioned LLMs do not produce content within the institution. In this paper, we answer the following question: Given a piece of text, can we identify whether it was produced by LLM A or B (where B can be a human)? We model LLM-generated text as a sequential stochastic process with complete dependence on history and design zero-shot statistical tests to distinguish between (i) the text generated by two different sets of LLMs A (in-house) and B (non-sanctioned) and also (ii) LLM-generated and human-generated texts. We prove that the type I and type II errors for our tests decrease exponentially in the text length. In designing our tests, we derive concentration inequalities on the difference between log-perplexity and the average entropy of the string under A. Specifically, for a given string, we demonstrate that if the string is generated by A, the log-perplexity of the string under A converges to the average entropy of the string under A, except with an exponentially small probability in string length. We also show that if B generates the text, except with an exponentially small probability in string length, the log-perplexity of the string under A converges to the average cross-entropy of B and A. Lastly, we present preliminary experimental results to support our theoretical results. By enabling guaranteed (with high probability) finding of the origin of harmful LLM-generated text with arbitrary size, we can help combat misinformation.

Recent advancements in deep generative models present new opportunities for music production but also pose challenges, such as high computational demands and limited audio quality. Moreover, current systems frequently rely solely on text input and typically focus on producing complete musical pieces, which is incompatible with existing workflows in music production. To address these issues, we introduce "Diff-A-Riff," a Latent Diffusion Model designed to generate high-quality instrumental accompaniments adaptable to any musical context. This model offers control through either audio references, text prompts, or both, and produces 48kHz pseudo-stereo audio while significantly reducing inference time and memory usage. We demonstrate the model's capabilities through objective metrics and subjective listening tests, with extensive examples available on the accompanying website: sonycslparis.github.io/diffariff-companion/