Daily Papers

Musical performance involves executing a set of high-level musical instructions, yet recovering those instructions from the performance is a challenging inverse problem. We present Decomposer, a post-training framework for symbolic music decompilation: the task of recovering executable, editable music programs from symbolic music. We instantiate the task as MIDI-to-Strudel decompilation, where the model takes symbolic MIDI as input and produces a program in Strudel, a music programming language, that reconstructs the input when executed. The task poses two challenges: Strudel is a low-resource language with little naturally paired MIDI-code data, and optimizing faithful reconstruction of MIDI alone can collapse to unreadable note-by-note transliteration. We address these challenges in two stages. First, we construct Strudel-Synth, a synthetic corpus of paired Strudel programs and rendered MIDI, and use it for supervised fine-tuning. Second, we refine the model with reinforcement learning on unpaired MIDI, optimizing rewards for both MIDI reconstruction faithfulness and code readability. Our evaluation across synthetic and real-world MIDI benchmarks shows that Decomposer achieves substantially higher MIDI reconstruction faithfulness than closed-source LLMs while producing more readable and diverse code than the heuristic converter.

Decompilation transforms compiled code back into a high-level programming language for analysis when source code is unavailable. Previous work has primarily focused on enhancing decompilation performance by increasing the scale of model parameters or training data for pre-training. Based on the characteristics of the decompilation task, we propose two methods: (1) Without fine-tuning, the Self-Constructed Context Decompilation (sc^2dec) method recompiles the LLM's decompilation results to construct pairs for in-context learning, helping the model improve decompilation performance. (2) Fine-grained Alignment Enhancement (FAE), which meticulously aligns assembly code with source code at the statement level by leveraging debugging information, is employed during the fine-tuning phase to achieve further improvements in decompilation. By integrating these two methods, we achieved a Re-Executability performance improvement of approximately 7.35\% on the Decompile-Eval benchmark, establishing a new state-of-the-art performance of 55.03\%.

The goal of decompilation is to convert compiled low-level code (e.g., assembly code) back into high-level programming languages, enabling analysis in scenarios where source code is unavailable. This task supports various reverse engineering applications, such as vulnerability identification, malware analysis, and legacy software migration. The end-to-end decompile method based on large langauge models (LLMs) reduces reliance on additional tools and minimizes manual intervention due to its inherent properties. However, previous end-to-end methods often lose critical information necessary for reconstructing control flow structures and variables when processing binary files, making it challenging to accurately recover the program's logic. To address these issues, we propose the ReF Decompile method, which incorporates the following innovations: (1) The Relabelling strategy replaces jump target addresses with labels, preserving control flow clarity. (2) The Function Call strategy infers variable types and retrieves missing variable information from binary files. Experimental results on the Humaneval-Decompile Benchmark demonstrate that ReF Decompile surpasses comparable baselines and achieves state-of-the-art (SOTA) performance of 61.43%.

Decompilation aims to restore compiled code to human-readable source code, but struggles with details like names and structure. Large language models (LLMs) show promise for programming tasks, motivating their application to decompilation. However, there does not exist any open-source LLM for decompilation. Moreover, existing decompilation evaluation systems mainly consider token-level accuracy and largely ignore code executability, which is the most important feature of any program. Therefore, we release the first open-access decompilation LLMs ranging from 1B to 33B pre-trained on 4 billion tokens of C source code and the corresponding assembly code. The open-source LLMs can serve as baselines for further development in the field. To ensure practical program evaluation, we introduce Decompile-Eval, the first dataset that considers re-compilability and re-executability for decompilation. The benchmark emphasizes the importance of evaluating the decompilation model from the perspective of program semantics. Experiments indicate that our LLM4Decompile has demonstrated the capability to accurately decompile 21% of the assembly code, which achieves a 50% improvement over GPT-4. Our code, dataset, and models are released at https://github.com/albertan017/LLM4Decompile

Decompilation aims to recover the source code form of a binary executable. It has many security applications, such as malware analysis, vulnerability detection, and code hardening. A prominent challenge in decompilation is to recover variable names. We propose a novel technique that leverages the strengths of generative models while mitigating model biases. We build a prototype, GenNm, from pre-trained generative models CodeGemma-2B, CodeLlama-7B, and CodeLlama-34B. We finetune GenNm on decompiled functions and teach models to leverage contextual information. GenNm includes names from callers and callees while querying a function, providing rich contextual information within the model's input token limitation. We mitigate model biases by aligning the output distribution of models with symbol preferences of developers. Our results show that GenNm improves the state-of-the-art name recovery precision by 5.6-11.4 percentage points on two commonly used datasets and improves the state-of-the-art by 32% (from 17.3% to 22.8%) in the most challenging setup where ground-truth variable names are not seen in the training dataset.

We present MIDI-LLM, an LLM for generating multitrack MIDI music from free-form text prompts. Our approach expands a text LLM's vocabulary to include MIDI tokens, and uses a two-stage training recipe to endow text-to-MIDI abilities. By preserving the original LLM's parameter structure, we can directly leverage the vLLM library for accelerated inference. Experiments show that MIDI-LLM achieves higher quality, better text control, and faster inference compared to the recent Text2midi model. Live demo at https://midi-llm-demo.vercel.app.

Decompilation is widely used in reverse engineering to recover high-level language code from binary executables. While recent approaches leveraging Large Language Models (LLMs) have shown promising progress, they typically treat assembly code as a linear sequence of instructions, overlooking arbitrary jump patterns and isolated data segments inherent to binary files. This limitation significantly hinders their ability to correctly infer source code semantics from assembly code. To address this limitation, we propose \saltm, a novel binary decompilation method that abstracts stable logical features shared between binary and source code. The core idea of \saltm is to abstract selected binary-level operations, such as specific jumps, into a high-level logic framework that better guides LLMs in semantic recovery. Given a binary function, \saltm constructs a Source-level Abstract Logic Tree (\salt) from assembly code to approximate the logic structure of high-level language. It then fine-tunes an LLM using the reconstructed \salt to generate decompiled code. Finally, the output is refined through error correction and symbol recovery to improve readability and correctness. We compare \saltm to three categories of baselines (general-purpose LLMs, commercial decompilers, and decompilation methods) using three well-known datasets (Decompile-Eval, MBPP, Exebench). Our experimental results demonstrate that \saltm is highly effective in recovering the logic of the source code, significantly outperforming state-of-the-art methods (e.g., 70.4\% TCP rate on Decompile-Eval with a 10.6\% improvement). The results further validate its robustness against four commonly used obfuscation techniques. Additionally, analyses of real-world software and a user study confirm that our decompiled output offers superior assistance to human analysts in comprehending binary functions.

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

Decompilers are important tools for reverse engineers that help them analyze software at a higher level of abstraction than assembly. Unfortunately, because compilation is lossy, deterministic decompilers produce code that is missing many of the details that make source code readable in the first place, like variable names and types. Neural decompilers, on the other hand, offer the ability to statistically fill in these details. Existing work in neural decompilation, however, suffers from substantial drawbacks that limits its ability to handle real code: it is unable to handle user-defined composite types, which are essential to fully specifying many functions' semantics, or require test cases. In this work, we introduce a new training process to finetune any LLM into a neural decompiler capable of generating the appropriate user-defined types alongside the decompilation. We introduce a new dataset, Realtype, that includes substantially more complicated and realistic types than existing neural decompilation benchmarks. Motivated by the intuition that different parts of data structures can be operated upon by different parts of the program, we show that interprocedural context can help improve neural decompilers' ability to handle user-defined types. We show that our training process yields state-of-the-art results in neural decompilation. We also publicly release the Idioms series of finetuned neural decompilation models in support of open science. In summary, we identify the need for joint code and type prediction, show that it is a hard problem, and take the first steps towards solving it.

Binary decompilation is fundamental to security tasks such as vulnerability discovery, malware inspection, and executable-only program understanding. Recent LLM-based decompilation methods have shown promising results, but most still follow a single-turn generation paradigm: given assembly code or decompiler-produced pseudo-code, the model generates one output and stops. Consequently, the generated code may appear readable or even compile successfully, yet still deviate from the behavior of the original binary and mislead downstream analysis. This paper presents AutoDecompiler, a decompilation-specialized LLM trained with reinforcement learning for feedback-driven multi-turn binary decompilation. Instead of treating decompilation as one-shot code generation, AutoDecompiler formulates it as an iterative refinement process, where the model revises generated code based on compilation, execution, and input/output testing feedback. To enable this process, we design decompilation-specific rewards that capture code validity, recompilability, execution consistency, and semantic fidelity. We further construct stage-aware diagnostic feedback from compiler errors, execution failures, and failed test cases, and introduce progress-aware trajectory rewarding and turn-aware advantage reweighting to encourage beneficial revisions while suppressing regressions. We train the AutoDecompiler family and evaluate it across different input settings, model scales, and benchmarks. Experimental results show that AutoDecompiler consistently outperforms its single-turn counterparts under the same model size and input setting, achieving clear improvements in behavioral re-executability. These results demonstrate that learning to exploit program feedback with reinforcement learning is an effective direction for improving the functional correctness of LLM-based binary decompilation.

WebAssembly (abbreviated Wasm) has emerged as a cornerstone of web development, offering a compact binary format that allows high-performance applications to run at near-native speeds in web browsers. Despite its advantages, Wasm's binary nature presents significant challenges for developers and researchers, particularly regarding readability when debugging or analyzing web applications. Therefore, effective decompilation becomes crucial. Unfortunately, traditional decompilers often struggle with producing readable outputs. While some large language model (LLM)-based decompilers have shown good compatibility with general binary files, they still face specific challenges when dealing with Wasm. In this paper, we introduce a novel approach, WaDec, which is the first use of a fine-tuned LLM to interpret and decompile Wasm binary code into a higher-level, more comprehensible source code representation. The LLM was meticulously fine-tuned using a specialized dataset of wat-c code snippets, employing self-supervised learning techniques. This enables WaDec to effectively decompile not only complete wat functions but also finer-grained wat code snippets. Our experiments demonstrate that WaDec markedly outperforms current state-of-the-art tools, offering substantial improvements across several metrics. It achieves a code inflation rate of only 3.34%, a dramatic 97% reduction compared to the state-of-the-art's 116.94%. Unlike baselines' output that cannot be directly compiled or executed, WaDec maintains a recompilability rate of 52.11%, a re-execution rate of 43.55%, and an output consistency of 27.15%. Additionally, it significantly exceeds state-of-the-art performance in AST edit distance similarity by 185%, cyclomatic complexity by 8%, and cosine similarity by 41%, achieving an average code similarity above 50%.

Recent advances in LLM-based decompilers have been shown effective to convert low-level binaries into human-readable source code. However, there still lacks a comprehensive benchmark that provides large-scale binary-source function pairs, which is critical for advancing the LLM decompilation technology. Creating accurate binary-source mappings incurs severe issues caused by complex compilation settings and widespread function inlining that obscure the correspondence between binaries and their original source code. Previous efforts have either relied on used contest-style benchmarks, synthetic binary-source mappings that diverge significantly from the mappings in real world, or partially matched binaries with only code lines or variable names, compromising the effectiveness of analyzing the binary functionality. To alleviate these issues, we introduce Decompile-Bench, the first open-source dataset comprising two million binary-source function pairs condensed from 100 million collected function pairs, i.e., 450GB of binaries compiled from permissively licensed GitHub projects. For the evaluation purposes, we also developed a benchmark Decompile-Bench-Eval including manually crafted binaries from the well-established HumanEval and MBPP, alongside the compiled GitHub repositories released after 2025 to mitigate data leakage issues. We further explore commonly-used evaluation metrics to provide a thorough assessment of the studied LLM decompilers and find that fine-tuning with Decompile-Bench causes a 20% improvement over previous benchmarks in terms of the re-executability rate. Our code and data has been released in HuggingFace and Github. https://github.com/albertan017/LLM4Decompile

Reverse engineering of music mixes aims to uncover how dry source signals are processed and combined to produce a final mix. We extend the prior works to reflect the compositional nature of mixing and search for a graph of audio processors. First, we construct a mixing console, applying all available processors to every track and subgroup. With differentiable processor implementations, we optimize their parameters with gradient descent. Then, we repeat the process of removing negligible processors and fine-tuning the remaining ones. This way, the quality of the full mixing console can be preserved while removing approximately two-thirds of the processors. The proposed method can be used not only to analyze individual music mixes but also to collect large-scale graph data that can be used for downstream tasks, e.g., automatic mixing. Especially for the latter purpose, efficient implementation of the search is crucial. To this end, we present an efficient batch-processing method that computes multiple processors in parallel. We also exploit the "dry/wet" parameter of the processors to accelerate the search. Extensive quantitative and qualitative analyses are conducted to evaluate the proposed method's performance, behavior, and computational cost.

State-of-the-art text-to-music models increasingly rely on scaling model capacity, data, and compute, while still learning musical structure directly from dense audio. Yet melody, rhythm, harmony, and structure can be represented compactly in symbolic form. We introduce MIDI-REPA, a representation-alignment framework that derives MIDI supervision from automatic music transcription (AMT) to align intermediate representations of a flow-matching DiT. Building on the 122M-parameter FluxAudio-S baseline from the 2026 ICME Academic Text-To-Music Challenge, we investigate what, where, and when to align. Aligning a MuScriptor-derived piano roll with an early DiT layer throughout the full flow trajectory performs the best. Without additional training data or techniques, MIDI-REPA remains competitive on the ATTM objective metrics while remaining trainable on a single RTX 3090 in about 31 hours. Our results highlight symbolic supervision as a simple and inexpensive learning signal for improving text-to-music generation. We release our transcription pipeline, JamendoMIDI, training code, and audio samples at https://midi-repa.vaclis.net.

Generating expressive audio performances from music scores requires models to capture both instrument acoustics and human interpretation. Traditional music performance synthesis pipelines follow a two-stage approach, first generating expressive performance MIDI from a score, then synthesising the MIDI into audio. However, the synthesis models often struggle to generalise across diverse MIDI sources, musical styles, and recording environments. To address these challenges, we propose MIDI-VALLE, a neural codec language model adapted from the VALLE framework, which was originally designed for zero-shot personalised text-to-speech (TTS) synthesis. For performance MIDI-to-audio synthesis, we improve the architecture to condition on a reference audio performance and its corresponding MIDI. Unlike previous TTS-based systems that rely on piano rolls, MIDI-VALLE encodes both MIDI and audio as discrete tokens, facilitating a more consistent and robust modelling of piano performances. Furthermore, the model's generalisation ability is enhanced by training on an extensive and diverse piano performance dataset. Evaluation results show that MIDI-VALLE significantly outperforms a state-of-the-art baseline, achieving over 75% lower Frechet Audio Distance on the ATEPP and Maestro datasets. In the listening test, MIDI-VALLE received 202 votes compared to 58 for the baseline, demonstrating improved synthesis quality and generalisation across diverse performance MIDI inputs.

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.

We introduce ReALLM, a novel approach for compression and memory-efficient adaptation of pre-trained language models that encompasses most of the post-training quantization and fine-tuning methods for a budget of <4 bits. Pre-trained matrices are decomposed into a high-precision low-rank component and a vector-quantized latent representation (using an autoencoder). During the fine-tuning step, only the low-rank components are updated. Our results show that pre-trained matrices exhibit different patterns. ReALLM adapts the shape of the encoder (small/large embedding, high/low bit VQ, etc.) to each matrix. ReALLM proposes to represent each matrix with a small embedding on b bits and a neural decoder model D_phi with its weights on b_phi bits. The decompression of a matrix requires only one embedding and a single forward pass with the decoder. Our weight-only quantization algorithm yields the best results on language generation tasks (C4 and WikiText-2) for a budget of 3 bits without any training. With a budget of 2 bits, ReALLM achieves state-of-the art performance after fine-tuning on a small calibration dataset.

Musical expression requires control of both what notes are played, and how they are performed. Conventional audio synthesizers provide detailed expressive controls, but at the cost of realism. Black-box neural audio synthesis and concatenative samplers can produce realistic audio, but have few mechanisms for control. In this work, we introduce MIDI-DDSP a hierarchical model of musical instruments that enables both realistic neural audio synthesis and detailed user control. Starting from interpretable Differentiable Digital Signal Processing (DDSP) synthesis parameters, we infer musical notes and high-level properties of their expressive performance (such as timbre, vibrato, dynamics, and articulation). This creates a 3-level hierarchy (notes, performance, synthesis) that affords individuals the option to intervene at each level, or utilize trained priors (performance given notes, synthesis given performance) for creative assistance. Through quantitative experiments and listening tests, we demonstrate that this hierarchy can reconstruct high-fidelity audio, accurately predict performance attributes for a note sequence, independently manipulate the attributes of a given performance, and as a complete system, generate realistic audio from a novel note sequence. By utilizing an interpretable hierarchy, with multiple levels of granularity, MIDI-DDSP opens the door to assistive tools to empower individuals across a diverse range of musical experience.

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.

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

We present a traditional approach to symbolic piano music continuation for the MIREX 2025 Symbolic Music Generation challenge. While computational music generation has recently focused on developing large foundation models with sophisticated architectural modifications, we argue that simpler approaches remain more effective for constrained, single-instrument tasks. We thus return to a simple, unaugmented next-token-prediction objective on tokenized raw MIDI, aiming to outperform large foundation models by using better data and better fundamentals. We release model weights and code at https://github.com/christianazinn/mirex2025.

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

In this paper, we introduce Foley Music, a system that can synthesize plausible music for a silent video clip about people playing musical instruments. We first identify two key intermediate representations for a successful video to music generator: body keypoints from videos and MIDI events from audio recordings. We then formulate music generation from videos as a motion-to-MIDI translation problem. We present a Graph-Transformer framework that can accurately predict MIDI event sequences in accordance with the body movements. The MIDI event can then be converted to realistic music using an off-the-shelf music synthesizer tool. We demonstrate the effectiveness of our models on videos containing a variety of music performances. Experimental results show that our model outperforms several existing systems in generating music that is pleasant to listen to. More importantly, the MIDI representations are fully interpretable and transparent, thus enabling us to perform music editing flexibly. We encourage the readers to watch the demo video with audio turned on to experience the results.

Diffusion models, which learn to reverse a signal destruction process to generate new data, typically require the signal at each step to have the same dimension. We argue that, considering the spatial redundancy in image signals, there is no need to maintain a high dimensionality in the evolution process, especially in the early generation phase. To this end, we make a theoretical generalization of the forward diffusion process via signal decomposition. Concretely, we manage to decompose an image into multiple orthogonal components and control the attenuation of each component when perturbing the image. That way, along with the noise strength increasing, we are able to diminish those inconsequential components and thus use a lower-dimensional signal to represent the source, barely losing information. Such a reformulation allows to vary dimensions in both training and inference of diffusion models. Extensive experiments on a range of datasets suggest that our approach substantially reduces the computational cost and achieves on-par or even better synthesis performance compared to baseline methods. We also show that our strategy facilitates high-resolution image synthesis and improves FID of diffusion model trained on FFHQ at 1024times1024 resolution from 52.40 to 10.46. Code and models will be made publicly available.

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.

An ideal music synthesizer should be both interactive and expressive, generating high-fidelity audio in realtime for arbitrary combinations of instruments and notes. Recent neural synthesizers have exhibited a tradeoff between domain-specific models that offer detailed control of only specific instruments, or raw waveform models that can train on any music but with minimal control and slow generation. In this work, we focus on a middle ground of neural synthesizers that can generate audio from MIDI sequences with arbitrary combinations of instruments in realtime. This enables training on a wide range of transcription datasets with a single model, which in turn offers note-level control of composition and instrumentation across a wide range of instruments. We use a simple two-stage process: MIDI to spectrograms with an encoder-decoder Transformer, then spectrograms to audio with a generative adversarial network (GAN) spectrogram inverter. We compare training the decoder as an autoregressive model and as a Denoising Diffusion Probabilistic Model (DDPM) and find that the DDPM approach is superior both qualitatively and as measured by audio reconstruction and Fr\'echet distance metrics. Given the interactivity and generality of this approach, we find this to be a promising first step towards interactive and expressive neural synthesis for arbitrary combinations of instruments and notes.

Zero-shot instrument cloning aims to render an arbitrary [Target MIDI] sequence with the acoustic identity of an unseen instrument given only a short [Reference Audio, Reference MIDI] pair. Existing methods rely on pre-trained embeddings (e.g., CLAP) that compress the reference audio into a fixed-length vector, discarding fine-grained acoustic cues essential for faithful timbre reconstruction. We present Anysynth, an embedding-free neural synthesizer based on in-context flow matching. By conditioning a Diffusion Transformer (DiT) directly on the uncompressed reference audio and target MIDI, our model allows self-attention to dynamically retrieve acoustic details at generation time. Experiments show that AnySynth outperforms embedding-based and auto-regressive baselines in audio quality, timbre similarity, and melody adherence. Notably, the model exhibits prompt-length scaling: longer reference prompts yield steadily better timbre fidelity, a property absent in embedding-based systems. To optimize controllability, we further propose Asymmetric Hierarchical CFG, which structurally decouples MIDI and reference-timbre guidance based on their natural semantic-acoustic dependency. This asymmetric formulation avoids gradient conflicts and improves both note accuracy and timbre fidelity, pushing the boundary of expressive, zero-shot instrument cloning. Demo audios are available at https://anysynth-demo.github.io/

The Charlie Parker Omnibook is a cornerstone of jazz music education, described by pianist Ethan Iverson as "the most important jazz education text ever published". In this work we propose a new transcription pipeline and explore the extent to which state of the art music technology is able to reconstruct these scores directly from the audio without human intervention. Our pipeline includes: a newly trained source separation model for saxophone, a new MIDI transcription model for solo saxophone and an adaptation of an existing MIDI-to-score method for monophonic instruments. To assess this pipeline we also provide an enhanced dataset of Charlie Parker transcriptions as score-audio pairs with accurate MIDI alignments and downbeat annotations. This represents a challenging new benchmark for automatic audio-to-score transcription that we hope will advance research into areas beyond transcribing audio-to-MIDI alone. Together, these form another step towards producing scores that musicians can use directly, without the need for onerous corrections or revisions. To facilitate future research, all model checkpoints and data are made available to download along with code for the transcription pipeline. Improvements in our modular pipeline could one day make the automatic transcription of complex jazz solos a routine possibility, thereby enriching the resources available for music education and preservation.

Source separation is the process of isolating individual sounds in an auditory mixture of multiple sounds [1], and has a variety of applications ranging from speech enhancement and lyric transcription [2] to digital audio production for music. Furthermore, Automatic Music Transcription (AMT) is the process of converting raw music audio into sheet music that musicians can read [3]. Historically, these tasks have faced challenges such as significant audio noise, long training times, and lack of free-use data due to copyright restrictions. However, recent developments in deep learning have brought new promising approaches to building low-distortion stems and generating sheet music from audio signals [4]. Using spectrogram masking, deep neural networks, and the MuseScore API, we attempt to create an end-to-end pipeline that allows for an initial music audio mixture (e.g...wav file) to be separated into instrument stems, converted into MIDI files, and transcribed into sheet music for each component instrument.

Expressive performance rendering (EPR) aims to generate realistic performances constrained on sequences of notes. However, flow matching audio editing models manipulate only synchronized music samples of the same duration, limiting their understanding of expressive timing. We introduce PianoKontext, a flow matching rendering model for classical piano music that generates variable-length performances in the latent space of a pretrained Music2Latent model. We synthesize MIDI scores into deadpan audio and employ Dynamic Time Warping (DTW) in the latent space to construct paired data for training. The aligned embeddings are concatenated in DiT blocks, allowing for a simple and effective learning of the dependencies between the score and performances. Audio samples are available at our demo page: https://realfolkcode.github.io/pianokontext_demo/.

Existing work in automatic music generation has primarily focused on end-to-end systems that produce complete compositions or continuations. However, because musical composition is typically an iterative process, such systems make it difficult to engage in the back-and-forth between human and machine that is essential to computer-assisted creativity. In this study, we address the task of personalizable, multi-track, long-context, and controllable symbolic music infilling to enhance the process of computer-assisted composition. We present MIDI-RWKV, a novel model based on the RWKV-7 linear architecture, to enable efficient and coherent musical cocreation on edge devices. We also demonstrate that MIDI-RWKV admits an effective method of finetuning its initial state for personalization in the very-low-sample regime. We evaluate MIDI-RWKV and its state tuning on several quantitative and qualitative metrics, and release model weights and code at https://github.com/christianazinn/MIDI-RWKV.

Neural audio codecs with residual vector quantization (RVQ) normally treat all frequencies uniformly, so their codebooks become spectrally entangled. Truncating stages then removes an unpredictable mix of frequencies. Parallel band decomposition addresses this by splitting audio into independent bands, but fragments the latent space and loses cross-frequency coherence. We introduce HARP (Harmonic-Aware Residual Partitioning), a training strategy that partitions RVQ stages into frequency-ordered groups where each group refines its target band while the decoder retains access to all lower frequencies. Overtones are reconstructed in the context of their fundamentals, preserving coherence that parallel methods lose. HARP requires no architectural changes; it only modifies the training loss, leaving inference identical to standard RVQ. On speech, music, and general audio, HARP outperforms both standard RVQ and parallel decomposition. MUSHRA listening tests also show perceptual improvements.

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

Music creation often involves iterative refinement, changing selected musical details while retaining the rest. To support such refinement, we introduce SpanSynth-Edit, a flow-matching model for MIDI-guided synthesis and editing of multi-instrument audio mixtures using low-frame-rate scalar-quantised latents. MIDI Span encodes instrument-labelled note lifecycles as unordered event sets with continuous-valued attributes and pools each set into one conditioning vector per audio-latent frame. The model uses contextual audio for instrument-specific timbre guidance and supports editing by resynthesising the target region from revised MIDI. Experiments on single- and multi-instrument benchmarks show competitive performance and demonstrate within-frame onset control. We also discuss limitations of transcription-based note-adherence evaluation.

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.

Modeling the natural contour of fundamental frequency (F0) plays a critical role in music audio synthesis. However, transcribing and managing multiple F0 contours in polyphonic music is challenging, and explicit F0 contour modeling has not yet been explored for polyphonic instrumental synthesis. In this paper, we present ViolinDiff, a two-stage diffusion-based synthesis framework. For a given violin MIDI file, the first stage estimates the F0 contour as pitch bend information, and the second stage generates mel spectrogram incorporating these expressive details. The quantitative metrics and listening test results show that the proposed model generates more realistic violin sounds than the model without explicit pitch bend modeling. Audio samples are available online: daewoung.github.io/ViolinDiff-Demo.

Few-shot prompting is a surprisingly powerful way to use Large Language Models (LLMs) to solve various tasks. However, this approach struggles as the task complexity increases or when the individual reasoning steps of the task themselves are hard to learn, especially when embedded in more complex tasks. To address this, we propose Decomposed Prompting, a new approach to solve complex tasks by decomposing them (via prompting) into simpler sub-tasks that can be delegated to a library of prompting-based LLMs dedicated to these sub-tasks. This modular structure allows each prompt to be optimized for its specific sub-task, further decomposed if necessary, and even easily replaced with more effective prompts, trained models, or symbolic functions if desired. We show that the flexibility and modularity of Decomposed Prompting allows it to outperform prior work on few-shot prompting using GPT3. On symbolic reasoning tasks, we can further decompose sub-tasks that are hard for LLMs into even simpler solvable sub-tasks. When the complexity comes from the input length, we can recursively decompose the task into the same task but with smaller inputs. We also evaluate our approach on textual multi-step reasoning tasks: on long-context multi-hop QA task, we can more effectively teach the sub-tasks via our separate sub-tasks prompts; and on open-domain multi-hop QA, we can incorporate a symbolic information retrieval within our decomposition framework, leading to improved performance on both tasks. Datasets, Code and Prompts available at https://github.com/allenai/DecomP.

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.

In this paper we propose a novel generative approach, DiffRoll, to tackle automatic music transcription (AMT). Instead of treating AMT as a discriminative task in which the model is trained to convert spectrograms into piano rolls, we think of it as a conditional generative task where we train our model to generate realistic looking piano rolls from pure Gaussian noise conditioned on spectrograms. This new AMT formulation enables DiffRoll to transcribe, generate and even inpaint music. Due to the classifier-free nature, DiffRoll is also able to be trained on unpaired datasets where only piano rolls are available. Our experiments show that DiffRoll outperforms its discriminative counterpart by 19 percentage points (ppt.) and our ablation studies also indicate that it outperforms similar existing methods by 4.8 ppt. Source code and demonstration are available https://sony.github.io/DiffRoll/.