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Recent advancements in audio tokenization have significantly enhanced the integration of audio capabilities into large language models (LLMs). However, audio understanding and generation are often treated as distinct tasks, hindering the development of truly unified audio-language models. While instruction tuning has demonstrated remarkable success in improving generalization and zero-shot learning across text and vision, its application to audio remains largely unexplored. A major obstacle is the lack of comprehensive datasets that unify audio understanding and generation. To address this, we introduce Audio-FLAN, a large-scale instruction-tuning dataset covering 80 diverse tasks across speech, music, and sound domains, with over 100 million instances. Audio-FLAN lays the foundation for unified audio-language models that can seamlessly handle both understanding (e.g., transcription, comprehension) and generation (e.g., speech, music, sound) tasks across a wide range of audio domains in a zero-shot manner. The Audio-FLAN dataset is available on HuggingFace and GitHub and will be continuously updated.

Distinguishing scripted from spontaneous speech is an essential tool for better understanding how speech styles influence speech processing research. It can also improve recommendation systems and discovery experiences for media users through better segmentation of large recorded speech catalogues. This paper addresses the challenge of building a classifier that generalises well across different formats and languages. We systematically evaluate models ranging from traditional, handcrafted acoustic and prosodic features to advanced audio transformers, utilising a large, multilingual proprietary podcast dataset for training and validation. We break down the performance of each model across 11 language groups to evaluate cross-lingual biases. Our experimental analysis extends to publicly available datasets to assess the models' generalisability to non-podcast domains. Our results indicate that transformer-based models consistently outperform traditional feature-based techniques, achieving state-of-the-art performance in distinguishing between scripted and spontaneous speech across various languages., Comment: Accepted to IEEE Spoken Language Technology Workshop 2024

Recent advancements in multimodal large language models (MLLMs) have aimed to integrate and interpret data across diverse modalities. However, the capacity of these models to concurrently process and reason about multiple modalities remains inadequately explored, partly due to the lack of comprehensive modality-wise benchmarks. We introduce OmniBench, a novel benchmark designed to rigorously evaluate models' ability to recognize, interpret, and reason across visual, acoustic, and textual inputs simultaneously. We define models capable of such tri-modal processing as omni-language models (OLMs). OmniBench is distinguished by high-quality human annotations, ensuring that accurate responses require integrated understanding and reasoning across all three modalities. Our main findings reveal that: i) most OLMs exhibit critical limitations in instruction-following and reasoning capabilities within tri-modal contexts; and ii) most baselines models perform poorly (below 50\% accuracy) even when provided with alternative textual representations of images or/and audio. These results suggest that the ability to construct a consistent context from text, image, and audio is often overlooked in existing MLLM training paradigms. To address this gap, we curate an instruction tuning dataset of 84.5K training samples, OmniInstruct, for training OLMs to adapt to multimodal contexts. We advocate for future research to focus on developing more robust tri-modal integration techniques and training strategies to enhance OLM performance across diverse modalities. The codes and live leaderboard could be found at https://m-a-p.ai/OmniBench.

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

Multimodal models that jointly process audio and language hold great promise in audio understanding and are increasingly being adopted in the music domain. By allowing users to query via text and obtain information about a given audio input, these models have the potential to enable a variety of music understanding tasks via language-based interfaces. However, their evaluation poses considerable challenges, and it remains unclear how to effectively assess their ability to correctly interpret music-related inputs with current methods. Motivated by this, we introduce MuChoMusic, a benchmark for evaluating music understanding in multimodal language models focused on audio. MuChoMusic comprises 1,187 multiple-choice questions, all validated by human annotators, on 644 music tracks sourced from two publicly available music datasets, and covering a wide variety of genres. Questions in the benchmark are crafted to assess knowledge and reasoning abilities across several dimensions that cover fundamental musical concepts and their relation to cultural and functional contexts. Through the holistic analysis afforded by the benchmark, we evaluate five open-source models and identify several pitfalls, including an over-reliance on the language modality, pointing to a need for better multimodal integration. Data and code are open-sourced., Comment: Accepted at ISMIR 2024. Data: https://doi.org/10.5281/zenodo.12709974 Code: https://github.com/mulab-mir/muchomusic Supplementary material: https://mulab-mir.github.io/muchomusic

Symbolic Music, akin to language, can be encoded in discrete symbols. Recent research has extended the application of large language models (LLMs) such as GPT-4 and Llama2 to the symbolic music domain including understanding and generation. Yet scant research explores the details of how these LLMs perform on advanced music understanding and conditioned generation, especially from the multi-step reasoning perspective, which is a critical aspect in the conditioned, editable, and interactive human-computer co-creation process. This study conducts a thorough investigation of LLMs' capability and limitations in symbolic music processing. We identify that current LLMs exhibit poor performance in song-level multi-step music reasoning, and typically fail to leverage learned music knowledge when addressing complex musical tasks. An analysis of LLMs' responses highlights distinctly their pros and cons. Our findings suggest achieving advanced musical capability is not intrinsically obtained by LLMs, and future research should focus more on bridging the gap between music knowledge and reasoning, to improve the co-creation experience for musicians., Comment: Accepted by ISMIR2024

Multilingual automatic lyrics transcription (ALT) is a challenging task due to the limited availability of labelled data and the challenges introduced by singing, compared to multilingual automatic speech recognition. Although some multilingual singing datasets have been released recently, English continues to dominate these collections. Multilingual ALT remains underexplored due to the scale of data and annotation quality. In this paper, we aim to create a multilingual ALT system with available datasets. Inspired by architectures that have been proven effective for English ALT, we adapt these techniques to the multilingual scenario by expanding the target vocabulary set. We then evaluate the performance of the multilingual model in comparison to its monolingual counterparts. Additionally, we explore various conditioning methods to incorporate language information into the model. We apply analysis by language and combine it with the language classification performance. Our findings reveal that the multilingual model performs consistently better than the monolingual models trained on the language subsets. Furthermore, we demonstrate that incorporating language information significantly enhances performance., Comment: Accepted at EUSIPCO 2024

Large Language Models (LLMs) have made great strides in recent years to achieve unprecedented performance across different tasks. However, due to commercial interest, the most competitive models like GPT, Gemini, and Claude have been gated behind proprietary interfaces without disclosing the training details. Recently, many institutions have open-sourced several strong LLMs like LLaMA-3, comparable to existing closed-source LLMs. However, only the model's weights are provided with most details (e.g., intermediate checkpoints, pre-training corpus, and training code, etc.) being undisclosed. To improve the transparency of LLMs, the research community has formed to open-source truly open LLMs (e.g., Pythia, Amber, OLMo), where more details (e.g., pre-training corpus and training code) are being provided. These models have greatly advanced the scientific study of these large models including their strengths, weaknesses, biases and risks. However, we observe that the existing truly open LLMs on reasoning, knowledge, and coding tasks are still inferior to existing state-of-the-art LLMs with similar model sizes. To this end, we open-source MAP-Neo, a highly capable and transparent bilingual language model with 7B parameters trained from scratch on 4.5T high-quality tokens. Our MAP-Neo is the first fully open-sourced bilingual LLM with comparable performance compared to existing state-of-the-art LLMs. Moreover, we open-source all details to reproduce our MAP-Neo, where the cleaned pre-training corpus, data cleaning pipeline, checkpoints, and well-optimized training/evaluation framework are provided. Finally, we hope our MAP-Neo will enhance and strengthen the open research community and inspire more innovations and creativities to facilitate the further improvements of LLMs., Comment: https://map-neo.github.io/

Music composition represents the creative side of humanity, and itself is a complex task that requires abilities to understand and generate information with long dependency and harmony constraints. While demonstrating impressive capabilities in STEM subjects, current LLMs easily fail in this task, generating ill-written music even when equipped with modern techniques like In-Context-Learning and Chain-of-Thoughts. To further explore and enhance LLMs' potential in music composition by leveraging their reasoning ability and the large knowledge base in music history and theory, we propose ComposerX, an agent-based symbolic music generation framework. We find that applying a multi-agent approach significantly improves the music composition quality of GPT-4. The results demonstrate that ComposerX is capable of producing coherent polyphonic music compositions with captivating melodies, while adhering to user instructions.

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

We introduce the Song Describer dataset (SDD), a new crowdsourced corpus of high-quality audio-caption pairs, designed for the evaluation of music-and-language models. The dataset consists of 1.1k human-written natural language descriptions of 706 music recordings, all publicly accessible and released under Creative Common licenses. To showcase the use of our dataset, we benchmark popular models on three key music-and-language tasks (music captioning, text-to-music generation and music-language retrieval). Our experiments highlight the importance of cross-dataset evaluation and offer insights into how researchers can use SDD to gain a broader understanding of model performance., Comment: Accepted to NeurIPS 2023 Workshop on Machine Learning for Audio

Large Language Models (LLMs) have shown immense potential in multimodal applications, yet the convergence of textual and musical domains remains not well-explored. To address this gap, we present MusiLingo, a novel system for music caption generation and music-related query responses. MusiLingo employs a single projection layer to align music representations from the pre-trained frozen music audio model MERT with a frozen LLM, bridging the gap between music audio and textual contexts. We train it on an extensive music caption dataset and fine-tune it with instructional data. Due to the scarcity of high-quality music Q&A datasets, we created the MusicInstruct (MI) dataset from captions in the MusicCaps datasets, tailored for open-ended music inquiries. Empirical evaluations demonstrate its competitive performance in generating music captions and composing music-related Q&A pairs. Our introduced dataset enables notable advancements beyond previous ones.

We introduce LyricWhiz, a robust, multilingual, and zero-shot automatic lyrics transcription method achieving state-of-the-art performance on various lyrics transcription datasets, even in challenging genres such as rock and metal. Our novel, training-free approach utilizes Whisper, a weakly supervised robust speech recognition model, and GPT-4, today's most performant chat-based large language model. In the proposed method, Whisper functions as the "ear" by transcribing the audio, while GPT-4 serves as the "brain," acting as an annotator with a strong performance for contextualized output selection and correction. Our experiments show that LyricWhiz significantly reduces Word Error Rate compared to existing methods in English and can effectively transcribe lyrics across multiple languages. Furthermore, we use LyricWhiz to create the first publicly available, large-scale, multilingual lyrics transcription dataset with a CC-BY-NC-SA copyright license, based on MTG-Jamendo, and offer a human-annotated subset for noise level estimation and evaluation. We anticipate that our proposed method and dataset will advance the development of multilingual lyrics transcription, a challenging and emerging task., Comment: 9 pages, 2 figures, 5 tables, accepted by ISMIR 2023

Self-supervised learning (SSL) has recently emerged as a promising paradigm for training generalisable models on large-scale data in the fields of vision, text, and speech. Although SSL has been proven effective in speech and audio, its application to music audio has yet to be thoroughly explored. This is partially due to the distinctive challenges associated with modelling musical knowledge, particularly tonal and pitched characteristics of music. To address this research gap, we propose an acoustic Music undERstanding model with large-scale self-supervised Training (MERT), which incorporates teacher models to provide pseudo labels in the masked language modelling (MLM) style acoustic pre-training. In our exploration, we identified an effective combination of teacher models, which outperforms conventional speech and audio approaches in terms of performance. This combination includes an acoustic teacher based on Residual Vector Quantisation - Variational AutoEncoder (RVQ-VAE) and a musical teacher based on the Constant-Q Transform (CQT). Furthermore, we explore a wide range of settings to overcome the instability in acoustic language model pre-training, which allows our designed paradigm to scale from 95M to 330M parameters. Experimental results indicate that our model can generalise and perform well on 14 music understanding tasks and attain state-of-the-art (SOTA) overall scores., Comment: accepted by ICLR 2024

As one of the most intuitive interfaces known to humans, natural language has the potential to mediate many tasks that involve human-computer interaction, especially in application-focused fields like Music Information Retrieval. In this work, we explore cross-modal learning in an attempt to bridge audio and language in the music domain. To this end, we propose MusCALL, a framework for Music Contrastive Audio-Language Learning. Our approach consists of a dual-encoder architecture that learns the alignment between pairs of music audio and descriptive sentences, producing multimodal embeddings that can be used for text-to-audio and audio-to-text retrieval out-of-the-box. Thanks to this property, MusCALL can be transferred to virtually any task that can be cast as text-based retrieval. Our experiments show that our method performs significantly better than the baselines at retrieving audio that matches a textual description and, conversely, text that matches an audio query. We also demonstrate that the multimodal alignment capability of our model can be successfully extended to the zero-shot transfer scenario for genre classification and auto-tagging on two public datasets., Comment: Accepted to ISMIR 2022

Audio representations for music information retrieval are typically learned via supervised learning in a task-specific fashion. Although effective at producing state-of-the-art results, this scheme lacks flexibility with respect to the range of applications a model can have and requires extensively annotated datasets. In this work, we pose the question of whether it may be possible to exploit weakly aligned text as the only supervisory signal to learn general-purpose music audio representations. To address this question, we design a multimodal architecture for music and language pre-training (MuLaP) optimised via a set of proxy tasks. Weak supervision is provided in the form of noisy natural language descriptions conveying the overall musical content of the track. After pre-training, we transfer the audio backbone of the model to a set of music audio classification and regression tasks. We demonstrate the usefulness of our approach by comparing the performance of audio representations produced by the same audio backbone with different training strategies and show that our pre-training method consistently achieves comparable or higher scores on all tasks and datasets considered. Our experiments also confirm that MuLaP effectively leverages audio-caption pairs to learn representations that are competitive with audio-only and cross-modal self-supervised methods in the literature., Comment: Accepted to ICASSP 2022

Content-based music information retrieval has seen rapid progress with the adoption of deep learning. Current approaches to high-level music description typically make use of classification models, such as in auto-tagging or genre and mood classification. In this work, we propose to address music description via audio captioning, defined as the task of generating a natural language description of music audio content in a human-like manner. To this end, we present the first music audio captioning model, MusCaps, consisting of an encoder-decoder with temporal attention. Our method combines convolutional and recurrent neural network architectures to jointly process audio-text inputs through a multimodal encoder and leverages pre-training on audio data to obtain representations that effectively capture and summarise musical features in the input. Evaluation of the generated captions through automatic metrics shows that our method outperforms a baseline designed for non-music audio captioning. Through an ablation study, we unveil that this performance boost can be mainly attributed to pre-training of the audio encoder, while other design choices - modality fusion, decoding strategy and the use of attention - contribute only marginally. Our model represents a shift away from classification-based music description and combines tasks requiring both auditory and linguistic understanding to bridge the semantic gap in music information retrieval., Comment: Accepted to IJCNN 2021 for the Special Session on Representation Learning for Audio, Speech, and Music Processing