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/.
Breakthroughs in text-to-music generation models are transforming the creative landscape, equipping musicians with innovative tools for composition and experimentation like never before. However, controlling the generation process to achieve a specific desired outcome remains a significant challenge. Even a minor change in the text prompt, combined with the same random seed, can drastically alter the generated piece. In this paper, we explore the application of existing text-to-music diffusion models for instrument editing. Specifically, for an existing audio track, we aim to leverage a pretrained text-to-music diffusion model to edit the instrument while preserving the underlying content. Based on the insight that the model first focuses on the overall structure or content of the audio, then adds instrument information, and finally refines the quality, we show that selecting a well-chosen intermediate timestep, identified through an instrument classifier, yields a balance between preserving the original piece's content and achieving the desired timbre. Our method does not require additional training of the text-to-music diffusion model, nor does it compromise the generation process's speed.
Recent progress in text-to-music generation has enabled models to synthesize high-quality musical segments, full compositions, and even respond to fine-grained control signals, e.g. chord progressions. State-of-the-art (SOTA) systems differ significantly across many dimensions, such as training datasets, modeling paradigms, and architectural choices. This diversity complicates efforts to evaluate models fairly and pinpoint which design choices most influence performance. While factors like data and architecture are important, in this study we focus exclusively on the modeling paradigm. We conduct a systematic empirical analysis to isolate its effects, offering insights into associated trade-offs and emergent behaviors that can guide future text-to-music generation systems. Specifically, we compare the two arguably most common modeling paradigms: Auto-Regressive decoding and Conditional Flow-Matching. We conduct a controlled comparison by training all models from scratch using identical datasets, training configurations, and similar backbone architectures. Performance is evaluated across multiple axes, including generation quality, robustness to inference configurations, scalability, adherence to both textual and temporally aligned conditioning, and editing capabilities in the form of audio inpainting. This comparative study sheds light on distinct strengths and limitations of each paradigm, providing actionable insights that can inform future architectural and training decisions in the evolving landscape of text-to-music generation. Audio sampled examples are available at: https://huggingface.co/spaces/ortal1602/ARvsFM
Recent advancements in neural audio codecs have enabled the use of tokenized audio representations in various audio generation tasks, such as text-to-speech, text-to-audio, and text-to-music generation. Leveraging this approach, we propose TokenSynth, a novel neural synthesizer that utilizes a decoder-only transformer to generate desired audio tokens from MIDI tokens and CLAP (Contrastive Language-Audio Pretraining) embedding, which has timbre-related information. Our model is capable of performing instrument cloning, text-to-instrument synthesis, and text-guided timbre manipulation without any fine-tuning. This flexibility enables diverse sound design and intuitive timbre control. We evaluated the quality of the synthesized audio, the timbral similarity between synthesized and target audio/text, and synthesis accuracy (i.e., how accurately it follows the input MIDI) using objective measures. TokenSynth demonstrates the potential of leveraging advanced neural audio codecs and transformers to create powerful and versatile neural synthesizers. The source code, model weights, and audio demos are available at: https://github.com/KyungsuKim42/tokensynth
Diffusion based Text-To-Music (TTM) models generate music corresponding to text descriptions. Typically UNet based diffusion models condition on text embeddings generated from a pre-trained large language model or from a cross-modality audio-language representation model. This work proposes a diffusion based TTM, in which the UNet is conditioned on both (i) a uni-modal language model (e.g., T5) via cross-attention and (ii) a cross-modal audio-language representation model (e.g., CLAP) via Feature-wise Linear Modulation (FiLM). The diffusion model is trained to exploit both a local text representation from the T5 and a global representation from the CLAP. Furthermore, we propose modifications that extract both global and local representations from the T5 through pooling mechanisms that we call mean pooling and self-attention pooling. This approach mitigates the need for an additional encoder (e.g., CLAP) to extract a global representation, thereby reducing the number of model parameters. Our results show that incorporating the CLAP global embeddings to the T5 local embeddings enhances text adherence (KL=1.47) compared to a baseline model solely relying on the T5 local embeddings (KL=1.54). Alternatively, extracting global text embeddings directly from the T5 local embeddings through the proposed mean pooling approach yields superior generation quality (FAD=1.89) while exhibiting marginally inferior text adherence (KL=1.51) against the model conditioned on both CLAP and T5 text embeddings (FAD=1.94 and KL=1.47). Our proposed solution is not only efficient but also compact in terms of the number of parameters required.
Recent years have seen significant progress in Text-To-Audio (TTA) synthesis, enabling users to enrich their creative workflows with synthetic audio generated from natural language prompts. Despite this progress, the effects of data, model architecture, training objective functions, and sampling strategies on target benchmarks are not well understood. With the purpose of providing a holistic understanding of the design space of TTA models, we set up a large-scale empirical experiment focused on diffusion and flow matching models. Our contributions include: 1) AF-Synthetic, a large dataset of high quality synthetic captions obtained from an audio understanding model; 2) a systematic comparison of different architectural, training, and inference design choices for TTA models; 3) an analysis of sampling methods and their Pareto curves with respect to generation quality and inference speed. We leverage the knowledge obtained from this extensive analysis to propose our best model dubbed Elucidated Text-To-Audio (ETTA). When evaluated on AudioCaps and MusicCaps, ETTA provides improvements over the baselines trained on publicly available data, while being competitive with models trained on proprietary data. Finally, we show ETTA's improved ability to generate creative audio following complex and imaginative captions -- a task that is more challenging than current benchmarks.
This paper investigates the capabilities of text-to-audio music generation models in producing long-form music with prompts that change over time, focusing on soundtrack generation for Tabletop Role-Playing Games (TRPGs). We introduce Babel Bardo, a system that uses Large Language Models (LLMs) to transform speech transcriptions into music descriptions for controlling a text-to-music model. Four versions of Babel Bardo were compared in two TRPG campaigns: a baseline using direct speech transcriptions, and three LLM-based versions with varying approaches to music description generation. Evaluations considered audio quality, story alignment, and transition smoothness. Results indicate that detailed music descriptions improve audio quality while maintaining consistency across consecutive descriptions enhances story alignment and transition smoothness.
We introduce MusicFlow, a cascaded text-to-music generation model based on flow matching. Based on self-supervised representations to bridge between text descriptions and music audios, we construct two flow matching networks to model the conditional distribution of semantic and acoustic features. Additionally, we leverage masked prediction as the training objective, enabling the model to generalize to other tasks such as music infilling and continuation in a zero-shot manner. Experiments on MusicCaps reveal that the music generated by MusicFlow exhibits superior quality and text coherence despite being over $2\sim5$ times smaller and requiring $5$ times fewer iterative steps. Simultaneously, the model can perform other music generation tasks and achieves competitive performance in music infilling and continuation. Our code and model will be publicly available.
Despite the significant progress in controllable music generation and editing, challenges remain in the quality and length of generated music due to the use of Mel-spectrogram representations and UNet-based model structures. To address these limitations, we propose a novel approach using a Diffusion Transformer (DiT) augmented with an additional control branch using ControlNet. This allows for long-form and variable-length music generation and editing controlled by text and melody prompts. For more precise and fine-grained melody control, we introduce a novel top-$k$ constant-Q Transform representation as the melody prompt, reducing ambiguity compared to previous representations (e.g., chroma), particularly for music with multiple tracks or a wide range of pitch values. To effectively balance the control signals from text and melody prompts, we adopt a curriculum learning strategy that progressively masks the melody prompt, resulting in a more stable training process. Experiments have been performed on text-to-music generation and music-style transfer tasks using open-source instrumental recording data. The results demonstrate that by extending StableAudio, a pre-trained text-controlled DiT model, our approach enables superior melody-controlled editing while retaining good text-to-music generation performance. These results outperform a strong MusicGen baseline in terms of both text-based generation and melody preservation for editing. Audio examples can be found at https://stable-audio-control.github.io.
We present the Melody-Guided Music Generation (MG2) model, a novel approach using melody to guide the text-to-music generation that, despite a simple method and limited resources, achieves excellent performance. Specifically, we first align the text with audio waveforms and their associated melodies using the newly proposed Contrastive Language-Music Pretraining, enabling the learned text representation fused with implicit melody information. Subsequently, we condition the retrieval-augmented diffusion module on both text prompt and retrieved melody. This allows MG2 to generate music that reflects the content of the given text description, meantime keeping the intrinsic harmony under the guidance of explicit melody information. We conducted extensive experiments on two public datasets: MusicCaps and MusicBench. Surprisingly, the experimental results demonstrate that the proposed MG2 model surpasses current open-source text-to-music generation models, achieving this with fewer than 1/3 of the parameters or less than 1/200 of the training data compared to state-of-the-art counterparts. Furthermore, we conducted comprehensive human evaluations involving three types of users and five perspectives, using newly designed questionnaires to explore the potential real-world applications of MG2.
This paper explores a simple extension of diffusion-based rectified flow Transformers for text-to-music generation, termed as FluxMusic. Generally, along with design in advanced Flux\footnote{https://github.com/black-forest-labs/flux} model, we transfers it into a latent VAE space of mel-spectrum. It involves first applying a sequence of independent attention to the double text-music stream, followed by a stacked single music stream for denoised patch prediction. We employ multiple pre-trained text encoders to sufficiently capture caption semantic information as well as inference flexibility. In between, coarse textual information, in conjunction with time step embeddings, is utilized in a modulation mechanism, while fine-grained textual details are concatenated with the music patch sequence as inputs. Through an in-depth study, we demonstrate that rectified flow training with an optimized architecture significantly outperforms established diffusion methods for the text-to-music task, as evidenced by various automatic metrics and human preference evaluations. Our experimental data, code, and model weights are made publicly available at: \url{https://github.com/feizc/FluxMusic}.
Deep generative models are now able to synthesize high-quality audio signals, shifting the critical aspect in their development from audio quality to control capabilities. Although text-to-music generation is getting largely adopted by the general public, explicit control and example-based style transfer are more adequate modalities to capture the intents of artists and musicians. In this paper, we aim to unify explicit control and style transfer within a single model by separating local and global information to capture musical structure and timbre respectively. To do so, we leverage the capabilities of diffusion autoencoders to extract semantic features, in order to build two representation spaces. We enforce disentanglement between those spaces using an adversarial criterion and a two-stage training strategy. Our resulting model can generate audio matching a timbre target, while specifying structure either with explicit controls or through another audio example. We evaluate our model on one-shot timbre transfer and MIDI-to-audio tasks on instrumental recordings and show that we outperform existing baselines in terms of audio quality and target fidelity. Furthermore, we show that our method can generate cover versions of complete musical pieces by transferring rhythmic and melodic content to the style of a target audio in a different genre.
Existing text-to-music models can produce high-quality audio with great diversity. However, textual prompts alone cannot precisely control temporal musical features such as chords and rhythm of the generated music. To address this challenge, we introduce MusiConGen, a temporally-conditioned Transformer-based text-to-music model that builds upon the pretrained MusicGen framework. Our innovation lies in an efficient finetuning mechanism, tailored for consumer-grade GPUs, that integrates automatically-extracted rhythm and chords as the condition signal. During inference, the condition can either be musical features extracted from a reference audio signal, or be user-defined symbolic chord sequence, BPM, and textual prompts. Our performance evaluation on two datasets -- one derived from extracted features and the other from user-created inputs -- demonstrates that MusiConGen can generate realistic backing track music that aligns well with the specified conditions. We open-source the code and model checkpoints, and provide audio examples online, https://musicongen.github.io/musicongen_demo/.
Open generative models are vitally important for the community, allowing for fine-tunes and serving as baselines when presenting new models. However, most current text-to-audio models are private and not accessible for artists and researchers to build upon. Here we describe the architecture and training process of a new open-weights text-to-audio model trained with Creative Commons data. Our evaluation shows that the model's performance is competitive with the state-of-the-art across various metrics. Notably, the reported FDopenl3 results (measuring the realism of the generations) showcase its potential for high-quality stereo sound synthesis at 44.1kHz.
Large-scale text-to-music generation models have significantly enhanced music creation capabilities, offering unprecedented creative freedom. However, their ability to collaborate effectively with human musicians remains limited. In this paper, we propose a framework to describe the musical interaction process, which includes expression, interpretation, and execution of controls. Following this framework, we argue that the primary gap between existing text-to-music models and musicians lies in the interpretation stage, where models lack the ability to interpret controls from musicians. We also propose two strategies to address this gap and call on the music information retrieval community to tackle the interpretation challenge to improve human-AI musical collaboration.
It is an open challenge to obtain high quality training data, especially captions, for text-to-audio models. Although prior methods have leveraged \textit{text-only language models} to augment and improve captions, such methods have limitations related to scale and coherence between audio and captions. In this work, we propose an audio captioning pipeline that uses an \textit{audio language model} to synthesize accurate and diverse captions for audio at scale. We leverage this pipeline to produce a dataset of synthetic captions for AudioSet, named \texttt{AF-AudioSet}, and then evaluate the benefit of pre-training text-to-audio models on these synthetic captions. Through systematic evaluations on AudioCaps and MusicCaps, we find leveraging our pipeline and synthetic captions leads to significant improvements on audio generation quality, achieving a new \textit{state-of-the-art}.
Large models for text-to-music generation have achieved significant progress, facilitating the creation of high-quality and varied musical compositions from provided text prompts. However, input text prompts may not precisely capture user requirements, particularly when the objective is to generate music that embodies a specific concept derived from a designated reference collection. In this paper, we propose a novel method for customized text-to-music generation, which can capture the concept from a two-minute reference music and generate a new piece of music conforming to the concept. We achieve this by fine-tuning a pretrained text-to-music model using the reference music. However, directly fine-tuning all parameters leads to overfitting issues. To address this problem, we propose a Pivotal Parameters Tuning method that enables the model to assimilate the new concept while preserving its original generative capabilities. Additionally, we identify a potential concept conflict when introducing multiple concepts into the pretrained model. We present a concept enhancement strategy to distinguish multiple concepts, enabling the fine-tuned model to generate music incorporating either individual or multiple concepts simultaneously. Since we are the first to work on the customized music generation task, we also introduce a new dataset and evaluation protocol for the new task. Our proposed Jen1-DreamStyler outperforms several baselines in both qualitative and quantitative evaluations. Demos will be available at https://www.jenmusic.ai/research#DreamStyler.
Music is a universal language that can communicate emotions and feelings. It forms an essential part of the whole spectrum of creative media, ranging from movies to social media posts. Machine learning models that can synthesize music are predominantly conditioned on textual descriptions of it. Inspired by how musicians compose music not just from a movie script, but also through visualizations, we propose MeLFusion, a model that can effectively use cues from a textual description and the corresponding image to synthesize music. MeLFusion is a text-to-music diffusion model with a novel "visual synapse", which effectively infuses the semantics from the visual modality into the generated music. To facilitate research in this area, we introduce a new dataset MeLBench, and propose a new evaluation metric IMSM. Our exhaustive experimental evaluation suggests that adding visual information to the music synthesis pipeline significantly improves the quality of generated music, measured both objectively and subjectively, with a relative gain of up to 67.98% on the FAD score. We hope that our work will gather attention to this pragmatic, yet relatively under-explored research area.
Text-to-music (TTM) generation, which converts textual descriptions into audio, opens up innovative avenues for multimedia creation. Achieving high quality and diversity in this process demands extensive, high-quality data, which are often scarce in available datasets. Most open-source datasets frequently suffer from issues like low-quality waveforms and low text-audio consistency, hindering the advancement of music generation models. To address these challenges, we propose a novel quality-aware training paradigm for generating high-quality, high-musicality music from large-scale, quality-imbalanced datasets. Additionally, by leveraging unique properties in the latent space of musical signals, we adapt and implement a masked diffusion transformer (MDT) model for the TTM task, showcasing its capacity for quality control and enhanced musicality. Furthermore, we introduce a three-stage caption refinement approach to address low-quality captions' issue. Experiments show state-of-the-art (SOTA) performance on benchmark datasets including MusicCaps and the Song-Describer Dataset with both objective and subjective metrics. Demo audio samples are available at https://qa-mdt.github.io/, code and pretrained checkpoints are open-sourced at https://github.com/ivcylc/OpenMusic.
Recent advances in text-to-music generation models have opened new avenues in musical creativity. However, music generation usually involves iterative refinements, and how to edit the generated music remains a significant challenge. This paper introduces a novel approach to the editing of music generated by such models, enabling the modification of specific attributes, such as genre, mood and instrument, while maintaining other aspects unchanged. Our method transforms text editing to \textit{latent space manipulation} while adding an extra constraint to enforce consistency. It seamlessly integrates with existing pretrained text-to-music diffusion models without requiring additional training. Experimental results demonstrate superior performance over both zero-shot and certain supervised baselines in style and timbre transfer evaluations. Additionally, we showcase the practical applicability of our approach in real-world music editing scenarios.