arXiv subjects

Chris Donahue

Publications and source records attributed to Chris Donahue.

At least 37 records · Page 2Linked to original sources

arXiv2025

EDIT-Bench: Evaluating LLM Abilities to Perform Real-World Instructed Code Edits

Instructed code editing, where LLMs directly modify a developer's existing code based on a user instruction, is becoming a widely used interaction mode in AI coding assistants. However, few benchmarks directly evaluate this capability and current datasets often rely on artificial sources. We introduce EDIT-Bench, a benchmark for evaluating LLM code editing capabilities grounded in real-world usage, i.e., user instructions and code contexts collected in the wild. EDIT-Bench comprises of 540 problems, multiple natural and programming languages, and a diverse set of real-world use cases, ranging from resolving errors to adding features. EDIT-Bench introduces context-dependent problems that require the model to understand code context, highlighted code, and cursor position in addition to the user instruction. We evaluate 40 diverse LLMs and observe that EDIT-Bench is a challenging set of problems where only 1 model scores over 60%. We find that model performance varies across different categories of user instructions. Further, we find that varying levels of contextual information greatly affect task success rate, with performance varying up to 11%, indicating the importance of evaluating with realistic context.

cs.SE↗

arXiv2025

Live Music Models

We introduce a new class of generative models for music called live music models that produce a continuous stream of music in real-time with synchronized user control. We release Magenta RealTime, an open-weights live music model that can be steered using text or audio prompts to control acoustic style. On automatic metrics of music quality, Magenta RealTime outperforms other open-weights music generation models, despite using fewer parameters and offering first-of-its-kind live generation capabilities. We also release Lyria RealTime, an API-based model with extended controls, offering access to our most powerful model with wide prompt coverage. These models demonstrate a new paradigm for AI-assisted music creation that emphasizes human-in-the-loop interaction for live music performance.

cs.SD↗

arXiv2025

Music Arena: Live Evaluation for Text-to-Music

We present Music Arena, an open platform for scalable human preference evaluation of text-to-music (TTM) models. Soliciting human preferences via listening studies is the gold standard for evaluation in TTM, but these studies are expensive to conduct and difficult to compare, as study protocols may differ across systems. Moreover, human preferences might help researchers align their TTM systems or improve automatic evaluation metrics, but an open and renewable source of preferences does not currently exist. We aim to fill these gaps by offering *live* evaluation for TTM. In Music Arena, real-world users input text prompts of their choosing and compare outputs from two TTM systems, and their preferences are used to compile a leaderboard. While Music Arena follows recent evaluation trends in other AI domains, we also design it with key features tailored to music: an LLM-based routing system to navigate the heterogeneous type signatures of TTM systems, and the collection of *detailed* preferences including listening data and natural language feedback. We also propose a rolling data release policy with user privacy guarantees, providing a renewable source of preference data and increasing platform transparency. Through its standardized evaluation protocol, transparent data access policies, and music-specific features, Music Arena not only addresses key challenges in the TTM ecosystem but also demonstrates how live evaluation can be thoughtfully adapted to unique characteristics of specific AI domains. Music Arena is available at: https://music-arena.org . Preference data is available at: https://huggingface.co/music-arena .

cs.SD↗

arXiv2025

RISE: Adaptive music playback for Realtime Intensity Synchronization with Exercise

We propose a system to adapt a user's music to their exercise by aligning high-energy music segments with intense intervals of the workout. Listening to music during exercise can boost motivation and performance. However, the structure of the music may be different from the user's natural phases of rest and work, causing users to rest longer than needed while waiting for a motivational section, or lose motivation mid-work if the section ends too soon. To address this, our system, called RISE, automatically estimates the intense segments in music and uses component-based music rearrangement techniques to dynamically extend and shorten different segments of the user's song to fit the ongoing exercise routine. Our system takes as input the rest and work durations to guide adaptation. Currently, this is determined either via a pre-defined plan or manual input during the workout. We evaluated RISE with 12 participants and compared our system to a non-adaptive music baseline while exercising in our lab. Participants found our rearrangements keeps intensity estimation accurate, and many recalled moments when intensity alignment helped them push through their workout.

cs.SD↗

arXiv2025

Osu2MIR: Beat Tracking Dataset Derived From Osu! Data

In this work, we explore the use of Osu!, a community-based rhythm game, as an alternative source of beat and downbeat annotations. Osu! beatmaps are created and refined by a large, diverse community and span underrepresented genres such as anime, Vocaloid, and video game music. We introduce a pipeline for extracting annotations from Osu! beatmaps and partition them into meaningful subsets. Through manual analysis, we find that beatmaps with a single timing point or widely spaced multiple timing points (>=5 seconds apart) provide reliable annotations, while closely spaced timing points (<5 seconds apart) often require additional curation. We also observe high consistency across multiple annotations of the same song. This study demonstrates the potential of Osu! data as a scalable, diverse, and community-driven resource for MIR research. We release our pipeline and a high-quality subset osu2beat2025 to support further exploration: https://github.com/ziyunliu4444/osu2mir.

cs.SD↗

arXiv2025

Adaptive Accompaniment with ReaLchords

Jamming requires coordination, anticipation, and collaborative creativity between musicians. Current generative models of music produce expressive output but are not able to generate in an \emph{online} manner, meaning simultaneously with other musicians (human or otherwise). We propose ReaLchords, an online generative model for improvising chord accompaniment to user melody. We start with an online model pretrained by maximum likelihood, and use reinforcement learning to finetune the model for online use. The finetuning objective leverages both a novel reward model that provides feedback on both harmonic and temporal coherency between melody and chord, and a divergence term that implements a novel type of distillation from a teacher model that can see the future melody. Through quantitative experiments and listening tests, we demonstrate that the resulting model adapts well to unfamiliar input and produce fitting accompaniment. ReaLchords opens the door to live jamming, as well as simultaneous co-creation in other modalities.

cs.SD↗

arXiv2025

Unified Cross-modal Translation of Score Images, Symbolic Music, and Performance Audio

Music exists in various modalities, such as score images, symbolic scores, MIDI, and audio. Translations between each modality are established as core tasks of music information retrieval, such as automatic music transcription (audio-to-MIDI) and optical music recognition (score image to symbolic score). However, most past work on multimodal translation trains specialized models on individual translation tasks. In this paper, we propose a unified approach, where we train a general-purpose model on many translation tasks simultaneously. Two key factors make this unified approach viable: a new large-scale dataset and the tokenization of each modality. Firstly, we propose a new dataset that consists of more than 1,300 hours of paired audio-score image data collected from YouTube videos, which is an order of magnitude larger than any existing music modal translation datasets. Secondly, our unified tokenization framework discretizes score images, audio, MIDI, and MusicXML into a sequence of tokens, enabling a single encoder-decoder Transformer to tackle multiple cross-modal translation as one coherent sequence-to-sequence task. Experimental results confirm that our unified multitask model improves upon single-task baselines in several key areas, notably reducing the symbol error rate for optical music recognition from 24.58% to a state-of-the-art 13.67%, while similarly substantial improvements are observed across the other translation tasks. Notably, our approach achieves the first successful score-image-conditioned audio generation, marking a significant breakthrough in cross-modal music generation.

cs.SD↗

arXiv2025

VERSA: A Versatile Evaluation Toolkit for Speech, Audio, and Music

In this work, we introduce VERSA, a unified and standardized evaluation toolkit designed for various speech, audio, and music signals. The toolkit features a Pythonic interface with flexible configuration and dependency control, making it user-friendly and efficient. With full installation, VERSA offers 65 metrics with 729 metric variations based on different configurations. These metrics encompass evaluations utilizing diverse external resources, including matching and non-matching reference audio, text transcriptions, and text captions. As a lightweight yet comprehensive toolkit, VERSA is versatile to support the evaluation of a wide range of downstream scenarios. To demonstrate its capabilities, this work highlights example use cases for VERSA, including audio coding, speech synthesis, speech enhancement, singing synthesis, and music generation. The toolkit is available at https://github.com/wavlab-speech/versa.

cs.SD↗

arXiv2025

Aligning Text-to-Music Evaluation with Human Preferences

Despite significant recent advances in generative acoustic text-to-music (TTM) modeling, robust evaluation of these models lags behind, relying in particular on the popular Fréchet Audio Distance (FAD). In this work, we rigorously study the design space of reference-based divergence metrics for evaluating TTM models through (1) designing four synthetic meta-evaluations to measure sensitivity to particular musical desiderata, and (2) collecting and evaluating on MusicPrefs, the first open-source dataset of human preferences for TTM systems. We find that not only is the standard FAD setup inconsistent on both synthetic and human preference data, but that nearly all existing metrics fail to effectively capture desiderata, and are only weakly correlated with human perception. We propose a new metric, the MAUVE Audio Divergence (MAD), computed on representations from a self-supervised audio embedding model. We find that this metric effectively captures diverse musical desiderata (average rank correlation 0.84 for MAD vs. 0.49 for FAD and also correlates more strongly with MusicPrefs (0.62 vs. 0.14).

cs.SD↗

arXiv2025

Amuse: Human-AI Collaborative Songwriting with Multimodal Inspirations

Songwriting is often driven by multimodal inspirations, such as imagery, narratives, or existing music, yet songwriters remain unsupported by current music AI systems in incorporating these multimodal inputs into their creative processes. We introduce Amuse, a songwriting assistant that transforms multimodal (image, text, or audio) inputs into chord progressions that can be seamlessly incorporated into songwriters' creative processes. A key feature of Amuse is its novel method for generating coherent chords that are relevant to music keywords in the absence of datasets with paired examples of multimodal inputs and chords. Specifically, we propose a method that leverages multimodal large language models (LLMs) to convert multimodal inputs into noisy chord suggestions and uses a unimodal chord model to filter the suggestions. A user study with songwriters shows that Amuse effectively supports transforming multimodal ideas into coherent musical suggestions, enhancing users' agency and creativity throughout the songwriting process.

cs.HC↗

arXiv2025

Copilot Arena: A Platform for Code LLM Evaluation in the Wild

Evaluating in-the-wild coding capabilities of large language models (LLMs) is a challenging endeavor with no clear solution. We introduce Copilot Arena, a platform to collect user preferences for code generation through native integration into a developer's working environment. Copilot Arena comprises a novel interface for comparing pairs of model outputs, a sampling strategy optimized to reduce latency, and a prompting scheme to enable code completion functionality. Copilot Arena has served over 4.5 million suggestions from 10 models and collected over 11k pairwise judgements. Our results highlight the importance of model evaluations in integrated settings. We find that model rankings from Copilot Arena differ from those of existing evaluations, which we attribute to the more realistic distribution of data and tasks contained in Copilot Arena. We also identify novel insights into human preferences on code such as an observed consistency in user preference across programming languages yet significant variation in preference due to task category. We open-source Copilot Arena and release data to enable human-centric evaluations and improve understanding of coding assistants.

cs.SE↗

arXiv2025

Hookpad Aria: A Copilot for Songwriters

We present Hookpad Aria, a generative AI system designed to assist musicians in writing Western pop songs. Our system is seamlessly integrated into Hookpad, a web-based editor designed for the composition of lead sheets: symbolic music scores that describe melody and harmony. Hookpad Aria has numerous generation capabilities designed to assist users in non-sequential composition workflows, including: (1) generating left-to-right continuations of existing material, (2) filling in missing spans in the middle of existing material, and (3) generating harmony from melody and vice versa. Hookpad Aria is also a scalable data flywheel for music co-creation -- since its release in March 2024, Aria has generated 318k suggestions for 3k users who have accepted 74k into their songs. More information about Hookpad Aria is available at https://www.hooktheory.com/hookpad/aria

cs.SD↗

arXiv2024

Vision Language Models Are Few-Shot Audio Spectrogram Classifiers

We demonstrate that vision language models (VLMs) are capable of recognizing the content in audio recordings when given corresponding spectrogram images. Specifically, we instruct VLMs to perform audio classification tasks in a few-shot setting by prompting them to classify a spectrogram image given example spectrogram images of each class. By carefully designing the spectrogram image representation and selecting good few-shot examples, we show that GPT-4o can achieve 59.00% cross-validated accuracy on the ESC-10 environmental sound classification dataset. Moreover, we demonstrate that VLMs currently outperform the only available commercial audio language model with audio understanding capabilities (Gemini-1.5) on the equivalent audio classification task (59.00% vs. 49.62%), and even perform slightly better than human experts on visual spectrogram classification (73.75% vs. 72.50% on first fold). We envision two potential use cases for these findings: (1) combining the spectrogram and language understanding capabilities of VLMs for audio caption augmentation, and (2) posing visual spectrogram classification as a challenge task for VLMs.

cs.SD↗

arXiv2024

Local deployment of large-scale music AI models on commodity hardware

We present the MIDInfinite, a web application capable of generating symbolic music using a large-scale generative AI model locally on commodity hardware. Creating this demo involved porting the Anticipatory Music Transformer, a large language model (LLM) pre-trained on the Lakh MIDI dataset, to the Machine Learning Compilation (MLC) framework. Once the model is ported, MLC facilitates inference on a variety of runtimes including C++, mobile, and the browser. We envision that MLC has the potential to bridge the gap between the landscape of increasingly capable music AI models and technology more familiar to music software developers. As a proof of concept, we build a web application that allows users to generate endless streams of multi-instrumental MIDI in the browser, either from scratch or conditioned on a prompt. On commodity hardware (an M3 Macbook Pro), our demo can generate 51 notes per second, which is faster than real-time playback for 72.9% of generations, and increases to 86.3% with 2 seconds of upfront buffering.

cs.SD↗

arXiv2024

Just Label the Repeats for In-The-Wild Audio-to-Score Alignment

We propose an efficient workflow for high-quality offline alignment of in-the-wild performance audio and corresponding sheet music scans (images). Recent work on audio-to-score alignment extends dynamic time warping (DTW) to be theoretically able to handle jumps in sheet music induced by repeat signs-this method requires no human annotations, but we show that it often yields low-quality alignments. As an alternative, we propose a workflow and interface that allows users to quickly annotate jumps (by clicking on repeat signs), requiring a small amount of human supervision but yielding much higher quality alignments on average. Additionally, we refine audio and score feature representations to improve alignment quality by: (1) integrating measure detection into the score feature representation, and (2) using raw onset prediction probabilities from a music transcription model instead of piano roll. We propose an evaluation protocol for audio-to-score alignment that computes the distance between the estimated and ground truth alignment in units of measures. Under this evaluation, we find that our proposed jump annotation workflow and improved feature representations together improve alignment accuracy by 150% relative to prior work (33% to 82%).

cs.SD↗

arXiv2024

The Impact of Element Ordering on LM Agent Performance

There has been a surge of interest in language model agents that can navigate virtual environments such as the web or desktop. To navigate such environments, agents benefit from information on the various elements (e.g., buttons, text, or images) present. It remains unclear which element attributes have the greatest impact on agent performance, especially in environments that only provide a graphical representation (i.e., pixels). Here we find that the ordering in which elements are presented to the language model is surprisingly impactful--randomizing element ordering in a webpage degrades agent performance comparably to removing all visible text from an agent's state representation. While a webpage provides a hierarchical ordering of elements, there is no such ordering when parsing elements directly from pixels. Moreover, as tasks become more challenging and models more sophisticated, our experiments suggest that the impact of ordering increases. Finding an effective ordering is non-trivial. We investigate the impact of various element ordering methods in web and desktop environments. We find that dimensionality reduction provides a viable ordering for pixel-only environments. We train a UI element detection model to derive elements from pixels and apply our findings to an agent benchmark--OmniACT--where we only have access to pixels. Our method completes more than two times as many tasks on average relative to the previous state-of-the-art.

cs.LG↗

arXiv2024

Do Music Generation Models Encode Music Theory?

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

cs.SD↗

arXiv2024

Foundation Models for Music: A Survey

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.

cs.SD↗