MUUNRiver-Bench is a diagnostic benchmark for music retrieval that uses natural‑language instructions to define relevance for reference‑audio queries. It contains 3,440 tracks across 13 genres and 116 sub‑genres and covers seven tasks such as similar‑music, style‑preserving lyric‑rewriting, cover, and segment retrieval. Experiments with six models in eight configurations show that acoustic encoders favor local identity while text‑aligned encoders favor semantic relations, and that instruction‑aware and audio‑text fusion systems do not consistently outperform their backbones.
arXiv:2601.11262v2 Announce Type: replace-cross Abstract: Music Cover Retrieval, also known as Version Identification, aims to recognize distinct renditions of the same underlying musical work, a tas...
arXiv:2604.18360v4 Announce Type: replace-cross Abstract: Audio-text retrieval systems based on Contrastive Language-Audio Pretraining (CLAP) achieve strong performance on traditional benchmarks; how...
arXiv:2608.23484v1 Announce Type: new Abstract: We present Team Semiintelligencn's solution for the ACM RecSys 2026 TalkPlayData Challenge, addressing conversational music recommendation through a mu...
We present Team Semiintelligencn's solution for the ACM RecSys 2026 TalkPlayData Challenge, addressing conversational music recommendation through a multi-modal and personalized conversational recomme...
arXiv:2511. 05550v3 Announce Type: replace-cross Abstract: Large audio language models (LALMs) leverage multimodal representations to generate open-ended answers to natural language queries about audio.
arXiv:2606. 06615v1 Announce Type: cross Abstract: Retrieving music using natural language descriptions has improved with contrastive audio-text models such as CLAP, but current systems remain limited to coarse semantic queries.
arXiv:2607. 03296v1 Announce Type: cross Abstract: Crossmodal correspondences between sound and taste are well established in psychology and neuroscience, but largely absent from content-based multimedia retrieval.
TTM-Bench is a framework designed to benchmark text-to-music systems by establishing a common protocol for reproducible evaluation. It measures performance along two axes: musical-content alignment—assessed through semantic, genre, and musical-descriptor agreement scores against a shared musical specification—and computational efficiency, which includes generation latency, real-time factor, resource usage for local models, and cost for hosted services. A preliminary case study using TTM-Bench shows that higher alignment does not necessarily mean lower computational demands, underscoring the need for distinct, interpretable metrics.
arXiv:2607. 00777v1 Announce Type: cross Abstract: Recognizing jazz standards from audio is a challenging form of tune-level music retrieval: different performances of the same standard may vary in tempo, key, arrangement, instrumentation, improvisational content, and even whether the head melody is present.
arXiv:2603. 00610v3 Announce Type: replace-cross Abstract: While music generation models have evolved to handle complex multimodal inputs mixing text, lyrics, and reference audio, evaluation mechanisms have lagged behind.
MuQ-Eval is an open‑source per‑sample quality metric for AI‑generated music that uses frozen MuQ‑310M features and a lightweight prediction head trained on the MusicEval dataset. The simplest model—attention‑pooled frozen features plus a two‑layer MLP—achieves high correlation with human judgments (system‑level SRCC = 0.957, utterance‑level SRCC = 0.838). The metric is real‑time on a single consumer GPU, outperforms existing open per‑sample metrics, and supports personalized evaluators via LoRA adaptation on as few as 150 clips.
Project Qualia investigates whether experiential similarity between songs can be extracted from listening behavior. Using 1.29 billion scrobbles from 9,396 users, the authors trained a Word2Vec model (Song2Vec) on session data, then applied an artist‑residual procedure to isolate artist‑independent signals. The residual embeddings still contained strong cross‑artist similarity, forming coherent genre and era clusters, demonstrating that experiential structure exists beyond artist identity.