arXiv:2604. 19532v3 Announce Type: replace-cross Abstract: Tokenizing music to fit the general framework of language models is a compelling challenge, especially considering the diverse symbolic structures in which music can be represented (e.
The paper proposes the Effectiveness–Losslessness Framework to guide tokenization in domains beyond language, using predictive codelength as a criterion. It introduces two boundaries: the Fact–Token Boundary, where observable structure should be encoded into tokens, and the Token–State Boundary, where context‑dependent relations should remain for model state rather than being pre‑tokenized. Experiments on symbolic music show that making musical time explicit and applying tonal‑frame canonicalization improve predictive performance, while fixed pitch coordinates and reversible BPE can increase predictive code length, indicating that carrier compaction alone does not guarantee better predictions.
The paper introduces Whole-Piece Training for Symbolic Music Language Models using Full-Horizon Compressed Recurrence (FHCR), which maintains the full temporal horizon of recurrent memory while compressing its key-value representation to fit GPU limits. An evaluation diagnostic, KV-Reset Context Utilization (KRCU), demonstrates that full-horizon models retain long-range context beyond local windows, whereas limiting recurrent memory weakens this dependence. FHCR thus preserves long-range context utilization while significantly reducing recurrent memory cost, enabling efficient whole-piece modeling.
arXiv:2606. 14612v1 Announce Type: cross Abstract: We show that the three movements of Beethoven's "Moonlight Sonata" (Op.
The paper introduces CPR, a piano rendering framework that combines continuous autoregressive modeling with local flow matching and full‑sequence refinement. It predicts continuous hidden states, generates 24 kHz acoustic latents, and upsamples to 48 kHz, while new techniques BREPA and MT‑RoPE enhance musical semantics and cross‑modal alignment.
Objective evaluation of expressive MIDI piano performances typically relies on attribute statistics such as timing, velocity, and duration of individual notes. However, these methods often disregard dependencies between notes, which poses a potential limitation in assessing the similarity between two sets of performances.
arXiv:2607. 27909v1 Announce Type: cross Abstract: Objective evaluation of expressive MIDI piano performances typically relies on attribute statistics such as timing, velocity, and duration of individual notes.
arXiv:2607. 22413v1 Announce Type: cross Abstract: Sample retrieval tools can help composers find harmonically compatible material, but querying from a fixed reference sample becomes less informative as arrangements evolve and the harmonic context shifts with each musical decision.
arXiv:2609. 01064v1 Announce Type: cross Abstract: Reconstructing a damaged musical fragment is an inverse problem: the observed sequence contains partial information, while a raga encodes constraints limiting allowable completions.
arXiv:2607. 13587v1 Announce Type: cross Abstract: Automatic symbolic music analysis has made substantial progress, yet existing systems are typically designed for a single mode of use, such as full-score prediction, and therefore do not match the broader range of operations that arise in analysis workflows, including partial completion, local correction, and iterative refinement.
arXiv:2607. 14537v1 Announce Type: cross Abstract: Rich internal representations of musical structure are essential for music understanding tasks such as machine-assisted music co-writing, yet self-supervised approaches for symbolic music representation remain underexplored, particularly those that encode the hierarchical multiscale nature of musical structures.
arXiv:2608. 04378v1 Announce Type: cross Abstract: Collaborative music agents need internal representations rich enough to support both understanding and generation, yet flexible enough for a workflow where the human retains agency.