arXiv:2506. 01982v5 Announce Type: replace-cross Abstract: This study investigates emotional expression and perception in music performance using computational and neurophysiological methods.
arXiv:2607. 28876v1 Announce Type: cross Abstract: Music is often used as a medium for communicating emotion, with performers shaping perceived affect through interpretation.
arXiv:2606. 01473v1 Announce Type: new Abstract: This paper presents a minimalist brain-computer Musical Interface (BCMI) that functions as a real-time affective sonification system, translating prefrontal EEG activity into adaptive music.
arXiv:2606. 18266v1 Announce Type: cross Abstract: EMORSION is an exploratory proof-of-concept study examining how film audio design shapes audience emotion and immersion in acinema setting.
arXiv:2607. 05902v1 Announce Type: cross Abstract: Chamber music, as a highly precise multi-part interactive system, contains a logic of "role assignment and dynamic interaction" that provides an extremely valuable blueprint for exploring human-computer collaborative composition paradigms.
arXiv:2502. 00023v2 Announce Type: replace-cross Abstract: Our research explores the development and application of musical agents, human-in-the-loop generative AI systems designed to support music performance and improvisation within co-creative spaces.
arXiv:2608. 13944v1 Announce Type: cross Abstract: This paper examines a use of AI in creative practice as an interpretive sounding board for human-generated material, rather than the more familiar pattern of AI generation followed by human curation.
arXiv:2608.30940v1 Announce Type: cross Abstract: Generative music systems are increasingly presented as tools that democratize music creation, yet their practical suitability for musicians remains u...
arXiv:2608. 15110v1 Announce Type: cross Abstract: Emotional 3D talking head generation aims to synthesize expressive facial animations with accurate lip synchronization.
Emotional 3D talking head generation aims to synthesize expressive facial animations with accurate lip synchronization. However, existing methods often rely on discrete emotion categories, which fail...
InterSing is a framework that generates realistic 3D head animations for duet singing by modeling the sparse, rhythm‑dependent interactions between performers. It introduces interaction logits—a weakly supervised, interpretable latent representation of cross‑performer engagement—and uses them to condition an interaction‑aware diffusion model driven by audio and interaction dynamics. The approach enables unified multi‑mode generation, producing coordinated behavior, independent motion, and smooth transitions, and it generalizes to multi‑singer performances with intuitive control over engagement.
EMODY Flow is a lightweight flow‑matching framework that generates synchronized full‑body motion and facial expressions conditioned on speech and emotion. It attaches to a frozen Qwen‑3 Omni model, reusing its audio codecs to drive two parallel DiT generators for SMPL‑X body pose and FLAME facial expressions. An auxiliary emotion classifier at training time restores emotion sensitivity, enabling EMODY Flow to achieve state‑of‑the‑art gesture quality on BEAT2 and zero‑shot facial animation on TFHP, with significant improvements in FGD, Beat Correlation, and Diversity metrics.
arXiv:2606. 14742v1 Announce Type: cross Abstract: Do LLMs have emotions?