Daily Papers

In recent years, Artificial Intelligence Generated Content (AIGC) has advanced from text-to-image generation to text-to-video and multimodal video synthesis. However, generating playable games presents significant challenges due to the stringent requirements for real-time interaction, high visual quality, and accurate simulation of game mechanics. Existing approaches often fall short, either lacking real-time capabilities or failing to accurately simulate interactive mechanics. To tackle the playability issue, we propose a novel method called PlayGen, which encompasses game data generation, an autoregressive DiT-based diffusion model, and a comprehensive playability-based evaluation framework. Validated on well-known 2D and 3D games, PlayGen achieves real-time interaction, ensures sufficient visual quality, and provides accurate interactive mechanics simulation. Notably, these results are sustained even after over 1000 frames of gameplay on an NVIDIA RTX 2060 GPU. Our code is publicly available: https://github.com/GreatX3/Playable-Game-Generation. Our playable demo generated by AI is: http://124.156.151.207.

Game feel design is the intentional design of the affective impact of moment-to-moment interaction with games. In this paper we survey academic research and publications by practitioners to give a complete overview of the state of research concerning this aspect of game design, including context from related areas. We analysed over 200 sources and categorised their content according to the design purpose presented. This resulted in three different domains of intended player experiences: physicality, amplification, and support. In these domains, the act of polishing that determines game feel, takes the shape of tuning, juicing, and streamlining respectively. Tuning the physicality of game objects creates cohesion, predictability, and the resulting movement informs many other design aspects. Juicing is the act of polishing amplification and it results in empowerment and provides clarity of feedback by communicating the importance of game events. Streamlining allows a game to act on the intention of the player, supporting the execution of actions in the game. These three design intents are the main means through which designers control minute details of interactivity and inform the player's reaction. This framework and its nuanced vocabulary can lead to an understanding of game feel that is shared between practitioners and researchers as highlighted in the concluding future research section.

Recent large language models (LLMs) have demonstrated great potential toward intelligent agents and next-gen automation, but there currently lacks a systematic benchmark for evaluating LLMs' abilities as agents. We introduce SmartPlay: both a challenging benchmark and a methodology for evaluating LLMs as agents. SmartPlay consists of 6 different games, including Rock-Paper-Scissors, Tower of Hanoi, Minecraft. Each game features a unique setting, providing up to 20 evaluation settings and infinite environment variations. Each game in SmartPlay uniquely challenges a subset of 9 important capabilities of an intelligent LLM agent, including reasoning with object dependencies, planning ahead, spatial reasoning, learning from history, and understanding randomness. The distinction between the set of capabilities each game test allows us to analyze each capability separately. SmartPlay serves not only as a rigorous testing ground for evaluating the overall performance of LLM agents but also as a road-map for identifying gaps in current methodologies. We release our benchmark at github.com/LLMsmartplay/SmartPlay

While recent generative models can produce engaging music, their utility is limited. The variation in the music is often left to chance, resulting in compositions that lack structure. Pieces extending beyond a minute can become incoherent or repetitive. This paper introduces an approach for generating structured, arbitrarily long musical pieces. Central to this approach is the creation of musical segments using a conditional generative model, with transitions between these segments. The generation of prompts that determine the high-level composition is distinct from the creation of finer, lower-level details. A large language model is then used to suggest the musical form.

Recent work has proposed a methodology for the systematic evaluation of "Situated Language Understanding Agents"-agents that operate in rich linguistic and non-linguistic contexts-through testing them in carefully constructed interactive settings. Other recent work has argued that Large Language Models (LLMs), if suitably set up, can be understood as (simulators of) such agents. A connection suggests itself, which this paper explores: Can LLMs be evaluated meaningfully by exposing them to constrained game-like settings that are built to challenge specific capabilities? As a proof of concept, this paper investigates five interaction settings, showing that current chat-optimised LLMs are, to an extent, capable to follow game-play instructions. Both this capability and the quality of the game play, measured by how well the objectives of the different games are met, follows the development cycle, with newer models performing better. The metrics even for the comparatively simple example games are far from being saturated, suggesting that the proposed instrument will remain to have diagnostic value. Our general framework for implementing and evaluating games with LLMs is available at https://github.com/clp-research/clembench.

In this paper, we introduce NarrativePlay, a novel system that allows users to role-play a fictional character and interact with other characters in narratives such as novels in an immersive environment. We leverage Large Language Models (LLMs) to generate human-like responses, guided by personality traits extracted from narratives. The system incorporates auto-generated visual display of narrative settings, character portraits, and character speech, greatly enhancing user experience. Our approach eschews predefined sandboxes, focusing instead on main storyline events extracted from narratives from the perspective of a user-selected character. NarrativePlay has been evaluated on two types of narratives, detective and adventure stories, where users can either explore the world or improve their favorability with the narrative characters through conversations.

We present and release MIDI-GPT, a generative system based on the Transformer architecture that is designed for computer-assisted music composition workflows. MIDI-GPT supports the infilling of musical material at the track and bar level, and can condition generation on attributes including: instrument type, musical style, note density, polyphony level, and note duration. In order to integrate these features, we employ an alternative representation for musical material, creating a time-ordered sequence of musical events for each track and concatenating several tracks into a single sequence, rather than using a single time-ordered sequence where the musical events corresponding to different tracks are interleaved. We also propose a variation of our representation allowing for expressiveness. We present experimental results that demonstrate that MIDI-GPT is able to consistently avoid duplicating the musical material it was trained on, generate music that is stylistically similar to the training dataset, and that attribute controls allow enforcing various constraints on the generated material. We also outline several real-world applications of MIDI-GPT, including collaborations with industry partners that explore the integration and evaluation of MIDI-GPT into commercial products, as well as several artistic works produced using it.

Re-orchestration is the process of adapting a music piece for a different set of instruments. By altering the original instrumentation, the orchestrator often modifies the musical texture while preserving a recognizable melodic line and ensures that each part is playable within the technical and expressive capabilities of the chosen instruments. In this work, we propose METEOR, a model for generating Melody-aware Texture-controllable re-Orchestration with a Transformer-based variational auto-encoder (VAE). This model performs symbolic instrumental and textural music style transfers with a focus on melodic fidelity and controllability. We allow bar- and track-level controllability of the accompaniment with various textural attributes while keeping a homophonic texture. With both subjective and objective evaluations, we show that our model outperforms style transfer models on a re-orchestration task in terms of generation quality and controllability. Moreover, it can be adapted for a lead sheet orchestration task as a zero-shot learning model, achieving performance comparable to a model specifically trained for this task.

We introduce a novel benchmark for evaluating the role-playing capabilities of language models. Our approach leverages language models themselves to emulate users in dynamic, multi-turn conversations and to assess the resulting dialogues. The framework consists of three main components: a player model assuming a specific character role, an interrogator model simulating user behavior, and a judge model evaluating conversation quality. We conducted experiments comparing automated evaluations with human annotations to validate our approach, demonstrating strong correlations across multiple criteria. This work provides a foundation for a robust and dynamic evaluation of model capabilities in interactive scenarios.

Nowadays, humans are constantly exposed to music, whether through voluntary streaming services or incidental encounters during commercial breaks. Despite the abundance of music, certain pieces remain more memorable and often gain greater popularity. Inspired by this phenomenon, we focus on measuring and predicting music memorability. To achieve this, we collect a new music piece dataset with reliable memorability labels using a novel interactive experimental procedure. We then train baselines to predict and analyze music memorability, leveraging both interpretable features and audio mel-spectrograms as inputs. To the best of our knowledge, we are the first to explore music memorability using data-driven deep learning-based methods. Through a series of experiments and ablation studies, we demonstrate that while there is room for improvement, predicting music memorability with limited data is possible. Certain intrinsic elements, such as higher valence, arousal, and faster tempo, contribute to memorable music. As prediction techniques continue to evolve, real-life applications like music recommendation systems and music style transfer will undoubtedly benefit from this new area of research.

We present RPGBench, the first benchmark designed to evaluate large language models (LLMs) as text-based role-playing game (RPG) engines. RPGBench comprises two core tasks: Game Creation (GC) and Game Simulation (GS). In GC, an LLM must craft a valid and playable RPG world using a structured event-state representation, ensuring logical coherence and proper termination conditions. In GS, the LLM simulates interactive gameplay across multiple rounds while consistently updating states and enforcing game rules. To comprehensively assess performance, RPGBench integrates objective and subjective evaluation methodologies. Objective measures verify adherence to event mechanics and check variable updates without requiring human intervention. Subjective measures, such as content interestingness, action quality, and role-playing capability, are evaluated via an LLM-as-a-judge framework, where a strong LLM grades each candidate's outputs. Empirical results demonstrate that state-of-the-art LLMs can produce engaging stories but often struggle to implement consistent, verifiable game mechanics, particularly in long or complex scenarios. By combining structured, rule-based assessments with LLM-based judgments, RPGBench provides a new standard for evaluating how well LLMs can balance creativity, coherence, and complexity in text-based RPGs, opening avenues for more immersive and controllable interactive storytelling.

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.

What makes a good Large Language Model (LLM)? That it performs well on the relevant benchmarks -- which hopefully measure, with some validity, the presence of capabilities that are also challenged in real application. But what makes the model perform well? What gives a model its abilities? We take a recently introduced type of benchmark that is meant to challenge capabilities in a goal-directed, agentive context through self-play of conversational games, and analyse how performance develops as a function of model characteristics like number of parameters, or type of training. We find that while there is a clear relationship between number of parameters and performance, there is still a wide spread of performance points within a given size bracket, which is to be accounted for by training parameters such as fine-tuning data quality and method. From a more practical angle, we also find a certain degree of unpredictability about performance across access methods, possible due to unexposed sampling parameters, and a, very welcome, performance stability against at least moderate weight quantisation during inference.

Since the introduction of ChatGPT and GPT-4, these models have been tested across a large number of tasks. Their adeptness across domains is evident, but their aptitude in playing games, and specifically their aptitude in the realm of poker has remained unexplored. Poker is a game that requires decision making under uncertainty and incomplete information. In this paper, we put ChatGPT and GPT-4 through the poker test and evaluate their poker skills. Our findings reveal that while both models display an advanced understanding of poker, encompassing concepts like the valuation of starting hands, playing positions and other intricacies of game theory optimal (GTO) poker, both ChatGPT and GPT-4 are NOT game theory optimal poker players. Profitable strategies in poker are evaluated in expectations over large samples. Through a series of experiments, we first discover the characteristics of optimal prompts and model parameters for playing poker with these models. Our observations then unveil the distinct playing personas of the two models. We first conclude that GPT-4 is a more advanced poker player than ChatGPT. This exploration then sheds light on the divergent poker tactics of the two models: ChatGPT's conservativeness juxtaposed against GPT-4's aggression. In poker vernacular, when tasked to play GTO poker, ChatGPT plays like a nit, which means that it has a propensity to only engage with premium hands and folds a majority of hands. When subjected to the same directive, GPT-4 plays like a maniac, showcasing a loose and aggressive style of play. Both strategies, although relatively advanced, are not game theory optimal.

We introduce PokerBench - a benchmark for evaluating the poker-playing abilities of large language models (LLMs). As LLMs excel in traditional NLP tasks, their application to complex, strategic games like poker poses a new challenge. Poker, an incomplete information game, demands a multitude of skills such as mathematics, reasoning, planning, strategy, and a deep understanding of game theory and human psychology. This makes Poker the ideal next frontier for large language models. PokerBench consists of a comprehensive compilation of 11,000 most important scenarios, split between pre-flop and post-flop play, developed in collaboration with trained poker players. We evaluate prominent models including GPT-4, ChatGPT 3.5, and various Llama and Gemma series models, finding that all state-of-the-art LLMs underperform in playing optimal poker. However, after fine-tuning, these models show marked improvements. We validate PokerBench by having models with different scores compete with each other, demonstrating that higher scores on PokerBench lead to higher win rates in actual poker games. Through gameplay between our fine-tuned model and GPT-4, we also identify limitations of simple supervised fine-tuning for learning optimal playing strategy, suggesting the need for more advanced methodologies for effectively training language models to excel in games. PokerBench thus presents a unique benchmark for a quick and reliable evaluation of the poker-playing ability of LLMs as well as a comprehensive benchmark to study the progress of LLMs in complex game-playing scenarios. The dataset and code will be made available at: https://github.com/pokerllm/pokerbench.

We show that GPT-4's reasoning and planning capabilities extend to the 1993 first-person shooter Doom. This large language model (LLM) is able to run and play the game with only a few instructions, plus a textual description--generated by the model itself from screenshots--about the state of the game being observed. We find that GPT-4 can play the game to a passable degree: it is able to manipulate doors, combat enemies, and perform pathing. More complex prompting strategies involving multiple model calls provide better results. While further work is required to enable the LLM to play the game as well as its classical, reinforcement learning-based counterparts, we note that GPT-4 required no training, leaning instead on its own reasoning and observational capabilities. We hope our work pushes the boundaries on intelligent, LLM-based agents in video games. We conclude by discussing the ethical implications of our work.

In recent decades, neuroscientific and psychological research has traced direct relationships between taste and auditory perceptions. This article explores multimodal generative models capable of converting taste information into music, building on this foundational research. We provide a brief review of the state of the art in this field, highlighting key findings and methodologies. We present an experiment in which a fine-tuned version of a generative music model (MusicGEN) is used to generate music based on detailed taste descriptions provided for each musical piece. The results are promising: according the participants' (n=111) evaluation, the fine-tuned model produces music that more coherently reflects the input taste descriptions compared to the non-fine-tuned model. This study represents a significant step towards understanding and developing embodied interactions between AI, sound, and taste, opening new possibilities in the field of generative AI. We release our dataset, code and pre-trained model at: https://osf.io/xs5jy/.

Game-playing agents like AlphaGo have achieved superhuman performance through self-play, which is theoretically guaranteed to yield optimal policies in competitive games. However, most language tasks are partially or fully cooperative, so it is an open question whether techniques like self-play can effectively be used to improve language models. We empirically investigate this question in a negotiation game setting known as Deal or No Deal (DoND). Crucially, the objective in DoND can be modified to produce a fully cooperative game, a strictly competitive one, or anything in between. We finetune language models in self-play over multiple rounds of filtered behavior cloning in DoND for each of these objectives. Contrary to expectations, we find that language model self-play leads to significant performance gains in both cooperation and competition with humans, suggesting that self-play and related techniques have promise despite a lack of theoretical guarantees.

We develop a method of adapting the AlphaZero model to General Game Playing (GGP) that focuses on faster model generation and requires less knowledge to be extracted from the game rules. The dataset generation uses MCTS playing instead of self-play; only the value network is used, and attention layers replace the convolutional ones. This allows us to abandon any assumptions about the action space and board topology. We implement the method within the Regular Boardgames GGP system and show that we can build models outperforming the UCT baseline for most games efficiently.

This work investigates a case study of using physical-based sonification of Quadratic Unconstrained Binary Optimization (QUBO) problems, optimized by the Variational Quantum Eigensolver (VQE) algorithm. The VQE approximates the solution of the problem by using an iterative loop between the quantum computer and a classical optimization routine. This work explores the intermediary statevectors found in each VQE iteration as the means of sonifying the optimization process itself. The implementation was realised in the form of a musical interface prototype named Variational Quantum Harmonizer (VQH), providing potential design strategies for musical applications, focusing on chords, chord progressions, and arpeggios. The VQH can be used both to enhance data visualization or to create artistic pieces. The methodology is also relevant in terms of how an artist would gain intuition towards achieving a desired musical sound by carefully designing QUBO cost functions. Flexible mapping strategies could supply a broad portfolio of sounds for QUBO and quantum-inspired musical compositions, as demonstrated in a case study composition, "Dependent Origination" by Peter Thomas and Paulo Itaborai.

In tandem with the recent advancements in foundation model research, there has been a surge of generative music AI applications within the past few years. As the idea of AI-generated or AI-augmented music becomes more mainstream, many researchers in the music AI community may be wondering what avenues of research are left. With regards to music generative models, we outline the current areas of research with significant room for exploration. Firstly, we pose the question of foundational representation of these generative models and investigate approaches towards explainability. Next, we discuss the current state of music datasets and their limitations. We then overview different generative models, forms of evaluating these models, and their computational constraints/limitations. Subsequently, we highlight applications of these generative models towards extensions to multiple modalities and integration with artists' workflow as well as music education systems. Finally, we survey the potential copyright implications of generative music and discuss strategies for protecting the rights of musicians. While it is not meant to be exhaustive, our survey calls to attention a variety of research directions enabled by music foundation models.

Automatically generating novel and interesting games is a complex task. Challenges include representing game rules in a computationally workable form, searching through the large space of potential games under most such representations, and accurately evaluating the originality and quality of previously unseen games. Prior work in automated game generation has largely focused on relatively restricted rule representations and relied on domain-specific heuristics. In this work, we explore the generation of novel games in the comparatively expansive Ludii game description language, which encodes the rules of over 1000 board games in a variety of styles and modes of play. We draw inspiration from recent advances in large language models and evolutionary computation in order to train a model that intelligently mutates and recombines games and mechanics expressed as code. We demonstrate both quantitatively and qualitatively that our approach is capable of generating new and interesting games, including in regions of the potential rules space not covered by existing games in the Ludii dataset. A sample of the generated games are available to play online through the Ludii portal.

The game industry is challenged to cope with increasing growth in demand and game complexity while maintaining acceptable quality standards for released games. Classic approaches solely depending on human efforts for quality assurance and game testing do not scale effectively in terms of time and cost. Game-testing AI agents that learn by interaction with the environment have the potential to mitigate these challenges with good scalability properties on time and costs. However, most recent work in this direction depends on game state information for the agent's state representation, which limits generalization across different game scenarios. Moreover, game test engineers usually prefer exploring a game in a specific style, such as exploring the golden path. However, current game testing AI agents do not provide an explicit way to satisfy such a preference. This paper addresses these limitations by proposing an agent design that mainly depends on pixel-based state observations while exploring the environment conditioned on a user's preference specified by demonstration trajectories. In addition, we propose an imitation learning method that couples self-supervised and supervised learning objectives to enhance the quality of imitation behaviors. Our agent significantly outperforms state-of-the-art pixel-based game testing agents over exploration coverage and test execution quality when evaluated on a complex open-world environment resembling many aspects of real AAA games.

In the age of digital music streaming, playlists on platforms like Spotify have become an integral part of individuals' musical experiences. People create and publicly share their own playlists to express their musical tastes, promote the discovery of their favorite artists, and foster social connections. These publicly accessible playlists transcend the boundaries of mere musical preferences: they serve as sources of rich insights into users' attributes and identities. For example, the musical preferences of elderly individuals may lean more towards Frank Sinatra, while Billie Eilish remains a favored choice among teenagers. These playlists thus become windows into the diverse and evolving facets of one's musical identity. In this work, we investigate the relationship between Spotify users' attributes and their public playlists. In particular, we focus on identifying recurring musical characteristics associated with users' individual attributes, such as demographics, habits, or personality traits. To this end, we conducted an online survey involving 739 Spotify users, yielding a dataset of 10,286 publicly shared playlists encompassing over 200,000 unique songs and 55,000 artists. Through extensive statistical analyses, we first assess a deep connection between a user's Spotify playlists and their real-life attributes. For instance, we found individuals high in openness often create playlists featuring a diverse array of artists, while female users prefer Pop and K-pop music genres. Building upon these observed associations, we create accurate predictive models for users' attributes, presenting a novel DeepSet application that outperforms baselines in most of these users' attributes.

In the heart of "rhythm games" - games where players must perform actions in sync with a piece of music - are "charts", the directives to be given to players. We newly formulate chart generation as a sequence generation task and train a Transformer using a large dataset. We also introduce tempo-informed preprocessing and training procedures, some of which are suggested to be integral for a successful training. Our model is found to outperform the baselines on a large dataset, and is also found to benefit from pretraining and finetuning.

Current role-play studies often rely on unvalidated LLM-as-a-judge paradigms, which may fail to reflect how humans perceive role fidelity. A key prerequisite for human-aligned evaluation is role identification, the ability to recognize who is speaking based on dialogue context. We argue that any meaningful judgment of role-playing quality (how well a character is played) fundamentally depends on first correctly attributing words and actions to the correct persona (who is speaking). We present PersonaEval, the first benchmark designed to test whether LLM evaluators can reliably identify human roles. PersonaEval uses human-authored dialogues from novels, scripts, and video transcripts, challenging models to determine the correct persona according to the conversation context. Our experiments, including a human study, show that even the best-performing LLMs reach only around 69% accuracy, well below the level needed for reliable evaluation. In contrast, human participants perform near ceiling with 90.8% accuracy, highlighting that current LLM evaluators are still not human enough to effectively judge role-play scenarios. To better understand this gap, we examine training-time adaptation and test-time compute, suggesting that reliable evaluation requires more than task-specific tuning, but depends on strong, human-like reasoning abilities in LLM evaluators. We release our benchmark at https://github.com/maple-zhou/PersonaEval.

We present TalkPlayData 2, a synthetic dataset for multimodal conversational music recommendation generated by an agentic data pipeline. In TalkPlayData 2 pipeline, multiple large language model (LLM) agents are created under various roles with specialized prompts and access to different parts of information, and the chat data is acquired by logging the conversation between the Listener LLM and the Recsys LLM. To cover various conversation scenarios, for each conversation, the Listener LLM is conditioned on a finetuned conversation goal. Finally, all the LLMs are multimodal with audio and images, allowing a simulation of multimodal recommendation and conversation. In the LLM-as-a-judge and subjective evaluation experiments, TalkPlayData 2 achieved the proposed goal in various aspects related to training a generative recommendation model for music. TalkPlayData 2 and its generation code are open-sourced at https://talkpl.ai/talkplaydata2.html.

Controllable music generation promotes the interaction between humans and composition systems by projecting the users' intent on their desired music. The challenge of introducing controllability is an increasingly important issue in the symbolic music generation field. When building controllable generative popular multi-instrument music systems, two main challenges typically present themselves, namely weak controllability and poor music quality. To address these issues, we first propose spatiotemporal features as powerful and fine-grained controls to enhance the controllability of the generative model. In addition, an efficient music representation called REMI_Track is designed to convert multitrack music into multiple parallel music sequences and shorten the sequence length of each track with Byte Pair Encoding (BPE) techniques. Subsequently, we release BandControlNet, a conditional model based on parallel Transformers, to tackle the multiple music sequences and generate high-quality music samples that are conditioned to the given spatiotemporal control features. More concretely, the two specially designed modules of BandControlNet, namely structure-enhanced self-attention (SE-SA) and Cross-Track Transformer (CTT), are utilized to strengthen the resulting musical structure and inter-track harmony modeling respectively. Experimental results tested on two popular music datasets of different lengths demonstrate that the proposed BandControlNet outperforms other conditional music generation models on most objective metrics in terms of fidelity and inference speed and shows great robustness in generating long music samples. The subjective evaluations show BandControlNet trained on short datasets can generate music with comparable quality to state-of-the-art models, while outperforming them significantly using longer datasets.

Recent years have seen the rapid development of large generative models for text; however, much less research has explored the connection between text and another "language" of communication -- music. Music, much like text, can convey emotions, stories, and ideas, and has its own unique structure and syntax. In our work, we bridge text and music via a text-to-music generation model that is highly efficient, expressive, and can handle long-term structure. Specifically, we develop Mo\^usai, a cascading two-stage latent diffusion model that can generate multiple minutes of high-quality stereo music at 48kHz from textual descriptions. Moreover, our model features high efficiency, which enables real-time inference on a single consumer GPU with a reasonable speed. Through experiments and property analyses, we show our model's competence over a variety of criteria compared with existing music generation models. Lastly, to promote the open-source culture, we provide a collection of open-source libraries with the hope of facilitating future work in the field. We open-source the following: Codes: https://github.com/archinetai/audio-diffusion-pytorch; music samples for this paper: http://bit.ly/44ozWDH; all music samples for all models: https://bit.ly/audio-diffusion.

In this work, we provide a comprehensive survey of AI music generation tools, including both research projects and commercialized applications. To conduct our analysis, we classified music generation approaches into three categories: parameter-based, text-based, and visual-based classes. Our survey highlights the diverse possibilities and functional features of these tools, which cater to a wide range of users, from regular listeners to professional musicians. We observed that each tool has its own set of advantages and limitations. As a result, we have compiled a comprehensive list of these factors that should be considered during the tool selection process. Moreover, our survey offers critical insights into the underlying mechanisms and challenges of AI music generation.

Imaginative play is an area of creativity that could allow robots to engage with the world around them in a much more personified way. Imaginary play can be seen as taking real objects and locations and using them as imaginary objects and locations in virtual scenarios. We adopted the story generation capability of large language models (LLMs) to obtain the stories used for imaginary play with human-written prompts. Those generated stories will be simplified and mapped into action sequences that can guide the agent in imaginary play. To evaluate whether the agent can successfully finish the imaginary play, we also designed a text adventure game to simulate a house as the playground for the agent to interact.

This outing is part of a larger music technology research project. The objective is to find a method for materially enhancing music using hardware and software. There is a strong likelihood that there exists a new medium for experiencing music via a wearable device that ordinary listeners prefer over the current state of the art. If such a medium is discovered, it is a step towards altruistic, prosocial reform in the music industry. A new playback system infrastructure has a chance to soothe some of the societal problems tied to the larger entertainment industry ecosystem. Iola walker is a music playback system that allows musicians to compose music that changes in accordance with the listener's gait. Artifacts are available here: https://github.com/willbjames/iolawalker

We propose MusicRL, the first music generation system finetuned from human feedback. Appreciation of text-to-music models is particularly subjective since the concept of musicality as well as the specific intention behind a caption are user-dependent (e.g. a caption such as "upbeat work-out music" can map to a retro guitar solo or a techno pop beat). Not only this makes supervised training of such models challenging, but it also calls for integrating continuous human feedback in their post-deployment finetuning. MusicRL is a pretrained autoregressive MusicLM (Agostinelli et al., 2023) model of discrete audio tokens finetuned with reinforcement learning to maximise sequence-level rewards. We design reward functions related specifically to text-adherence and audio quality with the help from selected raters, and use those to finetune MusicLM into MusicRL-R. We deploy MusicLM to users and collect a substantial dataset comprising 300,000 pairwise preferences. Using Reinforcement Learning from Human Feedback (RLHF), we train MusicRL-U, the first text-to-music model that incorporates human feedback at scale. Human evaluations show that both MusicRL-R and MusicRL-U are preferred to the baseline. Ultimately, MusicRL-RU combines the two approaches and results in the best model according to human raters. Ablation studies shed light on the musical attributes influencing human preferences, indicating that text adherence and quality only account for a part of it. This underscores the prevalence of subjectivity in musical appreciation and calls for further involvement of human listeners in the finetuning of music generation models.

LLM-based Interactive Drama is a novel AI-based dialogue scenario, where the user (i.e. the player) plays the role of a character in the story, has conversations with characters played by LLM agents, and experiences an unfolding story. This paper begins with understanding interactive drama from two aspects: Immersion, the player's feeling of being present in the story, and Agency, the player's ability to influence the story world. Both are crucial to creating an enjoyable interactive experience, while they have been underexplored in previous work. To enhance these two aspects, we first propose Playwriting-guided Generation, a novel method that helps LLMs craft dramatic stories with substantially improved structures and narrative quality. Additionally, we introduce Plot-based Reflection for LLM agents to refine their reactions to align with the player's intentions. Our evaluation relies on human judgment to assess the gains of our methods in terms of immersion and agency.

In this paper, we describe adaptation of a simple word guessing game that occupied the hearts and minds of people around the world. There are versions for all three Baltic countries and even several versions of each. We specifically pay attention to the Latvian version and look into how people form their guesses given any already uncovered hints. The paper analyses guess patterns, easy and difficult word characteristics, and player behaviour and response.

Even with strong sequence models like Transformers, generating expressive piano performances with long-range musical structures remains challenging. Meanwhile, methods to compose well-structured melodies or lead sheets (melody + chords), i.e., simpler forms of music, gained more success. Observing the above, we devise a two-stage Transformer-based framework that Composes a lead sheet first, and then Embellishes it with accompaniment and expressive touches. Such a factorization also enables pretraining on non-piano data. Our objective and subjective experiments show that Compose & Embellish shrinks the gap in structureness between a current state of the art and real performances by half, and improves other musical aspects such as richness and coherence as well.

Being predominant in digital entertainment for decades, video games have been recognized as valuable software artifacts by the software engineering (SE) community just recently. Such an acknowledgment has unveiled several research opportunities, spanning from empirical studies to the application of AI techniques for classification tasks. In this respect, several curated game datasets have been disclosed for research purposes even though the collected data are insufficient to support the application of advanced models or to enable interdisciplinary studies. Moreover, the majority of those are limited to PC games, thus excluding notorious gaming platforms, e.g., PlayStation, Xbox, and Nintendo. In this paper, we propose PlayMyData, a curated dataset composed of 99,864 multi-platform games gathered by IGDB website. By exploiting a dedicated API, we collect relevant metadata for each game, e.g., description, genre, rating, gameplay video URLs, and screenshots. Furthermore, we enrich PlayMyData with the timing needed to complete each game by mining the HLTB website. To the best of our knowledge, this is the most comprehensive dataset in the domain that can be used to support different automated tasks in SE. More importantly, PlayMyData can be used to foster cross-domain investigations built on top of the provided multimedia data.

Even though they differ in the physical domain, digital video and audio share many characteristics. Both are temporal data streams often stored in buffers with 8-bit values. This paper investigates a method for creating harmonic sounds with a video signal as input. A musical instrument is proposed, that utilizes video in both a sound synthesis method, and in a controller interface for selecting musical notes at specific velocities. The resulting instrument was informally determined by the author to sound both pleasant and interesting, but hard to control, and therefore suited for synth pad sounds.

This survey explores the burgeoning field of role-playing with language models, focusing on their development from early persona-based models to advanced character-driven simulations facilitated by Large Language Models (LLMs). Initially confined to simple persona consistency due to limited model capabilities, role-playing tasks have now expanded to embrace complex character portrayals involving character consistency, behavioral alignment, and overall attractiveness. We provide a comprehensive taxonomy of the critical components in designing these systems, including data, models and alignment, agent architecture and evaluation. This survey not only outlines the current methodologies and challenges, such as managing dynamic personal profiles and achieving high-level persona consistency but also suggests avenues for future research in improving the depth and realism of role-playing applications. The goal is to guide future research by offering a structured overview of current methodologies and identifying potential areas for improvement. Related resources and papers are available at https://github.com/nuochenpku/Awesome-Role-Play-Papers.

Despite progress in controllable symbolic music generation, data scarcity remains a challenge for certain control modalities. Composer-style music generation is a prime example, as only a few pieces per composer are available, limiting the modeling of both styles and fundamental music elements (e.g., melody, chord, rhythm). In this paper, we investigate how general music knowledge learned from a broad corpus can enhance the mastery of specific composer styles, with a focus on piano piece generation. Our approach follows a two-stage training paradigm. First, we pre-train a REMI-based music generation model on a large corpus of pop, folk, and classical music. Then, we fine-tune it on a small, human-verified dataset from four renowned composers, namely Bach, Mozart, Beethoven, and Chopin, using a lightweight adapter module to condition the model on style indicators. To evaluate the effectiveness of our approach, we conduct both objective and subjective evaluations on style accuracy and musicality. Experimental results demonstrate that our method outperforms ablations and baselines, achieving more precise composer-style modeling and better musical aesthetics. Additionally, we provide observations on how the model builds music concepts from the generality pre-training and refines its stylistic understanding through the mastery fine-tuning.

Developing generative models to create or conditionally create symbolic music presents unique challenges due to the combination of limited data availability and the need for high precision in note pitch. To address these challenges, we introduce an efficient Fine-Grained Guidance (FGG) approach within diffusion models. FGG guides the diffusion models to generate music that aligns more closely with the control and intent of expert composers, which is critical to improve the accuracy, listenability, and quality of generated music. This approach empowers diffusion models to excel in advanced applications such as improvisation, and interactive music creation. We derive theoretical characterizations for both the challenges in symbolic music generation and the effects of the FGG approach. We provide numerical experiments and subjective evaluation to demonstrate the effectiveness of our approach. We have published a demo page to showcase performances, as one of the first in the symbolic music literature's demo pages that enables real-time interactive generation.

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

The ACM Recommender Systems Challenge 2018 focused on the task of automatic music playlist continuation, which is a form of the more general task of sequential recommendation. Given a playlist of arbitrary length with some additional meta-data, the task was to recommend up to 500 tracks that fit the target characteristics of the original playlist. For the RecSys Challenge, Spotify released a dataset of one million user-generated playlists. Participants could compete in two tracks, i.e., main and creative tracks. Participants in the main track were only allowed to use the provided training set, however, in the creative track, the use of external public sources was permitted. In total, 113 teams submitted 1,228 runs to the main track; 33 teams submitted 239 runs to the creative track. The highest performing team in the main track achieved an R-precision of 0.2241, an NDCG of 0.3946, and an average number of recommended songs clicks of 1.784. In the creative track, an R-precision of 0.2233, an NDCG of 0.3939, and a click rate of 1.785 was obtained by the best team. This article provides an overview of the challenge, including motivation, task definition, dataset description, and evaluation. We further report and analyze the results obtained by the top performing teams in each track and explore the approaches taken by the winners. We finally summarize our key findings, discuss generalizability of approaches and results to domains other than music, and list the open avenues and possible future directions in the area of automatic playlist continuation.

The field of automatic music composition has seen great progress in the last few years, much of which can be attributed to advances in deep neural networks. There are numerous studies that present different strategies for generating sheet music from scratch. The inclusion of high-level musical characteristics (e.g., perceived emotional qualities), however, as conditions for controlling the generation output remains a challenge. In this paper, we present a novel approach for calculating the valence (the positivity or negativity of the perceived emotion) of a chord progression within a lead sheet, using pre-defined mood tags proposed by music experts. Based on this approach, we propose a novel strategy for conditional lead sheet generation that allows us to steer the music generation in terms of valence, phrasing, and time signature. Our approach is similar to a Neural Machine Translation (NMT) problem, as we include high-level conditions in the encoder part of the sequence-to-sequence architectures used (i.e., long-short term memory networks, and a Transformer network). We conducted experiments to thoroughly analyze these two architectures. The results show that the proposed strategy is able to generate lead sheets in a controllable manner, resulting in distributions of musical attributes similar to those of the training dataset. We also verified through a subjective listening test that our approach is effective in controlling the valence of a generated chord progression.

Acquiring a diverse repertoire of general-purpose skills remains an open challenge for robotics. In this work, we propose self-supervising control on top of human teleoperated play data as a way to scale up skill learning. Play has two properties that make it attractive compared to conventional task demonstrations. Play is cheap, as it can be collected in large quantities quickly without task segmenting, labeling, or resetting to an initial state. Play is naturally rich, covering ~4x more interaction space than task demonstrations for the same amount of collection time. To learn control from play, we introduce Play-LMP, a self-supervised method that learns to organize play behaviors in a latent space, then reuse them at test time to achieve specific goals. Combining self-supervised control with a diverse play dataset shifts the focus of skill learning from a narrow and discrete set of tasks to the full continuum of behaviors available in an environment. We find that this combination generalizes well empirically---after self-supervising on unlabeled play, our method substantially outperforms individual expert-trained policies on 18 difficult user-specified visual manipulation tasks in a simulated robotic tabletop environment. We additionally find that play-supervised models, unlike their expert-trained counterparts, are more robust to perturbations and exhibit retrying-till-success behaviors. Finally, we find that our agent organizes its latent plan space around functional tasks, despite never being trained with task labels. Videos, code and data are available at learning-from-play.github.io

This paper presents a game master AI for single-player role-playing games. The AI is designed to deliver interactive text-based narratives and experiences typically associated with multiplayer tabletop games like Dungeons & Dragons. We report on the design process and the series of experiments to improve the functionality and experience design, resulting in two functional versions of the system. While v1 of our system uses simplified prompt engineering, v2 leverages a multi-agent architecture and the ReAct framework to include reasoning and action. A comparative evaluation demonstrates that v2 as an agentic system maintains play while significantly improving modularity and game experience, including immersion and curiosity. Our findings contribute to the evolution of AI-driven interactive fiction, highlighting new avenues for enhancing solo role-playing experiences.

We present a novel music generation framework for music infilling, with a user friendly interface. Infilling refers to the task of generating musical sections given the surrounding multi-track music. The proposed transformer-based framework is extensible for new control tokens as the added music control tokens such as tonal tension per bar and track polyphony level in this work. We explore the effects of including several musically meaningful control tokens, and evaluate the results using objective metrics related to pitch and rhythm. Our results demonstrate that adding additional control tokens helps to generate music with stronger stylistic similarities to the original music. It also provides the user with more control to change properties like the music texture and tonal tension in each bar compared to previous research which only provided control for track density. We present the model in a Google Colab notebook to enable interactive generation.

This paper presents the Jazz Transformer, a generative model that utilizes a neural sequence model called the Transformer-XL for modeling lead sheets of Jazz music. Moreover, the model endeavors to incorporate structural events present in the Weimar Jazz Database (WJazzD) for inducing structures in the generated music. While we are able to reduce the training loss to a low value, our listening test suggests however a clear gap between the average ratings of the generated and real compositions. We therefore go one step further and conduct a series of computational analysis of the generated compositions from different perspectives. This includes analyzing the statistics of the pitch class, grooving, and chord progression, assessing the structureness of the music with the help of the fitness scape plot, and evaluating the model's understanding of Jazz music through a MIREX-like continuation prediction task. Our work presents in an analytical manner why machine-generated music to date still falls short of the artwork of humanity, and sets some goals for future work on automatic composition to further pursue.

While generalist foundation models like Gemini and GPT-4o demonstrate impressive multi-modal competence, existing evaluations fail to test their intelligence in dynamic, interactive worlds. Static benchmarks lack agency, while interactive benchmarks suffer from a severe modal bottleneck, typically ignoring crucial auditory and temporal cues. To bridge this evaluation chasm, we introduce OmniPlay, a diagnostic benchmark designed not just to evaluate, but to probe the fusion and reasoning capabilities of agentic models across the full sensory spectrum. Built on a core philosophy of modality interdependence, OmniPlay comprises a suite of five game environments that systematically create scenarios of both synergy and conflict, forcing agents to perform genuine cross-modal reasoning. Our comprehensive evaluation of six leading omni-modal models reveals a critical dichotomy: they exhibit superhuman performance on high-fidelity memory tasks but suffer from systemic failures in challenges requiring robust reasoning and strategic planning. We demonstrate that this fragility stems from brittle fusion mechanisms, which lead to catastrophic performance degradation under modality conflict and uncover a counter-intuitive "less is more" paradox, where removing sensory information can paradoxically improve performance. Our findings suggest that the path toward robust AGI requires a research focus beyond scaling to explicitly address synergistic fusion. Our platform is available for anonymous review at https://github.com/fuqingbie/omni-game-benchmark.

Digital advances have transformed the face of automatic music generation since its beginnings at the dawn of computing. Despite the many breakthroughs, issues such as the musical tasks targeted by different machines and the degree to which they succeed remain open questions. We present a functional taxonomy for music generation systems with reference to existing systems. The taxonomy organizes systems according to the purposes for which they were designed. It also reveals the inter-relatedness amongst the systems. This design-centered approach contrasts with predominant methods-based surveys and facilitates the identification of grand challenges to set the stage for new breakthroughs.

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.

Text-adventure games and text role-playing games are grand challenges for reinforcement learning game playing agents. Text role-playing games are open-ended environments where an agent must faithfully play a particular character. We consider the distinction between characters and actors, where an actor agent has the ability to play multiple characters. We present a framework we call a thespian agent that can learn to emulate multiple characters along with a soft prompt that can be used to direct it as to which character to play at any time. We further describe an attention mechanism that allows the agent to learn new characters that are based on previously learned characters in a few-shot fashion. We show that our agent outperforms the state of the art agent framework in multi-character learning and few-shot learning.

Recent studies demonstrate that prompting an appropriate role-playing persona to an LLM improves its reasoning capability. However, assigning a proper persona is difficult since an LLM's performance is extremely sensitive to assigned prompts; therefore, personas sometimes hinder LLMs and degrade their reasoning capabilities. In this paper, we propose a novel framework, Jekyll \& Hyde, which ensembles the results of role-playing and neutral prompts to eradicate performance degradation via unilateral use of role-playing prompted LLM and enhance the robustness of an LLM's reasoning ability. Specifically, Jekyll \& Hyde collects two potential solutions from both role-playing and neutral prompts and selects a better solution after cross-checking via an LLM evaluator. However, LLM-based evaluators tend to be affected by the order of those potential solutions within the prompt when selecting the proper solution; thus, we also propose a robust LLM evaluator to mitigate the position bias. The experimental analysis demonstrates that role-playing prompts distract LLMs and degrade their reasoning abilities in 4 out of 12 datasets, even when using GPT-4. In addition, we reveal that Jekyll \& Hyde improves reasoning capabilities by selecting better choices among the potential solutions on twelve widely-used reasoning datasets. We further show that our proposed LLM evaluator outperforms other baselines, proving the LLMs' position bias is successfully mitigated.

Existing approaches for generating multitrack music with transformer models have been limited in terms of the number of instruments, the length of the music segments and slow inference. This is partly due to the memory requirements of the lengthy input sequences necessitated by existing representations. In this work, we propose a new multitrack music representation that allows a diverse set of instruments while keeping a short sequence length. Our proposed Multitrack Music Transformer (MMT) achieves comparable performance with state-of-the-art systems, landing in between two recently proposed models in a subjective listening test, while achieving substantial speedups and memory reductions over both, making the method attractive for real time improvisation or near real time creative applications. Further, we propose a new measure for analyzing musical self-attention and show that the trained model attends more to notes that form a consonant interval with the current note and to notes that are 4N beats away from the current step.

We introduce "Method Actors" as a mental model for guiding LLM prompt engineering and prompt architecture. Under this mental model, LLMs should be thought of as actors; prompts as scripts and cues; and LLM responses as performances. We apply this mental model to the task of improving LLM performance at playing Connections, a New York Times word puzzle game that prior research identified as a challenging benchmark for evaluating LLM reasoning. Our experiments with GPT-4o show that a "Method Actors" approach can significantly improve LLM performance over both a vanilla and "Chain of Thoughts" approach. A vanilla approach solves 27% of Connections puzzles in our dataset and a "Chain of Thoughts" approach solves 41% of puzzles, whereas our strongest "Method Actor" approach solves 86% of puzzles. We also test OpenAI's newest model designed specifically for complex reasoning tasks, o1-preview. When asked to solve a puzzle all at once, o1-preview solves 79% of Connections puzzles in our dataset, and when allowed to build puzzle solutions one guess at a time over multiple API calls, o1-preview solves 100% of the puzzles. Incorporating a "Method Actor" prompt architecture increases the percentage of puzzles that o1-preview solves perfectly from 76% to 87%.

We explore the use of large language models (LLMs) for music generation using a retrieval system to select relevant examples. We find promising initial results for music generation in a dialogue with the user, especially considering the ease with which such a system can be implemented. The code is available online.

Gameplay videos contain rich information about how players interact with the game and how the game responds. Sharing gameplay videos on social media platforms, such as Reddit, has become a common practice for many players. Often, players will share gameplay videos that showcase video game bugs. Such gameplay videos are software artifacts that can be utilized for game testing, as they provide insight for bug analysis. Although large repositories of gameplay videos exist, parsing and mining them in an effective and structured fashion has still remained a big challenge. In this paper, we propose a search method that accepts any English text query as input to retrieve relevant videos from large repositories of gameplay videos. Our approach does not rely on any external information (such as video metadata); it works solely based on the content of the video. By leveraging the zero-shot transfer capabilities of the Contrastive Language-Image Pre-Training (CLIP) model, our approach does not require any data labeling or training. To evaluate our approach, we present the GamePhysics dataset consisting of 26,954 videos from 1,873 games, that were collected from the GamePhysics section on the Reddit website. Our approach shows promising results in our extensive analysis of simple queries, compound queries, and bug queries, indicating that our approach is useful for object and event detection in gameplay videos. An example application of our approach is as a gameplay video search engine to aid in reproducing video game bugs. Please visit the following link for the code and the data: https://asgaardlab.github.io/CLIPxGamePhysics/

Recent advances in generative models have significantly impacted game generation. However, despite producing high-quality graphics and adequately receiving player input, existing models often fail to maintain fundamental game properties such as numerical and spatial consistency. Numerical consistency ensures gameplay mechanics correctly reflect score changes and other quantitative elements, while spatial consistency prevents jarring scene transitions, providing seamless player experiences. In this paper, we revisit the paradigm of generative games to explore what truly constitutes a Model as a Game (MaaG) with a well-developed mechanism. We begin with an empirical study on ``Traveler'', a 2D game created by an LLM featuring minimalist rules yet challenging generative models in maintaining consistency. Based on the DiT architecture, we design two specialized modules: (1) a numerical module that integrates a LogicNet to determine event triggers, with calculations processed externally as conditions for image generation; and (2) a spatial module that maintains a map of explored areas, retrieving location-specific information during generation and linking new observations to ensure continuity. Experiments across three games demonstrate that our integrated modules significantly enhance performance on consistency metrics compared to baselines, while incurring minimal time overhead during inference.

Playing video games requires perception, memory, and planning, exactly the faculties modern large language model (LLM) agents are expected to master. We study the major challenges in using popular video games to evaluate modern LLMs and find that directly dropping LLMs into games cannot make an effective evaluation, for three reasons -- brittle vision perception, prompt sensitivity, and potential data contamination. We introduce lmgame-Bench to turn games into reliable evaluations. lmgame-Bench features a suite of platformer, puzzle, and narrative games delivered through a unified Gym-style API and paired with lightweight perception and memory scaffolds, and is designed to stabilize prompt variance and remove contamination. Across 13 leading models, we show lmgame-Bench is challenging while still separating models well. Correlation analysis shows that every game probes a unique blend of capabilities often tested in isolation elsewhere. More interestingly, performing reinforcement learning on a single game from lmgame-Bench transfers both to unseen games and to external planning tasks. Our evaluation code is available at https://github.com/lmgame-org/GamingAgent/lmgame-bench.

Recent Language Models (LMs) achieve breakthrough performance in code generation when trained on human-authored problems, even solving some competitive-programming problems. Self-play has proven useful in games such as Go, and thus it is natural to ask whether LMs can generate their own instructive programming problems to improve their performance. We show that it is possible for an LM to synthesize programming problems and solutions, which are filtered for correctness by a Python interpreter. The LM's performance is then seen to improve when it is fine-tuned on its own synthetic problems and verified solutions; thus the model 'improves itself' using the Python interpreter. Problems are specified formally as programming puzzles [Schuster et al., 2021], a code-based problem format where solutions can easily be verified for correctness by execution. In experiments on publicly-available LMs, test accuracy more than doubles. This work demonstrates the potential for code LMs, with an interpreter, to generate instructive problems and improve their own performance.

We present a novel approach to synthesize dexterous motions for physically simulated hands in tasks that require coordination between the control of two hands with high temporal precision. Instead of directly learning a joint policy to control two hands, our approach performs bimanual control through cooperative learning where each hand is treated as an individual agent. The individual policies for each hand are first trained separately, and then synchronized through latent space manipulation in a centralized environment to serve as a joint policy for two-hand control. By doing so, we avoid directly performing policy learning in the joint state-action space of two hands with higher dimensions, greatly improving the overall training efficiency. We demonstrate the effectiveness of our proposed approach in the challenging guitar-playing task. The virtual guitarist trained by our approach can synthesize motions from unstructured reference data of general guitar-playing practice motions, and accurately play diverse rhythms with complex chord pressing and string picking patterns based on the input guitar tabs that do not exist in the references. Along with this paper, we provide the motion capture data that we collected as the reference for policy training. Code is available at: https://pei-xu.github.io/guitar.

While large-scale sequence modeling from offline data has led to impressive performance gains in natural language and image generation, directly translating such ideas to robotics has been challenging. One critical reason for this is that uncurated robot demonstration data, i.e. play data, collected from non-expert human demonstrators are often noisy, diverse, and distributionally multi-modal. This makes extracting useful, task-centric behaviors from such data a difficult generative modeling problem. In this work, we present Conditional Behavior Transformers (C-BeT), a method that combines the multi-modal generation ability of Behavior Transformer with future-conditioned goal specification. On a suite of simulated benchmark tasks, we find that C-BeT improves upon prior state-of-the-art work in learning from play data by an average of 45.7%. Further, we demonstrate for the first time that useful task-centric behaviors can be learned on a real-world robot purely from play data without any task labels or reward information. Robot videos are best viewed on our project website: https://play-to-policy.github.io

Large Language Models (LLMs) demonstrate a notable capacity for adopting personas and engaging in role-playing. However, evaluating this ability presents significant challenges, as human assessments are resource-intensive and automated evaluations can be biased. To address this, we introduce Role-Playing Eval (RPEval), a novel benchmark designed to assess LLM role-playing capabilities across four key dimensions: emotional understanding, decision-making, moral alignment, and in-character consistency. This article details the construction of RPEval and presents baseline evaluations. Our code and dataset are available at https://github.com/yelboudouri/RPEval

Singing is one of the most cherished forms of human entertainment. However, creating a beautiful song requires an accompaniment that complements the vocals and aligns well with the song instruments and genre. With advancements in deep learning, previous research has focused on generating suitable accompaniments but often lacks precise alignment with the desired instrumentation and genre. To address this, we propose a straightforward method that enables control over the accompaniment through text prompts, allowing the generation of music that complements the vocals and aligns with the song instrumental and genre requirements. Through extensive experiments, we successfully generate 10-second accompaniments using vocal input and text control.

How do sequence models represent their decision-making process? Prior work suggests that Othello-playing neural network learned nonlinear models of the board state (Li et al., 2023). In this work, we provide evidence of a closely related linear representation of the board. In particular, we show that probing for "my colour" vs. "opponent's colour" may be a simple yet powerful way to interpret the model's internal state. This precise understanding of the internal representations allows us to control the model's behaviour with simple vector arithmetic. Linear representations enable significant interpretability progress, which we demonstrate with further exploration of how the world model is computed.

Many of the music generation systems based on neural networks are fully autonomous and do not offer control over the generation process. In this research, we present a controllable music generation system in terms of tonal tension. We incorporate two tonal tension measures based on the Spiral Array Tension theory into a variational autoencoder model. This allows us to control the direction of the tonal tension throughout the generated piece, as well as the overall level of tonal tension. Given a seed musical fragment, stemming from either the user input or from directly sampling from the latent space, the model can generate variations of this original seed fragment with altered tonal tension. This altered music still resembles the seed music rhythmically, but the pitch of the notes are changed to match the desired tonal tension as conditioned by the user.

This work investigates the reasoning and planning capabilities of foundation models and their scalability in complex, dynamic environments. We introduce PuzzlePlex, a benchmark designed to assess these capabilities through a diverse set of puzzles. PuzzlePlex consists of 15 types of puzzles, including deterministic and stochastic games of varying difficulty, as well as single-player and two-player scenarios. The PuzzlePlex framework provides a comprehensive environment for each game, and supports extensibility to generate more challenging instances as foundation models evolve. Additionally, we implement customized game-playing strategies for comparison. Building on this benchmark, we develop fine-grained metrics to measure performance and conduct an in-depth analysis of frontier foundation models across two settings: instruction-based and code-based. Furthermore, we systematically investigate their scaling limits. Our findings show that reasoning models outperform others in instruction-based settings, while code-based execution presents greater challenges but offers a scalable and efficient alternative. PuzzlePlex enables targeted evaluation and guides future improvements in reasoning, planning, and generalization for foundation models.

We present SONIQUE, a model for generating background music tailored to video content. Unlike traditional video-to-music generation approaches, which rely heavily on paired audio-visual datasets, SONIQUE leverages unpaired data, combining royalty-free music and independent video sources. By utilizing large language models (LLMs) for video understanding and converting visual descriptions into musical tags, alongside a U-Net-based conditional diffusion model, SONIQUE enables customizable music generation. Users can control specific aspects of the music, such as instruments, genres, tempo, and melodies, ensuring the generated output fits their creative vision. SONIQUE is open-source, with a demo available online.

Large language models (LLMs) can be used to serve as agents to simulate human behaviors, given the powerful ability to understand human instructions and provide high-quality generated texts. Such ability stimulates us to wonder whether LLMs can simulate a person in a higher form than simple human behaviors. Therefore, we aim to train an agent with the profile, experience, and emotional states of a specific person instead of using limited prompts to instruct ChatGPT API. In this work, we introduce Character-LLM that teach LLMs to act as specific people such as Beethoven, Queen Cleopatra, Julius Caesar, etc. Our method focuses on editing profiles as experiences of a certain character and training models to be personal simulacra with these experiences. To assess the effectiveness of our approach, we build a test playground that interviews trained agents and evaluates whether the agents memorize their characters and experiences. Experimental results show interesting observations that help build future simulacra of humankind.

Playlists have become a significant part of our listening experience because of the digital cloud-based services such as Spotify, Pandora, Apple Music. Owing to the meteoric rise in the usage of playlists, recommending playlists is crucial to music services today. Although there has been a lot of work done in playlist prediction, the area of playlist representation hasn't received that level of attention. Over the last few years, sequence-to-sequence models, especially in the field of natural language processing, have shown the effectiveness of learned embeddings in capturing the semantic characteristics of sequences. We can apply similar concepts to music to learn fixed length representations for playlists and use those representations for downstream tasks such as playlist discovery, browsing, and recommendation. In this work, we formulate the problem of learning a fixed-length playlist representation in an unsupervised manner, using Sequence-to-sequence (Seq2seq) models, interpreting playlists as sentences and songs as words. We compare our model with two other encoding architectures for baseline comparison. We evaluate our work using the suite of tasks commonly used for assessing sentence embeddings, along with a few additional tasks pertaining to music, and a recommendation task to study the traits captured by the playlist embeddings and their effectiveness for the purpose of music recommendation.

We present a Spades bidding algorithm that is superior to recreational human players and to publicly available bots. Like in Bridge, the game of Spades is composed of two independent phases, bidding and playing. This paper focuses on the bidding algorithm, since this phase holds a precise challenge: based on the input, choose the bid that maximizes the agent's winning probability. Our Bidding-in-Spades (BIS) algorithm heuristically determines the bidding strategy by comparing the expected utility of each possible bid. A major challenge is how to estimate these expected utilities. To this end, we propose a set of domain-specific heuristics, and then correct them via machine learning using data from real-world players. The \BIS algorithm we present can be attached to any playing algorithm. It beats rule-based bidding bots when all use the same playing component. When combined with a rule-based playing algorithm, it is superior to the average recreational human.

In this work, we introduce PianoMime, a framework for training a piano-playing agent using internet demonstrations. The internet is a promising source of large-scale demonstrations for training our robot agents. In particular, for the case of piano-playing, Youtube is full of videos of professional pianists playing a wide myriad of songs. In our work, we leverage these demonstrations to learn a generalist piano-playing agent capable of playing any arbitrary song. Our framework is divided into three parts: a data preparation phase to extract the informative features from the Youtube videos, a policy learning phase to train song-specific expert policies from the demonstrations and a policy distillation phase to distil the policies into a single generalist agent. We explore different policy designs to represent the agent and evaluate the influence of the amount of training data on the generalization capability of the agent to novel songs not available in the dataset. We show that we are able to learn a policy with up to 56\% F1 score on unseen songs.

We present GameNGen, the first game engine powered entirely by a neural model that enables real-time interaction with a complex environment over long trajectories at high quality. GameNGen can interactively simulate the classic game DOOM at over 20 frames per second on a single TPU. Next frame prediction achieves a PSNR of 29.4, comparable to lossy JPEG compression. Human raters are only slightly better than random chance at distinguishing short clips of the game from clips of the simulation. GameNGen is trained in two phases: (1) an RL-agent learns to play the game and the training sessions are recorded, and (2) a diffusion model is trained to produce the next frame, conditioned on the sequence of past frames and actions. Conditioning augmentations enable stable auto-regressive generation over long trajectories.

Large Language Model (LLM) agents are reshaping the game industry, particularly with more intelligent and human-preferable game characters. However, existing game benchmarks fall short of practical needs: they lack evaluations of diverse LLM capabilities across various game genres, studies of agentic modules crucial for complex gameplay, and fine-tuning datasets for aligning pre-trained LLMs into gaming agents. To fill these gaps, we present \benchname{}, a foundational benchmark designed to train and evaluate LLM agents across diverse real-world video games. Unlike existing benchmarks, Orak includes 12 popular video games spanning all major genres, enabling comprehensive studies of LLM capabilities and agentic modules essential for intricate game scenarios. To support consistent evaluation of LLMs, we introduce a plug-and-play interface based on Model Context Protocol (MCP) that enables LLMs to seamlessly connect with games and manipulate agentic modules. Additionally, we propose a fine-tuning dataset, consisting of LLM gameplay trajectories across diverse game genres. Orak offers a comprehensive evaluation framework, encompassing general game score leaderboards, LLM battle arenas, and in-depth analyses of visual input state, agentic strategies, and fine-tuning effects, establishing a foundation towards building generic gaming agents. Code is available at https://github.com/krafton-ai/Orak.

Closed drafting or "pick and pass" is a popular game mechanic where each round players select a card or other playable element from their hand and pass the rest to the next player. Games employing closed drafting make for great studies on memory and turn order due to their explicitly calculable memory of other players' hands. In this paper, we establish first-principle benchmarks for studying model-free reinforcement learning algorithms and their comparative ability to learn memory in a popular family of closed drafting games called "Sushi Go Party!", producing state-of-the-art results on this environment along the way. Furthermore, as Sushi Go Party! can be expressed as a set of closely-related games based on the set of cards in play, we quantify the generalizability of reinforcement learning algorithms trained on various sets of cards, establishing key trends between generalized performance and the set distance between the train and evaluation game configurations. Finally, we fit decision rules to interpret the strategy of the learned models and compare them to the ranking preferences of human players, finding intuitive common rules and intriguing new moves.

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

Open-world survival games pose significant challenges for AI algorithms due to their multi-tasking, deep exploration, and goal prioritization requirements. Despite reinforcement learning (RL) being popular for solving games, its high sample complexity limits its effectiveness in complex open-world games like Crafter or Minecraft. We propose a novel approach, SPRING, to read the game's original academic paper and use the knowledge learned to reason and play the game through a large language model (LLM). Prompted with the LaTeX source as game context and a description of the agent's current observation, our SPRING framework employs a directed acyclic graph (DAG) with game-related questions as nodes and dependencies as edges. We identify the optimal action to take in the environment by traversing the DAG and calculating LLM responses for each node in topological order, with the LLM's answer to final node directly translating to environment actions. In our experiments, we study the quality of in-context "reasoning" induced by different forms of prompts under the setting of the Crafter open-world environment. Our experiments suggest that LLMs, when prompted with consistent chain-of-thought, have great potential in completing sophisticated high-level trajectories. Quantitatively, SPRING with GPT-4 outperforms all state-of-the-art RL baselines, trained for 1M steps, without any training. Finally, we show the potential of games as a test bed for LLMs.

To make AI systems broadly useful for challenging real-world tasks, we need them to learn complex human goals and preferences. One approach to specifying complex goals asks humans to judge during training which agent behaviors are safe and useful, but this approach can fail if the task is too complicated for a human to directly judge. To help address this concern, we propose training agents via self play on a zero sum debate game. Given a question or proposed action, two agents take turns making short statements up to a limit, then a human judges which of the agents gave the most true, useful information. In an analogy to complexity theory, debate with optimal play can answer any question in PSPACE given polynomial time judges (direct judging answers only NP questions). In practice, whether debate works involves empirical questions about humans and the tasks we want AIs to perform, plus theoretical questions about the meaning of AI alignment. We report results on an initial MNIST experiment where agents compete to convince a sparse classifier, boosting the classifier's accuracy from 59.4% to 88.9% given 6 pixels and from 48.2% to 85.2% given 4 pixels. Finally, we discuss theoretical and practical aspects of the debate model, focusing on potential weaknesses as the model scales up, and we propose future human and computer experiments to test these properties.

Sound designers and Foley artists usually sonorize a scene, such as from a movie or video game, by manually annotating and sonorizing each action of interest in the video. In our case, the intent is to leave full creative control to sound designers with a tool that allows them to bypass the more repetitive parts of their work, thus being able to focus on the creative aspects of sound production. We achieve this presenting Stable-V2A, a two-stage model consisting of: an RMS-Mapper that estimates an envelope representative of the audio characteristics associated with the input video; and Stable-Foley, a diffusion model based on Stable Audio Open that generates audio semantically and temporally aligned with the target video. Temporal alignment is guaranteed by the use of the envelope as a ControlNet input, while semantic alignment is achieved through the use of sound representations chosen by the designer as cross-attention conditioning of the diffusion process. We train and test our model on Greatest Hits, a dataset commonly used to evaluate V2A models. In addition, to test our model on a case study of interest, we introduce Walking The Maps, a dataset of videos extracted from video games depicting animated characters walking in different locations. Samples and code available on our demo page at https://ispamm.github.io/Stable-V2A.

Using massive datasets to train large-scale models has emerged as a dominant approach for broad generalization in natural language and vision applications. In reinforcement learning, however, a key challenge is that available data of sequential decision making is often not annotated with actions - for example, videos of game-play are much more available than sequences of frames paired with their logged game controls. We propose to circumvent this challenge by combining large but sparsely-annotated datasets from a target environment of interest with fully-annotated datasets from various other source environments. Our method, Action Limited PreTraining (ALPT), leverages the generalization capabilities of inverse dynamics modelling (IDM) to label missing action data in the target environment. We show that utilizing even one additional environment dataset of labelled data during IDM pretraining gives rise to substantial improvements in generating action labels for unannotated sequences. We evaluate our method on benchmark game-playing environments and show that we can significantly improve game performance and generalization capability compared to other approaches, using annotated datasets equivalent to only 12 minutes of gameplay. Highlighting the power of IDM, we show that these benefits remain even when target and source environments share no common actions.

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.

In recent years, deep learning techniques have been applied to music generation systems with promising results. However, one of the main challenges in this field has been the lack of annotated datasets, making it difficult for models to learn musical forms in compositions. To address this issue, we present TunesFormer, a Transformer-based melody generation system that is trained on a large dataset of 285,449 ABC tunes. By utilizing specific symbols commonly found in ABC notation to indicate section boundaries, TunesFormer can understand and generate melodies with given musical forms based on control codes. Our objective evaluations demonstrate the effectiveness of the control codes in achieving controlled musical forms, and subjective experiments show that the generated melodies are of comparable quality to human compositions. Our results also provide insights into the optimal placement of control codes and their impact on the generated melodies. TunesFormer presents a promising approach for generating melodies with desired musical forms through the use of deep learning techniques.

We introduce NotaGen, a symbolic music generation model aiming to explore the potential of producing high-quality classical sheet music. Inspired by the success of Large Language Models (LLMs), NotaGen adopts pre-training, fine-tuning, and reinforcement learning paradigms (henceforth referred to as the LLM training paradigms). It is pre-trained on 1.6M pieces of music, and then fine-tuned on approximately 9K high-quality classical compositions conditioned on "period-composer-instrumentation" prompts. For reinforcement learning, we propose the CLaMP-DPO method, which further enhances generation quality and controllability without requiring human annotations or predefined rewards. Our experiments demonstrate the efficacy of CLaMP-DPO in symbolic music generation models with different architectures and encoding schemes. Furthermore, subjective A/B tests show that NotaGen outperforms baseline models against human compositions, greatly advancing musical aesthetics in symbolic music generation.The project homepage is https://electricalexis.github.io/notagen-demo.

In arena-style evaluation of large language models (LLMs), two LLMs respond to a user query, and the user chooses the winning response or deems the "battle" a draw, resulting in an adjustment to the ratings of both models. The prevailing approach for modeling these rating dynamics is to view battles as two-player game matches, as in chess, and apply the Elo rating system and its derivatives. In this paper, we critically examine this paradigm. Specifically, we question whether a draw genuinely means that the two models are equal and hence whether their ratings should be equalized. Instead, we conjecture that draws are more indicative of query difficulty: if the query is too easy, then both models are more likely to succeed equally. On three real-world arena datasets, we show that ignoring rating updates for draws yields a 1-3% relative increase in battle outcome prediction accuracy (which includes draws) for all four rating systems studied. Further analyses suggest that draws occur more for queries rated as very easy and those as highly objective, with risk ratios of 1.37 and 1.35, respectively. We recommend future rating systems to reconsider existing draw semantics and to account for query properties in rating updates.