Integrating audio and visual data for training multimodal foundational models remains challenging. We present Audio-Video Vector Alignment (AVVA), which aligns audiovisual (AV) scene content beyond mere temporal synchronization via a Large Language Model (LLM)-based data curation pipeline. Specifically, AVVA scores and selects high-quality training clips using Whisper (speech-based audio foundation model) for audio and DINOv2 for video within a dual-encoder contrastive learning framework. Evaluations on AudioCaps, VALOR, and VGGSound demonstrate that this approach can achieve significant accuracy gains with substantially less curated data. For instance, AVVA yields a 7.6% improvement in top-1 accuracy for audio-to-video retrieval on VGGSound compared to ImageBind, despite training on only 192 hours of carefully filtered data (vs. 5800+ hours). Moreover, an ablation study highlights that trading data quantity for data quality improves performance, yielding respective top-3 accuracy increases of 47.8, 48.4, and 58.0 percentage points on AudioCaps, VALOR, and VGGSound over uncurated baselines. While these results underscore AVVA's data efficiency, we also discuss the overhead of LLM-driven curation and how it may be scaled or approximated in larger domains. Overall, AVVA provides a viable path toward more robust, text-free audiovisual learning with improved retrieval accuracy.

The subjective nature of music emotion introduces inherent bias in both recognition and generation, especially when relying on a single audio encoder, emotion classifier, or evaluation metric. In this work, we conduct a study on Music Emotion Recognition (MER) and Emotional Music Generation (EMG), employing diverse audio encoders alongside the Frechet Audio Distance (FAD), a reference-free evaluation metric. Our study begins with a benchmark evaluation of MER, highlighting the limitations associated with using a single audio encoder and the disparities observed across different measurements. We then propose assessing MER performance using FAD from multiple encoders to provide a more objective measure of music emotion. Furthermore, we introduce an enhanced EMG approach designed to improve both the variation and prominence of generated music emotion, thus enhancing realism. Additionally, we investigate the realism disparities between the emotions conveyed in real and synthetic music, comparing our EMG model against two baseline models. Experimental results underscore the emotion bias problem in both MER and EMG and demonstrate the potential of using FAD and diverse audio encoders to evaluate music emotion objectively.