With the recent advances of large language models (LLMs), it is no longer infeasible to build an automated debate system that helps people to synthesise persuasive arguments. Previous work attempted this task by integrating multiple components. In our work, we introduce an argument mining dataset that captures the end-to-end process of preparing an argumentative essay for a debate, which covers the tasks of claim and evidence identification (Task 1 ED), evidence convincingness ranking (Task 2 ECR), argumentative essay summarisation and human preference ranking (Task 3 ASR) and metric learning for automated evaluation of resulting essays, based on human feedback along argument quality dimensions (Task 4 SQE). Our dataset contains 14k examples of claims that are fully annotated with the various properties supporting the aforementioned tasks. We evaluate multiple generative baselines for each of these tasks, including representative LLMs. We find, that while they show promising results on individual tasks in our benchmark, their end-to-end performance on all four tasks in succession deteriorates significantly, both in automated measures as well as in human-centred evaluation. This challenge presented by our proposed dataset motivates future research on end-to-end argument mining and summarisation. The repository of this project is available at https://github.com/HarrywillDr/ArgSum-Datatset

Music composition represents the creative side of humanity, and itself is a complex task that requires abilities to understand and generate information with long dependency and harmony constraints. While demonstrating impressive capabilities in STEM subjects, current LLMs easily fail in this task, generating ill-written music even when equipped with modern techniques like In-Context-Learning and Chain-of-Thoughts. To further explore and enhance LLMs' potential in music composition by leveraging their reasoning ability and the large knowledge base in music history and theory, we propose ComposerX, an agent-based symbolic music generation framework. We find that applying a multi-agent approach significantly improves the music composition quality of GPT-4. The results demonstrate that ComposerX is capable of producing coherent polyphonic music compositions with captivating melodies, while adhering to user instructions.

In this paper, we explore the application of Large Language Models (LLMs) to the pre-training of music. While the prevalent use of MIDI in music modeling is well-established, our findings suggest that LLMs are inherently more compatible with ABC Notation, which aligns more closely with their design and strengths, thereby enhancing the model's performance in musical composition. To address the challenges associated with misaligned measures from different tracks during generation, we propose the development of a Synchronized Multi-Track ABC Notation (SMT-ABC Notation), which aims to preserve coherence across multiple musical tracks. Our contributions include a series of models capable of handling up to 8192 tokens, covering 90% of the symbolic music data in our training set. Furthermore, we explore the implications of the Symbolic Music Scaling Law (SMS Law) on model performance. The results indicate a promising direction for future research in music generation, offering extensive resources for community-led research through our open-source contributions.

Uncovering early-stage metrics that reflect final model performance is one core principle for large-scale pretraining. The existing scaling law demonstrates the power-law correlation between pretraining loss and training flops, which serves as an important indicator of the current training state for large language models. However, this principle only focuses on the model's compression properties on the training data, resulting in an inconsistency with the ability improvements on the downstream tasks. Some follow-up works attempted to extend the scaling-law to more complex metrics (such as hyperparameters), but still lacked a comprehensive analysis of the dynamic differences among various capabilities during pretraining. To address the aforementioned limitations, this paper undertakes a comprehensive comparison of model capabilities at various pretraining intermediate checkpoints. Through this analysis, we confirm that specific downstream metrics exhibit similar training dynamics across models of different sizes, up to 67 billion parameters. In addition to our core findings, we've reproduced Amber and OpenLLaMA, releasing their intermediate checkpoints. This initiative offers valuable resources to the research community and facilitates the verification and exploration of LLM pretraining by open-source researchers. Besides, we provide empirical summaries, including performance comparisons of different models and capabilities, and tuition of key metrics for different training phases. Based on these findings, we provide a more user-friendly strategy for evaluating the optimization state, offering guidance for establishing a stable pretraining process.

While Large Language Models (LLMs) demonstrate impressive capabilities in text generation, we find that their ability has yet to be generalized to music, humanity's creative language. We introduce ChatMusician, an open-source LLM that integrates intrinsic musical abilities. It is based on continual pre-training and finetuning LLaMA2 on a text-compatible music representation, ABC notation, and the music is treated as a second language. ChatMusician can understand and generate music with a pure text tokenizer without any external multi-modal neural structures or tokenizers. Interestingly, endowing musical abilities does not harm language abilities, even achieving a slightly higher MMLU score. Our model is capable of composing well-structured, full-length music, conditioned on texts, chords, melodies, motifs, musical forms, etc, surpassing GPT-4 baseline. On our meticulously curated college-level music understanding benchmark, MusicTheoryBench, ChatMusician surpasses LLaMA2 and GPT-3.5 on zero-shot setting by a noticeable margin. Our work reveals that LLMs can be an excellent compressor for music, but there remains significant territory to be conquered. We release our 4B token music-language corpora MusicPile, the collected MusicTheoryBench, code, model and demo in GitHub.

Vanilla language models are long known to have subpar sentence-level representation (Reimers and Gurevych, 2019; Wang et al., 2023), even worse than averaging static word embeddings (Pennington et al., 2014), i.e., sentence representations attained by pooling from sub-word embeddings encoded by language models do not closely reflect the relative semantics of sentences. Encouraged by the remarkable success of visual representation learning facilitated by unsupervised contrastive learning (Chen et al., 2020; He et al., 2020), efforts in NLP are made to leverage unsupervised contrastive learning to recover sentence-level encoding abilities from the models (Fang et al., 2020; Wu et al., 2020; Gao et al., 2021; Meng et al., 2021). However, translating the advancements in visual representation learning to learning sentence-level textual semantics presents unique challenges: a single augmentation (Wu et al., 2020; Meng et al., 2021) might alter the meaning of a sentence, posing problems of the validity of the augmented sentence as a positive pair. Such attempts are primarily bottlenecked by the discreteness of subword units brought by tokenization (Sennrich et al., 2016), impeding the creation of continuous unsupervised semantic pairs that have preserved semantics through small perturbations to inputs. Therefore, the most recognized unsupervised sentence representation learning method in NLP applies two dropout masks to the identical input to attain two representations, as positive pairs in contrastive learning (Gao et al., 2021). We argue that using identical inputs confines the method of Gao et al. (2021) to essentially only a way to improve uniformity (Wang and Isola, 2020) by distancing negative examples that are not identical to an instance itself, lacking

Multi-modal information retrieval (MMIR) is a rapidly evolving field, where significant progress, particularly in image-text pairing, has been made through advanced representation learning and cross-modality alignment research. However, current benchmarks for evaluating MMIR performance in image-text pairing within the scientific domain show a notable gap, where chart and table images described in scholarly language usually do not play a significant role. To bridge this gap, we develop a specialised scientific MMIR (SciMMIR) benchmark by leveraging open-access paper collections to extract data relevant to the scientific domain. This benchmark comprises 530K meticulously curated image-text pairs, extracted from figures and tables with detailed captions in scientific documents. We further annotate the image-text pairs with two-level subset-subcategory hierarchy annotations to facilitate a more comprehensive evaluation of the baselines. We conducted zero-shot and fine-tuning evaluations on prominent multi-modal image-captioning and visual language models, such as CLIP and BLIP. Our analysis offers critical insights for MMIR in the scientific domain, including the impact of pre-training and fine-tuning settings and the influence of the visual and textual encoders. All our data and checkpoints are publicly available at https://github.com/Wusiwei0410/SciMMIR.

As the capabilities of large multimodal models (LMMs) continue to advance, evaluating the performance of LMMs emerges as an increasing need. Additionally, there is an even larger gap in evaluating the advanced knowledge and reasoning abilities of LMMs in non-English contexts such as Chinese. We introduce CMMMU, a new Chinese Massive Multi-discipline Multimodal Understanding benchmark designed to evaluate LMMs on tasks demanding college-level subject knowledge and deliberate reasoning in a Chinese context. CMMMU is inspired by and strictly follows the annotation and analysis pattern of MMMU. CMMMU includes 12k manually collected multimodal questions from college exams, quizzes, and textbooks, covering six core disciplines: Art & Design, Business, Science, Health & Medicine, Humanities & Social Science, and Tech & Engineering, like its companion, MMMU. These questions span 30 subjects and comprise 39 highly heterogeneous image types, such as charts, diagrams, maps, tables, music sheets, and chemical structures. CMMMU focuses on complex perception and reasoning with domain-specific knowledge in the Chinese context. We evaluate 11 open-source LLMs and one proprietary GPT-4V(ision). Even GPT-4V only achieves accuracies of 42%, indicating a large space for improvement. CMMMU will boost the community to build the next-generation LMMs towards expert artificial intelligence and promote the democratization of LMMs by providing diverse language contexts.

With the development of multimodality and large language models, the deep learning-based technique for medical image captioning holds the potential to offer valuable diagnostic recommendations. However, current generic text and image pre-trained models do not yield satisfactory results when it comes to describing intricate details within medical images. In this paper, we present a novel medical image captioning method guided by the segment anything model (SAM) to enable enhanced encoding with both general and detailed feature extraction. In addition, our approach employs a distinctive pre-training strategy with mixed semantic learning to simultaneously capture both the overall information and finer details within medical images. We demonstrate the effectiveness of this approach, as it outperforms the pre-trained BLIP2 model on various evaluation metrics for generating descriptions of medical images.

In the era of extensive intersection between art and Artificial Intelligence (AI), such as image generation and fiction co-creation, AI for music remains relatively nascent, particularly in music understanding. This is evident in the limited work on deep music representations, the scarcity of large-scale datasets, and the absence of a universal and community-driven benchmark. To address this issue, we introduce the Music Audio Representation Benchmark for universaL Evaluation, termed MARBLE. It aims to provide a benchmark for various Music Information Retrieval (MIR) tasks by defining a comprehensive taxonomy with four hierarchy levels, including acoustic, performance, score, and high-level description. We then establish a unified protocol based on 14 tasks on 8 public-available datasets, providing a fair and standard assessment of representations of all open-sourced pre-trained models developed on music recordings as baselines. Besides, MARBLE offers an easy-to-use, extendable, and reproducible suite for the community, with a clear statement on copyright issues on datasets. Results suggest recently proposed large-scale pre-trained musical language models perform the best in most tasks, with room for further improvement. The leaderboard and toolkit repository are published at https://marble-bm.shef.ac.uk to promote future music AI research.