Dr François Pachet is an AI researcher and musician, and one of the most influential figures in AI and music. His innovative contributions have defined the field over the past decades through creative systems such as the Continuator, and Flow Machines, among others. After leading the Spotify Creator Technology Research Lab and the Sony Computer Science Lab, he went on to create his own companies: Imagine All The People and Ynosound. In the context of IJCAI2025, he spoke about what deep learning changed, and what still remains wide open. He explains why tools like Suno and Udio--ChatGPT-like platforms for music generation--can produce astonishing results that still feel unsatisfying; why the next step for music generation requires combining sampling with search; and why the most important problems in artistic domains are, by nature, ill-defined--because there is no loss function to determine what is "good". Above all, he defends the importance of researcher autonomy: work on the questions that genuinely fascinate you, even when they fall outside prevailing trends--perhaps especially then. Thank you for joining me for this interview. Could you begin by telling us when was your first IJCAI and a memory related to it? I think the first IJCAI I attended was in Montreal in '95. I was there for a couple of workshops, one of them was about music and AI, and the other one I think was on advisor systems, something like that. And I remember there was a French colleague who was there also, at the time he was doing his PhD. And there was this researcher called Herbert Simon, who is a Nobel Prize pioneer of AI. I remember having chatted a little bit with this French guy who was very bold, and he just went up to Simon, said "Hey," and he started a conversation with him. And I was very impressed by the fact that you could meet those kinds of guys informally in a corridor or something at this conference.

Welcome to our monthly digest, where you can catch up with any AIhub stories you may have missed, peruse the latest news, recap recent events, and more. This month, we find out about time-series anomaly detection, delve into music generation, honour award winners, and catch up on the action from the RoboCup humanoid soccer league. We caught up with Thi Kieu Khanh Ho to find out more about her work on time-series anomaly detection, what inspired her to study AI, and what she plans to work on next. This interview is part of our series featuring the AAAI Doctoral Consortium participants. In the latest in our series of IJCAI interviews, AIhub ambassador Liliane-Caroline Demers spoke to François Pachet to find out more about his work on music generation with AI.

Recent advances in large language models (LLMs) and audio language models have significantly improved music generation, particularly in lyrics-to-song generation.

While being disturbed by environmental noises, the acoustic masking technique is a conventional way to reduce the annoyance in audio engineering that seeks to cover up the noises with other dominant yet less intrusive sounds. However, misalignment between the dominant sound and the noise--such as mismatched downbeats--often requires an excessive volume increase to achieve effective masking. Motivated by recent advances in cross-modal generation, in this work, we introduce an alternative method to acoustic masking, aiming to reduce the noticeability of environmental noises by blending them into personalized music generated based on user-provided text prompts. Following the paradigm of music generation using mel-spectrogram representations, we propose a Blending Noises into Personalized Music (BNMusic) framework with two key stages.

Unlike prior approaches constrained to fixed instrument classes, MGE-LDM learns a joint distribution over full mixtures, submixtures, and individual stems within a single compact latent diffusion model. At inference, MGE-LDM enables (1) complete mixture generation, (2) partial generation (i.e., source imputation), and (3) textconditioned extraction of arbitrary sources. By formulating both separation and imputation as conditional inpainting tasks in the latent space, our approach supports flexible, class-agnostic manipulation of arbitrary instrument sources. Notably, MGE-LDM can be trained jointly across heterogeneous multi-track datasets (e.g., Slakh2100, MUSDB18, MoisesDB) without relying on predefined instrument categories. Audio samples are available at our project page .

Realistic music generation is a challenging task. When building generative models of music that are learnt from data, typically high-level representations such as scores or MIDI are used that abstract away the idiosyncrasies of a particular performance. But these nuances are very important for our perception of musicality and realism, so in this work we embark on modelling music in the raw audio domain. It has been shown that autoregressive models excel at generating raw audio waveforms of speech, but when applied to music, we find them biased towards capturing local signal structure at the expense of modelling long-range correlations. This is problematic because music exhibits structure at many different timescales. In this work, we explore autoregressive discrete autoencoders (ADAs) as a means to enable autoregressive models to capture long-range correlations in waveforms. We find that they allow us to unconditionally generate piano music directly in the raw audio domain, which shows stylistic consistency across tens of seconds.

L for LM; D for diffusion), an LM-guided diffusion model that generates music audios of state-of-the-art quality meanwhile reducing 95.7% to 99.6% forward