Recent advances in generative AI have made music generation a prominent research focus. However, many neural-based models rely on large datasets, raising concerns about copyright infringement and high-performance costs. In contrast, we propose MusicAIR, an innovative multimodal AI music generation framework powered by a novel algorithm-driven symbolic music core, effectively mitigating copyright infringement risks. The music core algorithms connect critical lyrical and rhythmic information to automatically derive musical features, creating a complete, coherent melodic score solely from the lyrics. The MusicAIR framework facilitates music generation from lyrics, text, and images. The generated score adheres to established principles of music theory, lyrical structure, and rhythmic conventions. We developed Generate AI Music (GenAIM), a web tool using MusicAIR for lyric-to-song, text-to-music, and image-to-music generation. In our experiments, we evaluated AI-generated music scores produced by the system using both standard music metrics and innovative analysis that compares these compositions with original works. The system achieves an average key confidence of 85%, outperforming human composers at 79%, and aligns closely with established music theory standards, demonstrating its ability to generate diverse, human-like compositions. As a co-pilot tool, GenAIM can serve as a reliable music composition assistant and a possible educational composition tutor while simultaneously lowering the entry barrier for all aspiring musicians, which is innovative and significantly contributes to AI for music generation.

Generative artificial intelligence in music has made significant strides, yet it still falls short of the substantial achievements seen in natural language processing, primarily due to the limited availability of music data. Knowledge-informed approaches have been shown to enhance the performance of music generation models, even when only a few pieces of musical knowledge are integrated. This paper seeks to leverage comprehensive music theory in AI-driven music generation tasks, such as algorithmic composition and style transfer, which traditionally require significant manual effort with existing techniques. We introduce a novel automatic music lexicon construction model that generates a lexicon, named CompLex, comprising 37,432 items derived from just 9 manually input category keywords and 5 sentence prompt templates. A new multi-agent algorithm is proposed to automatically detect and mitigate hallucinations. CompLex demonstrates impressive performance improvements across three state-of-the-art text-to-music generation models, encompassing both symbolic and audio-based methods. Furthermore, we evaluate CompLex in terms of completeness, accuracy, non-redundancy, and executability, confirming that it possesses the key characteristics of an effective lexicon.

Music composition has long been recognized as a significant art form. However, existing digital audio workstations and music production software often present high entry barriers for users lacking formal musical training. To address this, we introduce ComposeOn, a music theory-based tool designed for users with limited musical knowledge. ComposeOn enables users to easily extend their melodic ideas into complete compositions and offers simple editing features. By integrating music theory, it explains music creation at beginner, intermediate, and advanced levels. Our user study (N=10) compared ComposeOn with the baseline method, Suno AI, demonstrating that ComposeOn provides a more accessible and enjoyable composing and learning experience for individuals with limited musical skills. ComposeOn bridges the gap between theory and practice, offering an innovative solution as both a composition aid and music education platform. The study also explores the differences between theory-based music creation and generative music, highlighting the former's advantages in personal expression and learning.

This paper presents an approach that combines Human-In-The-Loop Reinforcement Learning (HITL RL) with principles derived from music theory to facilitate real-time generation of musical compositions. HITL RL, previously employed in diverse applications such as modelling humanoid robot mechanics and enhancing language models, harnesses human feedback to refine the training process. In this study, we develop a HILT RL framework that can leverage the constraints and principles in music theory. In particular, we propose an episodic tabular Q-learning algorithm with an epsilon-greedy exploration policy. The system generates musical tracks (compositions), continuously enhancing its quality through iterative human-in-the-loop feedback. The reward function for this process is the subjective musical taste of the user.

In this paper, we explore the intriguing similarities between the structure of a discrete neural network, such as a spiking network, and the composition of a piano piece. While both involve nodes or notes that are activated sequentially or in parallel, the latter benefits from the rich body of music theory to guide meaningful combinations. We propose a novel approach that leverages musical grammar to regulate activations in a spiking neural network, allowing for the representation of symbols as attractors. By applying rules for chord progressions from music theory, we demonstrate how certain activations naturally follow others, akin to the concept of attraction. Furthermore, we introduce the concept of modulating keys to navigate different basins of attraction within the network. Ultimately, we show that the map of concepts in our model is structured by the musical circle of fifths, highlighting the potential for leveraging music theory principles in deep learning algorithms.

We propose Information Lattice Learning (ILL) as a general framework to learn rules of a signal (e.g., an image or a probability distribution). In our definition, a rule is a coarsened signal used to help us gain one interpretable insight about the original signal. To make full sense of what might govern the signal’s intrinsic structure, we seek multiple disentangled rules arranged in a hierarchy, called a lattice. Compared to representation/rule-learning models optimized for a specific task (e.g., classification), ILL focuses on explainability: it is designed to mimic human experiential learning and discover rules akin to those humans can distill and comprehend. This paper details the math and algorithms of ILL, and illustrates how it addresses the fundamental question “what makes X an X” by creating rule-based explanations designed to help humans understand. Our focus is on explaining X rather than (re)generating it. We present applications in knowledge discovery, using ILL to distill music theory from scores and chemical laws from molecules and further revealing connections between them. We show ILL’s efficacy and interpretability on benchmarks and assessments, as well as a demonstration of ILL-enhanced classifiers achieving human-level digit recognition using only one or a few MNIST training examples (1–10 per class).

Artificial intelligence (AI) music generators are computer programs that create music. This can be accomplished in several ways, such as by employing neural networks to create entirely unique music or utilizing machine learning algorithms to assess existing music and produce new compositions in a similar style. While some AI music generators can produce music instantly, others must first undergo pre-training on a dataset of previously created music to produce brand-new works. Below is a list of some well-known AI music generators. Amper Music, one of the easiest AI music generators to use and at the top of our list of the best AI music generators, is the ideal option for anyone wishing to start using AI-generated music. Amper makes music from pre-recorded samples.

Much like most of cognition research, music cognition is an interdisciplinary field, which attempts to apply methods of cognitive science (neurological, computational and experimental) to understand the perception and process of composition of music. In this paper, we first motivate why music is relevant to cognitive scientists and give an overview of the approaches to computational modelling of music cognition. We then review literature on the various models of music perception, including non-computational models, computational non-cognitive models and computational cognitive models. Lastly, we review literature on modelling the creative behaviour and on computer systems capable of composing music. Since a lot of technical terms from music theory have been used, we have appended a list of relevant terms and their definitions at the end.

In jazz, a contrafact is a new melody composed over an existing, but often reharmonized chord progression. Because reharmonization can introduce a wide range of variations, detecting contrafacts is a challenging task. This paper develops a novel vector-space model to represent chord progressions, and uses it for contrafact detection. The process applies principles from music theory to reduce the dimensionality of chord space, determine a common key signature representation, and compute a chordal co-occurrence matrix. The rows of the matrix form a basis for the vector space in which chord progressions are represented as piecewise linear functions, and harmonic similarity is evaluated by computing the membrane area, a novel distance metric. To illustrate our method's effectiveness, we apply it to the Impro-Visor corpus of 2,612 chord progressions, and present examples demonstrating its ability to account for reharmonizations and find contrafacts.

One of the goals of the study of music theory is to develop sets of rules to describe different styles of music. By formalising these rules so that their semantics are machine intelligible, it is possible to use computers to reason about and analyse these rules -- computational music theory. Anton is an automatic composition system based on this approach. It formalises the rules of Renaissance Counterpoint using AnsProlog and uses an answer set solver to compose pieces.