Recent advances in text-to-music (TTM) generation have enabled controllable and expressive music creation using natural language prompts. However, the emotional fidelity of TTM systems remains largely underexplored compared to human preference or text alignment. In this study, we introduce AImoclips, a benchmark for evaluating how well TTM systems convey intended emotions to human listeners, covering both open-source and commercial models. We selected 12 emotion intents spanning four quadrants of the valence-arousal space, and used six state-of-the-art TTM systems to generate over 1,000 music clips. A total of 111 participants rated the perceived valence and arousal of each clip on a 9-point Likert scale. Our results show that commercial systems tend to produce music perceived as more pleasant than intended, while open-source systems tend to perform the opposite. Emotions are more accurately conveyed under high-arousal conditions across all models. Additionally, all systems exhibit a bias toward emotional neutrality, highlighting a key limitation in affective controllability. This benchmark offers valuable insights into model-specific emotion rendering characteristics and supports future development of emotionally aligned TTM systems.

Emotions critically influence mental health, driving interest in music-based affective computing via neurophysiological signals with Brain-computer Interface techniques. While prior studies leverage music's accessibility for emotion induction, three key limitations persist: \textbf{(1) Stimulus Constraints}: Music stimuli are confined to small corpora due to copyright and curation costs, with selection biases from heuristic emotion-music mappings that ignore individual affective profiles. \textbf{(2) Modality Specificity}: Overreliance on unimodal neural data (e.g., EEG) ignores complementary insights from cross-modal signal fusion.\textbf{ (3) Portability Limitation}: Cumbersome setups (e.g., 64+ channel gel-based EEG caps) hinder real-world applicability due to procedural complexity and portability barriers. To address these limitations, we propose MEEtBrain, a portable and multimodal framework for emotion analysis (valence/arousal), integrating AI-generated music stimuli with synchronized EEG-fNIRS acquisition via a wireless headband. By MEEtBrain, the music stimuli can be automatically generated by AI on a large scale, eliminating subjective selection biases while ensuring music diversity. We use our developed portable device that is designed in a lightweight headband-style and uses dry electrodes, to simultaneously collect EEG and fNIRS recordings. A 14-hour dataset from 20 participants was collected in the first recruitment to validate the framework's efficacy, with AI-generated music eliciting target emotions (valence/arousal). We are actively expanding our multimodal dataset (44 participants in the latest dataset) and make it publicly available to promote further research and practical applications. \textbf{The dataset is available at https://zju-bmi-lab.github.io/ZBra.

In recent years, there has been a notable increase in research on machine learning models for music retrieval and generation systems that are capable of taking natural language sentences as inputs. However, there is a scarcity of large-scale publicly available datasets, consisting of music data and their corresponding natural language descriptions known as music captions. In particular, non-musical information such as suitable situations for listening to a track and the emotions elicited upon listening is crucial for describing music. This type of information is underrepresented in existing music caption datasets due to the challenges associated with extracting it directly from music data. To address this issue, we propose a method for generating music caption data that incorporates non-musical aspects inferred from music thumbnail images, and validated the effectiveness of our approach through human evaluations. Additionally, we created a dataset with approximately 360,000 captions containing non-musical aspects. Leveraging this dataset, we trained a music retrieval model and demonstrated its effectiveness in music retrieval tasks through evaluation.

We present OpenMU-Bench, a large-scale benchmark suite for addressing the data scarcity issue in training multimodal language models to understand music. To construct OpenMU-Bench, we leveraged existing datasets and bootstrapped new annotations. OpenMU-Bench also broadens the scope of music understanding by including lyrics understanding and music tool usage. Using OpenMU-Bench, we trained our music understanding model, OpenMU, with extensive ablations, demonstrating that OpenMU outperforms baseline models such as MU-Llama. Both OpenMU and OpenMU-Bench are open-sourced to facilitate future research in music understanding and to enhance creative music production efficiency.

Existing music captioning methods are limited to generating concise global descriptions of short music clips, which fail to capture fine-grained musical characteristics and time-aware musical changes. To address these limitations, we propose FUTGA, a model equipped with fined-grained music understanding capabilities through learning from generative augmentation with temporal compositions. We leverage existing music caption datasets and large language models (LLMs) to synthesize fine-grained music captions with structural descriptions and time boundaries for full-length songs. Augmented by the proposed synthetic dataset, FUTGA is enabled to identify the music's temporal changes at key transition points and their musical functions, as well as generate detailed descriptions for each music segment. We further introduce a full-length music caption dataset generated by FUTGA, as the augmentation of the MusicCaps and the Song Describer datasets. We evaluate the automatically generated captions on several downstream tasks, including music generation and retrieval. The experiments demonstrate the quality of the generated captions and the better performance in various downstream tasks achieved by the proposed music captioning approach. Our code and datasets can be found in \href{https://huggingface.co/JoshuaW1997/FUTGA}{\textcolor{blue}{https://huggingface.co/JoshuaW1997/FUTGA}}.

Consistency models have exhibited remarkable capabilities in facilitating efficient image/video generation, enabling synthesis with minimal sampling steps. It has proven to be advantageous in mitigating the computational burdens associated with diffusion models. Nevertheless, the application of consistency models in music generation remains largely unexplored. To address this gap, we present Music Consistency Models (\texttt{MusicCM}), which leverages the concept of consistency models to efficiently synthesize mel-spectrogram for music clips, maintaining high quality while minimizing the number of sampling steps. Building upon existing text-to-music diffusion models, the \texttt{MusicCM} model incorporates consistency distillation and adversarial discriminator training. Moreover, we find it beneficial to generate extended coherent music by incorporating multiple diffusion processes with shared constraints. Experimental results reveal the effectiveness of our model in terms of computational efficiency, fidelity, and naturalness. Notable, \texttt{MusicCM} achieves seamless music synthesis with a mere four sampling steps, e.g., only one second per minute of the music clip, showcasing the potential for real-time application.

In this work, we investigate the personalization of text-to-music diffusion models in a few-shot setting. Motivated by recent advances in the computer vision domain, we are the first to explore the combination of pre-trained text-to-audio diffusers with two established personalization methods. We experiment with the effect of audio-specific data augmentation on the overall system performance and assess different training strategies. For evaluation, we construct a novel dataset with prompts and music clips. We consider both embedding-based and music-specific metrics for quantitative evaluation, as well as a user study for qualitative evaluation. Our analysis shows that similarity metrics are in accordance with user preferences and that current personalization approaches tend to learn rhythmic music constructs more easily than melody. The code, dataset, and example material of this study are open to the research community.

Emotion is a complicated notion present in music that is hard to capture even with fine-tuned feature engineering. In this paper, we investigate the utility of state-of-the-art pre-trained deep audio embedding methods to be used in the Music Emotion Recognition (MER) task. Deep audio embedding methods allow us to efficiently capture the high dimensional features into a compact representation. We implement several multi-class classifiers with deep audio embeddings to predict emotion semantics in music. We investigate the effectiveness of L3-Net and VGGish deep audio embedding methods for music emotion inference over four music datasets. The experiments with several classifiers on the task show that the deep audio embedding solutions can improve the performances of the previous baseline MER models. We conclude that deep audio embeddings represent musical emotion semantics for the MER task without expert human engineering.

MRI scans can now be used to read emotions in the human brain, claim scientists. A new study shows that the brain-scanning technology can pinpoint specific emotions while a person is experiencing them. Researchers from Duke University claim to be able to'see' these emotions flickering across the brain. 'It's getting to be a bit like mind-reading,' said Kevin LaBar, a professor of psychology and neuroscience at Duke. 'Earlier studies have shown that functional MRI can identify whether a person is thinking about a face or a house. 'Our study is the first to show that specific emotions like fear and anger can be decoded from these scans as well.'