Agogic: Performance-Timed Music Tokens for LLM-Native Text-to-Symbolic-Music Generation

Text-to-music language models begin with a choice usually made by default: how to tokenize music. Normally entangled with backbone, data, and recipe, its effect has never been measured in isolation. We fix pretrained Qwen3.5 (0.8B-27B), data, budget, and decoding, and swap only the representation across seven tokenizations, anchoring texture metrics to each representation's model-free ceiling. The ordering is clean and surprising: representation, not model size, is the binding variable for distributional fidelity. Scaling the backbone 34x barely moves Frechet Music Distance (FMD), whereas switching representation halves it. PMT, a performance-resolution stream we release (10 ms timing, per-note velocity, multi-track texture; 609 symbols), reaches FMD 159 at 0.8B against 272-286 for beat grids (1.7-1.8x lower, up to 2.8x elsewhere; non-overlapping bootstrap CIs), so a 0.8B performance-resolution model beats a 27B beat grid. It reappears on a 26M from-scratch backbone and a second performance-resolution tokenizer: a property of the class, not one lucky vocabulary. Nor is it a finer-lattice artifact: snapping PMT's onsets to the beat grids' resolution still leaves it 67-129 FMD ahead of both (n=500). The effect is distributional; whether it is audible is a separate question, left open by our probe, with a human study pre-registered. Native caption adherence is weak but separable: a lightweight decode-time constraint doubles instrument-F1 (.28 to .60) and Correct-Key (.16 to .35) at no distributional cost. We release the harness, 25+ checkpoints, two corpora (86.6k aligned across caption/MIDI/ABC/audio; 6.25M captioned, the largest for music), and an imprinting diagnostic: published text-to-MIDI systems reproduce their training distribution near-invariant to the caption (72% vs. 71% chord-time on disjoint domains). The field's next representation claim can now be measured, not asserted.

Decomposer: Learning to Decompile Symbolic Music to Programs

Musical performance involves executing a set of high-level musical instructions, yet recovering those instructions from the performance is a challenging inverse problem. We present Decomposer, a post-training framework for symbolic music decompilation: the task of recovering executable, editable music programs from symbolic music. We instantiate the task as MIDI-to-Strudel decompilation, where the model takes symbolic MIDI as input and produces a program in Strudel, a music programming language, that reconstructs the input when executed. The task poses two challenges: Strudel is a low-resource language with little naturally paired MIDI-code data, and optimizing faithful reconstruction of MIDI alone can collapse to unreadable note-by-note transliteration. We address these challenges in two stages. First, we construct Strudel-Synth, a synthetic corpus of paired Strudel programs and rendered MIDI, and use it for supervised fine-tuning. Second, we refine the model with reinforcement learning on unpaired MIDI, optimizing rewards for both MIDI reconstruction faithfulness and code readability. Our evaluation across synthetic and real-world MIDI benchmarks shows that Decomposer achieves substantially higher MIDI reconstruction faithfulness than closed-source LLMs while producing more readable and diverse code than the heuristic converter.

Can LLMs understand LilyPond? A benchmark for symbolic music generation and understanding

Symbolic music evaluation for large language models remains fragmented across representations, datasets, and metrics. We introduce LilyBench, a LilyPond-based benchmark that jointly evaluates symbolic music generation and music understanding on the same family of open-weight LLMs. The benchmark includes a 200-prompt generation suite and ten understanding tasks adapted from ABC-Eval, covering syntax, metadata prediction, structural sequencing, and music recognition. Generation quality is evaluated using compile rate, MusPy descriptor distributions via Jensen-Shannon similarity, and LilyBERT-based Fréchet Music Distance (FMD). Experiments on four open-weight models show that executable LilyPond generation is achievable in zero-shot settings, while structural understanding tasks remain challenging despite strong performance on composer and genre recognition. Our experiments also reveal systematic disagreements between descriptor-based and embedding-based metrics, suggesting that symbolic music evaluation benefits from metric triangulation rather than single-score ranking. We release the benchmark, prompt bank, and evaluation code to support future research in symbolic music generation and understanding at https://github.com/CSCPadova/lilybench