Daily Papers

Repeated impacts of a droplet on a vertically forced bath can produce a growing Faraday-wave response under forcing conditions for which the corresponding initially undisturbed bath remains linearly stable. We investigate this mechanism using axisymmetric two-phase direct numerical simulations over a wide range of Reynolds and Weber numbers. The resulting phenomenological regime map identifies quasi-periodic, decaying, faint, and unstable-bath responses. Along the parameter path considered here, the transition to the unstable-bath regime occurs over a narrow range of Weber numbers and varies only weakly with Reynolds number. In the unstable regime, the bath develops a coherent subharmonic response at half the forcing frequency, while disturbances in the decaying regime remain broadband and weaken between successive rebounds. Bath-only simulations show that a finite-amplitude perturbation representative of droplet impact can seed the confined radial mode susceptible to parametric forcing, initiating a growing subharmonic response below the linear instability threshold of the initially flat bath. A reduced capillary-dominated model provides a scaling estimate for the impact-equivalent perturbation amplitude, and bath-only simulations initialized with these perturbations reproduce the bounded-to-growing transition observed in the coupled simulations. Floquet analysis of the finite cylindrical bath identifies the first axisymmetric Neumann mode as having the lowest subharmonic instability threshold. A time-resolved Bessel decomposition independently shows that the growing bath response is dominated by the same radial mode, while the droplet-induced subharmonic response projects predominantly onto this structure. These results identify a finite-amplitude route by which localized droplet impacts can access Faraday-wave dynamics below the linear onset threshold of an initially undisturbed bath.

Although native speech and music envelope following responses (EFRs) play a crucial role in auditory processing and cognition, their frequency profile, such as the dominating frequency and spectral coherence, is largely unknown. We have assumed that the auditory pathway - which transmits envelope components of speech and music to the scalp through time-varying neurophysiological processes - is a linear time-varying system, with the envelope and the multi-channel EEG responses as excitation and response, respectively. This paper investigates the transfer function of this system through two analytical techniques - time-averaged spectral responses and cross-spectral density - in the frequency domain at four different positions of the human scalp. Our findings suggest that alpha (8-11 Hz), lower gamma (53-56 Hz), and higher gamma (78-81 Hz) bands are the peak responses of the system. These frequently appearing dominant frequency responses may be the key components of familiar speech perception, maintaining attention, binding acoustic features, and memory processing. The cross-spectral density, which reflects the spatial neural coherence of the human brain, shows that 10-13 Hz, 27-29 Hz, and 62-64 Hz are common for all channel pairs. As neural coherences are frequently observed in these frequencies among native participants, we suggest that these distributed neural processes are also dominant in native speech and music perception.

We train an object detector built from convolutional neural networks to count interference fringes in elliptical antinode regions in frames of high-speed video recordings of transient oscillations in Caribbean steelpan drums illuminated by electronic speckle pattern interferometry (ESPI). The annotations provided by our model aim to contribute to the understanding of time-dependent behavior in such drums by tracking the development of sympathetic vibration modes. The system is trained on a dataset of crowdsourced human-annotated images obtained from the Zooniverse Steelpan Vibrations Project. Due to the small number of human-annotated images and the ambiguity of the annotation task, we also evaluate the model on a large corpus of synthetic images whose properties have been matched to the real images by style transfer using a Generative Adversarial Network. Applying the model to thousands of unlabeled video frames, we measure oscillations consistent with audio recordings of these drum strikes. One unanticipated result is that sympathetic oscillations of higher-octave notes significantly precede the rise in sound intensity of the corresponding second harmonic tones; the mechanism responsible for this remains unidentified. This paper primarily concerns the development of the predictive model; further exploration of the steelpan images and deeper physical insights await its further application.

Deep neural networks have shown promise for music audio signal processing applications, often surpassing prior approaches, particularly as end-to-end models in the waveform domain. Yet results to date have tended to be constrained by low sample rates, noise, narrow domains of signal types, and/or lack of parameterized controls (i.e. "knobs"), making their suitability for professional audio engineering workflows still lacking. This work expands on prior research published on modeling nonlinear time-dependent signal processing effects associated with music production by means of a deep neural network, one which includes the ability to emulate the parameterized settings you would see on an analog piece of equipment, with the goal of eventually producing commercially viable, high quality audio, i.e. 44.1 kHz sampling rate at 16-bit resolution. The results in this paper highlight progress in modeling these effects through architecture and optimization changes, towards increasing computational efficiency, lowering signal-to-noise ratio, and extending to a larger variety of nonlinear audio effects. Toward these ends, the strategies employed involved a three-pronged approach: model speed, model accuracy, and model generalizability. Most of the presented methods provide marginal or no increase in output accuracy over the original model, with the exception of dataset manipulation. We found that limiting the audio content of the dataset, for example using datasets of just a single instrument, provided a significant improvement in model accuracy over models trained on more general datasets.

This paper presents a deep machine learning architecture, the "polyharmonic cascade" -- a sequence of packages of polyharmonic splines, where each layer is rigorously derived from the theory of random functions and the principles of indifference. This makes it possible to approximate nonlinear functions of arbitrary complexity while preserving global smoothness and a probabilistic interpretation. For the polyharmonic cascade, a training method alternative to gradient descent is proposed: instead of directly optimizing the coefficients, one solves a single global linear system on each batch with respect to the function values at fixed "constellations" of nodes. This yields synchronized updates of all layers, preserves the probabilistic interpretation of individual layers and theoretical consistency with the original model, and scales well: all computations reduce to 2D matrix operations efficiently executed on a GPU. Fast learning without overfitting on MNIST is demonstrated.

Realistic audio synthesis that captures accurate acoustic phenomena is essential for creating immersive experiences in virtual and augmented reality. Synthesizing the sound received at any position relies on the estimation of impulse response (IR), which characterizes how sound propagates in one scene along different paths before arriving at the listener's position. In this paper, we present Acoustic Volume Rendering (AVR), a novel approach that adapts volume rendering techniques to model acoustic impulse responses. While volume rendering has been successful in modeling radiance fields for images and neural scene representations, IRs present unique challenges as time-series signals. To address these challenges, we introduce frequency-domain volume rendering and use spherical integration to fit the IR measurements. Our method constructs an impulse response field that inherently encodes wave propagation principles and achieves state-of-the-art performance in synthesizing impulse responses for novel poses. Experiments show that AVR surpasses current leading methods by a substantial margin. Additionally, we develop an acoustic simulation platform, AcoustiX, which provides more accurate and realistic IR simulations than existing simulators. Code for AVR and AcoustiX are available at https://zitonglan.github.io/avr.

We show that the three movements of Beethoven's "Moonlight Sonata" (Op. 27 No. 2) instantiate three distinct machine learning architectures -- not by analogy, but by structural correspondence. Through computational analysis of the score (entropy, Jensen-Shannon divergence, dissonance, hand distributional overlap, self-similarity matrices, temporal memory decay, and contextual pitch embeddings), we establish four counterintuitive findings: (1) perceived musical "temperature" is governed by throughput, not distributional width; (2) the lightest movement carries the highest dissonance; (3) the movements implement streaming, recurrent, and periodic positional encoding memory architectures; and (4) the same pitch class acquires different contextual identities across movements, analogous to contextual vs.static embeddings in NLP -- and unsupervised clustering recovers the tonal structure without music-theoretic input. We construct a reverse sonification (decoding analytical features back into MIDI) and quantify the chirality of the encode-decode cycle: what distributions preserve and sequential ordering destroys. Prompted by a listener's observation that the decoded piece sounds like "mirror isomers that can't be superimposed," the chirality measurement reveals reconstruction loss increasing monotonically with n-gram order. Bootstrap baselines and subsample checks confirm all movements carry sequential information above noise, though raw values are confounded by sample size. Cross-domain comparison shows natural language has higher chirality than music, reflecting stronger sequential constraints.

A cylindrical TM_{0,1,0} mode microwave cavity resonator was excited using a balanced interferometric configuration that allowed manipulation of the electric field and potential within the resonator by adjusting the phase and amplitude of the interferometer arms driving the resonator. With precise tuning of the phase and amplitude, 25 dB suppression of the electric field at the resonance frequency was achieved while simultaneously resonantly enhancing the time-varying electric-scalar potential. Under these conditions, the system demonstrated electromagnetically induced absorption in the cavity response due to the annulment of the electric field at the resonance frequency. This phenomena can be regarded as a form of extreme dispersion, and led to a sharp increase in the cavity phase versus frequency response by an order of magnitude when compared to the cavity Q-factor. This work presents an experimental setup that will allow the electric-scalar Aharonov-Bohm effect to be tested under conditions involving a time-varying electric-scalar potential, without the presence of an electric field or magnetic vector potential, an experiment that has not yet been realised.

This project focuses on a method to extract a frequency comb in mechanical means, for general interest and numerous practical applications in MEMS. The method of execution is the implementation of a beam that is exhibiting non-linear dynamics that is perturbed and analyzed for its transverse vibrations. The perturbation is an external harmonic driver with a chosen small amplitude and frequency (which is slightly detuned from the beam eigenfrequency), that when engaged with the unperturbed beam oscillations, causes it reach a state of "injection pulling" - an effect that occurs when one harmonic oscillator is coupled with a second one and causes it to oscillate in a frequency near its own. This causes the beam to reach SNIC bifurcation, rendering a frequency comb as desired. Theoretical analysis showed that the problem can be modelled using a non-linear equation of the beam, that translates to a form of the non-linear Duffing equation. While a solution to the dynamics function of the beam is hard to obtain in practice due to mathematical difficulties, a slow evolution model is suggested that is composed of functions of a amplitude and phase. Using several additional mathematical assumptions, the amplitude is seen to be related to the phase, while the phase equation solution is seen to be of the form of Adler's equation. These assumptions ultimately reduce the entire behaviour of the beam to a relatively simple solution to the Adler equation, which has a known analytical solution. Computerized numerical simulations are run on it to check the results and compare them to the theory and desired outcome. The results agreed with the theory and produce the expected frequency comb, showing the assumptions to be valid in extracting the comb.

While many piezoelectric materials are known, there is still great potential to improve on the figures of merit of existing materials through compositional doping, forming solid solutions. Specifically, it has been shown that doping and alloying wurtzite-structured materials can improve the piezoelectric response; however, a vast compositional space has remained unexplored. In this work, we apply a multi-level screening protocol combining machine learning, chemical intuition, and thermodynamics to systematically discover dopant combinations in wurtzite material space that improve the desired piezoelectric response. Through our protocol, we use computationally inexpensive screening calculations to consider more than 3000 possible ternary wurtzite solid solutions from 9 different wurtzite base systems: AlN, BeO, CdS, CdSe, GaN, ZnO, ZnS, ZnSe, and AgI. Finally, based on thermodynamic analysis and explicit piezoelectric response calculations, we predict 11 materials with improved piezoelectric response, due to the incorporation of electropositive dopants.

In order to study oscillators coupled by pulses emitted at discrete times, it is generally assumed that the effect of each pulse is an instantaneous phase shift, with a possible conduction delay between emission and receipt. However, we are interested in neural oscillators in which each pulse (action potential) activates a biexponential synapse, and at high frequencies, the duration of the synaptic conductance may be greater than the network period. Therefore, the effect of received pulses can summate over the course of several cycles. To overcome this limitation, we previously defined a mean field approach for a single synchronous population. Here, we extend it to two alternating synchronous populations by assuming a perturbation of a single oscillator from one of the synchronous populations which is represented by a single self-connected neural oscillator. The train of delayed biexponential synapses emitted by each oscillator is divided into a tonic and a phasic component. Because of the continuous rather than pulsatile nature of the input, we had to drop the concept of oscillator phase and derive self-consistent criteria for the existence and stability of an alternating firing pattern between two synchronous populations based solely on the perturbation of time intervals from their steady state values. Simulations showed that for high frequency oscillations as defined above, the mean field approach predicts the existence and stability of phase-locking between two synchronous populations better than the instantaneous phase shift approach. This approach may generalize to other forms of coupling amongst non-neural oscillators.

We investigate a dynamically adapting tuning scheme for microtonal tuning of musical instruments, allowing the performer to play music in just intonation in any key. Unlike other methods, which are based on a procedural analysis of the chordal structure, the tuning scheme continually solves a system of linear equations without making explicit decisions. In complex situations, where not all intervals of a chord can be tuned according to just frequency ratios, the method automatically yields a tempered compromise. We outline the implementation of the algorithm in an open-source software project that we have provided in order to demonstrate the feasibility of the tuning method.

In the BCS theory of superconductivity the amplitude (Higgs) mode is degenerate with the pair-breaking threshold: its frequency coincides with 2Δ, so it is an edge singularity rather than a true collective mode. This is why after a sudden weak perturbation at t=0 its oscillations decay algebraically as 1/t. We show that the retardation effects due to the phonon dynamics in the strong-coupling theory lift this degeneracy. The Higgs mode detaches from the pair-breaking edge 2Δ_g, set by the spectral gap, and becomes a sharp subgap excitation. We determine its frequency from the longitudinal pair susceptibility evaluated directly on the real frequency axis, using the Eilenberger equations for Migdal--Eliashberg theory with the Einstein phonon spectrum. The response of the mass renormalization supplies at least two fifths of the displacement, and possibly all of it: with it switched off, the binding falls below the resolution of the calculation. Its consequences, however, are significant because a percent-level shift transfers about a quarter of the spectral weight of the amplitude channel out of the two-quasiparticle continuum into a discrete energy level. What experiment sees is therefore not the displacement itself but its consequence: amplitude oscillations that persist instead of decaying as 1/t.

Conventional acoustic beamformers assume that noise is stationary within short time frames. This assumption prevents them from exploiting correlations between frequencies in almost-periodic noise sources such as musical instruments, fans, and engines. These signals exhibit periodically varying statistics and are better modeled as cyclostationary processes. This paper introduces the cyclic MVDR (cMVDR) beamformer, an extension of the conventional MVDR that leverages both spatial and spectral correlations to improve noise reduction, particularly in low-SNR scenarios. The method builds on frequency-shifted (FRESH) filtering, where shifted versions of the input are combined to attenuate or amplify components that are coherent across frequency. To address inharmonicity, where harmonic partials deviate from exact integer multiples of the fundamental frequency, we propose a data-driven strategy that estimates resonant frequencies via periodogram analysis and computes the frequency shifts from their spacing. Analytical and experimental results demonstrate that performance improves with increasing spectral correlation. On real recordings, the cMVDR achieves up to 5 dB gain in scale-invariant signal-to-distortion ratio (SI-SDR) over the MVDR and remains effective even with a single microphone. Code is available at https://github.com/Screeen/cMVDR.

Models of neural responses to stimuli with complex spatiotemporal correlation structure often assume that neurons are only selective for a small number of linear projections of a potentially high-dimensional input. Here we explore recent modeling approaches where the neural response depends on the quadratic form of the input rather than on its linear projection, that is, the neuron is sensitive to the local covariance structure of the signal preceding the spike. To infer this quadratic dependence in the presence of arbitrary (e.g. naturalistic) stimulus distribution, we review several inference methods, focussing in particular on two information-theory-based approaches (maximization of stimulus energy or of noise entropy) and a likelihood-based approach (Bayesian spike-triggered covariance, extensions of generalized linear models). We analyze the formal connection between the likelihood-based and information-based approaches to show how they lead to consistent inference. We demonstrate the practical feasibility of these procedures by using model neurons responding to a flickering variance stimulus.

Measuring the acoustic characteristics of a space is often done by capturing its impulse response (IR), a representation of how a full-range stimulus sound excites it. This work generates an IR from a single image, which can then be applied to other signals using convolution, simulating the reverberant characteristics of the space shown in the image. Recording these IRs is both time-intensive and expensive, and often infeasible for inaccessible locations. We use an end-to-end neural network architecture to generate plausible audio impulse responses from single images of acoustic environments. We evaluate our method both by comparisons to ground truth data and by human expert evaluation. We demonstrate our approach by generating plausible impulse responses from diverse settings and formats including well known places, musical halls, rooms in paintings, images from animations and computer games, synthetic environments generated from text, panoramic images, and video conference backgrounds.

Limitations on bandwidth and power consumption impose strict bounds on data rates of diagnostic imaging systems. Consequently, the design of suitable (i.e. task- and data-aware) compression and reconstruction techniques has attracted considerable attention in recent years. Compressed sensing emerged as a popular framework for sparse signal reconstruction from a small set of compressed measurements. However, typical compressed sensing designs measure a (non)linearly weighted combination of all input signal elements, which poses practical challenges. These designs are also not necessarily task-optimal. In addition, real-time recovery is hampered by the iterative and time-consuming nature of sparse recovery algorithms. Recently, deep learning methods have shown promise for fast recovery from compressed measurements, but the design of adequate and practical sensing strategies remains a challenge. Here, we propose a deep learning solution termed Deep Probabilistic Sub-sampling (DPS), that learns a task-driven sub-sampling pattern, while jointly training a subsequent task model. Once learned, the task-based sub-sampling patterns are fixed and straightforwardly implementable, e.g. by non-uniform analog-to-digital conversion, sparse array design, or slow-time ultrasound pulsing schemes. The effectiveness of our framework is demonstrated in-silico for sparse signal recovery from partial Fourier measurements, and in-vivo for both anatomical image and tissue-motion (Doppler) reconstruction from sub-sampled medical ultrasound imaging data.

Musical expression requires control of both what notes are played, and how they are performed. Conventional audio synthesizers provide detailed expressive controls, but at the cost of realism. Black-box neural audio synthesis and concatenative samplers can produce realistic audio, but have few mechanisms for control. In this work, we introduce MIDI-DDSP a hierarchical model of musical instruments that enables both realistic neural audio synthesis and detailed user control. Starting from interpretable Differentiable Digital Signal Processing (DDSP) synthesis parameters, we infer musical notes and high-level properties of their expressive performance (such as timbre, vibrato, dynamics, and articulation). This creates a 3-level hierarchy (notes, performance, synthesis) that affords individuals the option to intervene at each level, or utilize trained priors (performance given notes, synthesis given performance) for creative assistance. Through quantitative experiments and listening tests, we demonstrate that this hierarchy can reconstruct high-fidelity audio, accurately predict performance attributes for a note sequence, independently manipulate the attributes of a given performance, and as a complete system, generate realistic audio from a novel note sequence. By utilizing an interpretable hierarchy, with multiple levels of granularity, MIDI-DDSP opens the door to assistive tools to empower individuals across a diverse range of musical experience.

We show that in a drive-response coupling framework extreme events are suppressed in the response system by the dominance of a single driving signal. We validate this approach across three distinct response network topologies, namely (i) a pair of coupled neurons, (ii) a monolayer network of N coupled neurons and (iii) a two-layer multiplex network each composed of FitzHugh-Nagumo neuronal units. The response networks inherently exhibit extreme events. Our results demonstrate that influencing just one neuron in the response network with an appropriately tuned driving signal is sufficient to control extreme events across all three configurations. In the two-neuron case, suppression of extreme events occurs due to the breaking of phase-locking between the driving neuron and the targeted response neuron. In the case of monolayer and multiplex networks, suppression of extreme events results from the disruption of protoevent frequency dynamics and a subsequent frequency decoupling of the driven neuron from the rest of the network. We also observe that when the size of the neurons in response network connected to the drive increases, the onset of control occurs earlier indicating a scaling advantage of the method.

We develop a linear perturbative formalism to compute the response of an inhomogeneous stellar disk embedded in a non-responsive dark matter halo to perturbations like bars, spiral arms and satellite galaxy encounters. Without self-gravity to reinforce it, the response of a Fourier mode phase mixes away due to an intrinsic spread in the vertical (Omega_z), radial (Omega_r) and azimuthal (Omega_phi) frequencies, giving rise to local phase-space spirals. Collisional diffusion due to scattering of stars by structures like giant molecular clouds causes super-exponential damping of the phase-spiral amplitude. The z-v_z phase-spiral is 1-armed (2-armed) for vertically anti-symmetric (symmetric) bending (breathing) modes. Only transient perturbations with timescales (tau_{P}) comparable to the vertical oscillation period (tau_z sim 1/Omega_z) trigger z-v_z phase-spirals. Each (n,l,m) mode of the response to impulsive (tau_{P}<tau=1/(nOmega_z+lOmega_r+mOmega_phi)) perturbations is power law (sim tau_{P}/tau) suppressed, but that to adiabatic (tau_{P}>tau) perturbations is exponentially weak (sim left[-left(tau_{mathrm{P}/tauright)^alpharight]}) except resonant (tauto infty) modes. Slower (tau_{P}>tau_z) perturbations, e.g., distant encounters with satellite galaxies, induce stronger bending modes. If the Gaia phase-spiral was triggered by a satellite, Sagittarius is the leading contender as it dominates the Solar neighborhood response of the Milky Way disk to satellite encounters. However, survival against collisional damping necessitates that the impact occurred within sim 0.6-0.7 Gyr ago. We discuss how the detailed galactic potential dictates the phase-spiral shape: phase mixing occurs slower and phase-spirals are less wound in the outer disk and in presence of an ambient halo.

End-to-end generation of musical audio using deep learning techniques has seen an explosion of activity recently. However, most models concentrate on generating fully mixed music in response to abstract conditioning information. In this work, we present an alternative paradigm for producing music generation models that can listen and respond to musical context. We describe how such a model can be constructed using a non-autoregressive, transformer-based model architecture and present a number of novel architectural and sampling improvements. We train the described architecture on both an open-source and a proprietary dataset. We evaluate the produced models using standard quality metrics and a new approach based on music information retrieval descriptors. The resulting model reaches the audio quality of state-of-the-art text-conditioned models, as well as exhibiting strong musical coherence with its context.

Even though they differ in the physical domain, digital video and audio share many characteristics. Both are temporal data streams often stored in buffers with 8-bit values. This paper investigates a method for creating harmonic sounds with a video signal as input. A musical instrument is proposed, that utilizes video in both a sound synthesis method, and in a controller interface for selecting musical notes at specific velocities. The resulting instrument was informally determined by the author to sound both pleasant and interesting, but hard to control, and therefore suited for synth pad sounds.

The process of reconstructing experiences from human brain activity offers a unique lens into how the brain interprets and represents the world. In this paper, we introduce a method for reconstructing music from brain activity, captured using functional magnetic resonance imaging (fMRI). Our approach uses either music retrieval or the MusicLM music generation model conditioned on embeddings derived from fMRI data. The generated music resembles the musical stimuli that human subjects experienced, with respect to semantic properties like genre, instrumentation, and mood. We investigate the relationship between different components of MusicLM and brain activity through a voxel-wise encoding modeling analysis. Furthermore, we discuss which brain regions represent information derived from purely textual descriptions of music stimuli. We provide supplementary material including examples of the reconstructed music at https://google-research.github.io/seanet/brain2music

We theoretically investigate electronic responses to lattice deformation in a ferroaxial system using a tight-binding model on a two-dimensional square lattice and linear response theory. While conventional elastic responses are commonly discussed in terms of symmetric strain, the displacement gradient also contains an antisymmetric component describing a local lattice rotation. Focusing on this rotational degree of freedom, we treat the symmetric strain and antisymmetric local rotation as independent perturbations and incorporate their effects microscopically through deformation-induced modulations of the electronic hopping amplitudes. We find that the local rotation induces characteristic diagonal electric quadrupoles that are distinct from those generated by the symmetric shear strain. The rotation-induced response is dominated by the intraband contribution and increases approximately linearly with the ferroaxial crystal field, vanishing in the absence of ferroaxial order. In contrast, the symmetric-shear-induced response remains finite without ferroaxial order and contains both intraband and interband contributions. These results demonstrate that the antisymmetric local rotation provides a distinct electronic response channel characteristic of the ferroaxial state.

Synthetic chord substitutions offer controlled tests of music generation, but their effects can differ from those of a complete recognized chord sequence. We propose structure-matched calibration, which constructs synthetic chord sequences that match the changed positions and harmonic-relation composition of recognizer replay. Paired generation compares both target-response magnitude and output-chord agreement with replay. On 29 of 30 MUSDB18-HQ songs, central four-second tritone corruption produces a larger target response than complete replay in MIDI-SAG. On 24 held-out MoisesDB songs, structure matching reduces target-response distance to replay by 81% for MIDI-SAG and 77% for MusicGen-Chord. Distance decreases on every song in both models with CNN--CRF. Joint matching also reduces output-chord mismatch with replay by 8--17 percentage points relative to temporal or relational matching alone.

We present Brain Harmony (BrainHarmonix), the first multimodal brain foundation model that unifies structural morphology and functional dynamics into compact 1D token representations. The model was pretrained on two of the largest neuroimaging datasets to date, encompassing 64,594 T1-weighted structural MRI 3D volumes (~ 14 million images) and 70,933 functional MRI (fMRI) time series. BrainHarmonix is grounded in two foundational neuroscience principles: structure complements function - structural and functional modalities offer distinct yet synergistic insights into brain organization; function follows structure - brain functional dynamics are shaped by cortical morphology. The modular pretraining process involves single-modality training with geometric pre-alignment followed by modality fusion through shared brain hub tokens. Notably, our dynamics encoder uniquely handles fMRI time series with heterogeneous repetition times (TRs), addressing a major limitation in existing models. BrainHarmonix is also the first to deeply compress high-dimensional neuroimaging signals into unified, continuous 1D tokens, forming a compact latent space of the human brain. BrainHarmonix achieves strong generalization across diverse downstream tasks, including neurodevelopmental and neurodegenerative disorder classification and cognition prediction - consistently outperforming previous approaches. Our models - pretrained on 8 H100 GPUs - aim to catalyze a new era of AI-driven neuroscience powered by large-scale multimodal neuroimaging.

The transition of an impulsively excited kink oscillation of a solar coronal loop to an oscillation with a stationary amplitude, i.e., the damping pattern, is determined using the low-dimensional self-oscillation model. In the model, the decayless kink oscillations are sustained by the interaction of the oscillating loop with an external quasi-steady flow. The analytical solution is based on the assumption that the combined effect of the effective dissipation, for example, by resonant absorption, and interaction with an external flow, is weak. The effect is characterised by a dimensionless coupling parameter. The damping pattern is found to depend upon the initial amplitude and the coupling parameter. The approximate expression shows a good agreement with a numerical solution of the self-oscillation equation. The plausibility of the established damping pattern is demonstrated by an observational example. Notably, the damping pattern is not exponential, and the characteristic decay time is different from the time determined by the traditionally used exponential damping fit. Implications of this finding for seismology of the solar coronal plasmas are discussed. In particular, it is suggested that a very rapid, in less than the oscillation period, decay of the oscillation to the stationary level, achieved for larger values of the coupling parameter, can explain the relative rareness of the kink oscillation events.

Existing audio-to-score (A2S) systems primarily focus on classical music, and the application to popular music remains underexplored. This paper first presents the new SheetSage-A2S Dataset, which includes 61 hours of audio with **kern score encodings for 9,468 clips originating from 6,066 unique songs, the first of its kind to facilitate A2S research for popular music. Additionally, we improve on existing A2S approaches by using data augmentation and MuQ, a pretrained feature-extraction model for music audio, to enhance generalisation abilities and extract meaningful audio features. Results show that the proposed A2S model achieves 4.98% symbol error rate (SER) on the Quartets collection for classical music, which significantly outperforms the 15.3% SER from the existing state-of-the-art (Alfaro-Contreras et al. 2024). Additionally, our model achieves 20.92% SER on the SheetSage-A2S dataset for popular music, serving as a strong benchmark for future research. The dataset, model, and code are made publicly available at: https://github.com/Multimodal-Music-Research-Lab/SheetSage2Kern_model.

We update predictions for observables in the "delicate" D3/anti-D3 inflationary model on the conifold. We use a full CMB likelihood calculation to assess goodness-of-fit, which is necessary because in this model the zeta power spectrum often cannot be modelled as a power-law over observable scales. For the first time we are able to provide accurate forecasts for the amplitude of three-point correlations. In a significant portion of its parameter space the model follows Maldacena's single-field prediction fNL ~ -(5/12)(ns-1) if nt << 1. Therefore |fNL| is usually small when the power spectrum satisfies observational constraints. In a small number of cases the bispectrum is instead dominated by effects from rapid switching between angular minima. The resulting amplitudes are larger, but mostly with unacceptable spectral behaviour. In the most extreme case we obtain |fNLeq| ~ 75 at kt/3 = 0.002/Mpc. It has been suggested that the quasi-single field inflation ("QSFI") mechanism could produce significant 3-point correlations in this model. We do observe rare shifts in amplitude between equilateral and squeezed configurations that could possibly be associated with QSFI effects, but more investigation is needed to establish the full bispectrum shape. There is evidence of "shape" running between equilateral and squeezed configurations that may be inherited from the scale dependence of the spectrum. We explore the dependence of observables on discrete choices such as the truncation point of the potential. Our analysis illustrates the advantages of a standard format for information exchange within the inflationary model-building and testing community.

Sonification -- the mapping of data to non-speech audio -- offers an underexplored channel for representing complex dynamical systems. We treat El Niño-Southern Oscillation (ENSO), a canonical example of low-dimensional climate chaos, as a test case for culturally-situated sonification evaluated through complex systems diagnostics. Using parameter-mapping sonification of the Niño 3.4 sea surface temperature anomaly index (1870--2024), we encode ENSO variability into two traditional Javanese gamelan pentatonic systems (pelog and slendro) across four composition strategies, then analyze the resulting audio as trajectories in a two-dimensional acoustic phase space. Recurrence-based diagnostics, convex hull geometry, and coupling analysis reveal that the sonification pipeline preserves key dynamical signatures: alternating modes produce the highest trajectory recurrence rates, echoing ENSO's quasi-periodicity; layered polyphonic modes explore the broadest phase space regions; and the two scale families induce qualitatively distinct coupling regimes between spectral brightness and energy -- predominantly anti-phase in pelog but near-independent in slendro. Phase space trajectory analysis provides a rigorous geometric framework for comparing sonification designs within a complex systems context. Perceptual validation remains necessary; we contribute the dynamical systems methodology for evaluating such mappings.