Daily Papers

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.

This paper concludes a series of studies on the polyharmonic cascade, a deep machine learning architecture theoretically derived from indifference principles and the theory of random functions. A universal initialization procedure is proposed, based on symmetric constellations in the form of hyperoctahedra with a central point. This initialization not only ensures stable training of cascades with tens and hundreds of layers (up to 500 layers without skip connections), but also radically simplifies the computations. Scalability and robustness are demonstrated on MNIST (98.3% without convolutions or augmentations), HIGGS (AUC approximately 0.885 on 11M examples), and Epsilon (AUC approximately 0.963 with 2000 features). All linear algebra is reduced to 2D operations and is efficiently executed on GPUs. A public repository and an archived snapshot are provided for full reproducibility.

In a previous paper it was shown that a machine learning regression problem can be solved within the framework of random function theory, with the optimal kernel analytically derived from symmetry and indifference principles and coinciding with a polyharmonic spline. However, a direct application of that solution is limited by O(N^3) computational cost and by a breakdown of the original theoretical assumptions when the input space has excessive dimensionality. This paper proposes a cascade architecture built from packages of polyharmonic splines that simultaneously addresses scalability and is theoretically justified for problems with unknown intrinsic low dimensionality. Efficient matrix procedures are presented for forward computation and end-to-end differentiation through the cascade.

In this paper, we study the flow of signals through linear paths with the nonlinear condition that a node emits a signal when it receives external stimuli or when two incoming signals from other nodes arrive coincidentally with a combined amplitude above a fixed threshold. Sets of such nodes form a polychrony group and can sometimes lead to cascades. In the context of this work, cascades are polychrony groups in which the number of nodes activated as a consequence of other nodes is greater than the number of externally activated nodes. The difference between these two numbers is the so-called profit. Given the initial conditions, we predict the conditions for a vertex to activate at a prescribed time and provide an algorithm to efficiently reconstruct a cascade. We develop a dictionary between polychrony groups and graph theory. We call the graph corresponding to a cascade a chinampa. This link leads to a topological classification of chinampas. We enumerate the chinampas of profits zero and one and the description of a family of chinampas isomorphic to a family of partially ordered sets, which implies that the enumeration problem of this family is equivalent to computing the Stanley-order polynomials of those partially ordered sets.

We introduce materiomusic as a generative framework linking the hierarchical structures of matter with the compositional logic of music. Across proteins, spider webs and flame dynamics, vibrational and architectural principles recur as tonal hierarchies, harmonic progressions, and long-range musical form. Using reversible mappings, from molecular spectra to musical tones and from three-dimensional networks to playable instruments, we show how sound functions as a scientific probe, an epistemic inversion where listening becomes a mode of seeing and musical composition becomes a blueprint for matter. These mappings excavate deep time: patterns originating in femtosecond molecular vibrations or billion-year evolutionary histories become audible. We posit that novelty in science and art emerges when constraints cannot be satisfied within existing degrees of freedom, forcing expansion of the space of viable configurations. Selective imperfection provides the mechanism restoring balance between coherence and adaptability. Quantitative support comes from exhaustive enumeration of all 2^12 musical scales, revealing that culturally significant systems cluster in a mid-entropy, mid-defect corridor, directly paralleling the Hall-Petch optimum where intermediate defect densities maximize material strength. Iterating these mappings creates productive collisions between human creativity and physics, generating new information as musical structures encounter evolutionary constraints. We show how swarm-based AI models compose music exhibiting human-like structural signatures such as small-world connectivity, modular integration, long-range coherence, suggesting a route beyond interpolation toward invention. We show that science and art are generative acts of world-building under constraint, with vibration as a shared grammar organizing structure across scales.

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.

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.

Diffusion-based audio and music generation models commonly generate music by constructing an image representation of audio (e.g., a mel-spectrogram) and then converting it to audio using a phase reconstruction model or vocoder. Typical vocoders, however, produce monophonic audio at lower resolutions (e.g., 16-24 kHz), which limits their effectiveness. We propose MusicHiFi -- an efficient high-fidelity stereophonic vocoder. Our method employs a cascade of three generative adversarial networks (GANs) that convert low-resolution mel-spectrograms to audio, upsamples to high-resolution audio via bandwidth expansion, and upmixes to stereophonic audio. Compared to previous work, we propose 1) a unified GAN-based generator and discriminator architecture and training procedure for each stage of our cascade, 2) a new fast, near downsampling-compatible bandwidth extension module, and 3) a new fast downmix-compatible mono-to-stereo upmixer that ensures the preservation of monophonic content in the output. We evaluate our approach using both objective and subjective listening tests and find our approach yields comparable or better audio quality, better spatialization control, and significantly faster inference speed compared to past work. Sound examples are at https://MusicHiFi.github.io/web/.

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.

Graphs can be leveraged to model polyphonic multitrack symbolic music, where notes, chords and entire sections may be linked at different levels of the musical hierarchy by tonal and rhythmic relationships. Nonetheless, there is a lack of works that consider graph representations in the context of deep learning systems for music generation. This paper bridges this gap by introducing a novel graph representation for music and a deep Variational Autoencoder that generates the structure and the content of musical graphs separately, one after the other, with a hierarchical architecture that matches the structural priors of music. By separating the structure and content of musical graphs, it is possible to condition generation by specifying which instruments are played at certain times. This opens the door to a new form of human-computer interaction in the context of music co-creation. After training the model on existing MIDI datasets, the experiments show that the model is able to generate appealing short and long musical sequences and to realistically interpolate between them, producing music that is tonally and rhythmically consistent. Finally, the visualization of the embeddings shows that the model is able to organize its latent space in accordance with known musical concepts.

Modeling the natural contour of fundamental frequency (F0) plays a critical role in music audio synthesis. However, transcribing and managing multiple F0 contours in polyphonic music is challenging, and explicit F0 contour modeling has not yet been explored for polyphonic instrumental synthesis. In this paper, we present ViolinDiff, a two-stage diffusion-based synthesis framework. For a given violin MIDI file, the first stage estimates the F0 contour as pitch bend information, and the second stage generates mel spectrogram incorporating these expressive details. The quantitative metrics and listening test results show that the proposed model generates more realistic violin sounds than the model without explicit pitch bend modeling. Audio samples are available online: daewoung.github.io/ViolinDiff-Demo.

This paper studies a machine learning regression problem as a multivariate approximation problem using the framework of the theory of random functions. An ab initio derivation of a regression method is proposed, starting from postulates of indifference. It is shown that if a probability measure on an infinite-dimensional function space possesses natural symmetries (invariance under translation, rotation, scaling, and Gaussianity), then the entire solution scheme, including the kernel form, the type of regularization, and the noise parameterization, follows analytically from these postulates. The resulting kernel coincides with a generalized polyharmonic spline; however, unlike existing approaches, it is not chosen empirically but arises as a consequence of the indifference principle. This result provides a theoretical foundation for a broad class of smoothing and interpolation methods, demonstrating their optimality in the absence of a priori information.

We show that coherent, long-form musical composition can emerge from a decentralized swarm of identical, frozen foundation models that coordinate via stigmergic, peer-to-peer signals, without any weight updates. We compare a centralized multi-agent system with a global critic to a fully decentralized swarm in which bar-wise agents sense and deposit harmonic, rhythmic, and structural cues, adapt short-term memory, and reach consensus. Across symbolic, audio, and graph-theoretic analyses, the swarm yields superior quality while delivering greater diversity and structural variety and leads across creativity metrics. The dynamics contract toward a stable configuration of complementary roles, and self-similarity networks reveal a small-world architecture with efficient long-range connectivity and specialized bridging motifs, clarifying how local novelties consolidate into global musical form. By shifting specialization from parameter updates to interaction rules, shared memory, and dynamic consensus, MusicSwarm provides a compute- and data-efficient route to long-horizon creative structure that is immediately transferable beyond music to collaborative writing, design, and scientific discovery.

All known up to now models of chemical oscillations are based exclusively on kinetic considerations. The chemical gross-process equation is split usually by elementary steps, each step is supplied by an arrow and a differential equation, joint solution to such a construction under certain, often ad hoc chosen conditions and with ad hoc numerical coefficients leads to chemical oscillations. Kinetic perception of chemical oscillations reigns without exclusions. However, as it was recently shown by the author for the laser and for the electrochemical systems, chemical oscillations follow also from solutions to the basic expressions of discrete thermodynamics of chemical equilibria. Graphically those solutions are various fork bifurcation diagrams, and, in certain types of chemical systems, oscillations are well pronounced in the bistable bifurcation areas. In this work we describe a general thermodynamic approach to chemical oscillations as opposite to kinetic models, and depict some of their new features like spontaneity and fractality. The paper doubts exclusivity of the kinetic approach to chemical oscillations, and its aim is to discuss and exemplify thermodynamically predicted chemical oscillations in closed chemical systems.

Automatic music generation systems have gained in popularity and sophistication as advances in cloud computing have enabled large-scale complex computations such as deep models and optimization algorithms on personal devices. Yet, they still face an important challenge, that of long-term structure, which is key to conveying a sense of musical coherence. We present the MorpheuS music generation system designed to tackle this problem. MorpheuS' novel framework has the ability to generate polyphonic pieces with a given tension profile and long- and short-term repeated pattern structures. A mathematical model for tonal tension quantifies the tension profile and state-of-the-art pattern detection algorithms extract repeated patterns in a template piece. An efficient optimization metaheuristic, variable neighborhood search, generates music by assigning pitches that best fit the prescribed tension profile to the template rhythm while hard constraining long-term structure through the detected patterns. This ability to generate affective music with specific tension profile and long-term structure is particularly useful in a game or film music context. Music generated by the MorpheuS system has been performed live in concerts.

Recent advancements in deep learning have led to drastic improvements in speech segregation models. Despite their success and growing applicability, few efforts have been made to analyze the underlying principles that these networks learn to perform segregation. Here we analyze the role of harmonicity on two state-of-the-art Deep Neural Networks (DNN)-based models- Conv-TasNet and DPT-Net. We evaluate their performance with mixtures of natural speech versus slightly manipulated inharmonic speech, where harmonics are slightly frequency jittered. We find that performance deteriorates significantly if one source is even slightly harmonically jittered, e.g., an imperceptible 3% harmonic jitter degrades performance of Conv-TasNet from 15.4 dB to 0.70 dB. Training the model on inharmonic speech does not remedy this sensitivity, instead resulting in worse performance on natural speech mixtures, making inharmonicity a powerful adversarial factor in DNN models. Furthermore, additional analyses reveal that DNN algorithms deviate markedly from biologically inspired algorithms that rely primarily on timing cues and not harmonicity to segregate speech.

We introduce Noise2Music, where a series of diffusion models is trained to generate high-quality 30-second music clips from text prompts. Two types of diffusion models, a generator model, which generates an intermediate representation conditioned on text, and a cascader model, which generates high-fidelity audio conditioned on the intermediate representation and possibly the text, are trained and utilized in succession to generate high-fidelity music. We explore two options for the intermediate representation, one using a spectrogram and the other using audio with lower fidelity. We find that the generated audio is not only able to faithfully reflect key elements of the text prompt such as genre, tempo, instruments, mood, and era, but goes beyond to ground fine-grained semantics of the prompt. Pretrained large language models play a key role in this story -- they are used to generate paired text for the audio of the training set and to extract embeddings of the text prompts ingested by the diffusion models. Generated examples: https://google-research.github.io/noise2music

We introduce rd-spiral, an open-source Python library for simulating 2D reaction-diffusion systems using pseudo-spectral methods. The framework combines FFT-based spatial discretization with adaptive Dormand-Prince time integration, achieving exponential convergence while maintaining pedagogical clarity. We analyze three dynamical regimes: stable spirals, spatiotemporal chaos, and pattern decay, revealing extreme non-Gaussian statistics (kurtosis >96) in stable states. Information-theoretic metrics show 10.7% reduction in activator-inhibitor coupling during turbulence versus 6.5% in stable regimes. The solver handles stiffness ratios >6:1 with features including automated equilibrium classification and checkpointing. Effect sizes (delta=0.37--0.78) distinguish regimes, with asymmetric field sensitivities to perturbations. By balancing computational rigor with educational transparency, rd-spiral bridges theoretical and practical nonlinear dynamics.

We propose a novel nonlinear bidirectionally coupled heterogeneous chain network whose dynamics evolve in discrete time. The backbone of the model is a pair of popular map-based neuron models, the Chialvo and the Rulkov maps. This model is assumed to proximate the intricate dynamical properties of neurons in the widely complex nervous system. The model is first realized via various nonlinear analysis techniques: fixed point analysis, phase portraits, Jacobian matrix, and bifurcation diagrams. We observe the coexistence of chaotic and period-4 attractors. Various codimension-1 and -2 patterns for example saddle-node, period-doubling, Neimark-Sacker, double Neimark-Sacker, flip- and fold-Neimark Sacker, and 1:1 and 1:2 resonance are also explored. Furthermore, the study employs two synchronization measures to quantify how the oscillators in the network behave in tandem with each other over a long number of iterations. Finally, a time series analysis of the model is performed to investigate its complexity in terms of sample entropy.

We present Symphony, an E(3)-equivariant autoregressive generative model for 3D molecular geometries that iteratively builds a molecule from molecular fragments. Existing autoregressive models such as G-SchNet and G-SphereNet for molecules utilize rotationally invariant features to respect the 3D symmetries of molecules. In contrast, Symphony uses message-passing with higher-degree E(3)-equivariant features. This allows a novel representation of probability distributions via spherical harmonic signals to efficiently model the 3D geometry of molecules. We show that Symphony is able to accurately generate small molecules from the QM9 dataset, outperforming existing autoregressive models and approaching the performance of diffusion models.

Classical supply chain risk models treat node failures as statistically independent events, systematically underestimating cascade probabilities when supplier dependencies are strongly correlated. At n=40 nodes, the full correlated failure distribution requires O(2^n) classical samples, a regime where exact simulation demands 17.6 TB of memory and over 369,000 hours of computation on a standard workstation. We present QR-SPPS (Quantum-Native Retail Shock Propagation and Policy Stress Simulator), a three-algorithm quantum pipeline implemented using the Qiskit framework with the Aer statevector_simulator backend. First, a 40-node, 4-tier retail supply network is encoded as a 40-qubit Ising Hamiltonian using OpenFermion QubitOperator, where ZZ coupling terms encode correlated cascade probabilities structurally absent from classical Monte Carlo. Second, a hardware-efficient VQE circuit finds the ground-state stress distribution with zero error, detecting entangled cascade failures in 14/40 nodes with max|ΔP|=0.637 versus classical Monte Carlo. Third, we introduce the first application of ADAPT-VQE gradient screening to counterfactual macroeconomic policy evaluation: six crisis interventions are ranked in O(1) Qiskit operator evaluations per policy, a 287x speedup over sequential VQE re-optimisation. Fourth, Density-of-States QPE (DOS-QPE) reconstructs the full eigenspectrum via 32-step Trotter evolution and introduces a novel mapping of the Boltzmann catastrophe probability P_cat(T) to VIX-equivalent market volatility temperature, enabling direct integration into regulatory Value-at-Risk frameworks. Qiskit Aer scaling benchmarks confirm exponential classical intractability at 40 qubits.

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.