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Abstract. We investigated ocean surface current variability in the region east of Okinawa Island in the spring of 1998 using in situ and remotely sensed data including surface velocity estimates inferred from HF ocean radars. Most previous studies utilizing HF ocean radars were limited to shallow continental shelves. In contrast, most of the observation area in this study was in the open ocean. During the observation period the HF ocean radars sampled a region where anticyclonic and cyclonic mesoscale eddies were adjacent to each other. The HF-radar-derived ocean currents agree with those measured by a current meter. The surface currents were highly variable in both time and space and were affected by the eddy field in the offshore region. The current field was related to the near-surface water temperature. For example, a local temperature rise was often associated with northeastward flows. The surface currents in regions shallower than about 1000 m had a significant correlation with local wind forcing. Our HF ocean radars often detected a strongly convergent zone, which was different in character from those described in previous studies in that it was in the deep ocean. From other data such as National Oceanic and Atmospheric Administration advanced very high resolution radiometer imagery, we concluded that the convergent zone was due to mesoscale eddy fronts. IntroductionMeasurements of ocean surface currents are important for physical oceanography, fishery studies, and monitoring the coastal environment for contaminants such as oil pollution. One promising method that efficiently measures the evolving current field over broad spatial areas uses high-frequency (HF) ocean 31,057

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While music information retrieval (MIR) has made substantial progress in automatic analysis of audio similarity for Western music, it remains unclear whether these algorithms can be meaningfully applied to cross-cultural analyses of more diverse samples. Here we collected perceptual ratings from 62 participants using a global sample of 30 traditional songs, and compared these ratings against both pre-existing expert annotations and state-of-the-art audio similarity algorithms. We found that different methods of perceptual ratings all produced similar, moderate levels of inter-rater reliability comparable to previous studies, but that agreement between human and automated methods was always low regardless of the specific methods used to calculate musical similarity. Our findings suggest that current MIR methods are unable to measure cross-cultural music similarity in perceptually meaningful ways. We propose future directions to enable meaningful automatic analysis of all the world’s music.