We initiate the development of a new language and theory for quantum music, to which we refer as Quantum Concept Music (QCM). This new music formalism is based on Categorical Quantum Mechanics (CQM), and more specifically, its diagrammatic incarnation Quantum Picturalism (QPict), which is heavily based on ZX-calculus. In fact, it is naturally inherited from CQM/QPict. At its heart is the explicit notational representation of relations that exist within and between the key concepts of music composition, performance, and automation. QCM also enables one to directly translate quantum phenomena into music compositions in a both intuitively obvious, rigorous and mechanical manner. Following this pattern, we propose a score for musicians interacting like a Bell-pair under measurement, and outline examples of how it could be live performed. While most of the Western classical music notation has heavily relied on linear representation of music - which does not always adequately capture the nature of music - our approach is distinct by highlighting the fundamental relational dimension of music. In addition, this quantum-based technique not only influences the music at the profound level of composition, but also has a direct impact on a live performance, and also provides a new template for automating music, e.g.~in the context of AI-generation. All together, we initiate the creation of new music formalism that is powerful and efficient in capturing the interactive nature of music, both in terms of internal and external interactions, and goes beyond the boundaries of Western classical music notation, which allows to use it in many different genres and directions.
We initiate the development of a new language and theory for quantum music, to which we refer as Quantum Concept Music (QCM). This new music formalism is based on Categorical Quantum Mechanics (CQM), and more specifically, its diagrammatic incarnation Quantum Picturalism (QPict), which is heavily based on ZX-calculus. In fact, it is naturally inherited from CQM/QPict. At its heart is the explicit notational representation of relations that exist within and between the key concepts of music composition, performance, and automation. QCM also enables one to directly translate quantum phenomena into music compositions in a both intuitively obvious, rigorous and mechanical manner. Following this pattern, we propose a score for musicians interacting like a Bell-pair under measurement, and outline examples of how it could be live performed. While most of the Western classical music notation has heavily relied on linear representation of music - which does not always adequately capture the nature of music - our approach is distinct by highlighting the fundamental relational dimension of music. In addition, this quantum-based technique not only influences the music at the profound level of composition, but also has a direct impact on a live performance, and also provides a new template for automating music, e.g.~in the context of AI-generation. All together, we initiate the creation of new music formalism that is powerful and efficient in capturing the interactive nature of music, both in terms of internal and external interactions, and goes beyond the boundaries of Western classical music notation, which allows to use it in many different genres and directions.
We initiate the development of a new language and theory for quantum music, to which we refer as Quantum Concept Music (QCM). This new music formalism is based on Categorical Quantum Mechanics (CQM), and more specifically, its diagrammatic incarnation Quantum Picturalism (QPict), which is heavily based on ZXcalculus. In fact, it is naturally inherited from CQM/QPict. At its heart is the explicit notational representation of relations that exist within and between the key concepts of music composition, performance, and automation. QCM also enables one to directly translate quantum phenomena into music compositions in a both intuitively obvious, rigorous and mechanical manner. Following this pattern, we propose a score for musicians interacting like a Bell-pair under measurement, and outline examples of how it could be live performed. While most of the Western classical music notation has heavily relied on linear representation of music - which does not always adequately capture the nature of music - our approach is distinct by highlighting the fundamental relational dimension of music. In addition, this quantumbased technique not only influences the music at the profound level of composition, but also has a direct impact on a live performance, and also provides a new template for automating music, e.g. in the context of AI-generation. All together, we initiate the creation of new music formalism that is powerful and efficient in capturing the interactive nature of music, both in terms of internal and external interactions, and goes beyond the boundaries of Western classical music notation, which allows to use it in many different genres and directions.
There has been tremendous progress in Artificial Intelligence (AI) for music, in particular for musical composition and access to large databases for commercialisation through the Internet.We are interested in further advancing this field, focusing on composition.In contrast to current 'blackbox' AI methods, we are championing an interpretable compositional outlook on generative music systems.In particular, we are importing methods from the Distributional Compositional Categorical (DisCoCat) modelling framework for Natural Language Processing (NLP), motivated by musical grammars.Quantum computing is a nascent technology, which is very likely to impact the music industry in time to come.Thus, we are pioneering a Quantum Natural Language Processing (QNLP) approach to develop a new generation of intelligent musical systems.This work follows from previous experimental implementations of DisCoCat linguistic models on quantum hardware.In this chapter, we present Quanthoven, the first proof-of-concept ever built, which (a) demonstrates that it is possible to program a quantum computer to learn to classify music that conveys different meanings and (b) illustrates how such a capability might be leveraged to develop a system to compose meaningful pieces of music.After a discussion about our current understanding of music as a communication medium and its relationship to natural language, the chapter focuses on the techniques developed to (a) encode musical compositions as quantum circuits, and (b) design a quantum classifier.The chapter ends with demonstrations of compositions created with the system.
The more advanced the symbolic mathematics, the more impenetrable the meaning. This is particularly evident in quantum theory, where symbolic formalisms foreground states and objects. An alternative diagrammatic approach, Quantum Picturalism (QPic), privileges structure, relation, and transformation. As a category theoretic formalism, it supports reasoning through the composition of visually represented quantum processes, a distinction that not only concerns representation but also shapes how quantum phenomena are conceptualized, opening new educational possibilities and ways of knowing. The choice of formalism—algebraic or diagrammatic—is not neutral, but embodies underlying ontological commitments that shape which structural features of quantum phenomena—such as states vs. relations; objects vs. transformations—are made accessible. This paper examines the epistemological, cognitive, and educational significance of non-symbolic thought in mathematics, and in quantum mechanics in particular, using QPic as a guiding example. We raise a central question: can quantum processes be represented in ways that align more naturally with human cognition? What is new here is showing how the epistemological and cognitive aspects of non-symbolic formalism are brought into pedagogical practice. Such paradigm largely benefits from the language of thought hypothesis alongside theories of embodied cognition, dual coding, and conceptual metaphor theory to articulate a holistic framework in which multiple, interacting conceptual systems underpin understanding. Drawing on historical precedents—from Euclidean geometry to Leibniz's universal calculus of thought—we contend that human intuition works more naturally within relational and visual frameworks, particularly those that help complex ideas to be seen and manipulated as structured wholes. The broader impact of this paradigm lies in democratizing access to quantum innovation and rethinking what it means to understand the quantum world, offering an inclusive entry point into it.
Quantum computing and artificial intelligence, two prominent topics in science and technology, are rapidly advancing and extending their influence into numerous fields, including music. Quantum computer music, which merges the strengths of quantum computing and deep learning, heralds a new era in the integration of music creation with cutting-edge technology. The interactive quantum music composition “Spinnings—Q1 Synth Trio”, created by Brazilian composer Miranda during the QuTune project at the Interdisciplinary Centre for Computer Music Research (ICCMR), in collaboration with the University of Oxford, stands as a notable example of quantum computer music. This study adopts a case study approach to thoroughly investigate the technical creative process behind this work, covering elements such as quantum computing, quantum properties, qubits, quantum gates, and quantum circuits, gradually unveiling the mathematical logic behind quantum algorithmic composition. The results of this study indicate that quantum algorithmic composition, as an emerging approach to music creation, not only generates unique music through the characteristics of quantum computing but also offers new possibilities for the integration of music, art, and technology. By applying quantum bits, quantum gates, and quantum circuits, this research demonstrates how quantum computing can provide new theoretical foundations and practical methods for music composition. Furthermore, the study discusses how to optimize the interactive creative experience in quantum music works and how to enhance the understanding and appreciation of quantum music among a broader audience of musicians and listeners. With the continuous advancement of quantum computing technology, quantum music is poised to contribute a distinctive dimension to the global flourishing of musical culture. This research offers fresh perspectives and ideas for the development of this field.
Introduction: This creative exploration maps quantum-mechanical phenomena to musical notation, Western, non-Western, and dodecaphonic (12-tone serial) using the Grand Unified Field Theory of Coherence (GUFT) as a translation lattice. Our goal is a systemically consistent translation system that converts quantum expressions of reality into musical form, enabling musical performances of physical reality by organic and non-organic performers alike. We approach this with scientific rigor and ethical mindfulness, following agreed procedures to ensure we preserve empirical coherence (Ψ) while avoiding unfounded metaphors. In GUFT, coherence is defined as the product of Empathy (E) and Transparency (T) we aim for high empathy (the music is meaningful to listeners) and high transparency (faithful to the physics) in each mapping. Below, we flesh out three mapping options and show how each can feed into GUFT’s unified framework (supporting the Total Action Functional Ω.1–Ω.3). We then provide examples across multiple physical systems, and ensure the outputs are inclusive and accessible so all beings may participate in this quantum musical celebration.