Quantum computations as a score for music in the new quantum world

For the first time since the Renaissance, we are now experiencing an era when the latest achievements of science are converging with the most striking works of art. On the other hand, a person’s private life becomes entangled with their work, absorbing their thoughts and feelings. Of course, we are talking about special people — representatives of science. All this is clearly seen in the example of the company Terra Quantum AG. Such projects of the company as Quantum Random Number Generators (QRNG), Quantum Computing (QC) and Processing Classical Signals by Quantum Information Methods (PCSQI) bring the company’s activities as close as possible to the development of contemporary music and, especially, modern musical theatre, which has become to desire advanced scientific achievements. In fact, one of members of the company Prof. Dr. Grigori Amosov who both mathematician and specialist in contemporary music noticed that if QRNG can be used to add aleatoric components to musics, QC derives a quantum score instead of traditional one, while PCSQI could create additional visual images corresponding to pure musical performances. So the idea was born to apply the development of Terra Quantum AG to create Opera narrating a life of modern scientist.

The opinion that contemporary music can not be in the prison of five lines in the air for a long time. When creating one of his most famous electronic compositions “Artikulation” a Hungarian-Austrian composer György Ligeti used such techniques as additive synthesis and spectralism characterized by sound synthesis that has certain amplitude-frequency characteristics. Later a German graphic designer Rainer Wehinger argues that to enjoy this piece it is necessary to build some additional score representing different sonorous effects with specific graphic symbols. His “Hörpartitur” looks like

 

 

In our new project opera “The Mathematician” (composer Angelica Komissarenko) both lines of a private life and of scientific discoveries are joined. While in the love line present in the plot, the main character is a little funny, trying to build his world using theory of entangled states, then in scientific activity the Mathematician manages to achieve outstanding results. His special field is the theory of quantum correlations. In the original version of the libretto, the Mathematician’s research lies in the area of proving the equivalence of the Tsirelson’s conjecture on quantum correlations and the Connes hypothesis on injective factors. Dramatically in the arxiv paper published at the beginning of 2020 it was shown that these two fundamental conjectures have a negative solution. It means that commuting quantum correlations allow us to solve principally more difficult tasks than spatial ones. The proof is based upon the theory of quantum computations. This led us to the idea that the visualizing score of the Opera should be a quantum computing line equipped with quantum gates like this


The climax of the Opera’s development falls on the defense of the Mathematician dissertation. At this moment as well as in several other scenes the audience will not only see the dynamically developing score, but also hear the quantum noise embedded in the music, developed by Terra Quantum AG. Those especial noise examples are used not only as unique music material but also as a source for aleatoric and chance implementation in music composition. In the opera there are a few episodes where melodies, rhythm, harmony, timbral design and even video patterns represent quantum-noise-based structures (programming and composing this music episodes is made by Dr. Nikolay Khrust, video programming by Alexey Nadzharov). So the quantum probability will be actualized various ways through various media in the play.
The Opera is scheduled to premiere on October 6 at the Zaryadye concert hall, located on the banks of the Moskva river near the Kremlin. The director of the performance — Ekaterina Vasileva, the conductor — Oleg Paiberdin, the production designer — Maria Chernyshova, the lighting designer — Aleksandr Romanov.