Track 1: Looking Toward Hilbert Space	9:53
Track 2: Quantum Etude_00	00:24
Track 3: the Superstring Octet	10:49
Track 4: Collapsing Waves	10:19
Track 5: Entangled Ambience	15:09
Track 6: Song of Interference (in three movements)	11:05
Track 7: The Infinite and the Infinitesimal (in four movements)	18:23
Track 8: The Infinite and the Infinitesimal (condensed)	5:41

Reflections From Hilbert Space

In quantum mechanics, Hilbert space is an infinite-dimensional, complex vector space that serves as the mathematical basis for describing all possible states of a quantum system. Each state represented by a vector symbolized as |ψ⟩.  (psi = the wave function) Since the wave functions of quantum states collapse when measured, we can only observe them as inferred by the measurements. In other words, we observe quantum wave field interferences through their reflections.

The compositions in this project represent the results of QCC research and creative practice in the area of quantum computing (QC) and artificial intelligence (AI). With the exception of Track 1, each track was derived directly from this  research. Dr. Rhoades has been studying quantum physics for many years, as a layman, and it was a natural progression of these studies to begin working with QC and AI toward musical composition.

There is an arc to the order of the compositions here. Track 1, derived from a generative MAX patch, was a general target for the level of musical expression for the project. The subsequent tracks begin by investigating quantum workflows and timbral relationships. As the research and creative praxis progressed, the compositions began being more about the composition than the research. Tracks 2 – 5 are musical compositions that express quantum wave fields interacting during simulated circuit executions. Finally, Track 6 was transduced directly from quantum hardware circuit execution. What you are actually hearing are the qubits as they interact with each other and this interaction is composed into a musically relevant form.

Track 1: “Looking Toward Hilbert Space” was inspired and influenced by Michael’s research into this area but was not directly derived from it. It is a result of a generative MAX patch titled, “an Eternal Song version 5”… the 5th iteration, in as many years, of the patch.

Track 2: The “Superstring Octet” is the result of direct transductions from wave field interference patterns, during specifically designed circuit executions in Hilbert space, to the audio listening space. It was an important tenant of this research and creative practice to employ QC in a manner that is only possible with QC. Therefore sonifications and quasi-random number generations, which can be accomplished with classical computing, were not within the scope. Conversely, implementing direct correlations between QC and the audio listening space is precisely the goal. This composition is thus comprised of humanly perceivable quantum wave function activities captured during specifically constrained quantum circuit executions. The novel results establish an unprecedented musical syntax. Listen carefully. What do you hear within these waveforms?

Track 3: “Collapsing Waves” is comprised of 64 samples, each 1/100th of a second in length, that were transduced directly from wavefield interference patterns during quantum circuit execution. The samples were time-stretched numerous times and their frequencies drastically raised to put them into the range of human hearing. They are the same samples used in the creation of Track 2, however, they were further manipulated by a generative MAX patch. The results were edited into the final composition.

Track 4: “Entangled Ambience” is a further extension of Track 3. However, the results were unedited. What you are hearing are the raw waveforms being playfully manipulated, while maintaining their original quantum-based relationships. While listening to this track, allow yourself to be enveloped by this novel quantum audio environment.

Track 5: “Song of Interference” was composed from samples in the purist forms of the timbres that resulted from waveform interference and entanglement schemas during quantum circuit execution. The samples were processed through a generative MAX patch, which was created specifically for this composition. Once again, the results were edited into the final 32-channel composition, mixed down to stereo, and presented here.

Track 6: Finally, “The Infinite and the Infinitesimal” is a fully quantum derived work. Using the Quantum Inspire, Tuna-9, backend, each of the 64, .01 second in length, audio waveforms were transduced directly from quantum interference over a 12-hour quantum circuit execution in five batches. This composition is the crowning achievement of phase II of the research project. Though the waveforms differed from the simulations due to random noise and momentary decoherence, thus appearing more complex, they sounded “smoother” and more refined. This composition demonstrates that the initial intuition that quantum computing opens exciting new worlds of quantum computational creativity was not misguided and certainly justified the extreme depth and breadth of endeavor involved.

Further expressions of uniquely quantum-derived musical compositions are in the pipeline and new projects will be posted as they develop. This new frontier is utterly fascinating… future facing… and there are no roadmaps. The depth and breadth of potential in the area quantum computational creativity is boundless and it is the future occurring NOW!