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The 2015 report often called “First Quantum Music Composition Unveiled” described a theoretical framework for quantum music by physicists Karl Svozil and Volkmar Putz—not a verified performance of a composition on a quantum computer. Their model treated notes as possible outcomes of a quantum state, so listening could yield different melodies. Later projects have been called the “first” quantum music composition too, and the competing claims do not establish a single, independently settled first.
What the 2015 quantum-music proposal actually was
The report concerned a mathematical idea for making music behave differently from a fixed recording. Svozil and Putz described notes as possible outcomes associated with a quantum state. Their example used seven notes represented in a seven-dimensional Hilbert space, with the probabilities assigned to the possible notes adding to one.
A pure musical state in this model is a linear combination of notes, each associated with a probability. A “melody” is the state’s evolution over time. That is a description of how a musical system might be defined; it is not evidence that a finished piece was composed, performed, or heard using quantum hardware.
How a listener might hear a different melody
In ordinary playback, listeners hear the same sequence of recorded notes. In the proposed model, observing a superposed musical state could produce one of its component notes probabilistically. Repeating the process could result in different note sequences, even when they arise from the same underlying composition.
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The account illustrates the idea with two possible notes, C and G. Sequences could include C→G, G→C, C→C, or G→G, with probabilities calculated from the state. This is not a promise that every listener would necessarily hear a wholly different piece: it describes the model’s possible outcomes, not a documented audience test.
“A classical audience may perceive one and the same quantum musical composition very differently.”
— Karl Svozil and Volkmar Putz, as quoted in the contemporaneous account
The proposal’s account said that nobody then knew how to create quantum music or how a person might experience it directly. It suggested an ordinary-computer simulation with headphones as a way to approximate the effect. That distinction matters: a simulation can model probabilistic outcomes without showing that a quantum computer generated or performed them.
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Not securely. The 2015 framing is best understood as an early theoretical description or conceptual framework, rather than proof of the first completed quantum-music performance. Later sources apply “first” language to different works, but the claims are not a settled, independently adjudicated global record.
| Work or project | What the available account says | What that establishes |
|---|---|---|
| Svozil and Putz’s 2015 framework | A mathematical proposal in which note outcomes are probabilistic; the contemporaneous account says direct creation and human experience were not then understood. | A theoretical framework, not a verified quantum-hardware performance. |
| Yang Zhang’s Invisible Attraction (2025) | Mercury Orbit Music calls it the “first-ever quantum-driven music composition” and describes it as part of the Quantum Symphony series. | The label is the company’s own claim; the account does not independently settle priority. |
| Rakhat-Bi Abdyssagin’s Quantum Universe | A 2026 Nazarbayev University event notice describes the symphony for organ, quantum guitar and electronics as the “world’s first quantum music composition,” and says it opened the Oxford Quantum Centenary Conference in 2025. | The notice documents the institution’s description and reported event, not an independent ruling on which work was first. |
These descriptions may use “quantum music” differently—one can refer to a theoretical model, another to a quantum-driven work, and another to a performed symphony. Without a common definition and independent evidence comparing the projects, the broadest “world’s first” claim remains unresolved.
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Can quantum computers compose music?
Quantum-computer-music research goes beyond the 2015 proposal, but the phrase can cover distinct activities. A quantum system might supply data that is turned into sound, or a composition process might use quantum-computing methods. Neither description by itself shows that a quantum computer autonomously composed a piece or achieved an advantage over classical computing.
Turning quantum-system data into sound
DESY describes a “qeyboard” concept that maps time-evolving quantum-circuit expectation values to sound features such as intensity, frequency and tone. Its material also discusses extracting sound parameters from systems such as the Ising model. This is a form of sonification: selected properties of a system are translated into audible features.
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Composition research and documentation
The book Quantum Computer Music: Foundations, Methods and Advanced Concepts reflects a broader research area concerned with quantum-computing-aided composition. Work in this field can involve notation, computational methods, sonification or performance; those categories should not be conflated when asking whether a particular piece used quantum hardware.
How to assess a quantum-music “first” claim
When a project is described as quantum music, the useful question is what role the quantum system actually played. A clear account should distinguish a theoretical model from an executed performance and a classical simulation from work involving quantum hardware. It should also explain how notes or sound parameters were generated, whether the listener could affect or vary the result, and whether any claimed quantum advantage was demonstrated.
Those details help separate an evocative label from a reproducible technical description. A work may be musically meaningful without using quantum hardware, just as using quantum-derived data does not automatically make the composition process itself quantum.
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