Human neurophysiology suggests that artistic beauty cannot easily be disentangled from sexual attraction. It is, for instance, very difficult to appreciate Sandro Botticelli’s Primavera, the arguably “most beautiful painting ever painted,” when a beautiful woman or man is standing in front of that picture. Indeed so strong may be the distraction, and so deep the emotional impact, that it might not be unreasonable to speculate whether aesthetics, in particular beauty and harmony in art, could be best understood in terms of surrogates for natural beauty. This might be achieved through the process of artistic creation, idealization and “condensation.”
In this line of thought, in Hegelian terms, artistic beauty is the sublimation, idealization, completion, condensation and augmentation of natural beauty. Very different from Hegel who asserts that artistic beauty is “born of the spirit and born again, and the higher the spirit and its productions are above nature and its phenomena, the higher, too, is artistic beauty above the beauty of nature” what is believed here is that human neurophysiology can hardly be disregarded for the human creation and perception of art; and, in particular, of beauty in art. Stated differently, we are inclined to believe that humans are invariably determined by (or at least intertwined with) their natural basis that any neglect of it results in a humbling experience of irritation or even outright ugliness; no matter what social pressure groups or secret services may want to promote.
Thus, when it comes to the intensity of the experience, the human perception of artistic beauty, as sublime and refined as it may be, can hardly transcend natural beauty in its full exposure. In that way, art represents both the capacity as well as the humbling ineptitude of its creators and audiences.
Leaving these idealistic realms and come back to the quantization of musical systems. The universe of music consists of an infinity – indeed a continuum – of tones and ways to compose, correlate and arrange them. It is not evident how to quantize sounds, and in particular music, in general. One way to proceed would be a microphysical one: to start with frequencies of sound waves in air and quantize the spectral modes of these (longitudinal) vibrations very similar to phonons in solid state physics.
For the sake of relating to music, however, a different approach that is not dissimilar to the Deutsch-Turing approach to universal (quantum) computability, or Moore’s automata analogues to complementarity: a musical instrument is quantized, concerned with an octave, realized by the eight white keyboard keys typically written c, d, e, f, g, a, b, c′ (in the C major scale).
In analogy to quantum information quantization of tones is considered for a nomenclature in analogy to classical musical representation to be further followed up by introducing typical quantum mechanical features such as the coherent superposition of classically distinct tones, as well as entanglement and complementarity in music…..quantum music