It's too bad that technology in music refers to the means and not the ends. E.g., pastiche techniques in Mahler, continually developing variations in Brahms. E

It's too bad that technology in music refers to the means and not the ends. E.g., pastiche techniques in Mahler, continually developing variations in Brahms. Even octatonicism in early Messiaen, or a 70s DJ moving his hand back and forth on a spinning vinyl and rhyming to its rhythm. These are all things you can hear in the music that sound qualitatively different than music written without those techniques. In the last excerpt from the article, I hear an upward portamento (smooth rising frequency ramp). But it's the same kind of portamento as one would get from classical digital synthesis/resynthesis, or even analog synthesis. It may technically be produced by a quantum computer, but it's not a "quantum portamento" in any musically significant sense. However, maybe such a thing is possible. For example, one can adjust the partials in the 2nd pitch of a melody in such a way that the listener cannot easily tell whether that 2nd pitch is higher or lower than the first. One could then play a portamento extending from the 1st to 2nd pitch, and the direction of the portamento would reveal whether that 2nd pitch was indeed higher or lower. So in a way, "measuring" the interval distance with the portamento affects whether that 2nd pitch was higher or lower. :)