The principle of self-similarity and the features of it’s implementation in a musical composition with fractals
Abstract
The research problems of the article are related to the study of fractals as one of the types of mathematical structures and their individual “composer reading” in music. The article provides an overview of scientific research sources devoted to the study of fractals in various forms of art and literature. In more detail, we are talking about the scientific literature, in which the patterns of fractal structures are considered in the projection on musical art, a proprietary classification of fractals in music is proposed. The author focuses on the principle of self–similarity, which most vividly reveals the patterns of fractals in chamberinstrumental compositions by composers of the XX–XXI centuries – D. Ligeti, P. Nergor, Cormann, A. Key. In the process of implementing the principle of selfsimilarity, the role of repetition in music (accurate or varied) is emphasized, which is manifested in various parameters of the organization of musical material: pitch, composition technique, principles of development and shaping. The research methodology is based on scientific works dealing with the embodiment of fractals in a work of art. A. Dukhno, Ye. Nikolaeva, Yu. Kirbaba, Yu. Dmitryukova), composition techniques in music of the XX–XXI centuries (S. Kurbatskaya, T. Frantova), features of shaping and dramaturgy (V. Kholopova, V. Zaderatsky).
About the Authors
Y. A. YermakBelarus
Yelena A. Yermak, Master’s student, Piano, Composition and Musicology Faculty
220013, Minsk
A. A. Tikhomirova
Belarus
Alla A. Tikhomirova, Cand. Sc. (Art Criticism), Associate Professor, Associate Professor of Department of Music Theory
220013, Minsk
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Review
For citations:
Yermak Y.A., Tikhomirova A.A. The principle of self-similarity and the features of it’s implementation in a musical composition with fractals. ARTE. 2025;(3):54-65. (In Russ.)


