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FRACTAL AS DEBUSSY'S PRINCIPLE OF FORM-BUILDING CONSIDERED THROUGH THE SYNTHESIS OF ITS PROCEDURAL AND ARCHITECTONICAL ASPECTS
Abstract
Debussy's aspiration for novelty of form is embodied in the unique synthesis of procedural and architectonical aspects of form-building: the architectonical profile of form is only a “spatial trace” of intensive evolution of musical material (the structure of the whole as the having become one is the result of all the varieties of the becoming of material). This feature of Debussy's music was determined by the desire to rely on the natural laws of development, not only perceived intuitively, but also understood as specific algorithms, one of which was the golden section progression. Its structural idea (dynamical symmetry of self-similarity) allows us to make an analogy with fractals. In the music of Debussy, this analogy revealed itself in the principle of structural self-similarity: there is one-to-one correspondence of the members of the golden section series, obtained at a given step, to the “events” in the evolution of material, which occur at a certain level of its organization (compositions, syntactic, motive and thematic).
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