Was just reading on this topic while learning Arvo Pärt's Spiegel im Spiegel, and couldn't help interpret it as being heavy on critical-woo and light on functio

Was just reading on this topic while learning Arvo Pärt's Spiegel im Spiegel, and couldn't help interpret it as being heavy on critical-woo and light on functional analysis. (see linked papers mystical treatment of a for loop.) People talk about his Tintinnabuli style as being algorithmic and generated, but this particular paper wasn't persuasive, and reading the score while listening to it, I don't think it is. There are probably some symmetries encoded in his work, given how demanding they are on your attention, but the idea of discovering hidden meaning is itself superstitious. https://www.researchgate.net/publication/271513800_Mathematical_Bases_of_the_Form_Construction_in_Arvo_Part%27s_Music https://www.researchgate.net/publication/271513800_Mathemati... or if link is down: http://žurnalai.lmta.lt/wp-content/uploads/2014/11lietuvos-muzikologija15-8.pdf http://xn--urnalai-cxb.lmta.lt/wp-content/uploads/2014/11lie... However, the idea of reasoning about relationships and intent in music could have some applications to reasoning about code, and machine language and behaviour in particular. So I'm not entirely dismissive of the poster, just a bit wary of some of the baggage the ideas may have collected along the way.