2013

Fractal Sound

Robert Braileanu
University of West London

Module Title:
Module Code:
Level:
Course:

Experimental Sound
MU60011E
6
BA Music Technology Specialist

Task 2 Portfolio Submission

Project Document

Fractal Sound
Student Full Name
Student Number
Contact Address
Mobile Number
Email Address
Word Count*

Robert Braileanu
21137205
Flat 9, Emanuel Court, Emanuel Avenue, Acton Town, London, UK
0044 7596 489782
21137205@student.uwl.ac.uk / robert.braileanu@gmail.com
5994

The word count excludes all quotes derived from external sources of1any nature including (but not limited to) books, articles, websites, videos, module
study guide, university documents and other lecture support documents.

Contents

1.

Executive Summary ......................................................................................................................... 4

2.

Brief................................................................................................................................................. 5

3.

Experimental Audio Focus................................................................................................................ 5

4.

Research .......................................................................................................................................... 6
4.1.

4.1.1.

Fractal ............................................................................................................................. 6

4.1.2.

Sound .............................................................................................................................. 7

4.2.

Fractal Geometry ..................................................................................................................... 7

4.2.1.

Brief Introduction. The Mandelbrot Set ............................................................................ 7

4.2.2.

Mandelbrot set: characteristics ........................................................................................ 8

4.2.3.

Mandelbrot set: applications4 ........................................................................................... 9

4.3.

Sound..................................................................................................................................... 10

4.3.1.

Brief Introduction ........................................................................................................... 10

4.3.2.

Algorithmic composition................................................................................................. 10

4.4.

5.

Project Title.............................................................................................................................. 6

Satellite Themes..................................................................................................................... 12

4.4.1.

Max MSP ........................................................................................................................ 12

4.4.2.

Terminology ................................................................................................................... 13

4.4.3.

Press Release Brochure .................................................................................................. 13

Ethical Issues ................................................................................................................................. 13

5.1.

Professional ethics ................................................................................................................. 13

5.2.

Inter-personal ethics .............................................................................................................. 13

6.

Copyright ....................................................................................................................................... 14

7.

Project Development ..................................................................................................................... 14

8.

Track 1 Cantors Journey ............................................................................................................. 16

9.

8.1.

Introduction ........................................................................................................................... 16

8.2.

Experimental Audio Focus ...................................................................................................... 16

8.3.

Production Process ................................................................................................................ 16

Track 2 Snowflake Dance ............................................................................................................ 17

9.1.

Introduction ........................................................................................................................... 17

9.2.

Experimental Audio Focus ...................................................................................................... 17

9.3.

Production Process ................................................................................................................ 17

2

10.

Track 3 Scaled Roughness ........................................................................................................ 18

10.1.

Introduction ....................................................................................................................... 18

10.2.

Experimental Audio Nature ................................................................................................ 18

10.3.

Production Process ............................................................................................................. 18

11.

Conclusion ................................................................................................................................. 19

12.

Glossary of Terms ...................................................................................................................... 19

13.

References ................................................................................................................................. 20

14.

Appendix ................................................................................................................................... 22

1.

Press Release Brochure .............................................................................................................. 22

2.

Research Structure Sketches ................................................................................................... 24

3.

Fractal Sound Generator Early Versions................................................................................... 26

4.

Fractal Sound Generator Final Version .................................................................................... 27

Audio CD content:
Order
1
2
3

Content
Track 1 personal composition
Track 2 personal composition
Track 3 personal composition

Data CD content located in Research Folder:

Order Content
1
Michael Hogg - Slow Deep Mandelbrot
Zoom
2
John Cage Atlas Eclipticalis
3
Lejaren Hiller- Illiac Suite for String
Quartet - Part 1
4
Iannis Xenakis-ST/10=1,080262
5
Fractal Sound Generator
3

Type
Video
Audio
Audio
Audio
MaxMSP application

1.

Executive Summary

Fractal Sound proposes the idea of interaction between sound and mathematics. This document
presents a theoretical concept based on a combination of original ideas and research. It is aimed to
support the body of work comprised of three audio tracks developed as an experimental approach to
audio. These are original compositions which employ fractals as their fundamental building blocks.
Furthermore, fractal principles form the very fabric of this project, ranging from audio content to
structure and all adjacent media featured as part of this project.
This project presents an experimental approach to working with audio described in detail in section 3;
it is part artistic venture and part scientific fact, merging the notions of sound and fractals into a single
entity, in much the same way history has seen 11syncretism in arts and science.
The project also serves as a case study for the implementation of fractal geometry principles as the basis
for music composition, in an attempt to gain knowledge on the subject and to raise interest for more
research to be conducted.
Research supporting the ideas presented in this document aims to provide a context for all aspects of
the work. The material is organized into core and satellite themes, in a fractal manner where each point
mentioned opens new doors for ideas to form and thus creating a fractal web of information. Research
is discussed in depth in section 4; additionally, more information can be found in the research folder by
following the subscript indexes in this document (e.g. sound1) and the table of contents in the separate
research folder. The two core themes discussed here are sound and fractal geometry; these will span
out into different sub-areas covering the object of this document. Separately, a number of satellite
themes are be dealt with; these include terminology, technical considerations, ethics, copyright issues
and press release conventions. Despite being described as satellite themes, these play an essential role
in fully engaging with the project and help towards understanding all other historical, technical, logistical
and ethical considerations together with the implications they have with regards to the work at hand.
Alongside this document the main written account the presentation package also contains a
Redbook standard audio CD with the audio clips, a separate data CD containing extra material, an
additional data CD containing only the softcopy of the press release brochure as a single PDF file, the
printed version of the press release brochure, as well as a separate research folder. The data is
organised in such a way that it is made easily accessible: superscript indexes (e.g.1) are used to signify
external references found under section 13; references to more in-depth areas are marked with a
subscript index (e.g.1) these can be found in the separate research folder by means of its content list.
Furthermore, red coloured superscript indexes (e.g.1) depict the original audio pieces on the main audio
CD, while red coloured subscript indexes (e.g. 1) make reference to external material located on the data
CD in the research folder. Lastly, a blue coloured subscript index number preceding a word makes
references to the glossary of terms located at the end of this document in section 12 (e.g. 2CGI).
4

2.

Brief

The requirements for this project are to create a body of work a portfolio of audio material of
experimental nature, encompassing multiple skills derived from the course such as programming,
recording, editing etc. The nature of the task is to treat audio in an experimental manner and to support
all original ideas with relevant research, clearly organized and structured in the written work and
research folder. One important aspect of this task is its holistic approach the entire project needs to be
accounted for therefore areas such as ethics, copyright, resources etc. must be addressed. In addition,
the work needs to be structurally cohesive with the concept chosen. Furthermore, a press release
brochure needs to be produced for promotion of the project.

3.

Experimental Audio Focus

The nature of this project is experimental in the sense that audio will be created with regards to the
ideas mentioned above. The concept is to employ generative fractal algorithms such as the
1
1Mandelbrot set and to map the resulting numbers onto the frequency and time domain. It will
therefore portray a sonic representation of a fractal, by combining multiple variations of polyphonic and
monophonic renderings to create cohesive pieces.
A software application named Fractal Sound Generator5 was written in 2Max MSP27 visual interface
programming language to generate a Mandelbrot set of a finite number of 12 3iterations due to
complexity of the calculations and hardware considerations. The numbers generated are scaled into the
human hearing range of approximately 20Hz to 20kHz and can then be altered via a range of controls,
which include an intuitive range setting and oscillator blend control. In addition, one of two basic modes
of operations can be selected:

Polyphonic where the instrument acts as an additive synthesizer each iteration generates a
specific frequency and all of these are added together to create a sonic texture. In polyphonic
mode, the instrument automatically sets the amplitude of each iteration by scaling the result to
control individual levels. The resulting audio can be considered both a chord in western music or
as a single sound composed of multiple harmonics;
Monophonic a random number generator selects only one iteration at a time within the given
range of the sets domain (where the modulus of the calculation result is not greater than the
number 2) to play its specific frequency. Timing is controlled by the fractal values themselves
and therefore, it can be argued that a primitive fractal rhythmical pattern is created.

Timbre has been specifically left to the users control by means of the oscillator blend component. This
decision has been made after testing the software and reviewing visual renders of fractals which, if left
purely at the algorithms mercy, will most likely produce a less pleasing result than those controlled by
the user.
5

The program allows for audio files to be created via the record and save buttons. These files are then
sequenced to produce the compositions available on the audio CD. Images of the final versions can be
seen in appendix 4.
Structurally, the three compositions submitted with this project are also based around the idea of
fractals. The structure of each track is an audio translation of a specific type of fractal or a property of
fractals. The table shows the type of fractals used for each track and also provides a reference for
further information.
Track
Number
1
2
3

Type of Fractal
Cantor Set
Koch Snowflake
Mandelbrot Set

Detailed description of track

structure
Section 8.2
Section 9.2
Section 10.2

Further information on the type

of fractal (research folder)
Section 5.1
Section 5.2
Section 4.2.1 (main written work)

To sum up, this approach tackles the four fundamental aspects of sound: pitch, amplitude, time and
timbre by relying mostly on fractals and thus, creating an audible translation of fractals. One can
therefore see this method as an experimental way of dealing with sound.

4.

Research

As mentioned in the executive summary, the idea of combining fractals with sound has risen from
intellectual curiosity. For this project there are two main research areas based on the core themes
expressed in the title: fractals and sound. Research will present a brief history of both realms which will
introduce any reader into the subject matter. It will also provide an etymological account into what can
be understood by the two terms which will link the audio material to the ideas presented in the
document. The research will show how the two areas converge and provide the basis on which this
entire document has been written.
Provided below is a description of the title, after which the main areas of research fractal geometry &
sound - will be discussed, followed by satellite themes towards the end of this section.

4.1.

Project Title

4.1.1.
Fractal
From an etymological standpoint the term fractal derives from the French word fractale broken or
uneven, as mentioned by Mandelbrot (1977)1. Used as a noun, a fractal describes a curve or
geometrical figure, each part of which has the same statistical character as the whole according to the
Oxford dictionary3. However, in this title it is used in the form of an adjective to depict the fractal nature
of sound from a micro and macro perspective. On the one hand, the micro-perspective refers to the
inner-workings of a sound, the distribution of harmonics and synthesis methods while on the other
hand, the macro-perspective takes into account how sounds interact to create music and the laws that
govern this process.
6

4.1.2.
Sound
In this context, sound inherits multiple meanings. Firstly, it refers to vibrations travelling through the
air or another medium4. This scientific connotation describes sound as a physical phenomenon,
measured in 4Hertz, disregarding any formally acknowledged musical system such as tonality. Secondly,
as mentioned in the Oxford Dictionary (2013)5, sound can describe a distinctive quality of the music of
a particular composer, performer or particular instrument for example, the sound of violins or the
sound of Mozart. In this case however, the term will quote the sound of fractals using fractals as the
premises for abstract composition and piece structure.

4.2.

Fractal Geometry

4.2.1. Brief Introduction. The Mandelbrot Set

Geometry. Its principles are taught to young students across the world. The Pythagorean theorem;
Surface area and volume; Pi; This classical, or Euclidean, geometry is perfectly suited for the world that
humans have created. But if one considers the structures that are present in nature, that which are
beyond the realm of smooth human construction, many of these rules disappear. Clouds are not perfect
spheres, mountains are not symmetric cones, and lightning does not travel in a straight line. Nature is
rough, and until very recently this roughness was impossible to measure. The discovery of fractal
geometry has made it possible to mathematically explore the kinds of rough irregularities that exist in
nature. 8, 18
This is perhaps the most important idea promoted by Benoit Mandelbrot, one of the founders of fractal
geometry. While working at 5IBM, in 1975 he coined the term fractal to describe a geometry
characterized by roughness and not by straight lines and perfect circles. Although the company who
employed him considered his discovery a breakthrough for dealing with noise in telephone signal
transmission, Mandelbrot realised the implications it can have in a vast range of areas from cartography
to image compression. His ideas were based on the work of his predecessors mathematicians Pierre
6
7
6Fatou2 and Gaston 7Julia3 , who proposed a simple formula to map values on the complex plane:

z = z + c
The equation uses a variable z and a
constant c to define 6complex numbers on a
7Cartesian coordinate system. At the time of
its first incarnation, the technology available
prohibited Fatou and Julia to tap on to its
true potential and the issue was considered
impractical by the mathematical community
of that time. However, at IBM Mandelbrot
was given access to some of the most
advanced computers available and therefore,
he was able to iterate the equation
thousands and thousands of times, giving
7

birth to some of the most stunning images of fractals known today the above image represents a
visual fractal based on the Mandelbrot formula iterated 2 million times. As Mandelbrot realised, the key
to harnessing the formulas potential was the immense number of iterations, made possible by
advances in the field of computers.
Apart from the Mandelbrot set, different variations of fractals5 exist. An in-depth description of these
can be found in the research folder in section 5.
4.2.2. Mandelbrot set: characteristics
One fundamental aspect of fractals is their property of self-similarity each individual part is similar to
the entire element.9 Self-similarity is a constant throughout nature; it can be seen in outlines of maps,
coastlines, edges of mountains and canyons, tree branches and leaf structures, magnified snowflakes,
river networks, the nervous system, sutures between skull plates, lung structure, clouds in the
atmosphere, plasma loops on the surface of the sun, nebulae, etc.4

Therefore, one can see that self-similarity has implications in many aspects of our universe and that
studying this property can be done by understanding the principles behind fractal geometry. However,
these so-called natural fractals are different from mathematical models in the sense that nature makes
use of multiple forces combined in various processes. For example, coastlines are formed by the forces
generated by waves, cliff erosion, rivers flowing into the ocean, accumulation of sediments etc. while
temperature and weather conditions also play an important role10. Comparing this to an established
generative function such as the Mandelbrot set could make the latter seem rather primitive. Another
fundamental difference between our man-made algorithms and natures fractals is the limited scale in

which nature operates. The principles behind waves as a force are fundamentally different from those
making up the structure of the coastline on an atomic level9.
Conversely, self-similarity in fractals can be seen most easily in the Sierpinski Gasket6 a triangle-shaped
fractal which appears the same regardless of the magnification/reduction factor applied. The generation
method produces three new triangles the height and width of the original. Theoretically, the process
can be repeated an infinite number of times.

In doing so, one can deduce another property of

fractals scale ambiguity. While Euclidian
geometrical shapes have finite perimeter and area,
a fractal object can have a finite perimeter - as in
the case of the Mandelbrot fractal but the area
can be considered infinite because, theoretically, a
fractal of infinite complexity can be generated. As
a general observation, it is these properties that
make fractals resemble shapes found in nature.
A visual representation of both self-similarity and
scale ambiguity can be seen in Michael Hoggs
render1 of an M-set iterated 90456 billion times. Slow deep Mandelbrot zoom1, featured on the data
CD located in the separate research folder, took 12 days 1 hour and 17 minutes to render using a
commercially available computer.11
Following the discovery of fractal geometry along with some of its characteristics, a number of practical
applications have been derived. These are discussed in more detail below.

4.2.3. Mandelbrot set: applications4

Perhaps the most important application of fractals in general is data analysis. By analysing fractal
characteristics of large quantities of data, a pattern can be deduced, from which the datas fractal
dimension can be extracted. Fractal dimension is a ratio describing complexity of how details in a
fractal pattern be it a theoretical model, a tree, a cloud etc. change with the scale at which it is
measured12. This has given us an insight into the inner-workings of diverse fields, some of which are
included below for a more detailed account please see research folder (section 4):

Astronomy
Galaxies
Rings of Saturn

Biology / Chemistry
Bacteria Cultures
Chemical Reactions
Human Anatomy
Molecules
Plants
Population Growth

4.3.

Creative
Fractal Art
Fractal Music
8CGI
Special Effects

Other
Clouds
Coastlines and Borderlines
Data Compression
Diffusion
Economy
Weather

Sound

4.3.1. Brief Introduction

Building on the definitions of the word sound, as discussed in the project title sub-section, the term can
inherit multiple meanings depending on the angle from which it is regarded.
From a physical standpoint, sound is a universal phenomenon transmitted through a medium such as
air. Vibrations from a source travel through the medium acting as a wave front in a sense, sound can
be viewed as a means of transmitting data; audio data which is then decoded by a receiver: the human
auditory system for example.4
From a psychological standpoint, sound is a powerful entity with qualities far beyond the physical realm.
Tapping into the very fabric of human nature, sound can alter emotions; it can influence ones state of
mind. History has shown how sound was used both as a healing and destructive mechanism. 13
Sound represents the primordial requirement for music, and while there is no exact definition for
music, understanding its language is an innate quality of humans. Throughout history, mankind has
been fascinated by sound and music, and has questioned, studied and advanced the knowledge based
around the two, spanning out similar to the branches of a tree an evolution model which one can
consider to be of fractal nature.
From the most basic 9chants to the development of mechanical instruments, the history of music shows
the curiosity to develop new means of creating sound and music as a constant.

4.3.2. Algorithmic composition

Algorithmic composition refers to the use of algorithms as a generative engine for music. What also
started out as a component of curiosity quickly spanned out over vast distances, being explored in
different parts of the world by artists and scientists alongside.15
The idea of a formal set of instructions to create music stretches back to the ancient Greeks, as Grout
(1996)16 mentions: The word music had a much wider meaning to the Greeks than it has to us. In the
teachings of Pythagoras and his followers, music was inseparable from numbers, which were thought to
be the key to the whole spiritual and physical universe. So the system of musical sounds and rhythms,
being ordered by numbers exemplified the harmony of the cosmos and corresponded to it. Another
historical example of early algorithmic composition can be found in the 15 th centurys canonic music
10

by which a singer is given a single melody and a set of rules to derive subsequent voices. The rule or set
of rules was called a canon (Grout, 1996)16. In the 20th century, John Cage16 experimented with the use
of randomness in his compositions, while the end of World War II brought twelve-tone serialism as a
form of music composition.6
In the digital realm, Lejaren Hiller and Leonard Isaacson devised a way of generating music in an Illiac
High-Speed Digital Computer at the University of Illinois in 1955-1956. The result then had to be
transcribed into traditional music notation to be played by a string quartet. 17 Five years later, Iannis
Xenakis pioneered the use of chance and probability to create music; this is referred to as 10Stochastic
Music.17 A comprehensive history of algorithmic composition is included in the research folder 6. In
addition, a list of songs located on the separate data CD part of the research folder can be found
below. These are pieces by some of the composers mentioned in this section the pioneers of
algorithmic music and in terms, the pioneers of fractal music.
Composer
John Cage

Lejaren Hiller
Iannis Xenakis

Piece
Atlas Eclipticalis2

Description
A score paper was placed on top of an astronomical chart
and notes were placed where stars were present chance
composition
Illiac Suite for String Composed by the Illiac High-speed Digital Computer and
Quartet - Part 13
then transcribed into traditional music notation.
ST/10=1,0802624
Composed by Xenakis own computer program, it follows
stochastic laws to define pitch, timing, duration and timbre
(arco, pizzicato etc.)

Algorithmic composition includes different ways of generating music including the use of fractals. Below
is a breakdown of some of the models used for such compositions15 it is worth noting that a clear
distinction between the different models cannot be accurately produced as some components are
common in more than one category:

Mathematical models rely on equations and stochastic processes mapped to different

parameters in varying degrees. For example, one can assign a value to a frequency or it can
round of its number to match a note on an instrument.

Knowledge-based systems proposes the analysis of a specific style of music (by the user), by
studying its characteristic and then replicating them into a model, with the hope of creating
similar compositions to those of the original choice of study.

Grammars this category provides a formal language upon which music is created. One
example is a type of fractal called an L-system. Assuming a set of rules: A=BAC ; B=ACB ; C=CBA
and an initial axiom : A C B A, one can generate music by assigning a parameter to these symbols
(e.g. pitch) and then following the set of rules to replace each initial symbol with its definition.

11

Evolutionary Systems these are models which replicate biological functions such as mutations
or processes of natural selection into a model which is then used to control the properties of
sounds.

Learning Systems programs that have the capacity to collect data from material provided by
the programmer/user and then devising and constantly improving an algorithm to generate
music.

Hybrid Systems a combination of the above which is perhaps the most used method today.

The method used to generate sounds and the pieces on the audio CD can be considered a hybrid
system. The Simple Fractal Generator software employs stochastic components in the form of random
generators to produce an initial value for the software to operate with. It also contains a mathematical
model in the form of a Mandelbrot set equation, while different types of fractals are used to generate
melodies and structures.

4.4.

Satellite Themes

Having briefly discussed the core themes in sections

4.2 and 4.3, adjacent satellite themes will be
mentioned below. Although these might not seem
Terminology
fundamental to the object of the project, they
provide an account for important aspects in the
development stages of the work at hand and also
MaxMSP
Copyright
provide a context in terms of the legal framework
Fractal
and ethics involved. The diagram on the left hand
Sound
side depicts the five main areas of research
surrounding the core theme. Note that both
copyright and ethics are included in the adjacent
Press
diagram. Although these consist of a research
Release
Ethics
Brochure
component, they will be acknowledged separately
having their own individual headings as they
portray an overview of the work at hand from a legal and ethical point of view.

4.4.1. Max MSP

Max MSP7 is a graphical-interface programming language designed by Cycling 742. Its main uses
include the development of audio, video and multimedia applications which can be run internally or
exported into a format understood by most major operating systems Microsoft Windows ; Apple

12

MacOSX2. The software has provided an ideal environment for developing an application which can
generate audio from a fractal formula. A more detailed description can be found in the research folder.

4.4.2. Terminology
Due to the nature of this project, specialist terminology is used. A requirement for this project is for it to
be accessible to a diverse range of people, including those who are not familiar with the subject being
discussed. Therefore a glossary of terms which provides a basic understanding for some of the terms
used has been made available; it can be found in section 12.
4.4.3. Press Release Brochure
A press release is the first point of contact with the media, in the professional realm. It is intended to
promote and to sell an idea or product. It can be in the form of a formal letter or it can include a
graphical design.21 Certain conventions have been perpetuated throughout the years, conventions which
are now considered a standard. These include21: a genuine headline; a striking design; concise content;
applicable to desired audience; mentions partners; provide contact details. A press release brochure is
included at the end of this document, in appendix 1, section 14.

5.

Ethical Issues

The term ethics is defined by the Oxford Dictionary as moral principles that govern a persons
behaviour or the conducting of an activity and the branch of knowledge that deals with moral
principles.14 From the first definition two distinct areas with their own implications can be derived:
professional ethics and inter-personal ethics.

5.1.

Professional ethics

These are to do with the content of the work and the implications it has on the professional
individuals/bodies/institutions/establishments to which it is referring to and to those with which the
work is directly and/or indirectly related to such as Benoit Mandelbrot, IBM, Cycling 74, Microsoft,
Apple, The University of West London etc. Considering ethics, one must make sure the work will not
produce any moral and physical damage to their image or bring them into disrepute. In addition, should
the work have made reference to, provided illegal materials or promoted bad practises, these would
have constituted a serious offence both from an ethical and legal point of view (e.g. pornographic
images in the press release brochure). I hereby declare that no damage was made to any of the
individuals, bodies, institutions and/or establishments mentioned or related to this project.

5.2.

Inter-personal ethics

Referring to the relationship with the people involved in the development of the project, inter-personal
ethics is related to the well-being of others and creating a healthy and pleasant environment for the
work to be produced in. As the work did not require the involvement of others, this aspect does not to
apply this project.

13

Another important area of ethics is health and safety. Although the work was produced entirely on a
digital platform within the computer these issues can still appear. One example would be to plug the
computer into a faulty power outlet which could potentially be harmful.

6.

Copyright

The right for intellectual property along with its multiplication and distribution is commonly referred to
as copyright. In the UK, copyright is defined in the Copyright, Designs and Patents Act 198819, as
amended. As described in the document, the works eligible for protection are of: literary, dramatic,
artistic or musical nature; the typographical arrangement of a published edition, a sound recording, a
film, or a broadcast.19
The issue is raised on how copyright affects scientific research, as it falls in neither of these categories.
However, the act provides a fair dealing provision which allows for a reasonable proportion of the
work to be copied for non-commercial research or private study, but no specific method is described. 19
In terms of data collected for research purposes, a fact isnt protected, but despite this, a collection of
data can make use of database rights. Considering the above, from an ethical standpoint, external
material can be sourced provided acknowledgement of its source and/or ownership is made available.
Formal models such the Harvard referencing system exist as a convention to provide a framework for
the use of non-original material in personal work. This is a complex mechanism which applies to a
variety of sources including text and multimedia formats. 20
For this project, copyright applies to all external material used for informative purposes, directly or
indirectly integrated within this document. The Harvard system was used to acknowledge ownership
and sourcing; a list of all materials referenced using this system can be found in section 13.
The same principles mentioned above applies for the distribution of this document, however, copyright
is jointly owned by the institution UWL and the writer myself, according to the universitys rules
and regulations.

7.

Project Development

Initially, the project started out from the idea of fractals to create music. However, because of the
nature of the project, sound was chosen over music. The idea was to create a piece of software that
could generate sounds in the form of soundscapes and melodies using a multitude of fractal formulas.
Having discussed the concept with the lecturer, and considering the limited time frame, it was suggested
that approaching only certain elements would be more appropriate: using only one type of fractal and
relating it to sound, reflected by frequencies, rather than imposing musical notation, scales etc.
Therefore, only one type of fractal had to be used and a way of understanding how exactly it worked
had to be studied. Having reviewed L-systems, Julia sets and Mandelbrot sets, the latter was chosen as it

14

provided more flexibility in terms of programming. Sketches of how to structure research were then
devised these can be found in appendix 2.
A high proportion of the allocated 200 hours was used to create the Fractal Sound Generator software
(appendix 3) for which countless problems had to be overcome. The application was developed in Max
MSP 5 on a Microsoft Windows system, using only Maxs internal objects. Some of the early incarnations
of the program were unable to produce a reasonable number of iterations due to improper design of
data structures within the software photos of the early versions are present in appendix 3. In addition,
an unforeseen issue was discovered the programming language has a peculiar upper limit in terms of
the numbers it can calculate: after reaching values higher than 7 million, the results would appear as
infinite, making it impossible to transform into a frequency value. This was overcome by scaling down
the initial numbers to an interval of 0-1, allowing for the software to calculate up-to 12 iterations. Due
to the architecture of Max MSP, it does not permit creating a finite loop by making the result of a
calculation act as a variable within its generative equation a fundamental requirement for the iterative
formulas of fractals. Therefore, only a small number of iterations are possible and while in theory it
proves that the concept works, the resulting audio might seem rather primitive. One must understand
that the complex images of visual fractals are the result of millions of iterations. If the number of
iterations for generating audio was similar, one can assume the resulting sounds would have been of
higher standard than the ones achieved by fractal sound generator. Alternative programming
languages which support iterative equations such as CMusic and Pure Data are available, however, due
to time constraints of the module, learning and devising a piece of software in one of these languages
would have been unrealistic.
The Mandelbrot set equation (z=z2+c), when used to generate images, works by assigning complex
numbers of the form (a, bi) to z and c. This is because the values need to be plotted on a Cartesian
coordinate system with an x and y axis. However, for audio purposes, the approach has been simplified.
The formula uses regular numbers as these are transformed into frequencies, amplitudes etc. For
integrity purposes, the formula attains the rule used in the production of visual images: each iteration
result modulus must not be greater than the number 2. In the visual realm, if it exceeds this value, the
point on the graph is considered to go to infinity and the iteration process is stopped. 22 The same
applies to Fractal sound generator: if a number exceeds this value on the first iteration, a new set of
values is automatically generated and the process starts over again. If, however, the result is within the
fractal limit, it is scaled to an audible frequency and used to control amplitude and the result is passed
onto the next iteration, repeating the cycle.
For reasons mentioned above, Fractal sound generator should be considered an integral part of this
project. The final version has been made available on the separate data CD located in the research
folder.

15

8.

Track 1 Cantors Journey

8.1.

Introduction

Intuitively titled Cantors Journey1, track 1 (109) aims to introduce the listener into the fractal
universe. It is an audio exploration of essentialist world, dominated by shapes of vast complexity yet
somehow echo a sense of simplicity and calmness.

8.2.

Experimental Audio Focus

The experimental nature of this track lies in its production process. Firstly, all the material used has been
created via the fractal sound generator. As mentioned above, the software uses a Mandelbrot set to
map out frequency, duration and amplitude. Secondly, as can be seen in the photo below, the piece is
structured in the form of another type of fractal the cantor set (more details on the Cantor set can be
found in the research folder). Therefore, the track is a sonic representation of the fractal realm both in
terms of source material and structural composition.

8.3.

Production Process

Having generated the 7 basic audio components, these have been sequenced using Steinberg Cubase 5.
A number of virtual processing units have been used to add texture to some of the elements and to
create a sense of depth and space in the mix.
The polyphonic fractal audio elements
are accompanyed by a simple fractal
melody, also generated by the
software, which has been pitchshifted
to match the harmonic content of the
piece. Although not a part of the
cantor set, the melody has been added
for aesthetical reasons, adding interest
to the overal piece.
A creative delay has been used on the
shortest clips of the track, adding a
rythmical element to the piece. The
unit uses a random generator to clock
each delay hit and therefore, the track
still retains its integrity with the aparent chaotic and random behaviour of fractals.
Textures have been imposed on almost every element by means of distortion and modulation. Each
individual track has been equed according to its nature bass-heavy, mid-rangy etc. and panning has
been used on some elements.

16

9.

Track 2 Snowflake Dance

9.1.

Introduction

Snowflake Dance (122) aims to evoke positive emotions while still portraying the same sense of
calmness and familiarity as track 1. As it is structurally based around Koch Snowflake fractals, the goal
was to create soft textures in a composition which portrays self-similarity a characteristic of fractals.
From an artistic point of view, the slow movement of elements aims to replicate snow fall in the form of
delicate particles floating in a fractal universe.

9.2.

Experimental Audio Focus

Consisting of an audio translation of two distinct type of fractals, the M-set and Koch Snowflake, the
piece is experimental by means of its content and structure. Similarly to track 1, all audio used was
created with Fractal sound generator by iterating a Mandelbrot set in both polyphonic and
monophonic modes. Structurally, the piece replicates a Koch snowflake this fractal can be created by
splicing a 1 unit line into 3 equal sections and replacing the middle one with two sides of an equilateral
triangle and then repeating the process. The shape generated will now have four thirds of its original
length. Considering each audio track within the piece a 1 unit line, each track was split into 3 equal
sections and the middle section was removed. The following audio track features two clips of equal
length, also equal to each section of the track above, thus replicating the generative pattern of the Koch
snowflake.

9.3.

Production Process

Having generated numerous clips using the fractal generator, a selection of those clips which had similar
harmonic content was made clips with chord structures or melodies that would work well from a
aesthetic point of view were chosen. Based on the fractal complexity of each clip, the simplest were set
as the base (1 unit line) of the Koch snowflake. More complex clips were layered above and below the
two bases, as the idea was to create two such structures these can be seen in the adjacent image.
These subsections were
then spliced according to
the Koch fractal model. A
combination of distortion
filters and modulation was
used
to
give
each
component track a distinct
texture while reverb and
delays were used to create
a sense of spaciousness and
to add interest to the mix.
In addition, as can be seen
in the picture, an extra
segment of the pad sound
17

(the grey block) was added at the end of the piece for aesthetic reasons.

10.

Track 3 Scaled Roughness

10.1. Introduction

The name Scaled Roughness3 (109) describes the underlying principles on which the piece is build. In
mathematics fractals are usually describe high degrees of roughness and complexity. However, scaling
down the numbers derived from the M-set, one can create slow evolving textures. Although in the
theoretical domain this might seem impossible, this composition stands out as a contradiction to the
theory, promoting the idea by which everything in the universe can be brought down to its essence. It
aims to portray a universal sound, echoing a primordial formula of simple nature such as the
Mandelbrot set which has the power to create everything surrounding us.

10.2. Experimental Audio Nature

The experimental nature of this track lies in its building blocks and structural model. All sounds used
were generated by the iterations of multiple M-sets and the structure is based on the complexity
property of fractals each iteration increases the resulting fractals scale and complexity degree. The
composition emulates this characteristic by introducing new elements after each completion of a
melodic cycle.

10.3. Production Process

Similarly to the previous track, the
production process of track 3 starts
by manually choosing each clip by
means of their harmonic nature.
Following this, the clips are then
treated for removal of unwanted
artefacts and they are given a
structure. In this case, the song
builds upon the concept of infinite
complexity a fundamental
property of fractals. Each individual
element is then texturized using
various tools such as distortion,
filters, modulation and pitch shifting, after which they are all allocated a space in the mix in terms of
frequency spectrum, spatial distribution and depth perception. Finally, automation controls the majority
of parameters from volume to specific functions of the processing units. In addition, a master buss
treatment is applied consisting of equalisation and compression.

18

11.

Conclusion

In much the same way fractals are thought of as being a mathematical description of nearly all living
things9, it is a personal belief that fractals could act as a key to advances in the realm of sound and music
technology. This project stands as an exemplification of this belief, providing an experimental approach
to dealing with audio by using fractals to generate and control sound.
From a critical standpoint, the workload seems to surpass the allocated 200-hour limit, considering the
complexity with which it has been produced. However, a more simplistic approach would have been
unsuitable for the object of the project. In terms of the audio, although it might appear rudimental, it
shows the feasibility of the concept. Provided that sufficient time and resources are allocated, I believe
the underlying ideas can be developed into a complex project containing audio of similar complexity and
of a high level of quality. Considering the project as a whole, the original software, audio material,
research documentation, press release brochure and all adjacent media, I believe the brief requirements
have been met. Comparing the results to the initial ideas, I it can be implied the project matches my
initial goals. From an academic standpoint, appropriate vocabulary has been used, writing conventions
have been respected and sourcing of external material has been referenced accordingly. In addition,
ethical and copyright issues have been addressed, to some extent.
It can therefore be concluded that, from a personal perspective, the work at hand seems to be of
satisfactory quality and it portrays an adequate level of commitment and engagement with the module.

12.

Glossary of Terms

No.
1
2
3
4

Term
Mandelbrot set
Max MSP
Iteration
Hertz (Hz)

5
6

IBM
Complex number

7
8
9

Cartesian coordinate
system
CGI
Chant

10

Stochastic

11

Syncretism

Description
Mathematical formula named after mathematician Benoit Mandelbrot.
Visual programming language. Software.
The repetition of a process or utterance.
Unit of frequency in the International System of Units. Named after Heinrich
Rudolf Hertz.
Acronym. International Business Machines Corporation
Number of the form a + bi where a and b are real numbers and I defines an
imaginary component.
An X/Y system on which each points position can be defined by two
numerical coordinates.
Computer generated images
(from French: chanter) Repeated rhythmic singing/speaking of
sounds/words14
Having a random probability distribution or pattern that may be analysed
statistically but may not be predicted precisely (Oxford Dictionaries, 2013)14
The fusion of differing systems of belief or disciplines.

19

13.

References

No.

Reference

Source

Mandelbrot, B, 1962. Fractals: Form, Chance and Dimension. W.H.Freeman & Co Ltd.

Book

Cycling '74. 2013. Max is powerful software. [ONLINE] Available at:

http://cycling74.com/products/max/. [Accessed 03 December 13].

Website

Oxford Dictionaries. 2013. Fractal: Definition of fractal in Oxford dictionary (British &
World English). [ONLINE] Available at:
http://www.oxforddictionaries.com/definition/english/fractal. [Accessed 14 October
13].
Rumsey, F, 2009. Sound and Recording. 6th Edition. Focal Press.

Online
Dictionary

Oxford Dictionaries. 2013. Sound: definition of sound in Oxford dictionary (British &
World English). [ONLINE] Available at:
http://www.oxforddictionaries.com/definition/english/sound?q=sound. [Accessed 15
October 13].
University of Arkansas. 2011. Types of Fractals - Math2033. [ONLINE] Available at:
http://math2033.uark.edu/wiki/index.php/Types_of_Fractals. [Accessed 07 October
13].

Online
Dictionary

J J O'Connor, E F Robertson. 2000. Fatou Biography. [ONLINE] Available at:

http://www-history.mcs.st-and.ac.uk/Biographies/Fatou.html. [Accessed 05
December 13].

University
Article

J J O'Connor, E F Robertson. 2008. Julia Biography. [ONLINE] Available at:

http://www-history.mcs.st-and.ac.uk/Biographies/Julia.html. [Accessed 05 December
13].

University
Article

IBM. 2013. IBM 100 - Fractal Geometry. [ONLINE] Available at: http://www03.ibm.com/ibm/history/ibm100/us/en/icons/fractal/. [Accessed 05 December 13].

Website

Yale University. 2013. Fractal Geometry. [ONLINE] Available at:

http://classes.yale.edu/fractals/. [Accessed 05 December 13].

Online
Course

10

Yumiko Kura, 2001. Pilot Analysis of Ecosystems: Coastal Ecosystems (Pilot Analysis of
Global Ecosystems). Edition. World Resources Inst.
Michael Hogg. 2010. Michael Hoog - Software - FractalNet. [ONLINE] Available at:
http://www.michael-hogg.co.uk/fractalnet.php. [Accessed 05 January 14].

Book

12

Kenneth Falconer. 2003. Fractal Geometry: Mathematical Foundations and

Applications. 2nd Edition. Wiley.

Book

13

Siu-Lan Tan, 2010. Psychology of Music: From Sound to Significance. 1 Edition.

Psychology Press.

Book

4
5

11

20

Book

Website

Website

14

Oxford University Press. 2013. Oxford Dictionaries. [ONLINE] Available at:

http://www.oxforddictionaries.com/. [Accessed 08 January 14].

15

Jacob, B, L, 1996. Algorithmic composition as a model of creativity. Organised Sound, University

Volume 1, Issue 3, pp 157-165.
Article

16

Grout, Donald Jay and Claude V. Palisca (1996), A History of Western Music. 5th ed. Book
W. W. Norton & Company: New York

17

John A. Maurer. 1999. The History of Algorithmic Composition. [ONLINE] Available at: Website
https://ccrma.stanford.edu/~blackrse/algorithm.html. [Accessed 08 January 14].

18

TED Talks. (2010). Benoit Mandelbrot: Fractals and the art of roughness. [Online
Video]. 21 July. Available from:
http://www.ted.com/talks/benoit_mandelbrot_fractals_the_art_of_roughness.html.
[Accessed: 16 October 2013].
The National Archives. 2013. Copyright, Designs and Patents Act 1988. [ONLINE]
Available at: http://www.legislation.gov.uk/ukpga/1988/48/contents. [Accessed 10
December 13].

Online
Video

20

Chernin, Ei (1988). "The 'Harvard system': a mystery dispelled", British Medical

Journal. October 22, 1988, pp. 10621063.

Journal

21

WikiHow. 2013. How to write a press release. [ONLINE] Available at:

http://www.wikihow.com/Write-a-Press-Release. [Accessed 10 December 13].

Website

22

John Price. 2002. Mandelbrot Music. [ONLINE] Available at:

http://www.morgoth.org/projects/fractalmusic/mandel_mus.html. [Accessed 10
December 13].

Website

19

21

Online
Dictionary

Online
Legal
Document

14.

Appendix

1.

Press Release Brochure Front

22

Press Release Brochure Back

23

2.

Research Structure Sketches

24

25

3.

Fractal Sound Generator Early Versions

26

4.

Fractal Sound Generator Final Version

27