Per Nørgård

Though his style has varied considerably throughout his career, his music has often included repeatedly evolving melodies—such as the infinity series—in the vein of Jean Sibelius, and a perspicuous focus on lyricism.

In the 1960s, Nørgård began exploring the modernist techniques of central Europe, eventually developing a serial compositional system based on the "infinity series",[6][page needed] which he used in his Voyage into the Golden Screen, the Second and Third Symphonies, I Ching, and other works of the late 1960s and 70s.

[7] Later he became interested in the Swiss artist Adolf Wölfli, who inspired many of Nørgård's works,[8] including the Fourth Symphony, the opera Det Guddommelige Tivoli and Papalagi for solo guitar.

These include a number of works for the guitar, mostly written for the Danish guitarist Erling Møldrup: In Memory Of... (1978), Papalagi (1981), a series of suites called Tales from a Hand (1985–2001), Early Morn (1997–98) and Rondino Amorino (1999).

The method takes its name from the endlessly self-similar nature of the resulting musical material,[11] comparable to fractal geometry.

However, it was not until his Voyage into the Golden Screen for small ensemble (1968)—which has been identified as the first "properly instrumental piece of spectral composition"[13] —and Symphony No.