1 Mutations: Holonomic and fractal music experimentation developed through a semiotic approach 1 Eufrasio Prates 2 Abstract: Several traces of what became known as the holonomic paradigm are clearly perceived in contemporary music, especially after the midst of the 20 th century. Concepts like relativity, unpredictability, acausality, atemporality, multidimentionality, paradoxicality or omnijectivity, most of them emerging from the field of Physics, are also indexically (Peircean secondness) found in the music of the Post-war, confirming their paradigmatic semiotic qualities (firstness) and potentialities (thirdness). The present study aims to expose how the consciousness of those concepts in music creation is capable of exposing the nature of a new musical language – or a broader one, at least – and to show some possibilities of its use. Nonetheless, to be able to ‘extract’ (abstract) those characteristics from the musical phenomenon, it is indispensable to use a semiotic tool, capable of comprehending their paradigmatic functions and connections. Fortunately, the semiotic researchers of music had advanced those tools ahead enough to permit a reasonable certainty on the concept translations between those supposedly distant, but interconnected, fields, namely Physics and Music. The musical application of these findings will be shown through the analysis of an experimental composition entitled “Mutations”, a freely ordered group of 64 one-minute pieces inspired on the 64 hexagrams of the I-Ching. This example is also interesting for the present analysis because the paradigmatic conclusions of physicists are very similar to several main beliefs from oriental ancient philosophy. 1 Presented at the 9th International Congress on Musical Signification – Music Senses Body”, Rome, Italy, Universitá Tor Vergata. September, 2006. 2 Bachelor in Music by FMUSP, Masters in Social Communication at UnB/DF, Post-graduation in Philosophy at UCB-Universidade Católica de Brasília. Author of the book "Passeio-relâmpago pelas idéias estéticas ocidentais" (1999) and of the experimental music CDs “Quantum Music” (1997) and “Holofractal Music” (2000).