Marta Grabocz, "Musical forms influenced by scientific theories in contemporary works".

...Contemporary composers, mainly from the 1970s onwards, have been trying to break out of this fixed, traditional framework (to mention just a few of the many possible names: François-Bernard Mâche, Francis Dhomont, Jean-Claude Risset, Pascal Dusapin, Hugues Dufourt, Tristan Murail, Costin Miereanu, François Bayle, Philippe Manoury, Alberto Posadas, Hector Parra, etc.). ) These composers studied scientific works: Murail was interested in the fractal geometry of Benoît Mandelbrot and James Gleick; Costin Miereanu in the theory of catastrophes as semio-narrative structures in the interpretation of Jean Petitot; F.- B. Mâche to archetypes (phenotypes and genotypes) in nature and according to zoo-musicology; François Bayle to Whitehead's metaphysics (concept of concrescence); more recently Philippe Manoury and Alberto Posadas refer to the L-System (mathematical modelling of plant growth, developed by Aristid Lindenmayer); Francis Dhomont works on narrative style and Marthe Robert's psychological study of Kafka; Hector Parra exploits elements of astrophysics, and so on.
These composers feel - and know - that the use of new materials - such as synthesised or processed electroacoustic sounds; instrumental or 'mixed' sound spectra created according to physical or acoustic models; sounds extracted from the analysis of recordings of natural models; newly conceived sound complexes or aggregates in instrumental music - will not support the logical, homogeneous and organic articulation (to use Schoenberg's terms) of the old macrostructures established in Western music since the Baroque period. They are therefore trying to find a framework that is more appropriate to our universe and to recent scientific discoveries...

Spiral - François-Bernard Mâche : Taranis, 2005 (for choir, full orchestra, narrator, on a poem by F.-B. Mâche)

In the interview that Jean-Pierre Saunier, philosopher, specialist in oriental mythologies and religions (and naturalist photographer) gave to Émile Noël (Les sciences de la forme aujourd'hui, 1994), the conversation on the symbolic approach to forms leads directly to the presentation of the meaning and use of the spiral.  It will be approached from three angles: as a form in nature, as a symbol of knowledge in different civilisations (i.e. as part of the collective unconscious) and as a basic structure in biological discoveries.
Thanks to this chapter (No. 13 "Forms and symbols", pp. 165-175). We learn that spirals can be seen in many natural elements, right up to our galaxies, every other one of which is spiral. These natural forms have had a huge influence on cultures, civilisations and mythologies. Virtually every society has sought to unravel the mystery of life, the meaning of life in the labyrinth of its entrails. Soothsayers, pythias and augurs have pondered the spirals of the "palace of viscera" (Cf., 1994, p.166).
 		"These spirals also mark a symbolic relationship with knowledge: the gods wanted to hide knowledge from man. To attain knowledge, we have to overcome the labyrinth, climb up the spiral to reach the basic principle, unity. (...) But if the spiral inhabits our unconscious, it is also present in each of our cells, as indicated by the double helix structure of DNA, the discovery of which earned Crick and Watson the Nobel Prize in 1962. (...) So much for the spiral, which can be found from our cells to the galaxies, via the heart of a daisy". (1994, pp.166-167).

It is no coincidence that François-Bernard Mâche, composer and creator of the movement known as "sonic naturalism", is interested in the shape of the spiral in several of his works (Eridan, Octuor, Taranis). 
Here are his comments on Taranis, a kind of secular oratorio written in 2005.

"Music, more than any other art form, sometimes gives us a glimpse of a new dimension of time, where everything is immediately present. I tried to make this paradox sensitive through a text, a form on five levels, where the impossible abolition of past and future would take shape. A few images taken from the magnificent poem by Séféris were used to render (...) this metaphysical utopia of the absorption of linear time into cyclical time. Taranis [the Celtic God] is a mysterious figure who seems to have embodied this paradox of immobile time, since his two attributes - the wheel and the thunderbolt - designate him as the master of both repetition and catastrophe (...) The poem and the music unfold in a spiral form, an archetype that has already been used on several occasions since my quartet Éridan (1986). That is to say, everything recurs (except the sections that define a new spiral), but everything rises each time it returns to a plane further from the untraceable origin." (Mâche, 2012, p. 304, underlined by me, M.G.).
(See Figure 1 below)

Figure 1: Beginning of the poem 'Taranis' presented in the form of a spiral by the composer (Mâche, 2012, p. 204).
Avant l’origine, le devenir
Il n’y eut jamais de premier matin
Dans le cloître du réservoir
Les étoiles ne se reflètent pas
Les soleils ne se baignent pas
Jamais de première hirondelle
Avant les saisons rayonne le temps
Présent comme la mer
Sous le fracas des cigales
Puis leur soudain silence
Aux archives du réservoir
Entrent les cris perdus dans le vent
Les luttes paralysées
Les repos fugitifs
Avant l’espoir, avant l’effort
Déjà l’épanouissement
Au cliquetis des destinées
Des visages s’allument un instant
Et sombrent dans l’oubli thésaurisé
Présent comme le souvenir
Lorsque la ferveur du moment
Cède à la brusque incertitude
Les clameurs s’étouffent dans l’ombre silencieuse
Et les éclairs n’attisent qu’une lanterne sourde.
Où sont les lumières, où sont les voix ?
Qui a bâti ce réservoir,
Pour quelles soifs ?
Qui l’ouvrira aux rayons
De quel soleil ?
Présent comme les sables mouvants
Lorsqu’une route inutile
Traverse les déserts
Tombent, goutte après goutte, la foule amère
Et l’immobile solitude
Dans la réserve inépuisable
Avant les aventures
Déjà la plénitude 
(…)

Poem  Taranis

      Before the origin, the becoming
There never was a first morning
                  In the cloister of the reservoir
        The stars are not reflected
  The suns do not bathe
  Never was the first swallow
Before the seasons Time shines 
                            Present as the sea
                                             Under the clatter of cicadas
                                                  Then their sudden silence
                                      In the archives of the reservoir
                              Enter the cries lost in the wind
                                 Paralysed struggles
                                         Fleeting rests
                                                           Before hope, before effort
already the blossoming
                           To the clatter of destinies
                 Faces light up for a moment
And sink into hoarded oblivion
                                      Present as memory
                                             When the fervour of the moment
                            Gives way to sudden uncertainty
          The clamour stifles in the silent shadow
                                 And the lightning only fires a deaf lantern.
                                                  Where are the lights, where are the voices?
                                                   Who built this reservoir?
                                                For what thirst?
                                                     Who will open it to the rays
                                              of what sun?
                                                   Present as the shifting sands
                                When a useless road
                                     Crosses the deserts
                                  Drop by drop, the bitter crowd falls
                                                  And the motionless solitude
                                              Into the inexhaustible reserve
Before the adventures
                  Already fullness 
        (...)