| Sumario: | Alberto Posadas (b. 1967) often draws upon extramusical sources in order to nurture his compositional practices; among them, mathematical ones remain as the most persistent influence in his growing body of works. In particular, Lindenmayer systems stand as his most recurrent mathematical model, governing the compositional strategies of nine pieces to date, from Arborescencias to Anklänge an Robert Schumann. This paper analyses the way the aforementioned fractal model takes part in the Spanish composer's creative practices. For that purpose, I first define the model and contextualise it within the field of musical composition, summoning for that purpose names such as Hanspeter Kyburz, Philippe Manoury or Enno Poppe. Next, I describe the evolution of Lindenmayer systems in Posadas' oeuvre over time. Some techniques of genetic criticism are used in order to achieve this main goal. Moreover, I will underline some cognitive aspects around the metaphorical thinking underlying this choice.
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