Finally, I have found a sort of self-similarity in sound! Attempting to understand the differences between orchestral composition and electroacoustic composition has revealed a pattern specific to orchestral works.
Perlin Noise is randomness at different scales. What I have found is human effort at different time scales.
It is clear that an orchestral work is actually a collaboration between different people. But the interesting thing is that the composer, the conductor, the performer and the instrument maker each contributes to the same work by interpreting sound at different time scales.
The instrument maker takes care of the design of the sound at a very small time scale, that of milliseconds.
The performer takes care of the interpretation of the phrase, a larger time scale: that of seconds.
The conductor takes care of the dynamics of the entire piece, a scale of many minutes.
The composer takes care of interpreting his life experience into a structured piece of music. This is the scale of a lifetime, of years.
I think this is no small discovery. The electroacoustic composer needs to take care of all of these scales in a singular effort. Ofcourse this is possible, although perhaps more difficult. And maybe there is a greater potential for coherence when one person is responsible for the design of sounds at all scales. But it is a distinctly different pattern than that of an orchestral work.
What is interesting is that orchestral works highlight a pattern, or a way of working, which may be interesting in other endeavours (maybe non-musical). This is that human creative effort can be subdivided and applied at different scales. I wonder if there is a natural order or meaning that might come out, as Mandelbrot might argue, when human effort or energy is applied at different scales, then collated into a single work.