Catherine Christer Hennix, a Swedish experimental musician and artist who fused minimalist drones, mathematical logic and global spiritual traditions into an approach she called “infinitary composition,” died on Sunday at her home in Istanbul, Turkey. She was 75.

The cause was complications of an unspecified illness, according to Lawrence Kumpf, the founder and artistic director of Blank Forms, an organization that has promoted Hennix’s work. She had previously been treated for cancer.

At 20, Hennix was already a promising mathematician, jazz drummer and electronic composer when she visited New York in 1968 to explore the downtown Manhattan arts scene. She soon met the pioneering minimalist composer La Monte Young and immersed herself in his world of drone music and “just intonation,” an alternative to the standard tuning system of Western music.

In 1970, an encounter with the Indian classical singer and guru Pandit Pran Nath, whom Young had helped introduce to the West, further defined Hennix’s career and sound. Along with other prominent experimental musicians, including Terry Riley and Jon Hassell, she became a disciple of Nath, a so-called guruji. She was particularly drawn to the complex, shimmering sound of the raga’s underlying tambura drone, which seemed to stretch on endlessly in time.

“You get your first intuitive acquaintance with infinity through the raga, and then mathematics amplifies this concept of infinity by teaching you to formally manipulate it on paper with symbols,” Hennix told the writer Marcus Boon in 2001.

Alongside music making, she wrote poetry, logical equations and Japanese Noh dramas. Her efforts culminated in a 10-day festival called Brouwer’s Lattice, which she curated in 1976 at Moderna Museet in Stockholm and which included presentations of her art installations as well as performances by other minimalist musicians.

The festival also featured “The Electric Harpsichord,” a full-scale synthesis of Hennix’s seemingly divergent interests. Utilising a Yamaha keyboard calibrated to just intonation, she improvised on a raga scale and fed the results through a tape delay, all atop a constant drone. The result was a strange, trembling and powerfully uncanny soundscape. Though the extant recording of “The Electric Harpsichord,” from its first and only performance, is 25 minutes long, Hennix envisioned the music to have no end.

Minimalist music went mainstream in 1976 — with groundbreaking compositions like Philip Glass’s “Einstein on the Beach” and Steve Reich’s “Music for 18 Musicians” — but Hennix remained resolutely underground, committed to the ethos of the infinite drone and to a kind of artistry that could not be contained in a traditional concert setting. (The Deontic Miracle, her gagaku-inspired trio, which debuted at the Stockholm exhibition, had rehearsed for four years and never played a second concert.)