Abstract: The article analyzes the use of mathematical structures in the music of Estonian composer Arvo Pärt and their incorporation in choreography. The author considers Pärt’s works interpreted by choreographs, namely: «Spiegel im Spiegel», «Fratres»,«Tabula rasa», «Summa». These works are analyzed from the viewpoint of the composer’s referral to “lyrical geometry” in while composing. The author also considers symmetry principles in choreography. Symmetry, first of all, is geometrically adjusted and balanced positioning of the artist’s body, it’s position in space. In choreographic incorporations of Pärt’s music, choreographers project symmetry of the musical text onto the choreographic one. The author analyzes the following ballets from the viewpoint of symmetry using: “Otello” by John Neumeier, “Déjà vu” by Hans Van Manen, “Ward No. 6” by Radu Poklitaru, “Nunc Dimittis” by Nacho Duato. The methodological basis of the research is the comprehensive approach based on scientific achievements of both the modern musicology and the study of choreography. In his works, Arvo Pärt often refers to mathematical structures in composing. It is determined not only by rational grounds of the author’s technique tintinnabuli, but also by the spiritual component of Pärt’s music, so the structure in the composer’s works is often symbolic. In ballets to the music of Pärt, we can see the choreographer’s references to the symmetry principles as one of the ways of interaction with music. Depending on the artistic goal, relations with the music, the genre of the ballet, the symmetry principles incorporated into Pärt’s compositions and reflected in choreographic interpretations of his works, are used differently by choreographers.