🎶Experimental Music Unit 9 – Graphic Notation & Alternative Scoring

What's Graphic Notation?

• Visual representation of music that uses non-traditional symbols, shapes, and colors instead of standard musical notation
• Communicates musical ideas, gestures, and textures without specifying exact pitches, rhythms, or instrumentation
• Allows for greater freedom of interpretation and encourages performers to make creative decisions
• Can be used to notate unconventional sounds, extended techniques, and improvisation
• Emerged in the 20th century as composers sought new ways to express musical ideas beyond the limitations of traditional notation
  • Influenced by developments in visual art, such as abstract expressionism and minimalism
  • Reflected a desire to break free from the constraints of tonality and metric rhythm
• Often requires performers to use their imagination and intuition to bring the score to life
• Can be created using a variety of media, including hand-drawn illustrations, digital graphics, and even found objects (photographs, collages)

Origins and Evolution

• Roots can be traced back to the early 20th century, with composers like Henry Cowell and John Cage experimenting with unconventional notation
  • Cowell's "New Musical Resources" (1930) introduced the concept of "elastic form" and graphic representations of tone clusters
  • Cage's "Fontana Mix" (1958) used transparent sheets with lines and dots to create a graphic score that could be arranged in various ways
• Gained prominence in the 1950s and 1960s, particularly in the works of avant-garde composers associated with the New York School and Fluxus movement
• Composers began to incorporate elements of chance, indeterminacy, and performer choice into their scores
  • Earle Brown's "December 1952" (1952) consisted of horizontal and vertical lines that could be interpreted freely by the performer
  • Karlheinz Stockhausen's "Prozession" (1967) used abstract symbols to indicate actions and interactions between performers
• In the 1970s and 1980s, graphic notation became more diverse and experimental, with composers exploring new forms of visual representation
  • R. Murray Schafer's "Apocalypsis" (1980) used colorful illustrations and calligraphy to evoke the imagery of the Book of Revelation
  • Pauline Oliveros' "Sonic Meditations" (1971) used text-based instructions and simple graphics to guide performers through a series of listening exercises
• Today, graphic notation continues to evolve, with composers incorporating digital technologies, multimedia, and interactive elements into their scores

Key Players and Pioneers

• John Cage (1912-1992): American composer who pioneered the use of indeterminacy and chance operations in music
  • "Concert for Piano and Orchestra" (1957-58) used a variety of graphic notations, including maps, transparencies, and blank pages
• Earle Brown (1926-2002): American composer known for his "open form" compositions that allowed performers to make decisions about the order and duration of musical events
  • "Available Forms I" (1961) used a grid of colored squares to indicate different musical modules that could be arranged by the conductor
• Karlheinz Stockhausen (1928-2007): German composer who experimented with graphic notation, electronic music, and spatial composition
  • "Kontakte" (1958-60) used abstract symbols to represent electronic sounds and live instrumental parts
• Cornelius Cardew (1936-1981): British composer and founder of the Scratch Orchestra, an experimental ensemble that used graphic scores and collective improvisation
  • "Treatise" (1963-67) is a 193-page graphic score that consists entirely of lines, shapes, and symbols, with no conventional musical notation
• Krzysztof Penderecki (1933-2020): Polish composer who used graphic notation to create dense, textural works that explored the boundaries of sound and silence
  • "Threnody to the Victims of Hiroshima" (1960) used black and white clusters to represent the sounds of sirens, screams, and explosions
• Pauline Oliveros (1932-2016): American composer and accordionist who developed the concept of "deep listening" and used graphic scores to facilitate meditative, immersive experiences
  • "Primordial/Lift" (1998) used a series of concentric circles to represent different layers of sound and consciousness

Types of Graphic Scores

• Time-based scores: Use horizontal or vertical axes to represent the passage of time, with symbols or shapes indicating musical events that occur at specific points
  • György Ligeti's "Artikulation" (1958) uses a grid of small rectangles to indicate the timing and duration of electronic sounds
• Gesture-based scores: Use abstract shapes, lines, and curves to suggest musical gestures, textures, and dynamics
  • Luciano Berio's "Sequenza V" (1966) for trombone uses curved lines and arrows to indicate sliding pitches and changes in air pressure
• Color-based scores: Use different colors to represent different musical elements, such as pitch, timbre, or emotion
  • John Cage's "Ryoanji" (1983-85) uses traced outlines of stones and colored pencils to create a meditative, garden-like score
• Text-based scores: Use written instructions, poetry, or prose to guide the performer's actions and interpretations
  • Yoko Ono's "Grapefruit" (1964) contains a series of short, enigmatic scores that blur the boundaries between music, art, and life (e.g., "Listen to the sound of the earth turning")
• Graphic-sonic scores: Combine visual elements with traditional musical notation to create a hybrid form of representation
  • Anthony Braxton's "Composition No. 94" (1980) uses a complex system of symbols, numbers, and conventional notes to create a multi-layered, improvisatory score
• Found object scores: Incorporate non-musical objects, images, or materials into the score as a way of generating new sounds and textures
  • Cathy Berberian's "Stripsody" (1966) uses comic strip characters and onomatopoeia to create a humorous, virtuosic vocal piece

Reading and Interpreting Graphic Scores

• Requires a different approach than reading traditional musical notation, as there may be no clear indications of pitch, rhythm, or instrumentation
• Performers must use their imagination and intuition to translate the visual elements into sound
  • Look for patterns, shapes, and colors that suggest certain musical gestures or textures
  • Consider the overall structure and flow of the score, and how different sections might relate to each other
• Often involves a degree of improvisation and personal interpretation, as the score may leave room for the performer to make their own creative decisions
  • Discuss with other performers (if applicable) to develop a shared understanding of the score and how to approach it
• Pay attention to any accompanying instructions or notes from the composer, which may provide guidance on how to read and interpret the score
• Experiment with different techniques, sounds, and ideas in rehearsal to explore the possibilities of the score and find what works best
  • Be open to trying new things and taking risks, as graphic scores often encourage a spirit of exploration and discovery
• Consider the context and intent behind the score, and how it relates to the composer's broader artistic vision and the cultural/historical moment in which it was created

Creating Your Own Graphic Notation

• Start by identifying the musical ideas, gestures, or textures you want to convey, and brainstorm visual ways of representing them
  • Sketch out different symbols, shapes, and colors that might correspond to different sounds or actions
  • Consider how the placement and arrangement of elements on the page might suggest certain musical relationships or structures
• Decide on the overall format and layout of your score, whether it's a linear timeline, a spatial map, or a more abstract configuration
  • Think about how the performer will navigate the score and how different sections might flow into each other
• Develop a clear key or legend that explains what each symbol or visual element represents, and include any necessary instructions for the performer
  • Be consistent in your use of symbols throughout the score to avoid confusion
• Experiment with different materials and techniques for creating your score, such as drawing, painting, collage, or digital graphics
  • Choose materials that support the musical and conceptual ideas behind your piece (e.g., using torn paper to suggest fragmentation or decay)
• Consider how your score will be performed and what kind of ensemble or instrumentation it might require
  • Think about any specific techniques, extended techniques, or unconventional instruments that might be needed to realize your score
• Test out your score with performers and get feedback on how clear and effective it is in communicating your musical ideas
  • Revise and refine your notation based on what you learn from these experiences

Pros and Cons of Alternative Scoring

• Pros:
  • Allows for greater freedom and creativity in musical expression, as it is not bound by the limitations of traditional notation
  • Encourages performers to use their imagination and intuition to interpret the score, leading to more personal and unique performances
  • Can facilitate collaboration and communication between composers and performers, as it requires a more active engagement with the score
  • Enables the notation of unconventional sounds, extended techniques, and other musical elements that may be difficult to represent using standard notation
  • Can make music more visually engaging and accessible to a wider audience, as graphic scores often have an artistic or conceptual appeal beyond their purely musical function
• Cons:
  • Can be more difficult to read and interpret than traditional notation, especially for performers who are not familiar with graphic notation
  • May require more rehearsal time and experimentation to develop a coherent interpretation of the score
  • Can be less precise in terms of specifying exact pitches, rhythms, and other musical parameters, which may be a drawback for some composers or performers
  • May not be suitable for all types of music or ensembles, particularly those that require a high degree of coordination and synchronization
  • Can be more challenging to preserve and disseminate than traditional scores, as graphic scores often rely on specific visual elements or materials that may be difficult to reproduce or share digitally

Impact on Contemporary Music

• Graphic notation has expanded the possibilities of musical expression and challenged traditional notions of what constitutes a musical score
  • Has encouraged composers to think more creatively about how to represent and communicate their musical ideas
  • Has opened up new avenues for collaboration and interdisciplinary work, as graphic scores often blur the boundaries between music, visual art, and performance
• Has influenced the development of new musical forms and genres, such as free improvisation, experimental music, and multimedia composition
  • Many contemporary composers and ensembles regularly use graphic scores as a tool for creating and performing new works
• Has contributed to a broader shift in the role of the composer, from a creator of fixed, authoritative scores to a facilitator of open-ended, collaborative processes
  • Graphic scores often involve a more dialogic relationship between composer and performer, with both parties contributing to the realization of the work
• Has helped to democratize music-making and challenge hierarchical power structures within the classical music tradition
  • Graphic scores can be more accessible and inclusive than traditional notation, allowing for a wider range of people to participate in musical creation and performance
• Has intersected with other artistic and cultural movements, such as conceptual art, experimental theater, and social activism
  • Graphic scores have been used as a means of political and social commentary, as well as a way of exploring issues of identity, representation, and power in music
• Continues to evolve and inspire new generations of composers and performers, who are finding innovative ways to use visual elements to create and communicate musical ideas