“DYSKOGRAF is a graphic disk reader. Each disc is created by visitors to the installation by way of felt tip pens provided for their use. The mechanism then reads the disk, translating the drawing into a musical sequence.”
notation
GEORGE CRUMB MAKROKOSMOS I & II: SCORES (2004)
“Notation naturally underwent the same ruptures that its signified did throughout the 20th century, not only in the attempt to find technically suitable illustrations for unprecedented forms of sonic expression, but also, as it was often the case, as a deliberate attack on the conventions of the graphic representation of sound. In the process, scores became increasingly idiosyncratic, more conscious about their arbitrary (i.e. semiotic) nature, and concomitantly assumed the status of art objects in themselves.”
— Eye Of Sound
Beethoven opus 101 manuscript
— via Vruz
Russian Moon calendar, 17th century
Русский лунный календарь XVII века
heinrich-siegfried bormann – visual analysis of a piece of music from a color-theory class with vasily kandinsky – october 21, 1930
(via)
An Evolution of Musical Notation
Japanese drum notation for “Dienst Mars” (Service March) by Inukai Kiyonobu, 1865. Western Military Drums in Japan. via
The evolution of notation in Western music (source unknown)
Study for Metastaseis, c. 1953.
“Metastaseis was inspired by the combination of an Einsteinian view of time and Xenakis’ memory of the sounds of warfare, and structured on mathematical ideas by Le Corbusier. Music usually consists of a set of sounds ordered in time; music played backwards is hardly recognizable. Messiaen’s similar observations led to his noted uses of non-retrogradable rhythms; Xenakis wished to reconcile the linear perception of music with a relativistic view of time. In warfare, as Xenakis knew it through his musical ear, no individual bullet being fired could be distinguished among the cacophony, but taken as a whole the sound of “gunfire” was clearly identifiable. The particular sequence of shots was unimportant: the individual guns could have fired in a completely different pattern from the way they actually did, but the sound produced would still have been the same. These ideas combined to form the basis of Metastaseis.”
(via)
Paul Greer 