History
A common aspect of graphic notation is the use of symbols to convey information to the performer about the way the piece is to be performed. These symbols first began to appear in the works of avant-garde composers such as Roman Haubenstock-Ramati, Mauricio Kagel, György Ligeti, Krzysztof Penderecki, Karlheinz Stockhausen, and Iannis Xenakis, as well as the works of experimental composers such as Earle Brown, John Cage, Morton Feldman, and Christian Wolff during the 1950s and 60s.
After working as Stockhausen's assistant, Cornelius Cardew began work on a massive graphic score, which he titled Treatise. The piece consists of 193 pages of highly abstract scores. The score itself is almost its own separate work of art.
In 2008, Theresa Sauer edited a compendium featuring graphic scores by composers from over fifty countries, demonstrating how widespread the practice has become.
Read more about this topic: Graphic Notation
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