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2025
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| Online Access: | https://doi.org/10.5281/zenodo.19181447 |
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| _version_ | 1866902091850579968 |
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| author | Ming Yang |
| author_facet | Ming Yang |
| contents | This paper explores the concept of visual-logic-led notation, examining how graphic scores can function not as representations of sound but as autonomous systems that encode and generate musical behavior. Drawing from Mark Applebaum's theory of logic congruence, the study investigates how visual structures—such as repetition, symmetry, and sequence—embody compositional logic, allowing performers to derive musical meaning through perceptual and cognitive interaction rather than symbolic decoding. By reframing notation as a system, the paper proposes that improvisation within such frameworks becomes a structured activity: free yet guided by internal visual logic. Two original case studies illustrate this theoretical framework. Graphic Duologue presents a graphic score in which visual cues operate as relational logic, guiding performers in real-time improvisation. Transcending Boundaries extends this concept into a physical installation, where marbles navigating a structured environment produce sound through material interaction, functioning as an automated compositional system. These examples demonstrate how notation can transition from static image to dynamic system—becoming performative, interactive, and even autonomous. |
| format | Recurso digital |
| id | zenodo_https___doi_org_10_5281_zenodo_19181447 |
| institution | Zenodo |
| language | |
| publishDate | 2025 |
| publisher | Zenodo |
| record_format | zenodo |
| spellingShingle | Graphic Notation as Generative System: Visual Logic in Composition and Improvisation Ming Yang This paper explores the concept of visual-logic-led notation, examining how graphic scores can function not as representations of sound but as autonomous systems that encode and generate musical behavior. Drawing from Mark Applebaum's theory of logic congruence, the study investigates how visual structures—such as repetition, symmetry, and sequence—embody compositional logic, allowing performers to derive musical meaning through perceptual and cognitive interaction rather than symbolic decoding. By reframing notation as a system, the paper proposes that improvisation within such frameworks becomes a structured activity: free yet guided by internal visual logic. Two original case studies illustrate this theoretical framework. Graphic Duologue presents a graphic score in which visual cues operate as relational logic, guiding performers in real-time improvisation. Transcending Boundaries extends this concept into a physical installation, where marbles navigating a structured environment produce sound through material interaction, functioning as an automated compositional system. These examples demonstrate how notation can transition from static image to dynamic system—becoming performative, interactive, and even autonomous. |
| title | Graphic Notation as Generative System: Visual Logic in Composition and Improvisation |
| url | https://doi.org/10.5281/zenodo.19181447 |