Sinestesias en la notación gráfica: lenguajes visuales para la representación del sonido
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To represent the different sound phenomena, graphic notation—musical writing originated in the middle of the last
century— uses a great variety of visual language elements.
In this type of notation, the score acts not only as a record
and motor of the musical experimentation carried out by
the avant-garde composers, but also as a territory of trials
and tests with the different visual languages. This article
delves into the knowledge of the different visual languages
used in the graphic notation with the purpose of understanding how the musical concept of each work and composer is related to the visual language chosen for its graphic
representation. For this, an interdisciplinary study of certain
representative works of graphic notation made from the
mid-20th century to the present day has been carried out,
selecting the visual languages of comics, collage, sculpture, video and film, photography and drawing. The research
evidences the synesthetic nature of the graphic notation
and highlights the creative nature of this form of musical
writing, as a generator of new sound and artistic processes, as well as interpretative suggestions and resources. This article focuses on the study of graphic notation as a
synesthetic, musical and plastic phenomenon. Additionally,
it adopts as starting point the own visual language of each
score in order to, based on it, understand how image and
sound create a dialogue in each case, how musical thinking
materializes in a work that is also plastic, and vice versa,
how a plastic work generates new sound processes