Anne Ozorio wrote:

>What interests mne a lot at the moment is the correlation between seeing
>and hearing, plastic arts and music, and how limiting recorded music is.

In what ways do you see recorded music as limiting?

>As someone mentioned, the notational form we use probabaly affects how
>we intuit music: other societies with different notations or none at
>all.  Why shouldn't a composer "write" diagrammatically and in colours.
>It may need to be translated so conventionally trained musicians can
>perform it, but it can, and has been done.  The idea is that communication
>is a creative process, involving many participants - composers, musicians,
>listeners.

Coloration was, at one time, an accepted practice...and while this might
be familiar, for some wonderful examples of graphic notation the Karkoschka
book on notation and examples from Source magazine are worth looking at.

Thinking about your post I am also reminded of the attempts to represent
in music, the visual arts...many of which are based upon the works of
Klee, an artist who was, conversely, influenced by music.  And then
we have everything from Disney's artists providing us with an abstract
representation of Bach to the graphic displays many computer audio players
offer.  I wonder if any of us look at those.

And on the subject of notation...as I mentioned before...my fascination
with electronic/computer music which, when looking to do something other
than replicate acoustic instruments, pieces like Berio's Visage, the
works of Parmegiani (a favorite of mine), Henry, Eimert, et al...Is
electronic music of this sort perhaps more "absolute" in that it cannot
be notated.

Karl