This article intends to cross the vast and fascinating panorama of the graphic notation. The evolution of electronic music requires a new system of notation where, among other things, we seek to understand the new phenomena, such as the relationship between sonority and plastic manipulation in performance; the unpredictability and the error as ways of generating non-linear readings and/or new graphical forms of notation. In this article we intend to discuss the possibility of experiences’ systematization and concepts of ephemeral time, as well as freedom in the improvisation methodology and in real time composition, which has revolutionized the traditional system of musical graphic register. Usually, graphic notation as a musical representation aims to be interpreted by the musician/performer, whose reading can be linear or non-linear, even when is a result of concrete composition techniques. Otherwise, graphical notation arises as a result of the fusion between sound and graphic matter during the performance; a fusion that creates a close object - the score – that even so remains open, to the possibility of a new interpretation (possibly by another performer). Methodologically, we will analyze the contemporary artistic object from the performative practice, considering the reflexive approach of understanding sound as a material providing services to the performer himself and, simultaneously, the performer as a medium fused with the drawing - an object that creates crosses between form, body and duration. We propose the analysis of a case study, where the artistic object is assumed as a score, i.e., as a result of the sound register and the drawing as a visual entity, as an object of change, a game that provides new sound readings.

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