Abstract
Drawing can reinvent musical issues. This practice of drawing was named graphic score, and various composers and artists developed it during the XX century, such as Cornelius Cardew or John Cage. However, Iannis Xenakis’ drawing can be distinguished from a widespread idea of graphic score: visual notation to be creatively interpreted or final notation for writing music. Then, the investigation aims to indicate that Xenakis’ drawing is a morphologic key moment inside the composition process to find musical creation. When Xenakis expanded his musical issues in the morphologic field, it was possible to sketch sonic forms and interactions that conventional score did not allow to envision. Afterward, as drawing evolved in an idiosyncratic manner, the musical discoveries were transcribed for staves, becoming legible for the orchestra. Therefore, to demonstrate how drawing can unravel musical issues within the composition process, the investigation analyses Xenakis’ creative mind in two moments: Metastasis and Terraktorch. The research recognizes drawing as a practice that unfolds a morphologic intuition-thought, in which the composer can discover new gestures, forms, and dynamics. Thus, the article reminds us that drawing can be a relevant practice within the musical composition, in which there is no choice between graphic score or conventional notation, but both can be complementary in musical creation.
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