Much literature has been written and many works have been completed in the area of audio-visual composition and performance. Most of these works start with the implicit assumption that sound and images can run concurrently without any kind of interaction and correlation. Usually only the synchronization of elements in time-sound linked with video or film-is attempted. However, there are a number of works that, while not specifically devoted to audio-visual objectives, have given more importance to correlating graphic and musical information, such as work involving the graphic representation of musical information, either to define notational systems [1] or to automatically produce traditional [2] or auditory [3] scores. In this article, we use the term 'traditional score' when referring to a common music notation score; and the term 'auditory score' when referring to a kind of music notation used to help listeners understand musical sequences and structures-particularly when the music either cannot be or is not represented by means of a traditional score (e.g. electronic, computer, ethnic musics). Some of Kandinsky's written works are illuminating with respect to analogies between graphics and music [4]. Several articles published in Leonardo provide rich overviews of work in music visualization [5]. The stimulating work of Whitney [6] involves the synthesis of audio-visual processes, with a high correlation between auditory and visual aesthetic information. The work of Brian Evans is also significant in this field [7]. In addition, paintings have inspired the structure of music in many works: in the work of Cervetti, paintings by Bosch are depicted in music [8]; in the work of Brecker, the structure of a painting by M. C. Escher determines the process with which one rhythmic pattern gradually transforms into a second one [9]. Yet other works are based on fractals as the generative structures both for graphics and music. Our research can be considered within the framework of